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From: Michael Will
Date: Tue, 24 Sep 1996 22:07:51 -0700
Subject: Re: Master Class Workshop

- -Alan Adamson wrote:

> Mark Ford tongue blocks pretty much all the time for his tone.

Though, as David Barrett pointed out, a good lip block or pucker sounds
the same as a tongue block if you're just playing single notes. The
advantage comes when tongue blocking (as well as octaves, etc). The
clinicians mostly lumped various techniques like tongue slap, lifts,
octaves, slurs, etc in the class of "tone". Strictly speaking this might
not be right, but that seems to be the standard usage.

Pretty much every clinician uses tongue block a lot, but not necessarily
exclusively.

> Paul Delay said song writing is so important. There's always another guy that
> will come along and play better and faster than you. But if you got the
> song then you got it all.

Paul also said that most players don't use the blow notes enough. More
of that "contrary to popular belief" advice.

> There were lots of memorable things during these two harp packed days. One
> of the best that stands out in my mind is when I was re-packing my bag in
> the Hilton lobby next to Mic'l Will who was playing blues on a grand piano.
> There was no one else around at the time and I looked down to zip up my
> pack... when I looked up at the Piano, it and Mic'l were sourounded by harp
> players taking turns jamming with him and having a great time. That's what
> it's all about for me...

Me too. That ~was~ fun. I have a few cherished piano playing memories,
and this one adds to the list. I ~was~ *hoping* to get Ms Honey (Mrs
Rod Piazza) to come investigate--maybe bringing her hubby with her... No
such luck.

FeatherMan Mike