Balkan tunes and tuning

[Brendan]

MALARZ: because I was curious, I laid out your tuning in a clear format. Edvin has sent you instructions on how to do it but, if you didn't see his message, they are below.

MALARZ HIJAZ TUNING

Code: Select all

BLOW	G	Bb	Eb	G	Bb	D	G	Bb	D	G
Hole	1	2	3	4	5	6	7	8	9	10
DRAW	A	D	F#	A	C	Eb	F#	A	C	Eb

Interesting... For playing in D, It has the same pattern as Gerhard's tuning 2-5, but then goes to a reversed breathing pattern Richter-style version in the higher holes. Personally I don't like the reversed breathing pattern change at hole 7 in any tuning, but it does have the benefit of compressing the scale by avoiding repeating notes.

Another way to compress the scale and avoid repeating notes would be to use a Circular Tuning version:

CIRCULAR HIJAZ TUNING

Code: Select all

BLOW	A	C	Eb	G	Bb	D	F#	A	C	Eb
Hole	1	2	3	4	5	6	7	8	9	10
DRAW	Bb	D	F#	A	C	Eb	G	Bb	D	F#

No bends required here either. I like this one better, because the blow note is always lower than the draw. I prefer that consistent relationship throughout the harmonica, whatever the tuning (Solo being the exception).

===============

Here's how to input Harmonica Tunings yourself:

1. Select the </> symbol in the button above the text box.
2. The words (code)(/code) will come up, except the brackets will be square.
3. Hit the Enter key to go to the next line, and start inputting your tuning between the two sets of brackets.
4. Make sure to use the Tab key to separate the text/numbers (hit Tab to go to the next element).
5. Hit Enter to go to the next line, while staying within the square brackets.
6. When done, start typing outside the right-hand square bracket.

[Gerhard62]

GERHARD: both of our tunings with the same pattern in the first 3 holes (CD - EbF# - GA) are fully chromatic with draw bends alone.
YOURS (bends shown in lower case):
C c# D -> Eb e f F# -> G g# A -> Bb b C -> (C)
MINE (a# substitutes for lower case Bb (bb), which looks awkward!):
C c# D -> Eb e f F# -> G g# A -> (A) a# B -> C

Your're absolutely right.
Shame on me for forgetting that Cb and B are the same
And no, I'm no pro on the harp. Just began this year with bending, so you're right again, that this tuning is not for normal use for someone like me.
For chromatical use I prefer the diminished tuning and I'm waiting for your Diminished Lucky 13

[Piro39]

Malarz yes a regular major tuned G harp.

[Brendan]

Gerhard, and anyone else interested: the Lucky 13 in Diminished Tuning is now released:

https://brendan-power.com/lucky13.php#lucky13Dim

I was testing it out in Hijaz scale today. As with any other scale, there are only three patterns required to play Hijaz in all 12 keys! I'll lay them out here shortly, in the form of Phrase Maps.

These are very useful visual representations of mouth moves, breath changes and bends on the harp. You can see some for Major and Minor Pentatonic scales on the link above. Great for learning, and perfect for a symmetrical repeating scale like Diminished.

[Gerhard62]

Gerhard, and anyone else interested: the Lucky 13 in Diminished Tuning is now released:

https://brendan-power.com/lucky13.php#lucky13Dim

I was testing it out in Hijaz scale today. As with any other scale, there are only three patterns required to play Hijaz in all 12 keys! I'll lay them out here shortly, in the form of Phrase Maps.

These are very useful visual representations of mouth moves, breath changes and bends on the harp. You can see some for Major and Minor Pentatonic scales on the link above. Great for learning, and perfect for a symmetrical repeating scale like Diminished.

Although I already have got one Session Steel Diminished half-valved in A and one in B from Seydel, I just ordered one of your new Luckys. Three octaves are a good reason for purchase

[EdvinW]

I was testing it out in Hijaz scale today. As with any other scale, there are only three patterns required to play Hijaz in all 12 keys! I'll lay them out here shortly, in the form of Phrase Maps.

I had a go at making some Phrase Maps as well, and I think they turned out rather pretty
https://cloud.fripost.org/s/zdRxgtEPQ29GBMf

[Gerhard62]

I had a go at making some Phrase Maps as well, and I think they turned out rather pretty
https://cloud.fripost.org/s/zdRxgtEPQ29GBMf

You did, what I want to do
Thanks a lot!!!

[Brendan]

Edvin: Nice, thanks! Phrase Maps are such great little helpers, especially with a symmetrical repeat tuning like Diminished. The same shape can be moved around anywhere!

The only thing I would do differently to put the blow note on the bottom. Since these are graphic representations of pitch, it seems to me more logical to have the lowest note in each hole at the bottom of the grid, with the pitch rising from blow through to drawbend and draw (see attached for an example).

Having the blow note at top is correct in the sense of its physical position on the harmonica, but it's not how you actually hear the phrase/scale. Intuitively I feel I learn faster internalising the shapes if I'm seeing the arrows move as the notes do relative to their pitch.

What do others think?

[EdvinW]

The only thing I would do differently to put the blow note on the bottom. Since these are graphic representations of pitch, it seems to me more logical to have the lowest note in each hole at the bottom of the grid, with the pitch rising from blow through to drawbend and draw (see attached for an example)

I like them the way I posted them, but flipping them is a flick of a button Here's a version like you ask for: https://cloud.fripost.org/s/bAGdij84qWzHsYq

[Brendan]

Thanks Edvin! I saved your flipped version of the Dimi Hijaz Phrase Maps (attached). Great your new tool allows players to select which version they like. Blow note at the bottom feels more logical in musical terms to me, so that's what I'll choose.

Though I haven't used them in the past, I'm finding Phrase Maps really useful for trying out scales etc on Diminished. When looking at them, I'm already finding that I'm subconsciously making the actions in my mouth as I trace the pattern on the grid.

Without a harp it's like silent practice. I could easily see this as a great learning tool when you're on a train or similar situation and can't play a physical harp. You can instead virtually 'play' the phrases in your head by studying these powerful visual representations.