[Harp-L] Why Learn Music Theory? An Answer...

[Robert Coble <robertpcoble@xxxxxxxx>]

The following is an excerpt from John Broecker's post about "Minor and
Harmonic Minor Harps". It is an excellent illustration of how knowledge
of music theory can be used to give the harmonica player more creative
freedom when choosing how to approach a particular song using a particular
harmonica.

<SNIP>
> Here's more information about minor key and harmonic minor key 10-hole
> diatonic harmonicas. Minor scales  may be found in many locations
> ("positions") on your 10-hole diatonic harp, depending on which harp
> you choose. 
>  
> 1. The natural minor is "built into" its relative major key  harmonica, in
> what is known as 4th position.  "Relative" keys are  music scales that use
> the same key signature (example: A natural minor is the  relative of C major,
> because they both use the same key signature, no flats, no  sharps).
> 
> Use any brand major-scale 10-hole C harp, play starting on hole 6  draw, and
> end on hole 10 draw. Small letters, draw notes, Large letters , blow  notes.
> (a, b, C, d, E, f, G, a). In this location on your harp, no bending or
> overblowing techniques are needed. You may also use the same C harp, and
> starting at hole 3, bend the draw note B, down a whole step to A, then
> continue the scale through hole 6 draw. You could call 4th position on your
> C harp the A natural minor draw scale, because it starts and ends on a draw
> note. In the above ANM draw scales, the A minor chord isn't available.
</SNIP>

All 7 modes are available naturally (without bends) in the near middle
octave on a standard Richter tuned harp - for only ONE octave. There are 3
major sounding modes (Ionian [major scale], Lydian, and Mixolydian), 3 minor
sounding modes (Aeolian [natural minor scale], Dorian, and Phrygian), and
1 diminished mode (Locrian).

Another alternative to the suggestions that John made are the Seydel
Zirkular (Circular) Tuning harps. All of the notes in a particular diatonic
scale are available for over TWO octaves. The blow/draw pattern is arranged
so that the blow note is always lower in tone than the draw note. This
reduces the bending technique to draw bends only. The note layout also
allows every triad (3-note chord) to be played on every scale degree for
over two octaves. Consequently, all of the notes and triads for all 7 modes
are available. The drawback (TANSTAAFL): you have to learn a different
pattern of "muscle memory" to play them fluidly. It took me about 4 months,
and I wasn't putting in a lot of woodshedding time on it every day. (I can
still use the Lee Oskar harps to wail when I want to.)

I became interested in the Spiral Tuning described by Steve Baker and
realized the potential advantages BECAUSE I knew SOME music theory. I was
really excited when I realized that Seydel's Circular Tuning was exactly the
same as Spiral Tuning - AND available off-the-shelf. I've switched from Lee
Oskars to the Seydel Circular Tuning harps because they fit better with the
way I want to play. I play primarily melodically rather than with blues
riffs/licks, and occasionally play chugging accompaniment using chords
(triads) when the piano player takes a break. (I play lead on harp, with a
piano player and a bass player rhythm section.) I don't have to work nearly
as hard to get the job done as I did previously. Just like Smokey's Tuning,
having more notes available means that more genres (and a lot more songs)
become accessible without having intonation issues between underbent, bent,
and overbent notes. As much as I admire great playing on diatonic using all
available techniques, I can still hear the intonation issues on overbends.
That said, the Seydel Circular Tuning harps CAN be overblown to give a full
chromatic scale, with less effort (IMHO) than is required to gap, emboss,
chamfer, and PLAY on the standard Richter harp.
  
I also CANNOT play MUSIC using all those esoteric techniques: it sounds more
like a cat with its tail caught in a washing machine wringer (for those of
you old enough to remember the old wringer washing machines). Consider me
lazy, but I only care about playing, not proving that some technique can be
developed whereby all 12 keys can be "played" (depending on your definition)
on a single diatonic harp. No offense intended, only admiration, towards the
young (and not-so-young) lions who can prove they can do it all on one harp.
Heck, I would have nothing but admiration for a master carpenter who could
do it all with just a hammer! (But I WOULD question, "WHY?")

I bought a complete set (12 keys) from Coast-To_Coast Music for a lower
price than buying each harp individually. The current price per harp is
about the same as the Lee Oskar harps. The Seydel harps are tight out of the
box, and have (so far) held up fine under heavy playing. YMMV.

Some food for thought, hopefully...
Crazy ('bout harp!) Bob
 
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