re:Bb on a C harp...why?

[Richard Hunter <turtlehill@xxxxxxxxxxxxx>]

So far as I recall, no one has yet noted that you can solve many of the
problems associated with missing tones on the diatonic by using a
non-standard tuned diatonic.  (Or learn to play the chromatic.  It's got
all the notes.)  

If you want to play in the key of Bb on a C harp, trying using a
dorian-tuned C harp: tune the 3 and 7 draw reeds down a half step to
Bb.  Or buy a Lee Oskar C harp and a Lee Oskar Natural Minor in G, and
put the draw plate from the Natural Minor into the C harp.  Same result,
less work.  Try playing "Tequila" on that harp in 1st position to see
how big and punchy the chords sound.  You can now play an octave on Bb
as easily as you could on a Bb harmonica.  You can still overblow the Eb
and F# in the middle register if you feel the need.

The main advantage of non-standard tunings is that many new chord
combinations are available (in addition to any other single note that
can be played on any other diatonic; overblowing and bending still work
on non-standard tunings).  This, in turn, allows the harmonica player to
add lots of new, interesting textures to the band.  

All that said, a big issue facing harmonica players in general is a
pervasive resistance to change and innovation.  I don't much like a lot
of the overblowing I hear, but I'm glad those guys aren't playing the
same old stuff over and over.  I like that Peter Ruth is using a
transistor amp by Peavey, too; of course, Peter's been an important
innovator for a long, long time.   
  
Regards, Richard Hunter
http://www.hunterharp.com