[Harp-L] re: intonation and such

[Paul Bowering <paul_bowering@xxxxxxxxx>]

Great thread. I don't know if I can add anything to
the discussion but nonetheless here's what I've
gleaned so far...

Committed OBers need to acknowledge the difference
between OBs and given notes. This seems to be
happening to some extent and may bode well for future
musical results. (I also don't want to talk in circles
and be rebuked for something I'm not saying so I'll
pre-empt that by stating that OBs are useful, can be
developed to have full tone and are worth working on.
They just need to properly employed). One thing not
addressed is whether or not the differences are more
obtrusive in acoustic versus amplified play. A more
electric sound might just about remove the given/OB
differences from the equation. Then again, maybe this
has been addressed in simply saying that context is
everything.

Those who consider OBs to be an exercise in futility
must in turn acknowledge that the same 'problems'
presented by OBs are no less present when using
regular bends. Using a Paddy Richter might be the best
choice for Ode to Joy but even alterenate tunings
don't make things so black and white. There's a reason
why one chooses Country tuned harps rather than Melody
Makers to play country music; even in songs which
require the second scale degree in cross harp. In
context you may WANT to slur between 3D and 3Dbb. Or
retain the major blow chord. Surely we can make the
same allowances for use of OBs.

This debate was strongly contested a few months back
(or maybe as much as a year ago?) on the list. JR Ross
might proove to have been right all along in
advocating a pragmatism which embraces all approaches
to the instument, with musicality being the primary
focus.

This is important to me because I'm just a couple
years into the game. I've tried OBs, half-valving and
altered tunings. I'm far enough along to make decent
if not spectacular use of them all but not so far
along as to have developed a style that is intimately
bound to any. I've frustrated myself in looking for a
one approach solution. Maybe there isn't one. At least
it's got me thinking.

Speaking of valved diats; how do they figure? I'm
really only aware of PT Gazell and Iron Mike Curtis as
top level players who use valves to acheive
chromaticism. Are the same tonal considerations
attendant?

And finally... 
if all the above is true then I assume it would apply
to the chromatic as well whereby the chro would be THE
axe for certain applications but not the best choice
for others, even with all 12 tones available. Would
that be a fair assessment?

Paul

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