RE: [Harp-L] RE: How Does William Clarke Do It? Chromatic 6 Hole Draw Wail

[tom cox <tcslim@xxxxxxxxxxx>]

just to add, if you compare it too Chromatic Jump off Tip of the Top where he defo switches to a G diatonic at 2:14mins. All though the speed is slightly out on this tune and it doesnt quite fit. but I suspect it was originally performed in D. C chrome, G diatonic. 

all fantastic stuff

Tom



From: tcslim@xxxxxxxxxxx
To: fitgo@xxxxxxxxxx; harpoon_man@xxxxxxxxxxx
CC: harp-l@xxxxxxxxxx; gwoodhouse40@xxxxxxx
Subject: RE: [Harp-L] RE: How Does William Clarke Do It? Chromatic 6 Hole Draw Wail
Date: Wed, 29 Aug 2012 09:47:25 +0000





Totally agree with Ben. Piazza does/did a lot of the same technique. Defo a chrome. 

Tom

> Subject: Re: [Harp-L] RE: How Does William Clarke Do It? Chromatic 6 Hole Draw	Wail
> From: fitgo@xxxxxxxxxx
> Date: Tue, 28 Aug 2012 22:35:06 +0200
> To: harpoon_man@xxxxxxxxxxx
> CC: harp-l@xxxxxxxxxx; gwoodhouse40@xxxxxxx
> 
> It is for sure played on a chromatic. 
> He's doing a very strong/fast tongue-blocked vibrato combined with a solid hand wahwah effect. He does this often and it is one of his trademarks to me. 
> To do this you also need to be able to cup a mic airtight to get this juicy sound and wahwah effect.
> 
> 
> 
> Ben Bouman
> www.customharmonicashop.nl
> www.harmonicainstituut.nl
> www.marble-amps.com
> 
> Op 28 aug 2012, om 18:36 heeft David Wilson het volgende geschreven:
> 
> > 
> > After going back and listening to it, I'm pretty sure Clarke does not switch to a diatonic here - it's still the chromatic.  I can't really give you any pointers on how to get that wail/vibrato on the chromatic, but IMO, it's just a case of William Clarke being able to impose his will on the instrument.  If you listen to Track #4 on the same album, he does essentially the same technique around the 1:52 mark, and I'm pretty sure he's still using the chromatic there as well.
> > That's not to say that he never did rapid switching between chromatic and diatonic b/c there are definitely recorded examples of that in addition to the eyewitness accounts.  Just my $0.02, from the perspective of someone who has studied/copied/incorporated William Clarke's playing for many years.
> > ==========================================================================Date: Sat, 25 Aug 2012 10:48:03 -0700 (PDT)
> > From: ColdRail <gwoodhouse40@xxxxxxx>
> > Subject: [Harp-L] How Does William Clarke Do It? Chromatic 6 Hole Draw
> > Wail
> > To: harp-l@xxxxxxxxxxxxxxxx
> > Message-ID: <e9fda877-1c8e-48d8-8be9-b0806af6bbe3@xxxxxxxxxxxxxxxx>
> > Content-Type: text/plain; charset="utf-8"
> > 
> > We all know that the man was an absolute fabulous player but I have a 
> > specific question......My band has been playing his great chromatic jump 
> > tune "Blowin' Like Hell" and pulling it off pretty well but I can not 
> > really get that 6 hole draw bending wail that he plays around 1:11 on the 
> > recorded version from his record of the same name. I can get a paltry 
> > immitation of it with a little bit of vibrato and shallow bending but I 
> > can't seem to get quite enough bend before the reed chokes out. In fact a 
> > couple of days ago I was working on this very note and trying different 
> > tongue positions, mouth cavity shapes, and pressures and had the reed fail 
> > on my CX-12 Bb. I doubt it was just this session that caused the failure 
> > but it probably is me trying to wail this note for the last year that 
> > shortened the life of this reed. Mr. Clarke employed this same wail in 
> > some of his other recorded chromatic tunes. Is there something in the 
> > setup (like windsaver removal) that allowed him to get that degree of 
> > bending? Is a more traditional Hohner chrom more bendable versus the 
> > CX-12? Or is it just the magic that we allow know Bill possessed?
> > 
> > Thanks, Glenn
> > ============================================================================= 		 	   		  
> 
>