From: Richard Hunter Date: Tue, 13 Jan 1998 23:42:07 -0500 Subject: Bends, Tone, and Timbre
Mike Curtis wrote (regarding bends and overblows): >> I agree that they're not inherently stable, and are challenging etc.. However, with proper technique, practice, and control, they can be made to be quite stable. >>
This is patently untrue if we're talking about a moving line that mixes both bent and unbent pitches.
>> But it does take more work to hold a bend perfectly on frequency and with a consistent tone and timbre. >>
It takes more work than I have yet to hear a human being accomplish; that goes double for the "consistent tone and timbre" part. And I have heard recordings by virtually everyone who writes to this list and then some.
For those who have forgotten previous discussions on this topic, I suggest a visit to my website at the URL below, where a page titled "Can You (or Anyone) Play a Single Diatonic in 12 Keys?" can be found. There's a test for 12-key facility described on that page; I seem to recall that I asked Mike Curtis on this list some time ago to produce a recording that met the requirements of the test. I have yet to hear that recording, although I note that I am still hearing loose talk (as per the quotes above) on this list about how bends can be made to sound perfectly in tune, how a line with both bent notes and unbent notes can be played with perfectly even timbre, etc.
I love diatonic harps and everything that goes with them -- they are my favorite instruments -- but nobody's doing anybody any favors by proclaiming that the instruments can do what nobody has yet done. Again: if you've got the proof, show me the recording.
Mike Will wrote: >So after all that, I guess the simple answer is that many bends and >overblows are not stable, static situations. Dynamic adjustments are >either needed, or difficult to avoid. The dynamic situation makes >holding the note for an extended period (deliberately vague), while >maintaining the quality of the note (tone, volume, and pitch), >difficult. Challenging.