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From: Mike Curtis
Date: Mon, 14 Oct 1996 17:36:20 -0700 (PDT)
Subject: Re: Paul deLay/Chromatics

On Sun, 13 Oct 1996, Troy Stephen Hall wrote:

> .... What is
> the best way to figure out on a recording whether a chro or diatonic is
> being used? This may sound like an immature question, but I am sorry
> about that.

I think it's a perfectly valid question, and even with my experience,
sometimes it's doggone hard to tell.

Vern brings out some excellent points regarding musical style and the
notes you hear (e.g. accidentals). However, there are a few of us who
like musical styles requiring chromatic scales but play these on diatonic
(for our own reasons :-) I suspect Howard Levy enjoys challenges. My
reasons are much more pragmatic - I play in a rack while playing guitar
and bass pedals, and a chromatic complete with slide doesn't work like
this (or so I thought until Vern brought his slide-pedal to one of my
gigs; but by then it was too late because I'd already assigned my only
available foot to bass-player duties). (I play standing, and the other
foot plays more of a supporting role :-)

Also, there are blues chromatic players like Little Walter, George
"Harmonica" Smith", William Clarke, and Rod Piazza who don't use the
slide. The chromatic is also used for chords in playing blues. While not
strictly limited to third position, this is usually how chromatic is used.
It gives a very unique, rich sounding minor sixth chord. Chromatic is
also well suited for playing octaves.

A sure fire indicator of major diatonic is the presence of chords
available only on diatonic, such as second position sevenths and other
chord fragments.

And of course there are special tunings, but they're not widely used.
IMHO a lot of major diatonic players would love these. They're great for
playing minors and such while using pretty much the same licks you've been
using. And of course the chords are exquisite.


-- IronMan Mike Curtis
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