Text: Rodrigo Eisinger, Gaitista e mestrando em música (UNICAMP)

A small description of the techniques for the chromatization in diatonic harmonica.

Otavio Castro has been considered one of the precursors in the use of chromatism in Brazil, particularly in the use of only one diatonic harmonica tuned in C. The choice for this way of execution was a surprise to many harmonicists in Brazil who had contact with his work at the International Harmonic Meeting, in 2003. I must confess that I didn’t believe this possibility, due to the comparison factor with Howard Levy’s choice of having his harmonicas tuned in other keys in his shows and recordings.

This new way of playing the diatonic harmonica is many times seen as a “radical” choice, and even as mistaken. However, it’s also ascertained that it allows a full utilization of the resources in the instrument, not considered by harmonicists until then. In a straight analysis we can say that the path taken by Otavio Castro follows the logic of a complete performance in a chromatic instrument, which requires a directioned study to the specific characteristics of the combined techniques to chromatism, which helps in aspects like the precision of finding the tune, locating the keys in the instrument, using different articulations, balance while executing the scales, among others.

“Otavio Castro inaugurates a new path of harmonica in Brazil. Playing chromatically his diatonic harmonica he passes the limits of the instrument, turning it equal to the chromatic harmonica, with advantages. He will soon be talked about here and over seas.” Flávio Guimarães, harmonicists.

By knowing about Otavio Castro’s work it is possible to listen to a great technical control on these issues, allowing the execution of grand complexity themes, as such as Hermeto Pascoal´s compositions. His work has the merit of surprising the audience with precise executions for extremely complex songs, with high level of difficulty, to any instrument, besides the immense ability to improvise. This way, the use in the improvisation context is one of the biggest advantages, because it is possible to work with few compass modulations in a more direct way, escaping the change of harmonicas, making it easier the execution of ideas.

Therefore, this way of thinking the diatonic harmonica rediscovers the instrument and opens up to a new focus of the diatonic harmonica in the scenery of brazilian instrumental music. It is also developed a different way of listening to the harmonica, not possible to be compared to other approaches of the musical execution, for what exists is a deep difference of timbre and wording within this new esthetic.

“Otavio is practically eating the harmonica, playing a lot and most important: creating his own style. This technique was created by Howard Levy and certainly Otavio drank out of that fountain, but he didn´t stop there, he opened up, he´s playing everything and with great taste and an amazing timbre, hard thing for people who use this technique.” Jefferson Gonçalves, harmonicists.

I believe that this form of playing doesn’t include or disregard other executions of harmonica, being a greater contribution to the huge musical universe in which we live. Otavio Castro, as well as harmonicists like Howard Levy and Tinus Kornn, among others, have elevated the technical capacity of the instrument to levels not thought before, what demands investments into the construction of instruments that increases even more the possibilities inside this way of thinking and playing the harmonica.