Re: [Harp-L] Making the Move to Chromatic



***Disclaimer: I'm relatively new to the language of theory.  Therefore I apologize in advance if I got something wrong. To those who know more, please correct any mistakes I may have made.***

On Sep 20, 2011, at 1:54 PM, Philharpn@xxxxxxx wrote:

> Some people make a big deal about HOW HARD it is to play chromatic after playing diatonic.  If you can play simple folk songs on holes 4-7 on a diatonic, you should have no problem switching to a chromatic.  Because that's all a chromatic is: that section of holes 4-7 repeated over and over

Well I'm not sure I agree.  The chromatic has all the notes. As a result, playing different keys requires transposition; which means knowing different patterns other than the C scale in holes 4 -7.  Whereas,if you can play one diatonic you can play all the keys using the same patterns and techniques by switching instruments.

Likewise, having all the notes readily available in one place offers players opportunities for approaching the music differently. You can move from chord to chord chromatically or modally, for example, without having to overblow.

What makes the chromatic difficult for many diatonic players, IMO, is the necessity to make deliberate note choices and to be clear about the underlying theory (whether intuited or formally taught). 

So if you play second position on a C diatonic as an example.  Beginning with the 2 draw (G) and ending with 6 blow (also G), you get the notes from the G7 chord scale (G, A, B, C, D, E, F, G) with just a draw bend for the A.

If you play blues, this is very handy because usually the I chord is a dominant 7th and is also played 7 ish bars of a standard 12 bar blues.  Many a credible harp player has done just fine hanging out on the I and blowing the root notes of the IV and V and letting the rhythm section do the heavy lifting on the changes.

Playing that same chord scale on a C tuned chromatic is another matter.  G is the three blow, so now you have to know where all the notes are instead of memorizing patterns.  Then there's the matter of there being three places to play the C between the middle octaves and two places to play the flatted 7th (F).  Then there are different patterns for the IV (C7) and V (D7) chords scales.

But I will say that digging deeply into the chromatic, and studying it the way other instruments are approached, has opened my ears tremendously.  It's well worth the torture of trying to teach a middle aged dog like me new tricks.

Bob






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