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Date: Tue, 5 Mar 2002 12:52:38 EST
From: Mudha~ol.com
Subject: Re: Soloist's Freedom

- --part1_72.18a8d440.29b65fe6_boundary

Mike Will wrote: (snip)

>Anyway, it got me to wondering if there's a difference
>between a soloist's freedom of expression and
>interpretation vs. those of an accompaniest. Are
>there fewer degrees of freedom there? Less room for
>rhythmic, dynamic, or phrase variation?

Hey Mike, you old flame eater! Fewer degrees of freedom? Yes, in the sense
that accompaniment is somewhat of a repetitive, restrictive art. The
accompanist doesn't have the same free range the soloist has. As to whether
there's less room for rhythmic, dynamic, or phrase variation -- to me rhythm
and dynamics are major basics of accompaniment. I try to use the syncopation
that naturally occurs in the phrasing and spacing of the music as a kind of
roadmap to support and enhance the soloist. Not an easy thing to do but with
practice and careful listening it can help bring the music to a new place.

Jimbeau wrote (more snippage)

<function as there is in soloing. In fact, the accompaniest is, to a large
degree, going to make or break the entire sound of the band.>>

True words. And as an experienced player you no doubt know, harmonica as an
accompanying instrument can be very dicey. It's so easy to step on vocals
and/or the lead instrument an that's why harp players are often advised to
lay out when not soloing. It's hard to do right, kind of like walking
through
a mine field -- but when done with sensitivity and finesse it can be very
rewarding. There are times when I can hear the band reacting to and playing
off of what I'm doing on the side, and that's where it begins to really pay
off. I like it at least as much soloing and sometimes more. I also play
congas and other percussion instruments on stage because there are
definately
times when EVEN I think the harp is out of place (hard to believe, I know).
But with percussion as harp accompaniment, less is more.

So while it's true that sometimes the best harmonica accompaniment is to lay
out entirely, for me that's not always the answer. If you want to accompany
well, know the music and know the musicians. I've found that strong
familiarity with both is a big help. For open jams where you don't know the
players really well, laying out is probably the best bet most of the time.
And as to the guy who flamed Mike for his excellent post, hey buddy, smooth
way to introduce yourself to the list, attacking one it's most respected
contributors. Way cool.

T. Albanese

- --part1_72.18a8d440.29b65fe6_boundary

FACE="Arial" LANG="0">Mike Will wrote: (snip)



>Anyway, it got me to wondering if there's a difference

>between a soloist's freedom of expression and

>interpretation vs. those of an accompaniest.  Are

>there fewer degrees of freedom there? Less room for

>rhythmic, dynamic, or phrase variation? 



Hey Mike, you old flame eater!  Fewer degrees of freedom? Yes, in the
sense that accompaniment is somewhat of a repetitive, restrictive art. The
accompanist doesn't have the same free range the soloist has. As to whether
there's less room for rhythmic, dynamic, or phrase variation -- to me rhythm
and dynamics are major basics of accompaniment. I try to use the syncopation
that naturally occurs in the phrasing and spacing of the music as a kind of
roadmap to support and enhance the soloist. Not an easy thing to do but with
practice and careful listening it can help bring the music to a new place.




Jimbeau wrote (more snippage)



<<I believe there is just as much room for expression in the
accompanying

function as there is in soloing. In fact, the accompaniest is, to a large


degree, going to make or break the entire sound of the band.>>



True words. And as an experienced player you no doubt know, harmonica as an
accompanying instrument can be very dicey. It's so easy to step on vocals
and/or the lead instrument an that's why harp players are often advised to
lay out when not soloing. It's hard to do right, kind of like walking
through a mine field -- but when done with sensitivity and finesse it can be
very rewarding. There are times when I can hear the band reacting to and
playing off of what I'm doing on the side, and that's where it begins to
really pay off. I like it at least as much soloing and sometimes more. I
also play congas and other percussion instruments on stage because there are
definately times when EVEN I think the harp is out of place (hard to
believe, I know). But with percussion as harp accompaniment, less is
more.



So while it's true that sometimes the best harmonica accompaniment is to lay
out entirely, for me that's not always the answer. If you want to accompany
well, know the music and know the musicians. I've found that strong
familiarity with both is a big help. For open jams where you don't know the
players really well, laying out is probably the best bet most of the time.
And as to the guy who flamed Mike for his excellent post, hey buddy, smooth
way to introduce yourself to the list, attacking one it's most respected
contributors. Way cool.



T. Albanese






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