Re: [Harp-L] Chromatic - playing in all keys

["G. E. Popenoe" <gpopenoe@xxxxxxxxx>]

I don't have the range problem you speak of on my Super 64. It pretty much
gets me everywhere I want to go.

Regarding being exclusively on a C chrom. That's up to the individual. Do
what works. The average listener will never know the difference.

I learned all twelve keys on the C because I learned it while in college and
did not have the bucks to by multiple instruments. (honestly, I didn't think
of it.)  I started out on brass instruments as a kid. You are pretty much
stuck with one or two keys with the average brass instrument. Most
instruments for that matter. That was my frame of reference.

Yes, there are some keys where the button finger is busy. So, practice a
little harder on those and they'll come. It is a pattern like any other.
Otherwise be thankful that this is one of the few chromatic instruments that
you can buy in about every key!

I don't mean to sound flip about the challenges of the instrument. I just
want to get it across that it is much more accessible than many are lead to
believe.

P.S. I can't imagine playing harmonica without both the diatonic and the
chromatic to play. Each improves my playing on the other. Playing both
expands my expressive range.







On Thu, Mar 27, 2008 at 10:05 AM, <Philharpn@xxxxxxx> wrote:

> 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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