Re: [Harp-L] Re: Chords

[Michelle LeFree <mlefree@xxxxxxxxxxxxxxxxxxxxx>]

Brendan Power wrote:

> Michelle wrote:
>
> "And that brings me to my question. I eschew playing chords on those
> Suzukis, though I love them in every other respect. That's because, to
> my ear, chords on an equal-tuned harp sound ah, well, annoyingly sour."
>
> I'm assuming the Promasters you spoke of for Irish and fiddle tunes are
> half-valved in Paddy Richter tuning, Michelle?
Hey, Brendan. Thank you for the kind reply!

Actually, truth be told, my beloved half-valved Promasters remain in 
standard Richter layout. I have Paddy-ed (if that's the term) several 
Special 20's. I've yet to Paddy an equal tuned harp.

As to Paddy itself, it's time for a bit of a confession. I love being 
able to avoid that pesky 3-draw bend but I am an old horse who's always 
played straight Richter. I have trouble with alternate tunings, even 
with only one silly altered note, so I am still getting used to Paddy 
Richter layout and have trouble playing it at speed. I've laid a couple 
accidental "eggs" trying to transition so at this point I still resort 
to my normal Richter Promasters for melodic playing along with other 
instruments.

> It depends how many notes you feel you need to make a 'chord'. Thirds are
> the issue, but chords don't necessarily need thirds to be effective. You can
> get two very nice two-note chords in the bottom end on any 10 hole harp in
> standard Richter or Paddy Richter, in whatever temperament. Hole 1 and 2
> draw are in fifths, and should be tuned for a rich, stable double-stop sound
> for a 'chord' based on the two draw - which could be major or minor.
>
> In standard Richter holes 3 and 4 blow are also a fifth apart and give the
> same effect for a two-note chord based on 4 blow, and in Paddy Richter I
> always tune the 3 blow to give a nice rich fifths sound with 2 blow.
> Depending on the context it can also be major or minor (normally minor in
> the context of Irish music).
>
> I know these are not the same as full rich chords with thirds, but they do
> give useful double-stop sounds that can substitute on equal tempered harps.
I hadn't tried those double stops before. You're right of course, they 
do sound nice. Good tip!

> Another possibility is to do selective bending when playing two notes
> together. It takes a bit of practice but you can bend equal-tuned double
> stops into a pleasing just resonance by bending one of the notes on a
> sustained breath. For example, you could play the 4 and 5 blow together and
> slightly valve-bend the 5 blow (the too-sharp third) down to give a rich
> justified type of sound.
Well, kind sir, you give me too much credit. I can bend both notes, but 
not just one. To the woodshed for me!
> However I know these are only limited solutions, and your solution (to have
> two sets of harps) is the only practical one if you want the benefits of
> both just and tempered tuning.
I clearly need to practice more with my Paddy-Richter harps. You've shed 
new light on their versatility. I may even work up to Paddy-ing those 
half-valved Suzukis, which for me are pretty much sacrosanct just the 
way they are.  8^)

Thanks again and I hope to catch you at SPAH!

Michelle