Re: [Harp-L] Demistifying Chromatics

Philharpn@xxxxxxx · Mon, 31 Mar 2008 15:06:03 EDT

There is probably a far simplier reason for the chromatic solo tuning layout.

The idea is to make each module of an octave   identical.

In the key a C solo tuned harmonica, this means merely the first C of the 
octave is 1 blow and the first D is 1 draw; the end C of the octave is 4 blow and 
the B is 4 draw. It starts over again at hole 5 and repeats. As everybody 
knows:

blow          C   E   G   C
hole No.s   1   2   3   4 
draw          D   F A   B 

For the player, this means that he/she can play the same notes in each octave 
with the same breath pattern, unlike the 10-hole diatonic, which changes in 
each octave.   For the piano, EVERY   octave is already identical, regardless 
of key. It was designed that way. And pattern of 2 black keys and 3 black keys 
make it easy to move up and down the keyboard without getting lost.

One reason that diatonic players can make the switch to chromatic is that the 
module of holes 4-7 on the diatonic are identical to the modules on the 
chromatic.

People who get confused about the chromatic layout are those who expect it to 
follow the same layout of the diatonic first octave -- which lacks the F and 
A (easily added by bends).

To play a chromatic that retains the Richter diatonic layout, one must use a 
Koch or Hohner Slide Harp chromatic which makes all the notes available but 
the A in the first octave available with/without the button.

And if you are following patterns, you might check out the major scale, which 
has a full step between each note (those black notes on a piano in C) except 
for E-F and B-C. This is the pattern the piano keyboard has if you start at 
any C to C octave.

There might be one problem is playing keys a half-step higher than CDEFGAB by 
playing the "natural" note scale and holding the button in -- when you run 
into an accidental, you have to remember to RELEASE the button. 

But if it works for you fine. 

To me, it sounds like more work for little gain.   But my approach is 
different than most on the harp list.

People who play only the chromatic may find this method great.   

I play a little piano (not enough to interfere with my harmonica attempts) 
and if I want to play a flat or sharp I just play the note below (flat) or above 
(sharp). With the chromatic, EVERYTHING is a sharp. (Unless you have an 
altered harmonica.) 

So even if you play a flat, you have to mentally convert that into a sharp. I 
know, I know, most people don't have any trouble thinking of Bb as A# or Eb 
at D# and this is one of the adjustments chromatic players make all the time.

God knows there is more than one way to understand and explain the best way 
to play the chromatic and the more the better.

Phil Lloyd

In a message dated 3/31/08 2:26:19 AM, gpopenoe@xxxxxxxxx writes:

> As an architect, I always think in patterns and underlying structures. I
> wish I had Winslow's music theory knowledge to back this post up but
> here goes. (Winslow/Joe, bust me if I take this off track.) Note that I'm
> testing this logic/approach on you Harp-L members to see how well it works
> since I occasionally find my self teaching or coaching from time to time.
> 
> Here goes!
> 
> Since the chromatic wants to have four notes per hole, it demands that it be
> set up symmetrically. The instrument is basically set up like a piano with a
> couple of exceptions. Now, the last time you looked at a piano keyboard, you
> may have noticed that there ain't a black key for every white key. The piano
> key pattern is not symmetrical within the octave. There is this 2, 3, 2,
> 3 pattern of the black keys. What to do?
> 
> As many of us know, the designers of the chromatic harp simply added extra
> or duplicate notes to fill the voids. Sooo, you get an extra F and two extra
> C's.
> 
> Sounds like it would complicate things but actually, it is cool, 'cause you
> get extra fingerings that can come in mighty handy to smooth out some tricky
> spots. For now, the best thing to do is forget about that. They will come to
> your aid when needed.
> 
> If you were to translate the chromatic harp into a piano form, your new
> piano would have a black key for every white key. On top of that, rather

> than structured in octaves from C to C to C,   your new piano would be
> structured in octaves from C to C, C to C, C to C and so forth. Maybe the
> examples below will help. If they confuse, I'll come up with a better
> diagram and load it on my site.
> 
> Piano octave layout        C-------C-------C-------C-------C
> 
> Chromatic harp octave layout C ---------CC--------CC----------CC--------C
> 
> DON'T PANIC! There is a bonus about this setup that simplifies things as
> follows:
> 
> Because of this setup, the sharp and flat keys are the exact opposite
> fingerings of the natural keys. In other words, when the button or slide is
> "in" on a natural key, it is "out" on the complimentary flat/sharp keys.
> 
> Simplest example:
> 
> Want to play C Major on a C chromatic? Start on the one hole and play the
> classic pattern: Blow, Draw, Blow, Draw, Blow, *Draw, Draw*, Blow.
> Want to play C# Major? Just push the button in and hold it. Then play the
> same pattern.
> 
> Another example:
> 
> Want to play D Major on the C chromatic? Start "draw" on the one hole and
> play: Draw, Blow, Draw (button in), Blow, *Draw, Draw*, Blow (button in),
> Draw
> Want to play D# / Eb Major? Play the same exact blow draw pattern except,
> this time, reverse the button pattern from above. (Hold it in all the time
> and let it *out *only in the locations indicated "button in" in the D Major
> example.)
> 
> In a sense, all you have to learn and remember are the fingerings for the
> major keys. Rehearse reversing those patterns and you will then have all of
> the sharp and flat scales mastered.
> 
> Patterns, patterns, patterns. Learn them in bite size chunks. As you can see
> from above, you can practice two at time.
> 
> A reminder:  In the examples above, I typed the two side by side "draws" (A
> and B in the C scale) in italics. As I mentioned in a previous post,
> these are handy landmarks. The C Major pattern and the D Major pattern
> indicated above are the same exact blow draw pattern. The only difference is
> that you start on the one draw for D instead of the one blow. The two "*
> draws*" and how they are located within the scale pattern help you know what
> key you are in and where you are on the instrument.  They are always there.
> Note, however, you may use a slide on one or both of them depending on the
> key.
> 
> Don't let this extra bit of info trip you up. If you simply practice the
> scales, the landmarks and extra notes described in this post will come into
> play as your knowledge and skills grow.
> 
> Now I'm going to go back to practicing my diatonic overblows. They are
> coming slowly but surely.
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> 

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