[Harp-L] The "Perfect" Fusion of Chromatic and Diatonic?

[Robert Coble <robertpcoble@xxxxxxxx>]

> Message: 7
> Date: Thu, 29 Nov 2007 14:04:28 -0000
> From: "d.flendrich" <darple.flendrich@xxxxxxxxx>
> Subject: Re:  [Harp-L] The "Perfect" Fusion of Chromatic and Diatonic?
> To: harp-l@xxxxxxxxxx
> Message-ID: <fimgtc+4gtn@xxxxxxxxxxx>
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>
> Robert Coble wrote:
> I currently play the Blues Session Circular Tuning
> diatonics, and have a complete set of all 12 keys.
>
> I thought one of the principle attractions of the circular tuning was
> that you could play in all keys on a single harmonica with only a
> limited number of patterns (4?) required.  Is the point of having all
> 12 keys so you have the diatonic chords present?
>
> d.f

Sorry, I think that would be the diminished tuning, which is entirely
different from Circular Tuning. There are only 4 patterns to learn on
the diminished tuning (IIRC).

Having all the diatonic chords for a particular key is one of the main
attractions (for ME) about Circular Tuning. Theoretically, you could
play all 12 keys on a Circular Tuning diatonic, but you would need
to be able to play the bends and overbends fluently. On the other
hand, having a Circular Tuning chromatic means that all the NOTES
(N-O-T all the chords) would be available chromatically. If you wanted
all the chords, you would still need to have 12 chromatics, each in a
different key.

Regards,
Crazy Bob