[Harp-L] chromatic issues

[Jonathan Ross <jross38@xxxxxxxxxxx>]

Paul Bowering wrote:

"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."

I find there rarely is a single solution to complex problems.  With  
exceptions, no two songs are the same, and thus won't pose the same  
issues and challenges.  Thus, what works for song A might not work  
for song B.  If the songs are very similar, it might, but that little  
difference might make all the world's difference.  Knowing when to  
use what (bends, overblows, valved bends, alternate tunings, harp- 
switching, etc...) would seem the best thing to work on to give you  
the maximum number of choices.

"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?"

The issues surrounding standard bends and overblows for  
"chromaticism" exist no less for valved bends.  That's why these  
issues are still very much present for something like the XB-40 or  
Suzuki Overdrive.  Valved bends have essentially the same set of  
issues as and other accidental notes compared to the natural ones of  
a diatonic: a difference in timbre from natural notes, a difference  
in phrasing of how the note is addressed and the problems of accurate  
intonation.  The specifics of technique and how to limit, address and  
use these is different (as it is between overblows and dual-reed  
bends), but the overall issues remain.

"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?"

Somewhat.  Assuming you aren't going to be trying to get all your  
accidentals via bending and decide instead to use the slider, you can  
play the entire 12-tone Wester scale without the issues raised when  
doing so on a diatonic via the use of bends, overblows and the like  
(you do still have the issues surrounding legato inherent to a  
bidirectional instrument, where some notes are draw only and others  
blow only).  Thus, that question is avoided.  But, that doesn't mean  
that a chromatic is always the right choice for every song and ever  
situation--indeed, it also doesn't mean that a chromatic in C is  
always the right choice for any given song, or that you might not  
want to use alternate tunings on the chromatic as well.  Moreover,  
there are also specific issues the chromatic has that the diatonic  
doesn't--they are different beasts and while the similarities are  
greater than the differences, they are not interchangeable.

Also, I would veer away from the suggestion that there is ever "THE  
axe" for any song--there is instead only what is right for the given  
situation and the desired effect.  And that may be different for you  
than for me, or for anyone else.





 ()()    JR "Bulldogge" Ross
()  ()   & Snuffy, too:)
`----'