Re: [Harp-L] Re. Powerbender Based Tuning

[gnarlyheman@xxxxxxxxx]

Oh yeah, me too. 
G
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-----Original Message-----
From: Arthur Jennings <timeistight@xxxxxxxxx>
Sender: harp-l-bounces@xxxxxxxxxx
Date: Wed, 22 Sep 2010 15:18:34 
To: Brendan Power<bren@xxxxxxxxxxxxxxxxx>
Cc: <Harp-L@xxxxxxxxxx>
Subject: Re: [Harp-L] Re. Powerbender Based Tuning

I stand corrected. Sorry about that.

On Wed, Sep 22, 2010 at 2:07 PM, Brendan Power <bren@xxxxxxxxxxxxxxxxx>wrote:

> @Rob Paparazzi: Thanks for your comments Rob. Can't wait to hear what you
> come up with on the PowerBender. I think it will really suit your jazz
> sensibilities.
>
> I agree: tunings should not be patented, but they should be credited to the
> inventor.
>
> Arthur Jennings wrote: "I think Gary is right that this tuning (two 6th
> chords a whole tone apart) is basically the Magic Bop tuning which was
> invented several years ago by Richard "*Magic Dick*" Salwitz."
>
> Not so - it's called the Power Chromatic Tuning (see my earlier post). It
> was invented by me and used on gigs and recordings all through the 1980s. I
> used different variations, but mostly the double sixth chord (that's still
> the tuning on 90% of the chromatics in my harp case today). I used a hybrid
> diatonic version called Regular Breath Tuning on my 1884 album 'Country
> Harmonica', and the first recording using the full tuning on chromatic was
> 'State of the Harp', recorded in 1989, released 1990 - two years before the
> Salwitz/Beauregard patent.
>
> In addition to featuring Power Chromatic Tuning, State of the Harp was the
> first album to use half-valved chromatics. Check out these clips, all in
> Power Chromatic tuning or variations:
>
>
> http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0
> 2.mp3<http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0%0A2.mp3>
>
> http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0
> 3.mp3<http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0%0A3.mp3>
>
> http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0
> 7.mp3<http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0%0A7.mp3>
>
> http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0
> 9.mp3<http://www.brendan-power.com/Music%20Clips/State%20of%20the%20Harp/30/SOTH-0%0A9.mp3>
>
> My recordings with the tuning in both diatonic and chromatic versions (I
> have many more from that period) prior to the Salwitz/Beauregard patent
> nullify not only their claim to have patented that particular tuning, but
> the entire basis of their patent - which was to claim ALL tunings that had
> the draw reed above the blow reed in seven or more consecutive holes!!
>
> What the inspectors at the US Patent Office were thinking when they awarded
> it is an enduring mystery; it should have been thrown out immediately.
> Whatever, my recordings show it to be entirely baseless. Both my 11 hole
> diatonics and 12 and 16 hole chromatics had every draw above every blow
> note
> (except in the top hole in some cases). Not only that, the Diminished and
> Whole Tone Tunings had been patented years before, and both of them have
> every draw a tone above every blow. Obviously the US Patent Office
> inspectors were very ignorant, or lazy, or both.
>
> I think most people would agree that the person who invents something has
> the right to name it. Unless someone comes up with recorded evidence that
> the tuning Daniel shows in his post was around before I created it in 1978,
> I claim to be the inventor. It's name is Power Chromatic Tuning.
>
> Brendan Power
> WEBSITE: http://www.brendan-power.com
> YOUTUBE: http://www.youtube.com/BrendanPowerMusic
>
>
>


-- 
Arthur Jennings
http://www.timeistight.com