Hey Doug,
Thanks for your comments. They are much appreciated. It's easy to develop confusion and mixed messages over this media at times.
> I always get the impression that it’s easier to internalize the map and move around in it
Yes, I think in some ways it is. But of course, as Gnarly hinted at, it's still a harmonica and has challenges.
> When I see what players like Laurent Maur, Mathias Heise, Filip Jers, Jason Keene, and others are able to do with standard tuning, dimi is a hard sell.
I would never tell any of those guys they need a Dimi
But, on the other hand, someone like them will pick up a Dimi one day, and the results could be pretty spectacular. IMO.
I was thinking about it during this thread, and we Dimi long-timers took a leap of faith when we committed to it. There were no role models - just our imagination. I mentioned never having a teacher, and it was somewhat due to there not being one. I would have had to find a very open-minded and flexible teacher that could handle teaching a Dimi student when they didn't play Dimi themselves. I'm sure they exist, but it's a small number, I imagine.
I totally understand wanting to hear proof of value in the Dimi before committing. But I think part of me feels that exploring the unknown is more fun. By the time someone else totally conquers the Dimi, what will be left to discover? Anyway, that's just me and part of what the fun has been.
> I’ve listened to three of the songs on your website now and will listen to them all a few times. I’ll also look at the links about dimi tuning you provided in another post. Thanks for those.
Very cool. Thanks for that. I hope you like what you see, or at least find it thought-provoking.
> I’m five-plus years in now and finally have the map internalized. That doesn’t mean I play great in all 12 keys. It just means I know where everything is and don’t get lost so much anymore.
Yeah, I get it. It'll come, I know, especially with your experience in music.
> I don’t know if dimi can get me there, but I’m willing to take a look.
One thing I think I know; if you try a Dimi and then decide you don't like it, it won't have detracted from your Solo playing. You can always switch between the two like riding a bike. And... it's relatively easy to sell a Dimi, too, since they are hard to find. Someone else will be looking to try one before long.
A thought along those lines: I wouldn't say I could cut Yvonnick Prene (or insert another great) in a dual, ever! Since Yvonnick can play anything on the solo harmonica, he doesn't need a Dimi. But part of the demonstration, for example, of my playing the same jazz line in Bb and E (it's in an article on my website), is that here I am, a mere mortal on harmonica - not a harmonica prodigy - playing jazz in Bb and E to the same level. I wouldn't be able to do that on Solo.
And yet another: For another example of a leap of faith and exploring the unknown: My good friend on this thread, Eugene, has really explored the half-valved aspect of the Dimi. I have played side by side with him and he can play some really nice stuff. I know from experience that trying to play the Diminished note layout and then make the most out of the blues-harp type bends is like dealing with another beast entirely. Everything he plays is not studied perfection, just like my playing has its own imperfections. But he is finding something new and he may very well contribute to Dimi half-valve players having a clear vision and developing a school of playing in the future.
Oh yeah, one more thing. I personally have never had the attitude of trying to sell anyone on the Dimi. I might get excited and talk about it a lot
but in my mind, there are too many approaches to think that there is just one.
> I’m just a fellow traveler trying to find the music.
Thanks for your response, Doug, and I'll see you around the site. Look forward to hearing your music someday.
--Jason
