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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