[Harp-L] Questions: Tombo Band Chromatic Violin Scale (No. 1157)

[Robert Coble <robertpcoble@xxxxxxxxxxx>]

For those with NO interest in "unusual" chromatic instruments--PLEASE SKIP THIS MESSAGE!
I recently found my box of "odds and ends" harmonicas, and started looking at the Tombo 1157 a little closer. I realize that it's NOT a "mainstream" harmonica in US/European chromatic circles, but I was intrigued by the note layout. Somehow, I was expecting something similar to the S-50, which is the student version of the 1157 (according to Tombo). The S-50 is laid out somewhat similar to a piano keyboard, with sharps/flats on the top row and the C scale on the bottom row.
The 1157 cover (singular) is a single piece which has NO screws. It is a "wraparound" design, with 8 very small (sound?) holes drilled into the back face. It slides into a groove cut into the front of the reedplates. The edge of the reedplates extends slightly past the comb on the front, but no more than on a typical "railroad track" style harp.
The comb is cut on an angle, apparently with just enough room in each chamber for the length of the reed. The reedplates are attached with 7 screws with nuts on them. The ends of the comb have a grill molded into the plastic comb. I presume this serves the same purpose as vents on a traditional set of covers.

The holes are laid out in two rows, 27 holes per row. The top row is offset so that each hole fits between/across the holes in the lower row. I was expecting that each note in the top row would be simply a sharp of the note below and to the left. That's NOT the layout at all!
Could someone give me some good reason(s) why the following note arrangement might have been chosen, rather than simply providing sharps on the top row of the corresponding note in the lower row? Why was this particular pattern of blow/draw notes chosen? It doesn't appear to be for chording. Does it mirror some of the typical "double stops" used on violin? (I know nothing about violin note layout.)
One of the amazing things is that it provides a greater range of notes than the Hohner Chromatica 263 (54 notes vice 35 notes), yet it's about 3/4 the length. However, the 263 provides the same note as both blow and draw within a single hole, with only one row of holes. The 263 holes are MUCH larger than the 1157 holes.
Please note: the note letter names given below are as on the document included with the harmonica (which is completely in Japanese). I did not substitute enharmonic note names.
Sorry for putting this vertically instead of horizontally, but it's the only way I can control the formatting. Consider the UPPER holes to be offset to the right of the LOWER hole. Hole 1 is the "low" end of the harmonica.
Hole 1 - Lower - A DRAW --- Upper - A# DRAWHole 2 - Lower - G BLOW --- Upper - G# BLOWHole 3 - Lower - B DRAW --- Upper - B# DRAWHole 4 - Lower - C BLOW --- Upper - C# BLOWHole 5 - Lower - D DRAW --- Upper - D# DRAWHole 6 - Lower - E BLOW --- Upper - E# BLOW Hole 7 - Lower - F DRAW --- Upper - F# DRAWHole 8 - Lower - G BLOW --- Upper - G# BLOWHole 9 - Lower - A DRAW --- Upper - A# DRAWHole 10 - Lower - C BLOW --- Upper - C# BLOWHole 11 - Lower - B DRAW --- Upper - B# DRAWHole 12 - Lower - C BLOW --- Upper - C# BLOWHole 13 - Lower - D DRAW --- Upper - D# DRAWHole 14 - Lower - E BLOW --- Upper - E# BLOWHole 15 - Lower - F DRAW --- Upper - F# DRAWHole 16 - Lower - G BLOW --- Upper - G# BLOWHole 17 - Lower - A DRAW --- Upper - A# DRAWHole 18 - Lower - C BLOW --- Upper - C# BLOWHole 19 - Lower - B DRAW --- Upper - B# DRAWHole 20 - Lower - C BLOW --- Upper - C# BLOWHole 21 - Lower - D DRAW --- Upper - D# DRAWHole 22 - Lower - E BLOW --- Upper - E# BLOWHole 23 - Lower - F DRAW --- Upper - F# DRAWHole 24 - Lower - G BLOW --- Upper - G# BLOWHole 25 - Lower - A DRAW --- Upper - A# DRAWHole 26 - Lower - C BLOW --- Upper - C# BLOWHole 27 - Lower - B DRAW--- Upper - B# DRAW
Thanks,Crazy Bob
 		 	   		  
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