An Introduction to Modified Piano Scores.

As alluded to in a previous article, one of the major drawbacks to playing the harmonica (particularly the chromatic) is that few classical compositions have pushed, or even grazed against, the boundaries of what the instrument is capable of. Where players have made leaps and bounds, composers have remained in the dark. Thus, in order to practice the instrument with sheet music, players have had to adapt scores intended for other instruments in order to expand their repertoire, and challenge their practice regimes.

The piece that first inspired me to adapting piano compositions to the harmonica was the second movement of Rachmaninoff’s infamous Piano Concerto No.2. Where I was first intrigued by the woodwind melodies, I am now set on mastering the piano line on the harp and the guitar. I hope to have it ready by the end of the year.

In the meantime, I have adapted several, well known, piano compositions to the instrument, which I hope the reader and listener will enjoy. To provide a more diverse sound, I have used the guitar to play the ‘left hand’ of the scores and further make the piece my own.

Nonetheless the disparity between instruments causes a certain consideration of technique and personal preference. Where double stops could have been used on the harmonica, I have abstained from using them. This is not through lack of technique but rather my personal distaste of the sound. The only form of ‘tongue blocked’ double stop that I enjoy playing on the chromatic Harmonica is the harmony produced from playing octaves, and I have used this technique liberally. Of course the right hand harmonies available on the piano are more complex, however I feel I have retained the essence of the melody at all times. With the guitar, I have been too busy, over excited, and, consequently, lazy to play the left hand note for note at all times, but have again tried to adapt scores to the capabilities of the instrument with the time available to me.

Thus I have added notes to scores and taken them away. Conservatives will be appalled, I hope the rest will simply enjoy and recall that all any performer can do with a score is interpret and, likewise, enjoy.  

Sam and Bazza's awesome adventure in Teddington

After a day of strumming by the riverside, serenading waitresses in a French café for free drinks and brownies, and helping the blues brother start his career as the next auteur, I’m surrounded by several teens wearing baseball caps and playing some distorted stuff out of their smart phones, as I walk past the local gym. All of a sudden I’m 13 again, and thinking of aversion tactics to counter the school bullies. ‘Oh lawd’, I think, ‘I knew today was too good to be true, I’m gonna get the mickey taken out of me, and then some’. “Hey man”, the most aggressive looking one says, “do you like muddy waters?” I’m struck dumb. I listen. That’s not distorted crap coming from the Iphone, its muddy waters I can’t be satisfied. I’m not back with the bullies, I’m among friends and allies. Now smiling I reply, ‘Brother I don’t just love muddy waters, I playmuddy waters’. “Go on then mate.” I put down my guitar, pull out the trusty 10 hole diatonic, and reel off Manish boy, I needs to be loved, and Got my Mojo working. “brav that is sick”. I can’t remember exactly what Montaigne said about perception, but I remember the morals behind his argument. A high five later, and then I’m walking off into the distance. When you’re a ‘musicianeer’, everything is la vie en rose.