RE: [Harp-L] Playing Chromatics in all keys and the Paddy O'Brien

["Aongus MacCana" <amaccana@xxxxxxxxxx>]

Dear Winslow,
Thanks for this information.
Between yourself and Mox Gowland I really struck oil on this query.
It is funny that it took a French Guy to explain what Paddy O'Brien's secret
was and on a Harmoncia forum at that! I previously failed to get this
lowdown from two accomplished and high profile two row box players.
When I can bring myself to attack a chromatic "with extreme prejudice" and
actually practice a bit of "Rupert Oysler", I think I will try swapping
reedplates along the lines you suggest.
Beannachtaí
Aongus
  -----Original Message-----
  From: Winslow Yerxa [mailto:winslowyerxa@xxxxxxxxx]
  Sent: 01 April 2008 16:57
  To: Mox GOWLAND; amaccana@xxxxxxxxxx
  Cc: harp-l@xxxxxxxxxx
  Subject: Re: [Harp-L] Playing Chromatics in all keys and the Paddy O'Brien



  You don't need to "reverse" reedplates around to create a B/C or C#/D
chromatic (or F#/G, as Farrell used to sell for Irish music). However, you
may need to swap reedplates from two instruments, or retune plates.

  For instance, to make a B/C, you could take a Bb chromatic (with Bb and B
plates) and a C chromatic (with C and C# plates). Remove the C# plate from
the C harp and replace it with the B plate from the Bb chromatic. You now
have a harp where the note goes down a semitone when you press the slide
button. If you prefer that the note go up (from B to C), just flip the slide
over.

  To make a C#/D, take a D chromatic (which is a low D) and a Tenor C
chromatic, and use the C# plate from the C-harp to replace the D# plate on
the D-harp. Again, if you prefer that the note go up instead of down when
the slide is pressed, you need to flip the slider.

  C#/D plays better chordally in the key of D than B/C, but B/C has a huge
advantage for smooth scales and ornaments, as almost every note in the D
major scale has a neighboring scale note on the same breath, making all the
neighboring note ornaments possible  (cuts, rolls, triplets, crans, etc.).
The same is true for the keys of G and A. The keys of D, A, and G play on a
B/C the same way the keys of Eb, Bb, and Ab play on a C/C# chromatic, with
very smooth scales.

  One problem with a standard B/C is that it's too high pitched, especially
if you're playing fiddle tunes. You need something that goes down to G below
middle C. If you take an E harmonica and tune E up to F#, and the rest of
the blow notes and draw notes as of your creating a Low B chromatic that
starts on Hole 3, you'll have a B/C instrument that matches fiddle range.

  A further refinement is to get rid of the duplicated blow note, like C
next to C. Tune the first C down 3 semitones (to A), and do the same thing
for the corresponding notes on the other reedplate, and you'll add two more
"choice notes" (notes that can be played as blow or draw) and make your
scales even smoother.

  Winslow

  Mox GOWLAND <mox.g@xxxxxxxxx> wrote:

  <stuff about two-row B/C accordion snipped>accordion

    The only possible equivalent on the chromatic harmonica would be the
reversing the piston on a "B" (C/B) or even better a C# (D/C#) chromatic so
that the lower notes sound when the said piston is pressed in.

    I believe that Brendan Power, amongst others, has worked on this
possibility, whether after hearing some of the recent melodeon players who
also "reverse" the traditional reed plate layout, or not, is in my case mere
speculation.

    As to playing in three consecutive keys (G, D & A) I could suggest a
Melody tuned harmonica i.e. (Paddy 3 blow Smokey 5 draw with C as the lowest
note) or a circular tuned D. With both of these instruments a suite of Reels
such as ;

    Off to California (G), Boys of Bluehill (D) & Red Haired Boy (A) are
fairly straight forward, though the ornamantation is somewhat limited. I you
want to see the Tab/Music let me know & I'll post it.

    Hope this helps
    Mox





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