On Mar 29, 2008, at 8:04 AM, MundHarp@xxxxxxx wrote:
<<As a chromatic player, I'd like to respectfully challenge those
of you
who play blues to try using the instrument's full capabilities.
I've
noticed that some players will buy a different chromatic for almost
every key. That makes them very expensive diatonics.
No I disagree. It is for specific effects, & not just because the
player is
too lazy to learn their instrument.
Thank you, thank you John Walden. I could kiss you. Wink wink,
nudge nudge
I have a 270 in all major keys. This gives me many more options for
chording! I can play in any key using a "C" chrom, but this
seriously limits the
chords available.
(I have 4) options? seriously limits? Thank you 'Big John'
A set of 12 x 270s or CX-12s is much less expensive than a decent
Guitar or
Sax...
I could afford to buy chromos made by Colibri...if they made them.
(as it were, I play 'cheapies')
What matters is the music.
I can play anything with many extra chords because I have a full
set of
chromatics in every major key...
And also of diatonics.
I draw the line at most special tunings, but that is simply
because I find
it hard to even switch between chroms and diatonics. I'm not
clever enough to
remember lots of special tunings as well!
I'm not nearly clever enough to remember more than one 'style' of
tuning. A Richter (with slight mods) and a solo chromo is more than
my little head can handle.
Also with my "working kit", in
daily use, of about 60 odd harps, enough is enough!
With a tricky piece, I might learned that in "C" or "G" or "D" on
a "C"
chromatic, then at the recording session the vocalist decides to
switch to
"B"... It is then easy to pick up a "B" "E" or"A" chrom and play
the same paterns,
WITH THE SAME CHORDS. As a pro musician, I just get the best
tools for the
job, as I see it.
Which brings up something that I don't think has ever been
mentioned here before (although I have written about it elsewhere).
There is a big difference between a 'Pro' and a 'Schmoe'. Bear with
me a minute:
First the Pro:
1....The pro usually knows beforehand what they are going to play.
2....The pro is able to practice these pieces ahead of time.
3....Even if there is a singer, the key will already be known.
4....Along with the keys come all the changes and turnarounds.
There are more factors, but these get the point across.
Conclusion: The Pro goes into the Pietermaritzberg Symphony concert
PREPARED.
The Schmoe:
1....The Schmoe walks into a club/bar/pub/restaurant.
2....The band leader recognized him and asks him up to play. He may
not have a choice on what tune (or key).
3....The singer does things in keys he is unfamiliar with.
4....There may be nuances to the piece that have NOT been practiced
and schmoe is unaware of.
There are many more factors, but you can see the general under-
current here.
Conclusion: The Schmoe has to be prepared for ANYTHING
Oooh, while we're on this subject. I was once asked to accompany
the great "Handy" Randy Singer at his gig in Fla. He played the
tune we did IN it's proper key. GOD, how lucky could I get? Then he
asked me to play at spah. He used THE proper key....AGAIN. GOD, how
can you beat that?
Now I'm not saying it's harder to be a Schmoe, and I'm not saying
it takes more talent. But it's like talking apples and pommegranates.
schmoe-joe
Kind regards,
John Walden
London
England
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