[Harp-L] Lee Oskar natural minor harp designation

[Robert Coble]

Arthur Jennings and Richard Hunter are correct: in the Lee Oskar designation "1st Cm (d.)", the "d" is for the Dorian mode.

Link: https://leeoskar.com/natural-minor-key-chart/

On the "Selection Key Guide for Natural Minor", "Playing Styles": it states

1st: Straight Harp / Dorian
2nd: Cross Harp / Natural Minor  -  Reggae, Latin, Hip Hop
3rd: Major
4th: Mixolydian

The chart gives the 4 keys/scales relative to the 2nd position (hole 2 draw) designation of the Lee Oskar Natural Minor harp.

Gm Natural Minor harp:

1st: Cm [Dorian]
2nd: Gm [Natural Minor or Aeolian]
3rd: Bb [Major or Ionian}
4th: F (Mixolydian)

We cyclically and regularly revisit this part of music theory ("modes" and "positions") on this and other harmonica forums. No, I don't want to stir up this hornet's nest again; just trying to explain the rationale for Lee Oskar's naming scheme.

Those funny sounding Greek names are modes, which "naturally" correspond to certain positions.

Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian correspond to the modes (a fancy way of saying alternate scales) that are derived from a particular major scale. The order as presented corresponds to starting a given major scale on each of the 7 scale degrees in that scale. This produces different sounding scales simply because the (whole tone, half tone) note intervals differ from the major scale. Some of these alternate scales sound major, some sound minor and one sounds diminished (not to diminish its importance).

Take the interval pattern for any major scale. For purposes of discussing the Natural Minor mode, let's use the Bb major scale. Why that oddball? Because it corresponds to the Gm Natural Minor mode.

Bb MAJOR Scale (Key Signature = 2 Flats)
Scale Degree 1: Bb
Scale Degree 2: C
Scale Degree 3: D
Scale Degree 4: Eb
Scale Degree 5: F
Scale Degree 6: G
Scale Degree 7: A

First Mode notes: Ionian (Major Scale)
Bb, C, D, Eb, F, G, A

Second Mode: Dorian (Minor Scale)
C, D, Eb, F, G, A, Bb

Third Mode: Phrygian (Minor Scale)
D, Eb, F, G, A, Bb, C

Fourth Mode: Lydian (Major Scale)
Eb, F, G, A, Bb, C, D

Fifth Mode: Mixolydian (Major Scale)
F, G, A, Bb, C, D, Eb

Sixth Mode: Aeolian (Natural Minor Scale)
G, A, Bb, C, D, Eb, F

Seventh Mode: Locrian (Diminished Scale)
A, Bb, C, D, Eb, F, G

Note that the Sixth Mode is the Natural Minor Scale, which has the notes of the Gm Natural Minor Scale. Check it out with the Lee Oskar note layout chart.

On the Lee Oskar Natural Minor, if you are going to play with 2nd position (root note on hole 2 draw), you have to do a whole tone bend on hole three to get the 2nd note of that mode. This can provide the opportunity to get the typical "sliding" (microtonal effects of not being exactly on note) effect from bending that is desirable in minor-key blues.

If you want to have ALL the notes of a particular major scale without bending AND you want ALL the notes in ALL 7 modal scales associated with that major scale without bending AND you want to play complete 3-note chords beginning on every scale degree, then the Seydel Circular / Zirkular / Melody King harmonicas give you all of that over a 2.5 octave range - all within the traditional diatonic 10-hole form factor on one harp.

I am a dedicated fan (obviously) of Circular Tuning for MY purposes - bluegrass, country, gospel, folk. For other genres of music (in particular blues), other tools (tunings) may be more appropriate.

Choose wisely, Grasshopper!
Crazy Bob