Re: Re: [Harp-L] Dorian tuned alternative

["Tim Moyer" <wmharps@xxxxxxxxxxxxxxxxxxxx>]

Michael Peloquin wrote:
> The dorian tuning has intrigued me. I think that there are many 
> merits to it.  There are 2 things that are lost:
> -No major 3rd anywhere (note B in cross harp G on a C harp) this 
> eliminates the full chromatic capabilities of the Richter tuning. 
> (the other missing note is C# overdraw on draw 7-this is the b5 in 
> G and a very important blue note.

One thing about playing alternate tunings with overblows is that the 
useful overblows fall in different places.  I play Paddy Richter 
tuning most of the time and I have to go to the 2OB to get the Ab 
that's usually on the 3 draw bent down three semitones.  On a dorian 
tuned harp, the B is the 3OB, which on a standard tuning is 
enharmonic to the 4 blow.  Not so on dorian, where the 3 draw is 
flatted a half step.  

> -NO "1/2 flat" 3rd in crossharp (the note between Bb & B) you can 
> always get this note when bending on a Richter harp. 

It is true that there is no bend between the Bb (3 draw) and B (3OB) 
in dorian tuning.  

> Does the well equipped altered tuning player's case have over 100 
> harps, including backups? My brain hurts now!

It depends on the context of the gig.  If you're going to a jam with 
every harp you might possibly need to play every song, then you 
probably need well over 100.  On the other hand, if you have a set 
list and know what harps you're going to be playing, you can narrow 
it down to the few you need, and their backups.  You can also, of 
course, play other harps in other positions in the eventuality that 
something unexpected comes up.  

-tim