Topic: Harpo Marx videos (Couldn't resist)

I didn't want to interrupt the thread about the specifics of the harp sound, but I didn't see how I could resist posting these relevant videos. He varies the attack point often, most noticeably on the arpeggios and for the "special effects" in the second video. I don't think I've seen anyone get blue notes on a harp before. (And he amazingly produces the sound of a horn and later violins in the first video!!)

https://www.youtube.com/watch?v=h7oZXt_71CE


https://www.youtube.com/watch?v=ZbL8M3wNxLc


https://www.youtube.com/watch?v=X4NtCy9MfYk

Last edited by Jake Johnson (19-07-2015 17:29)

Re: Harpo Marx videos (Couldn't resist)

He was indeed very skilled.

Maybe the smartest dumb character of comedy.


But I think he is somehow similar to his brother, Groucho, so he would never play in a club that would acept hin as a member.

Last edited by Beto-Music (19-07-2015 23:50)

Re: Harpo Marx videos (Couldn't resist)

Hello All,

I had a crack at transcribing Harpo Marx's harp arrangement of "Take Me Out To The Ball Game", as performed by Harpo in the 1950's on the old I Love Lucy show.  Harpo never published any of his arrangements, and the original tune is Public Domain -- since there may have been a question as to copyright infringement, this piece never made it to the Pianoteq website as a demo.  Pity.

http://www.forum-pianoteq.com/uploads.p...13_Dry.mp3

Enjoy,

Joe

Re: Harpo Marx videos (Couldn't resist)

Hello again, All


I couldn't resist uploading this arrangement for harp of "The Saints Go Marching In" -- in the style of Dave Brubeck. 

http://www.forum-pianoteq.com/uploads.p...PR2015.mp3


Enjoy,

Joe

Re: Harpo Marx videos (Couldn't resist)

jcfelice88keys wrote:

Hello All,

I had a crack at transcribing Harpo Marx's harp arrangement of "Take Me Out To The Ball Game", as performed by Harpo in the 1950's on the old I Love Lucy show.  Harpo never published any of his arrangements, and the original tune is Public Domain -- since there may have been a question as to copyright infringement, this piece never made it to the Pianoteq website as a demo.  Pity.

http://www.forum-pianoteq.com/uploads.p...13_Dry.mp3

Enjoy,

Joe


This is wonderful, Joe. I'm not sure I understand, however--did you play this on a keyboard?

Re: Harpo Marx videos (Couldn't resist)

Jake Johnson wrote:

This is wonderful, Joe. I'm not sure I understand, however--did you play this on a keyboard?

Hello Jake,

Yes, I did play this on the keyboard, believe it or not.

Re: Harpo Marx videos (Couldn't resist)

jcfelice88keys wrote:
Jake Johnson wrote:

This is wonderful, Joe. I'm not sure I understand, however--did you play this on a keyboard?

Hello Jake,

Yes, I did play this on the keyboard, believe it or not.

Wow. Seriously. It's hard to imagine doing it on the harp, let alone recreating it on a piano. I would guess that mastering those glissandi took some time.

Last edited by Jake Johnson (22-07-2015 18:22)

Re: Harpo Marx videos (Couldn't resist)

Does anyone know: In the second video, what scale or mode does he change to at around 1:36? He actually moves into it a little earlier, I think during the tremolo, but it becomes more obvious when he moves into playing lines. Is it the harmonic minor? (1 2 ♭3 4 5 ♭6 7 8)

Not sure I understand how the harmony works, in any case--He seems to  still be playing I vi ii V or I vi IV V.  Maybe I'm trying to understand something that needs little understanding. Is he simply playing the same fundamentals as bass notes, and changing the scale? Or do you have to make other adjustments? Obviously, some clashing notes would have to be avoided if playing chords beneath the altered line, but I'm wondering if there are generally accepted principles for substituting chords in a I vi ii V or I vi IV V progression with a harmonic minor scale? (Assuming that I'm hearing that scale correctly as the harmonic minor.) Again, clearly, one alters the chords to avoid clashes, but is there more to it than that?

Edit: Playing around, I found these changes that seem to work behind a harmonic minor, to my ears:

1.

i \ v#half-dim\ ii \ V7
Which in the key of C would be:
C minor \ G# half-dim \ D minor \ G7

Seems odd to substitute a G# half dim for the A minor chord, but it seems to work.

2.

Just using the III7 as a substitute for the minor 6th chord. Not using it conventionally as a secondary dominant before moving to the A minor chord, in other words, but instead using it as a substitution, since the third of the III7 chord is the flat 6 that is part the harmonic minor scale. Thus, in C minor:

C minor \ E7\ D minor\ G7

Or: C minor \  E7/A  \ D minor \ G7   (In other words, play the A in the bass on the E7 chord. On guitar, this voicing may  sound best if the high B string is left unfretted. So, instead of doubling the 7th with an open D string and the 2nd string playing D, just play the open D string and leave the B string untouched to play a B.)

Edit 2: Sorry to drag this out, but after a little more research and listening, I'm wondering if it might be what is apparently called either a "double harmonic minor scale" or a "Hungarian minor" scale," which has a raised 4th along with the other altered notes:  C D E♭ F♯ G A♭ B. See: https://en.wikipedia.org/wiki/Hungarian_minor_scale

Last edited by Jake Johnson (23-07-2015 06:13)