Re: Newbie questions

[Peter Harlan <pharlan@xxxxxxxxxxxxxxxxxxxx>]

At 03:11 PM 7/13/2004 -0700, Vern Smith wrote:
>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 was aware of this. No problem transposing. I bought the D instrument
because it was the lowest pitched chromatic they had in the store, and
I really like the way the low end sounds.

[snip]

> > 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.

I'm guessing that most players probably learned the standard layout
(I guess this called "solo") because it was what they had on their
first harps, not because it was "optimal". Not really wanting to
argue here with someone kind enough to reply to my questions, just
attempting to clarify my reasoning.

[snip]

> > 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.

I don't understand this. I'm talking about replacing the leftmost
"C" (actually "D") of every octave by "A" or by "Bb", but not
both. Similar change with the slide in. This would seem to preserve
octaves, wouldn't it?

[snip]

>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.

Yeah, the alternate tunings I'm looking at don't really give you
much in the way of additional chords. It's really just having
those doubled up C's that kinda bothers me. I'm thinking, why
not have four distinct blow notes per octave instead of three?

> > 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.

That's what I wanted to know. Thanks!

> > 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.

What, not even with a tongue in cheek technique?

> >  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

Thanks, Vern. I'm leaning towards adopting the solo layout
for now.