Re: [Harp-L] XB-40 recordings

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

Thanks for that response Joe. All agreed; and heavens knows, there's enough young terriers out there who should be willing to take up the challenge. I think the XB requires a very different approach regarding mouth-shape; more front-of-mouth, like a chrom. I think the late lamented Chris Michalek's approach to tone might be something like, as well as the (to me) new-comer, Flip Jers' attack.
I think harp players get a little too obsessive at times. The overblow is persued because of it's more specific expression of the sought note, while retaining some of the flexiblity of the double-reed bend.
What we love about the double reed bends of the single reed diatonic, is the ability to slur the pitch; accompanying that, however, is the disadvantage of having ( particularly on draw three) to pitch the tone, with wide possiblities of sharpening and flattening on each side, a narrow and slippery ridge.
That is what the XB gives us; it may not be a goer at all., as far as chromatic playing goes, but who amongst us has given it a fair shot?
RD

>>> Joe Leone <3n037@xxxxxxxxxxx> 03/07/11 12:57 PM >>>

On Jul 2, 2011, at 10:20 PM, Rick Dempster wrote:

> I think the failure of players to take up the chromatic potential of the XB must be a big disappointment for Hohner.

TELL me about it. :(

> I have used the XB for it's richness, and applied it's bending potential mainly in conventional diatonic and pentatonic scales.
> So I'm getting the same notes in all octaves.
> The first step away from conventional single reed harp comes where you can get the major third of the V chord in the middle octave, ie the note sought by people who sharpen draw 5.

Right, and I think that if I were starting out playing TODAY that I would play the XB. 

> Then the Bb (talking C harp here) at the hole 7 blow bend, instead of overblowing 6.
> Then probably the Eb notes in the first two octaves....etc. etc.
> I really think the XB is a wonderful instrument,and that we, as players who depend on the manufacturers of this
> post industrial age instrument, should make a little more effort with it.

I think so too, but (to me, at least) the problem is: that us who have gotten used to 'working' for bends are used to adjusting in our mouths to very strict tolerances to get these bends. (For instance the 4 possible bends in hole 3). Then along comes the XB and is actually TOO easy to bend. I know that in my case, it throws me for a loop. I am not the cleanest bender as it is and then to get something in my face that is actually working AHEAD of where my mouth is trying to work...well, it's just too much. Ergo, ZI set it aside for a year, pick it up for a few minutes, and back it goes for another year. 

> We all seem keen enough to struggle on with overblowing, half-valving, re-tuning, custom harps etc. etc.
> The XB deserves at least as much attention.

I agree, but it would be better for a person starting out. That way, they would only have to use as much input as the harp required, and not the over achieving that we are used to needing with the rather insensitive current diatonic. 
smo-joe
> 
> RD
> 
>>>> Winslow Yerxa <winslowyerxa@xxxxxxxxx> 03/07/11 7:57 AM >>>
> No-one seems to have taken up the XB-40 for its chromatic potential. Perhaps 
> it's because pitch control is difficult for reeds with a wide bending range. I 
> know that David Fairweather (aka jazmaan) was experimenting with tunings that 
> restricted all bends to a semitone in order to make pitch control easier, but I 
> don't recall that he reported any positive results.
> 
> Winslow
> 
> Winslow Yerxa
> Author, Harmonica For Dummies ISBN 978-0-470-33729-5
> Harmonica instructor, The Jazzschool for Music Study and Performance
> Resident expert, bluesharmonica.com
> Columnist, harmonicasessions.com
> 
> 
> 
> 
> ________________________________
> From: Richard Hammersley <rhhammersley@xxxxxxxxxxxxxx>
> To: harp-l@xxxxxxxxxx
> Sent: Fri, July 1, 2011 9:26:15 AM
> Subject: [Harp-L] XB-40 recordings
> 
> Can anyone recommend any recordings of anyone using the XB-40 to its full 
> chromatic potential? Winslow Yerxa has done some good stuff, but otherwise I 
> can't really find anything - or maybe I am not hearing and recognising the XB's 
> use.
> 
>  Thanks
> Richard
> Richard Hammersley
> Grantshouse
> Scottish Borders
> 
>