[Harp-L] Chromatic - playing in all keys

[Philharpn@xxxxxxx]

In theory, we should all learn to play in all 12 keys -- especially on the  
chromatic where we don't have to worry about bends and overblows. But most of 
us  don't have that kind of time. 
 
 Even if we understand the layout of the chromatic harmonica and music  
theory and how it relates to the harmonica and can sight read -- at half speed  or 
less -- our way through some standard pop tunes, we soon realize the  
limitations of the C chromatic. While in theory the C chromatic can "play" in  all 
keys; it is no piano and it really can't.
 
I think Joe summed it up when he pointed out that using other keys of  
chromatics often works better than the key the song is written in. IN other  words, 
the A chromatic may not be the best harp for a song in the key of A. Joe  
Leone seems to follow a Circle of 4ths (C of 5ths counterclockwise) in his  search 
for the right harp.
 
This is another reason everyone should know the Circle of Fifths (which was  
around a long time before somebody got the bright idea to base Blues Harp  
Positions on it).
 
If a song requires a certain chord -- say an F chord -- not a broken chord  
or arpeggio, you pretty much need an F harp to get it. 
 
Another problem with the C chromatic is the note in hole No. 1. If you need  
a note lower than C -- say a G or an A, you're out of luck and have to move 
the  "music" up an octave -- which may ruin the timbre of the line.
 
And speaking of timbre; some songs just sound better in certain keys. And  if 
that is the case, simply changing the key to "fit" the C harmonica because  
"it doesn't lay right" may ruin the song. I love the key of A; sometimes the 
key  of C is simply too bland.
 
For obvious reasons, (it's easy) most people only play in the key of C. For  
my own sanity I would rather they switch harps to play in another key if only 
to  keep my mind's ear from going numb.
 
I don't know if the 16-hole was ever available in other than special  order. 
But its lack of availability may explain why few people play a  "transposing" 
16-hole chromatic in a different than key of C -- even if they  want a greater 
range.
 
This also would be true in the 12-hole models which seem to be available in  
most keys.
 
And I don't pretend to know too much about the playability of the C  
chromatic, but what little I know from stumbling around mine, there must be some  
hellacious keys that are virtually impossible on the C chrome because you end up  
pushing the button like a bicycle pump. And you don't have to go to the 
extremes  of 6 flats or 6 sharps to get there. 
 
And I don't advocate lots of positions for the chromatic. I use only one,  
sitting down. Keys are what make the world go round.
Phil Lloyd
 
 
.
 
 
 
 
 
 
In a message dated 3/26/2008 8:12:41 P.M. Eastern Standard  Time, 
bon@xxxxxxxxxx writes:

If you wish to play in every key, one can always come to a  seminar.   
I am one who basically believes in one chromatic in  C.

That said, if you wish to get certain chords, or certain patterns  in  
D minor, C minor, E minor, G or F Major, you should choose  those  
patterns.  Always choose the easiest way to play  something so that  
you can concentrate on emotion and not  technique.  Change the key of  
the song to facilitate using  those patterns not only because  
harmonicas are expensive, but also  to get you more familiar with the  
patterns of one instrument.   This way if there are more complicated  
chords or key areas in a  song, or if it modulates, you still have one  
instrument and you  expanded your technique.

If you stop thinking of positions and start  thinking of keys by  
practicing the scales and arpeggios in D minor,  C minor, E minor, G  
or F Major, this will be a big first step toward  freedom.

Harmonically yours,

Robert  Bonfiglio

http://www.robertbonfiglio.com







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