Re: [Harp-L] Richter Shift Tuning

[Greg Jones <greg@xxxxxxxxxxxxxxxxxxxxxxxx>]

I totally agree and yes it makes sense.  I try to avoid the Richter term,
too.
Occasionally I use the phrase "tuned to the style commonly referred to as
Richter".

I think a lot of the old trems and octaves were tuned this way as you
state.

Anyhow, the advantage as I see it in this tuning is that it allows the
construction of
a harmonica or reed instrument within certain pitch ranges that might not
otherwise be
possible.  As in the example above, the commonly played holes and pattern
produce a pitch
one octave higher.


On Mon, Mar 3, 2014 at 6:34 PM, Winslow Yerxa <winslowyerxa@xxxxxxxxx>wrote:

> I call that an extended version of standard tuning (I avoid calling it
> Richter because Richter is a construction, not a tuning).
>
> First, think of a window that is 10 holes wide. All you can ever see
> through that window is 10 holes at a time.
>
> Of course we know of windows that are 12 and 14 holes wide.
>
> The usual 12-hole window (as in the Hohner #364) lets us see 2 more holes
> on the right, and those 2 extra holes extend the tuning on the high end.
>
> The 14-hole window comes in two versions:
>
> -- A window that shows us 4 extra holes on the high end (such as the
> Hohner 365)
>
> -- A window that shows us 3 extra holes on the low end and one on the high
> end (the Hohner SBS)
>
> Now we have a total of 17 holes to play with. But if you have a window
> that's 10 holes wide, you can't see all 17 holes, so you have to locate the
> 10 holes you want to see somewhere along that 17-hole continuum.
>
> Tremolo harps do this, and so do 10-key button accordions. They all locate
> their 10 holes (sometimes more on tremolo harps) somewhere along that
> continuum. Often, they start on Hole 2 of the standard 10-howl tuning and
> extend to Hole 11 or 13.
>
> The one you're talking about has a window that starts on Hole -3 (i.e. the
> third hole of SBS tuning) and extends to Hole 9.
>
> Does this make sense to you?
>
> Winslow
>
> Winslow Yerxa
> President, SPAH, the Society for the Preservation and Advancement of the
> Harmonica <http://spah.org/>
> Producer, the Spring 2014 Harmonica Collective<http://harmonicacollective.com/>
> Author, Harmonica For Dummies, ISBN 978-0-470-33729-5<http://www.amazon.com/Harmonica-Dummies-Winslow-Yerxa/dp/047033729X/ref=sr_1_1?s=books&ie=UTF8&qid=1392924635&sr=1-1&keywords=harmonica+for+dummies>
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>             Blues Harmonica For Dummies, ISBN 978-1-1182-5269-7<http://www.amazon.com/Blues-Harmonica-Dummies-Winslow-Yerxa/dp/1118252691/ref=pd_bxgy_MI_img_y>
> Resident Expert, bluesharmonica.com
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>
>   ------------------------------
>  *From:* Greg Jones <greg@xxxxxxxxxxxxxxxxxxxxxxxx>
> *To:* Harp-L <harp-l@xxxxxxxxxx>
> *Sent:* Monday, March 3, 2014 4:31 AM
> *Subject:* [Harp-L] Richter Shift Tuning
>
> I'm not sure what this tuning is called but it is sort of a modified or
> shortened version of SBS that I'll call Richter Shift.  In this case, I
> took a 10 hole Seydel 1847 and built in the key of (A) with the root
> starting on hole 2 blow. The hole #1 note is an E/G#.
>
> The advantage is it amounts to a HIGH A that is all stainless steel reed.
> Of course you have to get used to the notes being shifted over 1 hole, but
> the other advantage is a full 3 octaves of 2nd position play.  It is nice
> to be able to get above the other instruments and I can see this working
> out well for (G) and (A) and possible more in a country/bluegrass context.
> To get a HIGH A, it still required some 1/2 step re-tuning so it isn't
> possible on the CONFIGURATOR.
>
> Email me if this interests you.
>
> 1st take over a backing track on the playing and yes, I missed a few
> turnarounds and chord changes..
>
> https://soundcloud.com/greg-jones-9/seydel-1847-high-a-special
>
>
> *Greg Jones*
> *16:23 Custom Harmonicas*
> *(210) 445-6600*
> 1623customharmonicas.com
>
>
>


-- 
*Greg Jones*
*16:23 Custom Harmonicas*
*(210) 445-6600*
1623customharmonicas.com