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From: ewa
Date: Wed, 11 Feb 1998 09:34:57 +0000
Subject: Re: #2 Draw problems

>Subject: Re: Bob Dylan- Genius

>>on "moonshiner," and his singing and pickin on it are real swell, too.

>Richard.

snip what I find truly refreshing about Dylan's version of the song is
his
restraint from the new tendency to romanticise things like alchololism
and
whatnot. He allows for the romantic aspect of the song to still exist
but
doesn't
romanticise the shit of it. Know what I mean? Take the super-popular
crap-
version of the tune Uncle Tupelo do and you know what I mean by
sensationalistic
complete misunderstandings or simple lack-of-real-experience of the
moonshiner theme both lived-in or empathised-to through friends' or
family's experience with the clear-eyed poison funstuff!

Richard.

What a novel viewpoint Richard. The next thing we'll be saying is that
music is an expressive medium subject to the composer/player's life
experience and the listeners receptive capabilities.Blasphemous stuff.
Everybody knows that if you get a Filisko and play the right notes just
fast enough it's the ballgame, notwithstading the lyrics allready
(smiley ommited for those of rosarchian disposition)

On another note , the #2 draw specifically, I think Bobbie answered it
all very clearly , thanks Bobbie. I think it bears repeating for the
archive.
:
Dustin laments:

> Recently I purchased a harp and upon taking it home discovered that the blow 2 did not sound right.

Bobbie answered:
I note you got advice related to 2 draw not 2 blow. It is common for 2
draw to be troublesome. But troubles with with 2 hole are amazingly
common in general, and I find this particularly intriguing... one of my
mini-studies,in fact. :)

Let me say that you will probably get better results if you do as has
been suggested for 2 draw efficiency, and for the lower notes on the
harp typically, which is to widen your mouth cavity on these notes.
Oddly enough, if you are a TBer, you may find this hard to follow, but I
believethey are actually related.

When you open your oral cavity, you are more inclined to begin your
airflow to initiate the reed from within deeper areas of your throat
instead of near the front of your mouth. With TB, you learn to use this
deeper point of"note pumping" simply by the nature of the technique.
The fact is that you need to vary your approach for various holes on the
harp to help the reeds respond as best as they can, and the lower notes
might start better for you if you thrust the air from lower in the
throat than punching it from the lips. Think of starting the note [with
the open oral cavity embouchure] by using the area of the throat that
you feel when clearing your throat with acoughing action. You need to
remember to try to keep your nose shut off,but this will get those low
notes kick-started before you add the sustaining breath. All this
occurs in a fraction of a moment.hard to explain,butmaybe that willhelp.

----------------------------


Also I'd stress that the breath really originates at the diaphragm in
these cases particularly, or as one bluesman (Cotton?) described,
"Breath from your toes".I think also beginners(me) arn't used to
diaphragmatic breathing and the greater volume of breath it takes to
sound #2 draw, while #2 blow can more often be naturally diaphragmatic
instead of shallow "sipping"?

What mil. thickness is that mylar material for valves by the way? 4
mil too thick?

Eddie