[Harp-L] Long Train Runnin' song key
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Denny Noreikas
May 7, 2012, 9:21:22 PM5/7/12
to Harp- L
I have googled, Long Train Runnin'" by the Doobie Brothers to check out the harp solo but some of it left me confused.
First, what s the key of the recording? I believe it is Gm and the harp is an F in 3rd position. Does this sound correct?
Denny
First, what s the key of the recording? I believe it is Gm and the harp is an F in 3rd position. Does this sound correct?
Denny
michael rubin
May 7, 2012, 9:43:29 PM5/7/12
to Denny Noreikas, Harp- L
C harp, second position, Gm.
Michael Rubin
Michaelrubinharmonica.com
Michael Rubin
Michaelrubinharmonica.com
Bill Hines
May 8, 2012, 7:58:44 AM5/8/12
to Denny Noreikas, Harp- L
I've played that song for quite some time and I've heard differing
opinions but in any case at least as far as the most popular studio
version it's in G (2nd position) or Dminor (3rd position) on a C harp
(i've heard differing opinions and not strong enough yet in music theory
to know the right answer, if there is one).
I'd lean toward D minor since it's primarily focused around the 4D, but
pick up your C harp and go for it. If you google the song and 'harp' or
'harmonica' you might find some instruction that I put out there a long
time ago about how to play the solo on the studio cut. They have a live
DVD where the solo is much longer, dramatic, and bluesier (nothing
really like the studio one). Don't just stand there waiting for the solo
on that one, add some tasty fills (don't take them all, leave some for
the other musicians), etc. Fun to play! Bill Hines
opinions but in any case at least as far as the most popular studio
version it's in G (2nd position) or Dminor (3rd position) on a C harp
(i've heard differing opinions and not strong enough yet in music theory
to know the right answer, if there is one).
I'd lean toward D minor since it's primarily focused around the 4D, but
pick up your C harp and go for it. If you google the song and 'harp' or
'harmonica' you might find some instruction that I put out there a long
time ago about how to play the solo on the studio cut. They have a live
DVD where the solo is much longer, dramatic, and bluesier (nothing
really like the studio one). Don't just stand there waiting for the solo
on that one, add some tasty fills (don't take them all, leave some for
the other musicians), etc. Fun to play! Bill Hines
michael rubin
May 8, 2012, 8:41:01 AM5/8/12
to Bill Hines, Harp- L
Although I agree that standing there waiting for the solo is
unnecessary in a live situation, I believe the producers of that song
(and possibly Don Brooks, harp player) teach us a great lesson. We
all know the harp solo is coming and we know it is great. It creates
a tension-release situation that is very effective. Some of my
favorite songs I have ever played or recorded have a solo only. I
think it is in great taste.
Michael Rubin
Michaelrubinharmonica.com
unnecessary in a live situation, I believe the producers of that song
(and possibly Don Brooks, harp player) teach us a great lesson. We
all know the harp solo is coming and we know it is great. It creates
a tension-release situation that is very effective. Some of my
favorite songs I have ever played or recorded have a solo only. I
think it is in great taste.
Michael Rubin
Michaelrubinharmonica.com
The Iceman
May 8, 2012, 9:11:20 AM5/8/12
to har...@harp-l.org
Standing there waiting to solo in a live situation can develop a mature stage presence. It is not necessary to be constantly playing.
Learning to stand on stage and NOT PLAY helps develop a professional attitude, as you are still part of the ensemble. In these moments, one should learn to go with the flow and show enjoyment at what is being played, perhaps with a cool stage groove movement.
Learning to stand on stage and NOT PLAY helps develop a professional attitude, as you are still part of the ensemble. In these moments, one should learn to go with the flow and show enjoyment at what is being played, perhaps with a cool stage groove movement.
Bill Hines
May 8, 2012, 9:31:01 AM5/8/12
to Harpl list
I agree, and I certainly wasn't encouraging anyone to play through the
song, we all know that in *most* cases (some exceptions where it works
include Butterfield on Muddy's "40 Days") that is very annoying and will
piss off everyone else on stage, not to mention the audience, sometimes
depending on their present state of mind. Now if someone would just tell
the horn players at our jam that, haha. I was simply saying that if one
aspires to learn a song like this, they don't have to stick to the
strict "studio" interpretation when playing live.
Of course good musicianship means learning how to not play (empty space)
and still support the groove by doing some thing "cool" rhythmic
swaying, smoking a cig (kidding), etc while not playing. Guitar players
like it when you move your hand like a fan in front of their guitar when
they are playing as if saying "this mofo is HOT, i need to cool it
down". I was saying of course that you can participate and add to the
music by learning to complement and add to the song when/where
appropriate. Often, that is at the discretion of the other musicians,
they might like more or less. I've played less and been told "play more"
by one person and then when doing exactly that (not playing excessively
though) been told "play less". Peoples is peoples.
