Re: [Harp-L] re:Richter+ tuning

[Robert Coble <robertpcoble@xxxxxxxxxxx>]

Sigh...

I wish NOT to engage in a polemical discussion of the QWERTY and Dvorak keyboard
history, since it only bears on the topic under discussion in a very tangential way at 
best.

I believe I was fairly obvious regarding my original assertion, to wit:

"I assert (without proof) that the ->PRIMARY<- reason is inertia..."

I did NOT attempt to enumerate every POSSIBLE reason, such as fiscal prudence. I 
(perhaps imprudently) thought it obvious that I was not attempting an exhaustive
analysis of all possible causes of the continuing "popularity" of the "standard"
tuning by capitalizing the word "PRIMARY" in that statement. Unfortunately, I can
only use capitalization and "scare" quotes when posting to Harp-L; the finer points
of textual emphasis (such as bold, underline and italics) are unavailable to me when
posting to Harp-L.

As for the continuing overwhelming popularity of the standard tuning...

I don't think I am atypical with regard to the path I took to get to where I currently 
am vis-a-vis harp playing. The available harps in the local bricks-and mortar music
stores were the standard tuning. The available training literature was based on the
standard tuning. The local players (as well as the vast majority of professionals on
CDs and DVDs) predominantly (NOT exclusively!) played standard tunings. I spent
the first 5 years of striving to play melodies on a standard tuning. I was frustrated
by the "missing" notes (and yes, I did learn how to bend sufficiently well to hit those
"missing" notes by bending). It is purely by accident that while I continued to study
and to purchase training literature that I came across Steve Baker's The Harp
Handbook. In it, I finally found a tuning that made musical sense to ME (spiral tuning).
Unfortunately, that preceded the development of the Seydel Harp Configurator. None
of the other major manufacturers offered that specific tuning. Lee Oskar came the
closest with the Melody Maker, but only provided a small number of keys. Concurrently
with learning how to repair and customize my own harps, I learned how to reconfigure
Lee Oskar harps using two sets of reed plates to play the spiral tuning. Seydel introduced
the Harp Configurator and I bought a complete set. Seydel (by virtue of the Harp 
Configurator capabilities) now offers Zirkular Tuning on virtually all of their models. I
also have a Seydel Chromatic Deluxe made by the factory in spiral tuning.

In short, if I had never become aware of alternate tunings, I would never have changed
from the "standard" tuning. That is, IMHO, the ->PRIMARY<- reason for the continuing
DEFAULT popularity of the "standard" tuning.

Am I an "evangelist" for Spiral Tuning? Yes, with the always EXPLICIT CAVEAT that it 
depends on what the individual player wants to accomplish musically. I thought that was 
clearly stated previously:

"Unless, of course, you want to study the DIFFERENCES and decide that the advantages
of an alternate tuning outweigh the disadvantages AND you are willing to become a 
beginner again."

It is perfectly understandable that a professional musician would have a range of tools 
(including alternate tunings) available, whereas an amateur might choose to restrict his 
set of instruments to the "standard" ones locally available, for both cost and availability
reasons. It is also understandable that any number of amateurs gravitate toward and 
remain with "the one that brung 'em to the dance." That would most likely be the 
"standard" tuning, since it is ubiquitous.

"Pick your poison" (AFTER reading the warning label) and ingest to your heart's content!
Crazy Bob