[Harp-L] positions and tunings from the beginning

[Robert Coble <robertpcoble@xxxxxxxxxxx>]

Robert Hale asks:

OPEN QUESTION based on these conditions: the student is capable and
interested--

   

1. When should a student of harmonica be introduced to position playing?
   (1-5, 12) Why?
   

I think the idea of positions should be introduced concurrently with the Circle of Fifths.
At the same time, the concept of modes can also be introduced. This gives the student 
some of the theoretical tools needed to understand what is going on in music. IMHO,
it is just as important to know WHY as it is to know HOW. It is possible to attain a very
high degree of technical proficiency without knowing WHY, but that becomes limiting.
I think it is especially important for a student using a standard Richter Tuning to know
as much as possible about the musical capabilities (and limitations) of the chosen tuning
because it adds important tools to the gig bag.

2. When should a student be introduced to alternate tunings? Why?

I think the instructor should find out the student's goals as early as possible. For some genres
and styles of playing, some tunings are easier to learn. If I have a student who is interested in
blues, I would recommend a standard Richter tuning BUT I would also try to determine which
style of blues seems to be of the most interest. Some styles of blues sound better (to ME) if
the harp is tuned using Just Intonation; others sound better with a compromise or even Equal
Temperament. If the student is going to play primarily bluegrass, OTM, Celtic, etc., then a
Paddy Richter, Country Tuning, or Spiral (Circular-my favorite!) Tuning would be more appropriate.
I do not concur that the student should have to "pay her dues" by struggling to make the
instrument perform in the desired manner, only to "discover" that there are much easier ways
to get the desired MUSIC out of a different instrument. Making music should always be the goal,
not mastery of an instrument that does not cooperate with the musician. I applaud all those who
wish to master a standard Richter diatonic and copy Howard Levy's style of play, but most
students are going to be very short-time students if forced to go that route to play music.

I could have made considerably more progress toward MY musical goals and in much shorter time
if I  had known about alternate tunings sooner. I struggled to play along with chromatic players
on even simple songs because I hadn't acquired the requisite skills to bend (much less bend with
proper intonation) and the standard Richter diatonic didn't lend itself to melodic playing. After
switching to Spiral (Circular) Tuning after finding it in Steve Baker's excellent "Harp Handbook"
(and with Seydel introducing factory-built Circular Tuning), I was in musical heaven. Now when a
chromatic player tries to tell me that my diatonic is "missing some notes" and so I can't play the
song, I just respond with, "Why don't I just play it, and you tell me which notes I missed?" I
have all of the notes in the diatonic scale, and can use half-note bends to get the rest of the
chromatic notes.

My two cents worth (FWIW),
Crazy Bob