Re: [Harp-L] Harmonica within a larger Musical Framework add 1

[Philharpn@xxxxxxx]

My first Post got away before I could finish it and spell check it. Here's 
the rest of that post...

Blues harp or diatonic has an economy of movement that is difficult to 
duplicate on a chrome.
1.   Take for example the chromatic bass run used in a solo of Don't Get 
Around Much Anymore -- after each phrase -- easy on diatonic, button work on the 
chrome.
2. In general, it is much easier to get several bends on one hole than on a 
chrome. e.g.. D2, D3.
3.   With out-of-the-box Hohner XB 40 or Suzuki 350 valved, you have access 
to notes which are not there on the standard solo tuned chrome with windsavers.
4. The solo tuned chrome has the usual max of 4 notes per hole; a draw and 
blow plus a single-reed blow bend and draw bend (same as XB & 350V).
5. Changing harps in mid tune often helps: using 2 or 4 harps helps -- and 
nobody complains.

Maybe blues harp players are more learned in music. There are more   books 
(and videos) in print teaching advanced techniques for blues harp than there are 
for chrome. Most chrome books are either introductory books or collections of 
songs. 

With few exceptions most chromatic books (video?) do not deal with advanced 
bending and slide techniques uses by the greats. For example, I've heard people 
in seminars expound on tongue (corner switching/ tongue block left to right) 
switching, but I've never seen (and I've been looking) for anything in the 
mainstream music press about it. Like I said, most chrome books are beginner 
level and offer virtually no advanced techniques/training at all.

So the bottom line is that the limitations of the individual harps; chrome 
and diatonic may lend themselves to different kinds of musicianship.

This choice of instrument may have as much to do with the musicianship of the 
player as other background. 

And whether the player started out playing the songs from hearing a recording 
or played them out of a fakebook or songbook folio. Some people may be able 
to see the structure of the song in their mind's eye from hearing it; the rest 
of us mortals need all the help we can get -- and that's where the notation 
w/chord changes comes in.

 
Phil Lloyd
Keep on harpin 


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