[Harp-L] An alternative view on the future of the harmonica

[Robert Coble <robertpcoble@xxxxxxxx>]

>><SNIP>
>>The problem with the Richter diatonic is that it does
>>not allow to easily rock out on a clear, full major
>>scale across more than 1 octave. Addressing that issue
>>is, I believe, the key to unlocking the full potential
>>of the diatonic harmonica as a popular instrument.
>>
>>Regards,
>>Sergei Volkov

>There are several alternative tunings available these days,
>such as Lee Oskar Melody Maker and minor tunings, which make it easier
>(though potentially confusing) to select the right harp for the job.
>
>Steve
</SNIP>

Another alternative tuning that addresses the limitations of the
standard Richter-tuned diatonic harmonica is the Seydel Circular
tuning. There are two full octaves of the major scale and, consequently,
two full octaves of every mode and the major and minor pentatonic scales.
The tuning also provides two full octaves of triads and some of the
major and dominant sevenths (4-note chords). The harps are very tight,
with a plastic comb without protruding reed plates. You can bend to get
missing notes (b3, b5, b7). However, the available bends are draw bends of a
half tone only; there are no blow bends. You also can overbend and play
fully chromatic with a minor adjustment of the gapping. I've been able to
overbend some without any adjustments, and I don't use overbends in my
playing (yet). 

Note that the Seydel Circular harps are labeled based on the Mixolydian mode
instead of the major key. For instance, the "G" Circular harp is actually
based on the "C" major scale. The easiest way to figure it out is to use a
Circle of Fifths: the Circular harps are labeled in 2nd position.

I play mostly gospel, bluegrass, and country with a little blues, pop
and jazz on occasion. I'm in the process of retraining my muscle memory
to use the Circular tuned harps. The chording was very easy to retrain;
the single note melody runs are proving to be more difficult. I've been
practicing scales and interval jumps more than anything else, just to get
the feel of where the note sounds reside. I played last night at a old timey
music jam session, and was able to play the melody on several songs, in
addition to chording. The bass man that I play with said that he noticed
much louder sound from them; I wasn't consciously trying to play louder. I
do play acoustically without amplification, so I need to be able to project
enough sound to stay in the mix with several guitars, fiddle, banjo,
mandolin, dobro and upright bass.

I personally love the ease of playing on the Seydel Circulars, and love the
sound as well. Once I get to the point that I don't have to think about
where the notes are, I'll probably stop using the standard Richter-tuned
harps except for special occasions which require really heavy bending in
order to wail.

I got a complete set (all 12 keys) from Coast-To-Coast Music at a discount.
John Watts is VERY responsive in getting you what you need when you need it!

Regards,
Crazy ('bout harp!) Bob