Re: Newbie questions

["Vern Smith" <jevern@xxxxxxx>]

- ----- Original Message ----- 
From: "Peter Harlan" <pharlan@xxxxxxxxxxxxxxxxxxxx>
>
> 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.

If you had asked before you bought, my advice would have been to get a C as
your first instrument.  Since you already have the D, and you already read
music, I suggest that you read music as if the harp were a C even though it
will sound in D.  In other words, treat it as a transposing instrument. This
will create problems only when you are reading while playing with others.

I would forget the special tunings for the time being.  IMO, a "newbie"
should learn to read and play on a standard instrument,  then branch out to
special tunings if you find it advantageous for special genres.

My opinions only.....

> 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 that might offer
> more versatility. Does this make sense?

Not to me. The special tunings might give an advantage for certain genres
but if standard tuning is good enough for Bonfiglio, Schackner, Tate,
Galison, Adler, Theilemans, etc., it is probably good enough for you and me.

> How common is
> it to play a number of different tunings?

It isn't uncommon.  Rudy Hung even uses special tunings for individual
songs!  However, if you really are a "newbie",  then you can safely wait
until you feel constrained by the standard tuning.

And is there
> some advantage to the standard tuning that I'm missing
> here?
The fact that it is standard is the main advantage.

> I can't see a compelling reason to double up the
> tonic blowing 4-5 and 8-9.

This makes every 4-hole octave the same. When you are reading along and see
an 8va/8vb, you will be glad that all the octaves are identical.

> 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?

There are pitifully few chords available on the chromatic...not even a
dominant in the key of the harp.  Depend on the band or accompany yourself
on guitar or keyboard for harmony.

> 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?

Most players use the Cs in holes 4 & 8 and the B#, E# enharmonics only when
they confer some advantage in phrasing or breathing.  Learn to do without
them at first, then use them deliberately to accomplish a conscious purpose.
>
> Finally, here's a zany question: Is it possible to blow
> and draw simultaneously on opposite sides of tongue?

Sadly, no. Neither can you play slide-in and slide-out notes simultaneously.
These limitations account for the paucity of available chords.

>  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.

Circular breathing is possible but not easy.  Double stopping and tongue
switching are accomplishments of most of the virtuosos.

I'll be interested to see what other, maybe contradictory, advice you'll
get.  ;o)

Vern