Re: [Harp-L] Blow/Draw Switch at Hole 7

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

John;
         There is a clear logic going on in the Richter system. The
idea is to have a straight major chord on the blow, and all the other
notes of the scale  (which also comprise the dominant 5 chord, the most
important after the root (blow) chord) on the draw side.
         As there are only seven notes in the major scale, continuing
an even blow-draw pattern up the harp so that each draw note produced a
tone higher than its paired blow reed (as it is from hole 1-6) would
result in the blow chord from hole 4 looking like this: CEGBDFA  while
the draw chord (from hole 4) would go DFACEGC. This presents a set of
problems no easier to deal with than what you have already.
        The only way around this would be to have two consecutive root
notes (C in this example) like the chromatic does: CEGCCEGC; which would
necessitate a longer harp to achieve the same range.
         Don't forget that the diatonic harp was made as a cheap and
novel way of playing simple folk melodies in one key.
         The Richter system makes a lot of good sense given the
constraints of a ten hole, twenty reed instrument. No matter what tuning
alterations you try, you will gain only as much as you lose. It will
always remain thus until one of us works out how to inhale and exhale at
the same time, preferably from opposite sides of the mouth.
 
Good luck!
RD
         

>>> "Jonathan Metts" <jonathan@xxxxxxxxxxxxxxxxxx> 27/06/2006 8:33:34
>>>
Can someone explain to me why the Richter tuning pattern of blow/draw
switches at hole 7 on a diatonic?  And has anyone tried setting up a
harp so that there is no switchover (draw bends and overblows across the
entire harp)?

Jonathan Metts

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