“Blues Mullet" tuning for 12-hole harp
Posted: Mon Nov 20, 2017 5:54 pm
NAME: “Blues Mullet" tuning for 12-hole harp
BASIC CONCEPT:
This tuning is an extension of my earlier “Blues Mullet" tuning for 10-hole harp, which itself was a fusion of two of my earlier tunings. The first eight chambers are an extension of my "Scale and Skinny/Fat Chords” Blues Buddy tuning for Big Six. (See the Topic of that name.) The final four chambers are from my "Big Six Blues Solo Buddy" or "Drei Blaue Tonleiteren". (See the Topic of that name.)
This tuning features:
1. The I, IV, V and VII chords can each be played in four different ways:
1a. As a "skinny" dyad (e.g. C-E for Cmaj).
1b. As a full triad (e.g. C-E-G for Cmaj).
1c. As a "skinny" b7 chord (e.g. Bb-C-E for C7).
1d. As a full triad with b7 chord (e.g. Bb-C-E-G).
2. Every draw note has a simple semitone draw bend.
3. All three of the minor hexatonic blues scales of the I, IV and V chords are playable without overblows or difficult draw bends.
WHEN/HOW: November of 2017. I have not yet had one made.
LAYOUT/DETAILS:
BASIC CONCEPT:
This tuning is an extension of my earlier “Blues Mullet" tuning for 10-hole harp, which itself was a fusion of two of my earlier tunings. The first eight chambers are an extension of my "Scale and Skinny/Fat Chords” Blues Buddy tuning for Big Six. (See the Topic of that name.) The final four chambers are from my "Big Six Blues Solo Buddy" or "Drei Blaue Tonleiteren". (See the Topic of that name.)
This tuning features:
1. The I, IV, V and VII chords can each be played in four different ways:
1a. As a "skinny" dyad (e.g. C-E for Cmaj).
1b. As a full triad (e.g. C-E-G for Cmaj).
1c. As a "skinny" b7 chord (e.g. Bb-C-E for C7).
1d. As a full triad with b7 chord (e.g. Bb-C-E-G).
2. Every draw note has a simple semitone draw bend.
3. All three of the minor hexatonic blues scales of the I, IV and V chords are playable without overblows or difficult draw bends.
WHEN/HOW: November of 2017. I have not yet had one made.
LAYOUT/DETAILS: