Hello, Larry Adler Fans.
This is part 2 of the Glossary of Terms,
as written by harmonica icon Larry Adler
(1914-2001), in his songbook, Larry Adler,
Harmonica Favorites, Folio #1, (1943),
as originally published by Robbins Music Corp.,
New York City.
Part 1 was published here at SlideMeister,
yesterday. Additional parts will be published
here, for the complete Glossary of Terms,
and a part on Instrumental Effects will be
included.
The songbook and these glossary terms were
written for a standard 12-hole, solo system
slide chromatic harmonica factory-installed
in the key of C.
Larry 's early career was one of self-instruction,
until about age 44 (a guess). In performance with
symphonies, he first memorized the music melody,
as performed by a pianist. He couldn't read music.
At one performance with an Australian symphony,
the conductor asked him about his performance
in a selected part of the music score. Larry whispered
to the conductor, "I don't read music". The conductor
replied, "that's what I thought", or a similar wording.
It convinced Larry to learn to read music.
Some of Larry's musical ideas were not always musically
correct, until he started lessons with a music teacher.
The words written here are Larry's, except where
I have added comments for clarity, as between
the signs { and }.
GLOSSARY OF TERMS: Part 2
Phrasing: The art of making whatever you play
sound musical, with feeling and without apparent strain.
Puffing laboriously through a tune would undoubtedly
lead to bad phrasing. Good phrasing implies a smooth
combination of runs, effects and melody, without harsh
breaks in breath or rhythm.
Run: A group of notes meant to be played smoothly
and rapidly, usually a variation on the melody.
Shiver or Twittering: This effect, rather like the
shimmering strings of the Kostalanetz' orchestra, is
best on the first four notes. Playing the chord, and with
the hands half-open, say (silently) "diddle-liddle-liddle"
into the instrument. The effect is quite lovely.
Sliding or slurring: Approaching a note from below. One
way of doing this is to "blue" {bend} the note, meaning
to compress the reed with a forced breath, so that it sounds
almost a 1/2 tone flat, then allowing it to return to normal
pitch by decreasing the wind pressure. This is a good effect
on blues tunes, is usually out of place in a classical melody.
It also is bad for the reed itself. {On sheet music}, the "slide"
is indicated by ( up to a note.
Staccato: Hitting a note very sharply, and releasing it at once.
This is indicated {on sheet music} by a dot over the note.
Trill: One note and the next half step, alternating in quick
succession. The chromatic lever at the right end of the harmonica
is used for this effect. This is such a good effect, so easy to achieve,
and sounding so "flashy", that the player is usually tempted to overdo
it. Trills will help you only if used sparingly, otherwise it's repetition
will become monotonous. This is indicated {on music} as ( tr~~~~~~).
More information tomorrow.
Best Regards, Stay Healthy
JB
