There can be no doubt that the music scene, as many of the older players are aware, has radically changed. Certainly, this is one of the factors that has encouraged the playing of the diatonic "harp" rather than the Chromatic Harmonica. Simply put, it's a lot easier to learn to play a Marine Band harmonica than a 3 or 4 octave Chromatic! (And the "new Music" is a lot easier to play!)

Of course, I'm aware that some remarkable advances have currently been made in the diatonic techniques being used today. Also, better diatonics are now available, either out of the box, or from skilled modifiers. I think that's wonderful - But, the average young player who picks up a 10 holer, learns a few simple licks, and often he (or she) is in business! Sure, there are some wonderful diatonic players, who are musicians, who do read music. and that too is great for the harmonica, but I think, that if you look at the over - all picture, they are few and far between!

Today, If you do any type of movie going, if you listen to TV or even the radio, one can't help but notice the influence that the diatonic has had in every one of these venues!

And what about the way that the "ten holer" is being used? Producers often utilize it as a clever way to establish a mood. Sometimes, this tiny instrument, because of its' unique sound, can create an unusual musical background. Other directors have it do what it does best, Namely: "WAIL" the blues a bit. So, for what the diatonic does, one would have to say it is ideally designed! In addition, because of its' popularity, the public has a much better appreciation of the harmonica ... But, in case you haven't noticed, you almost never hear the chromatic anymore! At least, not in these settings!

Why should this be?

Certainly, one reason, is that the chromatic players are generally older. Attrition has been taking its' toll. They are either retiring, joining that great big band in the sky, or, (because of advancing age) have lost all interest in playing. Unfortunately, that's only part of the story. Today's aging players grew up in a time, when we had great composers writing wonderful music for the "popular" trade. Irving Berlin, George Gershwin, Cole Porter, Vincent Youmans, and on and on. They wrote tunes that sounded awesome on the chromatic harmonica. And while their harmonies were sometimes intricate, the melodies were almost always "singable!' Then too, the tunes were easily "digestible." That is, they were very easy to remember, yet, musically excellent. Contrast that with most of the music we hear today!

Back then, there were "Role Models" like the great Larry Adler, who, at that time, was miles and miles ahead of anyone else! (And at age 85 years young, is still one of the "greats.") Also, on the scene were names like Zimbalist, and Sebastian, who were renowned classical players at the time.

In addition, we had the wonderful "Borrah Minnevitch Harmonica Band." They were on the radio every week, so we had great exposure to the chromatic harmonica as well as all the other (harmonica) band instruments. Also, we could listen to skilled players like Leo Diamond, and the equally wonderful Ernie Morris, whose distinctive sound positively fascinated us. For years, we tried to, but never could, imitate his sound. Rumor had it, that he achieved his tone with the use of cellophane, so we wrapped our chromatics in it, but that did not work. Then, we tried playing into a drinking glass. It did change the sound, but again, no cigar! I know it sounds silly now, but at the time we had no internet, no harmonica clubs, and nobody to help or advise us. Anyway, what it did teach us, was that we would have to create our own individual sounds, but at least, we had great examples to emulate, or perhaps even improve upon.

If I may, I would like to go "way back" to a time when we avid chromatic players were still playing the Marine Band harmonica. Actually, other than the "old Standby" and a few other (probably now obsolete) diatonics, that's all we had! Nobody had heard of "positions" on the Marine Band harmonica, and nobody had any knowledge of "over - blows!" Johnny O'brien was a wonderful Marine Band player. He was very well known at the time, but he played everything in the key his harmonica was in. He knew nothing about "positions," and subsequently became famous as a harmonica playing comedian. (Interestingly, much later, your author was the first one to write about, and illustrate "positions" on the diatonic. I listed 6. (My book was published by Warner Brothers, and still sells remarkably well). At any rate, when the first chromatic harmonica came on the scene, it was like a gift from heaven! It was pure happiness. At last we could push a button, and find all the notes that had been impossible to find before! Never mind that the chromatic was just two 10 hole diatonics a half tone apart, we thought it was just wonderful. Then, when the Hausler tuning became available, it created sheer bliss! We know that tuning now as solo tuning, but it was still a tenholer. When Hohner designed the Super Chromonica (12 holes, solo tuned), our delight knew no bounds! 3 FULL OCTAVES. WOW! This was later followed by a 4 octave chromatic harmonica, which made every kind of music possible. So, you can easily understand our joy.

Lest you think we were any different from the players of that day, I'm talking about the guys I actually grew up with: People Like Charlie Leighton, Stan Harper, Victor Pankowitiz, Bernie Fields, all of whom later became top - flight professionals.

Quite a bit later, the "Harmonicats" scored their version of a home run with "Peg of my Heart." It became a tremendous hit, and inspired a whole new crop of chromatic players. Many of these new fans formed their own trios, and for a while, it seemed that wherever you looked, whether it be at harmonica gatherings, conventions, or clubs, there were always several trios playing! Chromatic harmonica enthusiasm was everywhere, and the future of the instrument surely seemed assured. But that was then and this is now! So, what happened? That's a good question, and while I do not profess to know all the answers, I do know some of them. Think about this: Most of the former harmonica enthusiasts are now in their late 60's, 70's, and even 80's. Where will the new Chromatic players come from?

We know that hit records can inspire the youngsters, but unfortunately, we haven't had any hit harmonica records since " Ruby" and "Strangers on the Shore." So who is out there to inspire the young to play the "Chromo?" Where are the role models? Other than Toots Thielmans, no one else has achieved international recognition, and even he is not a household word - And an overview of the harmonica scene today, seems to indicate that (with very few exceptions) only the diatonic players are working! Again I ask: "Why Should This Be?"

Lest the reader think I have a bias against the diatonic , let me state that for about 30 years, I was a recording session player in New York, and probably did hundreds of dates on diatonic as well as chromatic harmonica. I consider the diatonic harmonica a distinct and separate instrument from the chromatic harmonica, just as I consider the flute different from the clarinet, or saxophone. All are woodwinds, but they don't sound the same, nor do they encompass the same musical register. In the case of the harmonicas, the same is true. The Chromatic harmonica is a remarkable instrument. Just consider the wonderful things it can do: It has a 3 or 4 octave range depending on the model. It is capable of playing any kind of music, and is equally at home playing Classical, Pop, Jazz, Blues, or any other kind of music you might prefer. It can handle vibrato, tremolo, chords, octaves, double stops, and even create "shimmering effects" impossible on any other instrument. So, would it not be a sad consequence, if this wonderful musical device called the chromatic harmonica became Obsolete?

So, what can we do to bring back the former popularity of this wonderfully versatile tool? How can we point the youngsters of today in the right direction (so that they too, might generate the intense enthusiasm we had when we were young)?

Why is it that the respect for the Chromatic is so much greater in Europe than the USA?

Why is it that harmonica players, who come here from foreign countries are so much more skillful than the average American player?

Why is it that in Europe and other countries, the chromatic is actually taught in some of the public schools? Why can't we do it in the USA?.

Why is it that nobody seems alarmed by this unfortunate trend? A trend that minimizes the chromatic harmonica, and, if continued, might actually result in its' obsolescence!

Lest anybody think your author is exaggerating, just check the ratio of sales comparing diatonics to chromatics. While the figures are not publicly available, an educated guess would say that 15 to 1 would be an understatement!

How could we have let this happen?