A family of new modded-Richter tunings

[IaNerd]

The tunings posted on March 28 (above) and July 20 (above) are very similar. Here are two important differences:

(1) The July 20 tuning is (theoretically) compatible with the "blow-row-only" model of Brendan's Overblower Booster--the one he designed for "regular-breath" tunings such as PowerDraw and PowerBender. The March 28 tuning is not compatible, at this time, with any currently available models of his OB Boosters.

(2) As shown in the diagram below, the March 28 tuning is much easier to create by re-tuning a standard Richter diatonic harp.

[IaNerd]

In the March 5 post (above) I pointed out how a Country-tuned Seydel Big Six is a potent little chugger (with I--IV--V chords) and a capable melodic/solo instrument in 2nd position. Now imagine (because such is not yet available) an Overblow Booster on this harp. Note the welcome addition of two Eb notes, two Ab notes, a C and a G.

[IaNerd]

On the tuning posted July 20 (above), I'm now rethinking the 5 draw. Since a dominant 7th chord typically resolves to the the I chord, it doesn't seem so important to have a dom7 variant of the I chord.

If that 5 draw is raised one semitone, then the V chord gets extended leftward by one more hole. If that 5 draw were instead raised two semitones, then the I chord gets extended rightward by one more hole. Either way, an additional draw bend is created. I think the latter option (i.e. a draw bend from G to F) is probably better.

[IaNerd]

Here is the tuning introduced in the August 02 post, above.

http://www.brendan-power.com/forum/down ... iew&id=273

http://www.brendan-power.com/forum/down ... iew&id=274

[IaNerd]

The August 02 tuning (above) becomes the August 28 tuning (below) by making the following modifications:

1. Delete the notes in chamber 6.
2. Move the the notes that had been in chambers 7-10 leftward by one space.
3. Fill the vacated chamber 10 with a C blow and a D draw.


Why this tuning matters:

A. There are ten useful overblows that would (at least theoretically) be possible by inserting Brendan’s proposed (i.e. not yet advertised or sold) “regular-breath Overblow Booster”.

B. It’s got the I, IV and V chords that are the backbone of modern popular music.

C. It’s got the b7th chord variations of the IV and the V chords—so essential to the blues.

D. It has over three continuous octaves of the minor hexatonic blues scale.

E. It has five pairs of enharmonics of blues scale notes.

F. It has nine octave splits, each separated by a comfortable two blocked chambers.

G. It has twenty bendable notes, nine of which bend from one blues scale note to another blues scale note.

G. And thanks to Brendan’s technology, those overblows should be easy, even on OOTB harps, and they should not require exceptional embouchure.

http://www.brendan-power.com/forum/down ... iew&id=326

[IaNerd]

UPDATE:

Today I became aware of a tuning which is in some ways quite similar to those of mine above. See http://www.harpelite.com/catalog/en/cus ... onica.html .

At first glance I notice two important differences. One is that the BlueHarp Blues Chord Harmonica has re-entrant tuning, hence the indexing bead mounted on the cover plate. Another difference is that, even if it was not re-entrantly tuned, the BBCH's upper blues scale octave is missing the second note (which in their diagram and key would be a G; in mine a Bb).

[IaNerd]

ADDENDUM:

Regarding the "August 28" tuning (above) vis-a-vis 12- and 13-hole harmonica formats:

To extend and make complete the lowest (partial) blues scale octave, a "chamber zero" can be added. For a harp in the key of C (Crossharp G), that added chamber would be a (G blow)/(B draw). This change also extends the blow and draw chords leftwards. I credit Tarcisio Di Domenicantonio for this idea, which is described here: http://www.bluexlab.com/WP/?p=1608 .

Now for a different way to extend the left end of the tuning .... Two chambers could be added; I'll call them chambers negative 1 and zero. These two chambers could contain these notes: (F blow)/(G draw) and then (A blow)/(B draw). This change extends the draw chord leftwards. But in the blow row, it creates a new chord: F major (F--A--C). When I experiment with bluesy progressions on piano, I find that harmonic "chugging" between the I and the IV chords (so commonly done with Richter tuning) can be partially substituted with chugging between the I and the VII chords, e.g. between G major and F major. I think this is especially true in the first four bars of a 12-bar blues progression. Example (as quarter notes): 1. GGGF 2.GGGC 3.GGGF 4. GGGC. Having those two extra notes on the left end of an otherwise Ricther-beginning harp makes this chordal chugging possible. And having the extra real estate of a Solist Pro 12 or a Lucky 13 makes that possible.

To extend and make complete the highest (partial) blues scale octave, a "chamber eleven" can be added. For a harp in the key of C (Crossharp G), that added chamber would be a (E blow)/(G draw). This change also extends the blow chord rightwards. However, it does not extend the draw chord rightward and should avoid being played in a way that creates ugly dissonance.

[IaNerd]

DIAGRAM FOR THE ABOVE ADDENDUM:

In the diagram below, a Lucky 13 in the key of F can be re-tuned to become the Extended August 28 tuning in the key of G.

In like fashion:
a Lucky 13 in G can become this new tuning in "band" key of A.
a Lucky 13 in Bb can become this new tuning in "band key" of C.
a Lucky 13 in C can become this new tuning in "band" key of D.
and so on. As a general formula, (the original Lucky 13 key) plus (2 semitones) = the new tuning's "band" key.

The only really difficult part of this mod would be the two highest draw notes. Raising short/high reeds by four semitones is challenging. I wish to point out that this would still be a pretty good mod even if those last two chambers were differently assigned, or even plugged up.

One plausible way to reassign the last two draw notes is: A (a repeat of its neighbor to the left), requiring a raise of one semitone, and then D, which requires no change at all.

http://www.brendan-power.com/forum/down ... iew&id=306

[IaNerd]

The Post above ends with: "One plausible way to reassign the last two draw notes is: A (a repeat of its neighbor to the left), requiring a raise of one semitone, and then D, which requires no change at all."

Here is the diagram for that idea:

http://www.brendan-power.com/forum/down ... iew&id=307

[IaNerd]

Another way to arrive at the "August 28" tuning (above) via another commonly available tuning:

http://www.brendan-power.com/forum/down ... iew&id=290