[Harp-L] Re: Ultimate half-valved chromatic tuning
- To: harp-l@xxxxxxxxxx
- Subject: [Harp-L] Re: Ultimate half-valved chromatic tuning
- From: David Pearce <harpdog123@xxxxxxx>
- Date: Sat, 29 Nov 2014 09:59:22 -0500
- Dkim-signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=mx.aol.com; s=20140625; t=1417273162; bh=lNd9pJDBTFrJMSmIg2ar2gXsBug5uQH+8PcvoaKls8g=; h=From:To:Subject:Message-Id:Date:MIME-Version:Content-Type; b=AkxFlJ82zoxRX1tWvOk5/Y1oEEb0J6UVWQLelkRjsUqHrmmPJ1UFfhRiCYpTICDPt FXZlY43k8tz4dznYoOIdJ/1Y0bHJcPM1X1fp0Jfjl+cqbzH7hCfSQH7k3Wal/EM5fl Z2wL03Dpxi2QIMPHJIPs3W1Mimj+q5IWt6W9BKeU=
- In-reply-to: <201411280043.sAS0hSpQ005549@harp-l.com>
- References: <201411280043.sAS0hSpQ005549@harp-l.com>
I'm on a quest to find the ultimate bendable half-valved tuning and I was elated to recently discover Brendan Power's "Power Chromatic Tuning" which is" C/D, E/F#, G/A, A/B, C/D, etc., all the way up the harp. The only thing I don't like about this tuning is the fact that the G is a blow note rather than a draw, so I thought I'd try: C/D, E/F#, F#/G, A/B, C/D, etc..
Would there be a disadvantage in terms of chords to changing the repeated note from an A to an F# as shown in the above example?
This archive was generated by a fusion of
Pipermail 0.09 (Mailman edition) and