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Twelve-hole slide harp with 3 "penchromatic" octaves, 14 chords, and easy diatonic and octaves play

Posted: Wed Sep 20, 2017 5:23 pm
by IaNerd
NAME: Not yet sure. Thinking about “Goldschmidt/Sowards Gen. 3 Fully Penchromatic tuning”

In the original “Goldschmidt/Sowards” tuning, I distributed the twelve semitones of an octave among three banks/layers of reeds, and among four channels/holes of the harp. There were no missing semitones and no repeated semitones.

In this version, I use three full octaves of “penchromatic” tuning in the Slide Out layers. The penchromatic octave eliminates the G#/Ab tone, because it is RELATIVELY less used in Western music than the accidentals F#/Gb and C#/Db. Observe the penchromatic octave's characteristic repeat of the supertonic note. A more detailed explanation of this octave is given in my first post on "penchromaticity."

WHEN/HOW: September of 2017. I have not yet have one made.


Thinking in terms of the harp having four banks/layers of reeds, I will show this specific example:

Layer for Slide-In Blow: The four "penchromatic" accidentals C#, D#, F# and A#, repeated twice.

Layer for Slide-In Draw: One half (i.e. either upper or lower reeds) of Spiral/Circular/Zirkular/Helical tuning. In this example, we have: C – E – G – B – D – F – A, repeat.

Layer for the Slide-Out Blow: The Dm7 chord, repeated to the left and right as needed.

Layer for the Slide-Out Draw: The Em7 chord, repeated to the left and right as needed.

The Slide-Out layers have the following built-in chords (not diagrammed here, for brevity):
Slide-Out Blow: Dmin7 (or F6), Dmin, Fmaj.
Slide-Out Draw: Emin7 (or G6), Emin, Gmaj.

Observe how all the draw notes can be bent by one semitone. This makes playing NEARLY chromatically (and in the minor hexatonic blues scale in G) possible with or without the use of the slider notes.

Also, because the octave has been shortened from five channels long to only four channels (relative to my G/S Gen.2 tuning), playing in octaves is far easier.