Re: [Harp-L] Diatonic/chromatic

[The Iceman <icemanle@xxxxxxx>]

I love the expressiveness of diatonic and the challenge to use OB/OD and make them sound good. I'm having fun with the concept, but would hesitate to do a recording for posterity using a lot of OB/OD cause they do sound different musically.





-----Original Message-----
From: Michelle LeFree <mlefree@xxxxxxxxxxxxxxxxxxxxxx>
To: harp-l <harp-l@xxxxxxxxxx>
Sent: Mon, Apr 25, 2011 10:36 am
Subject: Re: [Harp-L] Diatonic/chromatic


I'm trying to word this in a way that conveys my down-home curiosity 
without casting any judgments or offending in any way, which is not my 
intention at all. I'm really addressing the overblowers amongst us 
rather than the half-valvers. The only person I know who claims to be 
able to play a half-valved diatonic chromatically is PT Gazell and he is 
in a class pretty much all by himself.

Being a strictly diatonic player I have immense respect for those of us 
who have embraced the overblow "chromaticity challenge." I personally 
regard that goal as the Mt. Everest of playing a 10-hole harmonica. I 
honor those who would give the classic Mallory answer to the question of 
why they go to extraordinary lengths to climb that "mountain" when they 
say: "just because it is there." I can appreciate the beauty in just 
trying to do it. I can likewise appreciate the incentive to belong to 
the rather exclusive "club" of those who can do it "well."

It's the doing it "well" part that gives rise to some questions in my 
mind. Loving all things harmonica as I do, I try ~very~ hard to embrace 
the singular efforts and undeniable courage of the many examples of 
people posting videos playing the 10-holer in a way that everyone agrees 
that it was not designed to play. The problem is I have also listened to 
renderings of the same admittedly difficult pieces on instruments that 
~were~ designed to play chromatically. The difference between renderings 
of some of these uber-complex jazz tunes by a well-played saxophone and 
even the most ambitious efforts by my diatonic playing friends is not 
only nearly universally quite apparent but it is, well, a bit humbling. 
IMO, those diatonic players who can truly pull it off are easily counted 
on the fingers of one's hand. I don't think any rational person who 
isn't completely blinded by bias one way or the other would disagree.

So, I can't help but wonder what drives those of us who aspire to climb 
that Mt. Everest of playing a diatonic harmonica chromatically? If it is 
the sheer joy of addressing the challenge, then I say "to the fore." If, 
on the other hand, it is to truly render (render truly?) those kinds of 
complicated jazz music that most of these players seem to aspire to, 
then I must honestly ask, why they "handicap" themselves so severely? 
Why not pick up an instrument that really is suited to chromaticity? 
Some might say that they prefer the "voicing" and expression of the 
diatonic harp. But, with all due respect, I would contend that 
overblows/draws in large measure negate these desirable characteristics 
of a diatonic harmonica. In the hands of but a few they sound different 
and aren't bendable to the degree that "normal" bends are.

In my own instance, I aspire to play traditional acoustic music like 
pre-war blues, bluegrass, ragtime and old-timey music. The diatonic 
harmonica is well-suited to this kind of music and that is why I chose 
it. If I was a dyed-in-the-wool jazzhead, I'd probably be playing a 
trumpet, sax or bass. I guess I'd feel a bit conflicted if the 
instrument I play weren't designed to play the kinds of music I love and 
want to play myself.

So maybe some of you overblowers can shed some light for me.

Humbly and respectfully,

Michelle