Re: [Harp-L] Chromatic challenge?



The Ode Challenge was not about playing in 12 different keys. It was about whether including one bent note (Draw 3 bent down 2 semitones) in a simple classical melody played in second position on a diatonic harmonica would sound OK or whether it would stick out as being too different from the other notes.

I included sheet music with tab in various keys to make it easier for participants to learn the tune.

There were several entries that qualified for the challenge. However, two were submitted that broke the rules but were interesting enough to post, although I didn't allow voting on them.

One was Joe Filisko playing the bent draw 3 in a split interval - he played Draw 1 *unbent* while playing an accurately bent Draw 3. That alone was worth hearing.

The other non-voting entry was Robert Bonfiglio playing the Ode in all twelve keys on a chromatic. That stood as a benchmark (about as good as you could hope for) for comparing the bent-note version with a versions that used no bent notes.

The Ode Challenge site is still up:

http://www.geocities.com/odechallenge/

Although the host for the sound files went under and took the files with it (I probably still have backups, but nowhere to host them).

One problem was that the contest entries by players were posted as I received them, and the first one or two posted, being at the top of the list, got the most votes; most people didn't bother listening past the third one. If I were to do it again, I'd dynamically randomize the order of presentation so that no visitor ever (at least statistically) saw the entries in the same order twice.

Winslow

Philharpn@xxxxxxx wrote: Some time ago, The Ode to Joy Summer Challenge surfaced.

It related to playing the Ode in second position on 12 different keyed 
diatonic harps as I recall.

An easy test (and probably equally invalid) would be to go to that site, 
print or play off the screen the versions of the Ode in 12 different keys on one C 
chromatic to find out which keys work best or worse, easy or kinda easy.

The Ode is short enough that those who want to try it out can convert it to 
chromatic tab without too much difficulty. And for those that read, a piece a 
cake.

Directing people to run through the 12 scales would require some to locate or 
input the scales and tab them out on 16-hole and 12-hole (most common 
models?) for those who don't read -- and it probably wouldn't be a much fun.

Now if there is a fatal flaw with Ode, perhaps there is another short piece 
that would work. The scale song from Sound of Music; the Christmas song Joy to 
the World descending scale. But the chief advantage of Ode is that it is 
already there.

This also might have the added benefit of opening up opportunities for more 
people to use the chromatic once they see how readily it adapts to the 
different keys. 

Phil Lloyd


In a message dated 3/27/08 1:49:37 PM, bon@xxxxxxxxxx writes:


> >
> > In theory, we should all learn to play in all 12 keys -- especially 
> > on the
> > chromatic where we don't have to worry about bends and overblows. 
> > But most of
> > us  don't have that kind of time.
> 
> As I have taught many people to play chromatic, I disagree highly.  
> If you don't try to bite off more than you can chew, you could 
> practice one scale, AND ONLY ONE SCALE, for a whole week with it's 
> arpeggio and in 24 weeks you would know all major and minor scales.
> 
> 
> 
> 
> 
> >
> >  Even if we understand the layout of the chromatic harmonica and music
> > theory and how it relates to the harmonica and can sight read -- at 
> > half speed  or
> > less -- our way through some standard pop tunes, we soon realize the
> > limitations of the C chromatic. While in theory the C chromatic can 
> > "play" in  all
> > keys; it is no piano and it really can't.
> >
> 
> Part of this statement is true, the chromatic is no piano, the 
> harmonica can crescendo, have vibrato, change tonal colors, bend 
> notes and do all kinds of things the piano can't.  It CAN play it all 
> the keys and depending on the piece, very odd keys may lie better 
> with a certain piece than others, well, just like the piano.
> 
> As Winslow already astutely pointed out, a key like B Major might 
> have some really cool advantages for a certain piece, like playing 
> the 2nd and the 7th, B and A together.
> 
> Harmonically yours,
> 
> Robert Bonfiglio
> http://www.robertbonfiglio.com
> 
> 
> _______________________________________________
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> 
> 




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