Newbie questions

[Peter Harlan <pharlan@xxxxxxxxxxxxxxxxxxxx>]

Hi,

I recently picked up a Hohner 12-hole chromatic harp
in D (really liked the sound of the low register at
the music store), and I'm about to start seriously
learning to play it. I have a pretty good musical
background, but except for playing a little blues on
a diatonic harp years ago, I don't have any experience
with the harmonica.

At present the NON-CONCERT tuning is:

Hole             1  2  3  4  5  6  7  8  9  10 11 12
Blow, Slide In   C# F  G# C# C# F  G# C# C# F  G# C#
Blow, Slide Out  C  E  G  C  C  E  G  C  C  E  G  C
Draw, Slide Out  D  F  A  B  D  F  A  B  D  F  A  B
Draw, Slide In   D# F# A# C  D# F# A# C  D# F# A# D

After checking some Website info, I'm considering
customizing the tuning to either the "bebop":

Hole             1  2  3  4  5  6  7  8  9  10 11 12
Blow, Slide In   C# F  G# A# C# F  G# A# C# F  G# A#
Blow, Slide Out  C  E  G  A  C  E  G  A  C  E  G  A
Draw, Slide Out  D  F  A  B  D  F  A  B  D  F  A  B
Draw, Slide In   D# F# A# C  D# F# A# C  D# F# A# C

or "C6 bebop":

Hole             1  2  3  4  5  6  7  8  9  10 11 12
Blow, Slide In   C# F  G# B  C# F  G# B  C# F  G# B
Blow, Slide Out  C  E  G  A# C  E  G  A# C  E  G  A#
Draw, Slide Out  D  F  A  B  D  F  A  B  D  F  A  B
Draw, Slide In   D# F# A# C  D# F# A# C  D# F# A# C

My thinking is that, since I haven't already invested
a lot of time learning the more standard tuning, I
might as well start out with something thar might offer
more versatility. Does this make sense? How common is
it to play a number of different tunings? And is there
some advantage to the standard tuning that I'm missing
here? I can't see a compelling reason to double up the
tonic blowing 4-5 and 8-9. On the downside, you do lose
the single note extension at the top, and inversions of
C major chords would require the tongue to block out
the added A/A# or Bb/B. Are these important issues?

No matter what, there are always going to be at least
two ways to play some notes. On many instruments, there
are fairly standard scale fingerings which are learned
by beginners. As the player advances, he or she finds
out that alternate fingerings can offer tachnical and
interpretive advantages in specific kinds of passages.
I'm assuming it's a similar evolution for the harmonica
player. Is there a method or reference book anybody
would like to recommend that covers these issues well?

Finally, here's a zany question: Is it possible to blow
and draw simultaneously on opposite sides of tongue? If
it's even possible, I'm sure it's difficult, but I'm
just asking out of curiosity. I remember how amazed I
was when I first saw a horn player circular breathe,
and it seems that great players are always redefining
what is possible on their instruments.

Thanks,
- -Peter