Tuning Reality Check, Part 2

The perspective of the overbend player is in a way just as dogmatic... their goal is to make the diatonic harmonica fully chromatic. Some would ask, "why not just play the chromatic." That answer is simple... they fell in love with the sound and feel of the diatonic harmonica... the chromatic harmonica is not an option. Studying the masters of the past is there, but the overbend player will extend their study reach to other instruments as well... they're interested in where the harmonica can go without the limitations of the harmonica's natural pitch set and standard bending... the limitations that harmonica players have been working within until Howard Levy took the diatonic harmonica to its next evolutionary step (players have been using overbends as early as the 1930's, Howard was the one that really explored its full potential... thanks Howard).

By focusing more on bending they use less textural/rhythmic techniques (tongue blocking techniques such as slaps, pulls, octaves, etc.) so by nature the overbend players is not a classic blues harp player (classic blues harmonica is a chordal style). This is not to say that players like Dennis Gruenling are not classic players... they use overbending sparingly... it's used as one of the many elements in their bag. With players like Dennis aside, most overbend players embrace the overbend technique to its fullest, leaving textural/chordal playing behind.

What about the chromatic harmonica player's perspective?