[Harp-L] tuning and harmonicas

["Jonathan R. Ross" <jross38@xxxxxxxxxxx>]

>1) Why don't I hear about Equal  vs. Just tuning on other instruments
that >play both single notes and chords? You never hear guitar or piano
players >discussing this. Why only harp?
 
Because you haven't looked closely.  In many circles the tuning of
pianos and guitars is quite often brought up.  The difference is that
these are inherently chromatic instruments whose modern form took shape
directly in concert with the development of 12-tone equal temperament.
The modern piano is designed specifically to withstand the massive
string tension of the piano in an even manner across the range which is
ideally suited to equal temperament.  Similarly, the switch from
moveable gut frets to static metal frets in guitars predetermines a
single temperament, and it was again developed at the same time as the
theory of 12TET was being widely advanced.  If you look closely you will
find many people who have strained against the piano's adherence to
12TET, and also movements in the guitar world to fix the intonation
problems inherent with the standard design (fan frets and such).  Also,
both instruments present single problems which lead to idiosyncratic
solutions.  In the piano with its incredible range you get the phenomena
of stretch and squish tuning at the extreme ends of the instrument.  In
the guitar world many players tune the strings to be a fairly pure open
chord when played, thus tuning them string-to-string by ear without
using the fretboard which would inherently temper the chord.  In this
manner you get the interesting duality of a pure chord across any fret,
but each string being tempered to itself as you play up the frets.  Many
publications for both deal with these issues.

Another factor is that of sustain.  Pianos and guitars have a fairly
short period of sound.  The string is set into motion by an initial
event and then decays quickly from that event.  Chords may sound uneven,
but they tend to pass quickly and thus are less noticeable.  On
instruments with greater or near-infinite sustain the issues of
intonation within chords become magnified because a single chord can be
held for a long period of time.  The harmonica, accordion, and organs
all fall under this category as do violin quartets.  Here the issues of
intonation within the instrument become quite important, and thus you
find the topic discussed at length amongst the makers and players of
these instruments.  Now, the diatonic harmonica presents a unique
situation as only certain chords can be played at a given time, so
unlike most other instruments the ability to weight the intonation to a
given pitch or chord carries fewer drawbacks.  In an organ you can play
any chord, and so you find that if you weight the tuning to a certain
key it will make some music and some keys very harsh.  But since a
diatonic harmonica is only going to be played in a limited number of
keys around the tonic you give up less with weighting the intonation to
favor the chords present (I know you "can" play a diatonic in all 12
keys--but most people rightly stay within close range of the tonic to
take advantage of the strengths of the instrument and minimize the
weaknesses).

In short, if the instrument was designed co-incident with or after the
rise of 12TET in the late 19th century you tend to find 12TET fairly
accepted in general, if not always in practice.  But, if the instrument
preceded 12TET (organ, harpsichord, lute, French Horn) then you find
that the issues are more complex do to the musical needs of the
instrument.  Also, if the instrument has a greater ability to sustain
you have more potential problems with chords.  Finally, if the
instrument is designed to be chromatic or diatonic also factors into the
equation.

>3) Is the 5 draw one of the notes that get adjusted for Just tuning? I
have >a particular song, "Little Wing" by Jimi Hendrix (E minor) where I
play a >simple 3rd position solo with a D harp. I have a 5 draw in the
solo and >everytime I play it I hear it slightly off. Its close, but I
can tell >something is wrong. I thought maybe I was accidentally bending
it, or that >the particular SP 20 I used was out of tune. But now I'm
thinking its the >Just tuning. Should I get a Golden Melody which is
Equal  tuned to solve >this?
 
Not necessarily.  The draw 5 in most Hohners is not egregious, but you
do have to learn how and when to use it in the song.  It may be that you
have to adapt the piece to the instrument and accept a bit of "off" to
get the fuller chords--intonation is a compromise, and the hard part is
deciding what compromises you want to make.  One way is to have
different harps for different songs, another is to decide what you like
best and then make it fit the song and vice-versa.  Both are equally
valid.



 oo    JR "Bulldogge" Ross
()()   & Snuffy, too:)
`--'