Bem os e-mails abaixo são de uma discussão à um tempo atrás na Harp-L, onde se examinou a possibilidade de tocar uma oitava completa em dois orifícios. A discussão é bem longa e interessante, e pode ser lida nos arquivos da Harp-l.
-------- Original Message --------
Subject: [Harp-L] Re: full octave on 2 holes?
Date: Thu, 20 Jan 2005 21:29:24 -0300 (SPO)
From: Winslow Yerxa <>
To: harp-l--- In email@example.com, "Chris Michalek"
wrote:Original Message ----
>To: barnum@a..., harp-l@h...
>Subject: Re: [Harp-L] Howard Levy playing a 12 hole harp?
>Date: Fri, 21 Jan 2005 00:43:44 +0100 (CET)
>>Well, I know some people able to get a full chromatic scale on two
>holes on a richter diatonic!
That's not possible.
You quite sure of that, Chris? The original poster did not say a full OCTAVE of a chromatic scale, but let's assume that's what he meant.
Let's say you take Holes 2 and 3 of a standard C-harp.
Let's say you can bend Blow 2 down to D, C# or maybe C.
And let's say you can bend Overblow 3 up from C to something higher like C#, D, or Eb.
That's a potential range of low C to high Eb - an octave and three semitones.
With a Discrete Comb, all these bends are possible and not terribly hard for an accomplished bender/overblower.
I bet you could do it.
OK, Richter technically refers to the comb and reedplate costruction and the split cells of a Discrete Comb may not fir the strict definition.
But a Suzuki Overdrive does fit the strict Richter definition, and it has the same capability.
-------- Original Message --------
Subject: Re: [Harp-L] re: 2hole octave: Wow!
Date: Fri, 21 Jan 2005 09:56:33 -0300 (SPO)
From: Nicolas Fouquet <>
Wow I open my mail-box and I see so many post about what I have said! Wow! I had no ideas that it could be such a tread!! Wow!
Let's make it clear: by a chromatic scale, I mean a Full chromatic scale so ONE full octave!
the man I first heard doing that is Allen Holmes who is quite an accomplished player. technically talking, I know a bunch of folks (including myself) able to do that, but actually, Allen is the only one I heard able to make real MUSIC and not "look what I can do" stuff!!
I was in Occoquan when Allen talked to me about that. And He did show me. Let's say that we're using a standard C harp (Filisko, Bahrat or whatever): you get: 5b (E), 5d (F), 5ob (F#) (I can bend up that overblow to the Ab), then 6b (G), 6d bent (Ab), 6d (A), 6ob (Bb), then bend up the 6ob to the C then C# then D then Eb then E!!!
So, we get a full chromatic scale, unless you prove me that there are more than 12 semitones in a full octave!
The most difficult, I think, is to manage to do it. Myself, I need to hear the note to make it. So, I have first trained my hear on Winslow discrete comb. Then, I have been using my custom Golden Melody.
I find much easier to play that kind of stuff on low harps like G, Ab and A. With a Bb or B it is becoming more tough for me.
It can be useful to play that kind of things, depends of the musical context. I love to play slide trombons parts. Then, these bent overbends are very useful to reproduce the slide effect of the trombone.
I also assume that, like any technics, it might be not very easy, at the beginning to put into a musical context. But that's a matter of practice.
Meawhile, though harmonica limit as been put very far by Howard and Joe Filisko, I still strongly believe that these limits can be pushed further!
Look at the guitar players!!! A century ago, who would have think that it could be players like Tommy Emmanuel, Chet Atkins and Doc Watson nowadays! But they're here!
I find most of your reactions pretty funny! After what have done Howard, how can you say that something is impossible???