THE OPTIMAL TUNING FOR ALL TYPES OF MUSIC? THE ADVANTAGES OF THE IONIAN MODE CIRCULAR TUNING

Anything apart from the two mainstream default harmonicas (Solo-tuned fully-valved chromatic, and un-valved Richter 10-hole diatonic). Alternate tunings, different construction, new functionality, interesting old designs, wishful-thinking... whatever!
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drkcostas
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Re: THE OPTIMAL TUNING FOR ALL TYPES OF MUSIC? THE ADVANTAGES OF THE IONIAN MODE CIRCULAR TUNING

Post by drkcostas » Wed Jan 15, 2020 6:37 pm

CIRCULAR TUNING FOR THE 6-NOTES CELTIC MINOR SCALE
We may also notice that the 6-notes scales are favored for a harmonica, as the periodicity in the circular tuning is per octave and not per 2 octaves as in 7-notes scales. A good example is the Celtic minor 6-notes scale ( in semitones 2-2-3-2-2-1). This scale is used also for the hundpans and hang drums. The example is in the next table of tunning for the case of D root. The blow row is only the chord I and the draw row only the chord ii. The Celtic minor is the maximal harmonic 6-notes scale, in the sense that it is a 6-notes scale with the maximum number of standard chords. In the same way that a 7-notes diatonic scale is a maximal harmonic 7-notes scale in the sense that it is a 7-notes scale with a maximum number of standard chords (see the article https://simplerguitarlearning.blogspot. ... e-and.html )
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EdvinW
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Re: THE OPTIMAL TUNING FOR ALL TYPES OF MUSIC? THE ADVANTAGES OF THE IONIAN MODE CIRCULAR TUNING

Post by EdvinW » Wed Jan 15, 2020 10:23 pm

The
drkcostas wrote:
Wed Jan 15, 2020 6:37 pm
CIRCULAR TUNING FOR THE 6-NOTES CELTIC MINOR SCALE
We may also notice that the 6-notes scales are favored for a harmonica, as the periodicity in the circular tuning is per octave and not per 2 octaves as in 7-notes scales. A good example is the Celtic minor 6-notes scale ( in semitones 2-2-3-2-2-1). This scale is used also for the hundpans and hang drums. The example is in the next table of tunning for the case of D root. The blow row is only the chord I and the draw row only the chord ii. The Celtic minor is the maximal harmonic 6-notes scale, in the sense that it is a 6-notes scale with the maximum number of standard chords. In the same way that a 7-notes diatonic scale is a maximal harmonic 7-notes scale in the sense that it is a 7-notes scale with a maximum number of standard chords (see the article https://simplerguitarlearning.blogspot. ... e-and.html )
I'm a bit late with this, but welcome to the forum!

The tuning you describe is known as extended Paddy Richter, and it's a shifted version of what's know as the EDharmonica tuning, see for instance https://edharmonica.com/

You talk of a Celtic minor scale, but if D is the root of the scale it's rather a major scale. Also, the seminote pattern describes a major scale with missing fourth. The tuning you present is fairly popular for minor playing, but with B used as the root.
Edvin Wedin

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drkcostas
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Re: THE OPTIMAL TUNING FOR ALL TYPES OF MUSIC? THE ADVANTAGES OF THE IONIAN MODE CIRCULAR TUNING

Post by drkcostas » Thu Jan 16, 2020 10:02 pm

Thank you for mentioning it. I was not aware of the EDHarmonica neither of the extended paddy Richter tuning. In the terminology that I am used in music , a scale is a sequence of notes AND ALL CYCLIC PERMUTATIONS of it, so as to differentiate it from the mode which is only in a particular sequence . So e.g. the C D E F G A B C is a diatonic scale (and Ionian mode) with root C , and the A B C D E F G A is not a different scale (e.g. A minor) but a different mode , the Aeolian mode. So there is no C major scale and A minor scale but only major and minor modes , or C Ionian mode of the C diatonic scale and A Aeolian mode of the C-diatonic scale. The Celtic minor is a fairly well known scale in handpans , and the name Celtic probably signifies centuries older use. See e.g. https://metalsounds-shop.com/en/steel-t ... ticks.html where the A C D E F G A is refered as the Celtic minor with semitones intervals 3-2-2-1-2-2. But I have not find anywhere else the term Celtic for this 6-notes scale. The Wikipedia mentions the A C D E F G (3-2-2-1-2-2) simply as Hexatonic scale here https://en.wikipedia.org/wiki/Hexatonic_scale . Thus all cyclic permutations of 3-2-2-1-2-2, like 2-2-1-2-2-3 , 2-1-2-2-3-2 (as in EDharmonica) , 1-2-2-3-2-2 .....2-2-3-2-2-1 are all the same scale (Celtic minor) in different modes . That is why I mentioned it as Celtic minor. The scale of the EDharmonica has interval structure 2-1-2-2-3-2, could be therefore called 3rd mode of the Celtic minor, while the scale that I used in the D -roor diatonic scale in my previous post is the 5th mode of the Celtic minor. Or if we drop the adjective minor (so as to refer it to only a particular mode of it, the 3-2-2-1-2-2) then we could simply say 6-notes Celtic scale. Then the HDharmonica scale and mode is the 3rd mode of the Celtic 6-notes scale, while the one that I used in my previous post is the 5th mode of the Celtic 6-notes scale. Well.....at this point the idea of Brendan and my idea coinside from different origins and goals. I am ..glad. Actually Brendan's instict was Brilliant as this Hexatonic scale is maximal harmonic in the sense that among the 6-notes scales it has a maximum number of standard chords like major , minor etc, thus it will definetly sound of better harmony than other 6-notes scales. His choice of the mode of EDharmonica is also best for Blues. I chose a different mode of it based on my tastes. Brendan definetely deserves a pattent, for this as an harmonica. On the other hand the sequence 2-3-2-2-2-1 (e.g. C-D-F-G-A-B) IS NOT A CYCLIC PERMUTATION of the 2-2-3-2-2-1 or 1-2-2-3-2-2 or 3-2-2-1-2-2 and it should be considered a different scale than the Celtic 6-notes (minor) not a different mode of it. I believe the previous discussion completely clarifies the distiction between a scale and its modes.

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