'Re: [Harp-L] shortly chromatic ' Jason Ricci & JR posts

[Roscoharp@xxxxxxx]

Jason Ricci writes:

"By the way tons of people can play a chromatic  scale in one breath
perfectly
in tune on diatonic... where have you  been???"


JR responds:
"listening. So far I hear people who can play in tune (often,  not
always--and sometimes not when it counts most, but that depends on
the  individual), but that's only a small part of the equation. What
I don't hear  is playing with the same timbre, phrasing or
articulation. I hear instead a  harsh mishmash between natural and
accidentals when this is  tried.


Jason Ricci again:

" Put MP, Michalek or  George
Brooks or me or half the people on this list up against the bend  O
meter any
day baby! Bring it on!!!! John Henry style! Chris where are  you!!!???"


JR again:
"I know of dozens of people who can play bends and overblows in  tune
(mostly), but that's not the main issue, I'd say. First, it's  doing
it in the piece (often missed) but more important are  the
articulation and timbre issues. The intonation can be gotten  pretty
close (though it's always an issue due to the instability of  the
process of bending and overblowing), but the timbre will never be  the
same between naturals and accidentals--nor will the phrasing  or
articulation. That's because no matter how hard we wish it or dream
it,  the physics of how a harmonica works isn't going to change. The
physical  difference between what is going on in natural notes and
accidentals is real,  and no amount of positive thinking makes it go
away.

I'd suggest  re-reading what I wrote about the definition of "play"--
it's not just being  able to access the notes per se, but how they
sound and can be used. Better  yet, check the archives for the entire
discussion back in February.
 
 
 
 
Rosco writes:
 
blah, blah, blah, ad infinitum tedium, (Is my Latin right?)

My view (again) on this issue:
This discussion comes around every couple months or so. As far as I can  
remember, no ones' mind has been changed. Every thing JR said about overbends  can 
be said about bends(intonation, timbre, etc.) Is JR saying we shouldn't bend  
because the notes don't sound the same to him? 
Chromaticity on diatonic  may be fun & even constructive to argue  about. I 
actually agree that no one but Howard approaches complete chromaticity  on sh
ort harp. Yet. So what? I don't care about complete chromaticity at  all. That 
is not the same thing at all as saying overbends aren't useful in most  styles 
of music. Same as bends.
 
I like listening to Howard, Chris, Jason, MP, George, (look out for  George), 
& some others who regularly use overbends. I like it  a  LOT MORE than I like 
listening to re-tread  blues or play it safe chromatic players.  I also like 
Brendan Power, Bill  Barrett, Tim Moyer & some others who use altered tunings. 
Whatever it takes to make what I consider to be good music. 
 
Fans at our shows don't know or care that I play overbends, but they  often 
comment that they dig the 'unusual' things I  do on harp. ("I  never heard 
harmonica sound like that!!) I know that many of the other  folks I mention get 
the same comments. When I set in with bands,  musicians dig the fact that I can 
hang in on songs that modulate & play  lines that make sense. 
 
For me, that is the value of overbending, or whatever you want to call it.  
Playing fluidly in 7th, 8th & 9th position is incredibly freakin' hard  (there 
are alot of clams in there) &, so far, I've only heard one guy do it  well. 
There are a bunch of folks who can play in most or all of the rest of the  
positions & make great music using bends & overbends when needed. 
 
 
That's all that counts for me & most music fans.
 
Later,
Rosco

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