Re: [Harp-L] Transparency

[Zack <zack.pomerleau@xxxxxxxxx>]

Oh, and what makes a good musician? I think, personally, it is a multiple
answer question. But, I think that the best musicians are musicians who play
for the sake of music. If you play because you love to play, that's pretty
good, and no matter what style you play it's good.

On Thu, Feb 11, 2010 at 6:16 PM, Zack <zack.pomerleau@xxxxxxxxx> wrote:

>    All instruments have their issues. A clarinet can be squeaky, a piano
> has tuning issues at times and you need left AND right hand skills, drums
> are loud, etc. I find the sound of bends and overblows to be just a
> beautiful part of the instrument.
>
>
> On Thu, Feb 11, 2010 at 6:10 PM, Jonathan Ross <jross38@xxxxxxxxxxx>wrote:
>
>> The first quotes from Chris:
>>
>> "People like Jason Ricci, Carlos delJunco, Otavio Castro, Howard Levy
>> and myself have proven time and again there is a place for OBs and
>> they can be as transparent as any other bent note."
>>
>> I like the caveat.  And I agree with it.  Overblows can be every bit as
>> transparent as standard bends.
>>
>> I'm not really sure I've seen people arguing otherwise, though I have seen
>> people arguing context.  Mostly I feel that you two are not hearing each
>> other.  It seems like EV wants to discuss the usage of overbends in the
>> blues, perhaps even in traditional blues.  It seems like Chris want's to
>> discuss the validity of overbends in general but almost seems to be saying
>> that they have no part in the blues.  Is your (Chris') argument that there
>> is no place for overbends in traditional blues because the best overblowers
>> don't play traditional blues?  If so, that seems rather circular to me.
>>
>> Chris again:
>>
>> "Furthermore, you [EV] continue to make the mistake of thinking
>> Traditional
>> Blues is the only way to play harp so all others are judged from the
>> traditional blues perspective. "
>>
>> I actually don't see EV making that argument at all.  It seems more like
>> he wants to have a specific conversation and you a more general one.
>>  Perhaps I'm wrong.  But, I think that if EVs initial post was rephrased
>> might help.
>>
>> EV wrote:
>>
>> "I don't get "het up" about overblows but I've noticed a lot of overblow
>> practitioners get het up when I observe that a) the tone of OBs can't yet
>> match the tone of traditional blues harp and b) that it is usually the
>> case
>> that OBs are frequently approximate in pitch, especially when the player
>> is
>> being overly ambitious and attempting some jazz tune with a lot of
>> changes."
>>
>> I might rephrase that as follows:
>>
>>  "a) the tone of OBs is different from the tone of either bent or natural
>> notes."
>>
>> And this is where Chris does have a good point--you cannot judge the tone
>> of OBs in a singular context.  It might not work in traditional blues (a
>> good discussion could be had--I could certainly see some uses for OBs
>> tone-wise in a traditional blues), but that is only one context.  Thus it's
>> better, IMO, to say the tone is different rather than make a broad value
>> judgement against OB-tone because it doesn't fit in a singular context.
>>  But, I also thought the context of this entire thread was OBs in the blues,
>> so read the above statements within that context where they are less
>> universal.
>>
>> "and b) that it is usually the case
>> that OBs are frequently approximate in pitch, especially when the player
>> is
>> being overly ambitious and attempting some jazz tune with a lot of
>> changes."
>>
>>
>> Actually, I wouldn't rephrase that.  I would, however, echo back to the
>> first thing I quoted from Chris and point out that all these issues are just
>> as true for bends.
>>
>> Chris again:
>>
>> "Isn't being a good musician what matters most?  Who cares about style?"
>>
>> I'd agree, but then I'd ask what makes a good musician.  Is it knowledge
>> and technique, is it someone I want to listen to, is it success in creating
>> moving works of music?  Is being a good musician process based or results
>> based.  I've known plenty of guitarists who could shred for hours, but I'd
>> rather listen to Brownie McGhee play the same simple rhythm all day.  That's
>> partly my own taste, but I'd also say it's partly because Brownie had "it"
>> and those others didn't--he could create an interesting and moving piece of
>> music from those simple parts.  To me that makes him a very good musician
>> indeed.
>>
>>
>>
>> JR Ross
>>
>>
>
>
> --
> -Just Finished: The Sun Also Rises by Ernest Hemingway.
> -Currently Reading: Nothing, tomorrow going to pick up Brave New World,
> only a $1.50!!!
> -Currently Writing: "Chastity's Lief Harmonica."
>



-- 
-Just Finished: The Sun Also Rises by Ernest Hemingway.
-Currently Reading: Nothing, tomorrow going to pick up Brave New World, only
a $1.50!!!
-Currently Writing: "Chastity's Lief Harmonica."