Re: [Harp-L] Bebop Tuning

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

I've been using Major 6th tuning for awhile. i've never used bebop tuning so I can't campare, but I find that having that blow A opens up a lot of things. you get both C major and A minor, instead of C and C7, for one thing. Instead of just two flavors of one chord, you get two actual chords. Having a tonic chord for A minor opens up both the keys of A minor and D minor (for anything I write, add the slide-in chords and keys as well).

The F Major triad benefits from having two chord fragments (F-A and A-C) instead of one.

How many major scales contain A-natural as opposed to Bb? 

I count all the flat keys (F, Bb, Eb, Ab, Db) containing Bb, and sharp keys B and F# containing the enharmonic note A#. That's seven keys, right. Meanwhile, I count seven major scales that include A-natural (E, A, D, G, C, F, Bb). So that particular contest is a draw.

Where A might have the edge is in promoting quick same-breath scalewise motion. Adding a blow A gives you quick motion between A and G, while blow Bb adds nothing to stepwise movement (Bb to C is already available in draw notes).

What about double stops? A adds some fourths and 7ths, while Bb adds some sixths (like Bb to G) and adds one new 7th (C#-B) while duplicating another (C-Bb).

I'm not sure you could make a strong evidence-based case for one tuning being superior to the other; it may be down to specifical applications and personal preference.

Winslow

John Thaden <jjthaden@xxxxxxxxx> wrote: 
I think a tuning better for jazz and particularly bebop is to tune those same reeds down an extra half step to A and A#.  Then you get the major 6th chords.   All the same benefits, plus a jazzier sound.  That's what Hohner should make, IMO.

"jazmaan@xxxxxxxxxxx"  wrote: 
I've been experimenting with bebop tuning on the chromatic recently.   So far I find lots of
plusses and no minuses at all.  Not even the "But I'm already used to solo tuning" minus because
you can still choose to use your old patterns and ignore your new alternate Bb's and B's.   The
only thing you lose are redundant C's and C#'s which to my way of thinking were only getting in
the way anyway.

Anyway, I'm wondering what it would take to get Hohner to offer their new so-called "Jazz CX-12"
in bebop tuning?  

While I'm waiting for my Pat Missin crafted Bebop CX-12 I'm having fun with one I retuned myself. 
I've learned that retuning a chromatic is harder than retuning a diatonic!


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