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From: WVE~ol.com
Date: Sun, 13 Oct 1996 21:10:18 -0400
Subject: Re: Paul deLay/Chromatics

In a message dated 96-10-13 03:18:09 EDT, Troy writes:

> Also, what is
>the best way to figure out on a recording whether a chro or diatonic is
>being used?

These are the indicators that I use. I'll be interested to see what others
do.

The type of music is the best indicator. If it is blues, it is probably
diatonic. If it is standard pop or classical, it is probably chromatic.
Folk, jazz, and bluegrass could be either.

If the accidentals (sharps and flats not in the key signature) are
approached by glissando (slide or bend) or are de-emphasized by not receiving
their full loudness and time value, then it is probable that the player is
having to "bend" a higher diatonic note down to the desired accidental
pitch.

Extensive use of "wailing" glissando as in blues and on many commercials
indicates diatonic. Use of glissando in a chord is an indication of diatonic.


If the player takes frequent jazzy liberties with the melody in a piece not
of the jazz genre, it may be to work around missing accidentals or the "fa"
and "la" (the fourth and sixth scale degrees) not present in the low octave
of a diatonic.

If the melody is played consistently in the higher-pitched octave of the
harp, then it is probably a diatonic and the player is avoiding the
difficulties of the missing "fa" and "la" in the lower octave. These notes
are missing by design to enhance the chord capabilities of the diatonic...to
produce a dominant or five chord on the draw. So, a characteristic of the
diatonic is melody in a high octave and chords (especially the dominant) in a
low one.

Chords are seldom played on the chromatic. When played on the chromatic,
chords are usually limited to two notes and sound like double-stopping on a
violin.

The soloist in a harmonica trio is probably playing a chromatic.

Disclaimers:
None of the above indicators are absolute. There are highly skilled players
of both types of harps who can approximate the sound of the other type. (
e.g. Howard Levy and Iron Mike ) Nothing above should be taken to mean that
either type of instrument or its players are inferior to those of the other
type. They are different and each is more suitable to different genres of
music. The chord names used above are different if the diatonic player (as
they frequently do) uses a scale/key wherein the blow note in hole 1 is not
the keynote "do".

Vern