Re: [Harp-L] RE: Spain

[Ludo Beckers <ludobeckers@xxxxxxxxxxx>]

Richard Hunter wrote:    <<I want to advise again that one of my latest pieces, "Paris Boogie<< is available for listening now on Broadjam<<See what you think and let me know.
   
  That'll be for later, Richard (at my dayjob now).

<<Regarding Ludo's recording of "Spain", << First, the
energy on this recording is wonderful and thrilling, even inspiring. 
   
  Thanks :-)
   
  <<< On the other hand, the pitch on many altered (bent or
overblown) notes is shaky, and the timbre of notes that are altered
tends to stick out. This is especially so on the tricky bridge section
of the piece, which was a problem for Sandy Weltman too in his recording
of the tune. 
   
  Yes, the bridge is indeed the trickiest part.
  I should've used a harp that I had set up myself for ob's; I admit it sticks out a bit.
  Sandy Weltman's version I haven't heard; is it online somewhere?

<<I remain convinced that the best way to play "Spain" is on a chromatic
harp <<
   
  I'm convinced it is piano ;-)
  Not every harmonica player wants to play a chromatic!
  To me a diatonic and a chrom are 2 completely different instruments.
   
  <<using tongue-switching (as taught by Robert Bofiglio) to manage the
rapid jumps with changes of direction that occur in the bridge.
   
  Tongue-switching can be used on diatonic as well, but in this bridge I switch from tongueblock to pucker and back continuously. 
   
  << I made similar points in a previous thread on this list about "A Night in
Tunisia," and none of the diatonic recordings produced by list members
on that occasion changed my mind. 
   
  That tune is on my to-do list (with a whole tone tuned harp)
  I plan to take it in a slow tempo though, so don't set your expectations too high ;-) 

<<All that said, I want to close by emphasizing the point I started with:
the energy on this recording is inspiring. 
   
  I'll emphasize in return that I much appreciate the comments, both yours and others, on- and offlist.
  My computer never shows any emotion about my work, so I need y'alls feedback :-) 
   
  <<We'll see whether overblowers can ultimately manage the pitch and timbre challenges that go with the technique, <<
   
  It's a fascinating challenge, and it keeps me off the streets ;-)
  Ludo

		
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