Re: [Harp-L] Intonation and Such

["Chris Michalek" <chris@xxxxxxxxxxxxxxxxxxxx>]

hmmmm.... well I don't mean to offend you Tinus but that sounds really harsh.  It's partly your playing and mostly the position you play it in. If you're going to play for somebody then why not try to make it more musicial? 

This is a question everybody should ask themselves. Are you playing for you or are you playing for the audience?  It's great that you're practicing to play everything on one harp but why not make it sound good?  The Audience doesn't care what position you play it in or that you play everything on one harp.  You've amazing control over your instrument so pick up a different harmonica and make it sound good.

Here's a sample played on a brand new out of the box Firebreath harp. I was just checking it out when I saw your post so I hit the record button. A C harp wouldn't be my first choice but since you set the precedent I thought I'd try it out.

http://www.thebuddhasgroove.com/sentimental.mp3 <1MB  
12th position sounds pretty good. 2nd seems to work well too.



>-----Original Message-----
>From: Tinus [mailto:tinus@xxxxxxx]
>Sent: Sunday, August 27, 2006 03:45 PM
>To: harp-l@xxxxxxxxxx
>Subject: RE: [Harp-L] Intonation and Such
>
>
>Since I am very much in favor of the use of overblows and bent notes in
>regular everyday playing I feel that I have to join in in this
>discussion, not because I want to convince anybody that there is no
>difference between the notes because there is and I am glad there is.
>The only way to get a harmonica to sound exactly the same on every note
>is to get out your old Roland keyboard, switch it to the harmonica patch
>and play the song on that. 
>
>I feel that most has been said (I was on vacation, otherwise I would
>have joined in earlier :-)
>
>And peoples opinions seem to be moving toward the "don't play them if
>you don't have to" corner.
>I am very much in the other corner, but I can't think of anything to
>write to express my point
>Instead of writing long arguments I thought I would just send two tracks
>so people can make up their own mind.
>
>The first is just a line with decending triads so you can clearly hear
>the differences in timbre between notes, the second is a ballad with
>some of those nasty sore thumb overblow thingys.
>
>http://www.overblow.com/mp3/harp-l/triads.mp3
>
>http://www.overblow.com/mp3/harp-l/sentimental.mp3
>
>Tinus
>
>
>
>> "Are you are saying that BOTH bends and overblows are problematic  
>> because
>> they don't have the tonal integrity of so-called 'regular'  
>> notes . . . ???"
>
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