Re: Altered Tunings

[Joe and Cass Leone <leone@xxxxxxxx>]

On Apr 28, 2004, at 7:52 AM, G. wrote:

>
> <quote>
> Date: Mon, 26 Apr 2004 23:28:00 -0400
> From: Joe and Cass Leone <leone@xxxxxxxx>
> Subject: Re: Altered Tunings
>
> On Apr 26, 2004, at 7:42 PM, d.m.fairweather wrote:
>
>> Even if you are fluent as Howard
>> Levy in all 12 positions,
>
>   I was wondering, If Howard is able to do 12 different numbers in 12
> different keys on ONLlY an "A" harp, why does he bother to carry more
> than one?...................smo-joe
> </quote>
>
> Hi Smo-Joe,
>   Despite some of the claims that lead to the "Ode to Joy Summer 
> Challenge"
> generously headed by Winslow Yerxa
> http://www.geocities.com/odechallenge/
>
> Levy has clearly stated that playing in different keys on the same 
> Richter
> diatonic harmonica sounds different as each position has its own
> idiosynchrocies and flavours.

  Yes, that's why I asked what I did. I feel a person can take this 
"Playing in all 12 Positions" a little too far. Why is it necessary? 
Does it really sound right? I presume it was done to show that it COULD 
be done, and as such would make a good selling point towards one's 
career IF a person was the ONLY one who could do it.

  Same with chromatics (as far as I'm concerned). While possible to play 
in all keys......why? Why row UP Niagara Falls? As one gets farther 
away from the "root" key, it becomes a matter of "how many thousand 
times do I have to use this here slide?". I feel (wrongly AND 
non-purist) that when one reaches the point where either the SLIDE 
notes exceed the standard, OR the amount of inhales or exhales (without 
breaks) become excessive/ straining, it's time to switch. Trying to do 
a certain key on a certain harmonica and spending 
days/weeks/months/years on said number is not my cup of tea. Especially 
when it can be gotten out of a different keyed harmonica playing in an 
even DIFFERENT key, the net result being that you wind up in the key 
you were looking for in the first place.

>   This has as many benefits as it has
> limitations. Especially when you're talking about the tone of a natural
> note, a bend, or an overblow - where notes are in relation to each 
> other
> will affect the flow of phrases - as well as available double stops and
> chords.

  Hey, I don't know, maybe this is all too technical for me.
>
> You only have to listen to someone playing in all keys on the same 
> diatonic
> harmonica to immediately hear what he's talking about.

  You're right. I did. Sounded as if things got fuzzier as keys 
progressed. Not that I didn't think it was good, mind you, it just 
seems like an excruciating amount of work. I think the amount of work 
required is incongruous to the amount of benefit (credit?) one derives. 
Except for other harmonica players, who would really appreciate what 
was being done.
>
> Also I don't agree that phrasing is naturally consistant in all keys 
> on solo
> chromatic harmonicas - theres only a couple of chromatic harmonica 
> tunings
> where it would be truely possible.

  OK, but that's probably over my head. :)                    smo-joe
>
> -- G.
>
> --
> Harp-l is sponsored by SPAH, http://www.spah.org
> Hosted by ValuePricehosting.com, http://www.valuepricehosting.com
>