Re: flaten 7 hole draw?

[Pat Missin <pat@xxxxxxxxxxxxx>]

Scorcher wrote:

>Pat MIssin informs us:
>
>> Lee Oskar, JJ Milteau and Johnny Mars all use tunings where the 7th
>> draw reed is lowered by a semitone. I have also heard that Alan
>Wilson
>> did the same thing, although I am not aware of any recorded evidence
>> (although there are a few tracks where he used a harp with 6 draw
>> raised a semitone to get the same note).
>
>So, Pat, which, in your opinion would be more useful...
>Flattening the 7th, or raising the 6th?

Depends on the circumstances. They each have their pros and cons.

If you raise 6 draw, it has the advantage of bendability - you can
slide up to the note, or fall away from it with draw bending. However,
if you need the major second of the cross harp scale, you have to bend
to get it.

If you lower 7 draw, you get to keep your major second, but now you
have to bend 7 blow to get your major third.

>(Also, could you cite a couple of recordings for me to hunt down?)

The artists I mentioned previously have all used the lowered 7 draw on
tunes they've recorded, but I don't recall any specific titles
offhand. However, Carlos del Junco uses a harp with 7 draw lowered
(and a few other notes changed as well) to play "B Thing" on his live
CD.

The most famous example of a raised 6 draw is from Al Wilson's solo on
"On The Road Again", although he also used it on "TV Mama" and at
least one or two other tunes.

 -- Pat.