[Harp-L] re: 12th position

["mOx" <mox1@xxxxxxxxxxxxxx>]

Rainbow Jimmy wrote;
>I play the scale up
higher because the F is right there on the 5 draw but of course you
run out of notes pretty quickly.<

>Sorry to beat this into the ground.<

me too! but....

 Have you got into retuning yet?

If yes:
Raise the 7 draw a semi-tone (C harp = B to C)
This gives you the (I) home chord (F) on 5,6,7, draw (F,A,C)

Then drop the 7 blow a tone (C harp = C to Bb)
Now you have the tonic of the IV chord (Bb)

And you've added the much needed dominant seven to the V chord.
4,5,6,7, blow (C,E,G,Bb)

You now have a full major scale in 12th from 5 draw to 9 draw.
The B natural is not lost as it can be played  as a 7 hole draw bend.
(I believe that this tuning is known in the Chro. world a "Be-Bop Tuned".)

Other advantages/disadvantages ;
All modes have shifted 1 position anti-clockwise
i.e.
Lydian is now 11th (Bb) b3 draw to 7 blow
Major             12th (F)     5 draw to 9 draw
Mixolydian        1st (C)     4 blow to 7 blow
Dorian              2nd (G)    6 blow to 9 blow
etc..

oh alright, here comes the rest
Aeolian             3rd (D)    4 draw to 8 draw
Phrygian            4th (A)    6 draw to 10 draw
Locrien              5th (E)    5 blow to 8 blow

As to;
>Isn't the F the 2Dbb? So if that's the
tonic note and you're bending down to it--<

If you really want to go over the top,
do a Shamus;
Lower the 2 draw a tone! (G to F)
I think that this was an early alternative layout (18...?) for
diatonics (Winston has better information somewhere in the archives)

Otherwise - Be careful, stay in the trees,
and whatever you do, don't  rub 2 dry sticks together. LOL.

à+
mOx

Afterthoughts for overblowers:

1)even though the 6 o-blow has become redundant, a great 'horn-style'
effect can be produced by shaking from 7 blow to 6 o-blow. (Bb to Bb)

2) The elusive 7 o-draw (C#) has been transformed into a 7 o-blow (Db) !


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