Chromey articulation.

	Chillin' with my chromey (Celia, the CX-12) lately, I noticed that
I get much more expessive articulation of notes in the draw, than on the 
blow. (or should I say sook and blaw?) 
	So why is this I wonder? One reason, I think is my bad habit: 
when I'm not vigilant enough, Toby the tongue goes to the harp and helps 
find the right holes--then he's not available to shape the note--by 
default, the job ends up in the cheeks, in the throat. It makes a nice 
smooth Baroque sound, but it otherwise makes blows and draws to 
distingushable from eachother.

	And another thing. The chroamtic is set up with some multiples of
certain notes. Not only are there adjacent blow or draw notes of the same
pitch, but some blow notes are the same as a draw with the slide
depressed. What are some general guidelines, when learning a song, for
choosing which way to play a note? Aside, I mean, from the general rule
"which ever is easiest"--that method which I now use seems to work, but it
lacks consistency from one session to another.
Your penpal in harmonicity,

Spence Pearson                                  pearsone@xxxxxxxxxxxxxxx

cybermensch                                     University of Colorado, Boulder

This archive was generated by a fusion of Pipermail 0.09 (Mailman edition) and MHonArc 2.6.8.