Bill Hines
song, we all know that in *most* cases (some exceptions where it works
include Butterfield on Muddy's "40 Days") that is very annoying and will
piss off everyone else on stage, not to mention the audience, sometimes
depending on their present state of mind. Now if someone would just tell
the horn players at our jam that, haha. I was simply saying that if one
aspires to learn a song like this, they don't have to stick to the
strict "studio" interpretation when playing live.
Of course good musicianship means learning how to not play (empty space)
and still support the groove by doing some thing "cool" rhythmic
swaying, smoking a cig (kidding), etc while not playing. Guitar players
like it when you move your hand like a fan in front of their guitar when
they are playing as if saying "this mofo is HOT, i need to cool it
down". I was saying of course that you can participate and add to the
music by learning to complement and add to the song when/where
appropriate. Often, that is at the discretion of the other musicians,
they might like more or less. I've played less and been told "play more"
by one person and then when doing exactly that (not playing excessively
though) been told "play less". Peoples is peoples.
Bill Hines
The Iceman
May 8, 2012, 11:34:58 AM5/8/12
to johnsm...@hotmail.com, har...@harp-l.org
Kim Wilson has got the moves. Mark Hummel radiates pure joy. Charlie Musselwhite stands there looking amused.
Am not a fan of the dudes that turn their back, light up a cigarette and smoke on stage.
-----Original Message-----
From: John Sturm <johnsm...@hotmail.com>
To: icemanle <icem...@aol.com>
Sent: Tue, May 8, 2012 9:20 am
Subject: RE: [Harp-L] Long Train Runnin' song key
"a cool stage groove movement." Rick Estrin is the master of exactly that.
>
> To: har...@harp-l.org
> Date: Tue, 8 May 2012 09:11:20 -0400
Am not a fan of the dudes that turn their back, light up a cigarette and smoke on stage.
-----Original Message-----
From: John Sturm <johnsm...@hotmail.com>
To: icemanle <icem...@aol.com>
Sent: Tue, May 8, 2012 9:20 am
Subject: RE: [Harp-L] Long Train Runnin' song key
"a cool stage groove movement." Rick Estrin is the master of exactly that.
>
> To: har...@harp-l.org
> Subject: Re: [Harp-L] Long Train Runnin' song key
> From: icem...@aol.com
> Date: Tue, 8 May 2012 09:11:20 -0400
>
> Standing there waiting to solo in a live situation can develop a mature stage presence. It is not necessary to be constantly playing.
>
>
> Learning to stand on stage and NOT PLAY helps develop a professional attitude, as you are still part of the ensemble. In these moments, one should learn to go with the flow and show enjoyment at what is being played, perhaps with a cool stage groove movement.
>
>
>
> Standing there waiting to solo in a live situation can develop a mature stage presence. It is not necessary to be constantly playing.
>
>
> Learning to stand on stage and NOT PLAY helps develop a professional attitude, as you are still part of the ensemble. In these moments, one should learn to go with the flow and show enjoyment at what is being played, perhaps with a cool stage groove movement.
>
>
>
Robert Hale
May 8, 2012, 12:16:57 PM5/8/12
to Bill Hines, Harp- L
Long Train Running is certainly a bench mark recording.
Thankfully, it's played heavily on Draws 2,4,and 5. The D3 (un-bent) always
troubled me for the sound of Major 3rd against minor chord. But I've heard
the same in historical blues recordings, too.
I played it with a horn band using a minor draw plate and Major Blow.
Robert Hale
See you at SPAH2012
Spiral Advocate
Learn Harmonica by Webcam
Low Rates, High Success
http://www.youtube.com/DUKEofWAIL
http://www.dukeofwail.com
Thankfully, it's played heavily on Draws 2,4,and 5. The D3 (un-bent) always
troubled me for the sound of Major 3rd against minor chord. But I've heard
the same in historical blues recordings, too.
I played it with a horn band using a minor draw plate and Major Blow.
Robert Hale
See you at SPAH2012
Spiral Advocate
Learn Harmonica by Webcam
Low Rates, High Success
http://www.youtube.com/DUKEofWAIL
http://www.dukeofwail.com
Denny Noreikas
May 9, 2012, 11:34:12 PM5/9/12
to Harp- L
Thanks to all who responded. Great advise and direction from everyone.
Now, it is time to start practicing with the music.
Denny
Now, it is time to start practicing with the music.
Denny
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