Chromatic Key
Hi,
For Christmas I got a second Chromatic (Sony SCX-64), this means that I have two in the key of C, so, am thinking of replacing the reed plates in my Hohner CX-12, the question is, which key next?
Cheers,
Graham
Do you know if this Low F option still exists? Even on the Hohner website, the only low option they have is a LC-tenor.
Graham:
Per Hohner's charts, the 1-hole blow on the F plates is F3, i.e., F below middle C. They're not shown as "low F" in product description, but have the same low sound as a Low F diatonic. Just checked both my LowF Rocket and my F CX-12, and that low F is the same. You might want to double-check, but to my ear, that lower-than-12-hole-C sound is great. Don't know where you are located, but if in the USA, rockinronsmusic.com has the F plates.
By the way, I believe that Rod Piazza used that F tuning on his classic "Devil's Foot." Check it out for a good sound reference.
-Rob
True, there's wisdom in the idea of sticking to a C chromatic, so that the notes on the page are always in the same places on the harmonica, and an idea or melody in a particular key always plays the same way.
That said, there are some cool possibilities that other keys of chromatic make available. Some of them parallel the reasons we play different keys of diatonic.
On a non-C chromatic, you have combinations of harmony notes and chords that aren't available on a C. You'll also have different slide-based moves and ornaments.
And some melodic lines don't transfer as successfully to another key on the same key of harp. But if you switch to a non-C chromatic, where those same actions will give you that line in the desired key.
So, what non-C key should you get?
Look beyound the obvious answer that "Gee I weant to play a song in the key of X, so I should get a chromatic in the key of X." In that case, you may be better off learning the song in the key of X on a C chromatic, and deepen your skills.
Without going into technical stuff, two other advanctages are:
-- Lower range (regular C is the highest key of 12-hole chromatic)
-- Mellower tone color
I already mentioned two other good reasons to use a different key of chromatic:
-- combinations of two or more notes that aren't available on a C, and-- slide-based ornaments.
To those I'll add same-breath note sequences. Your smoothest lines will always be the ones that have the fewest changes in breath direction. And C major isn't neceassarily the smoothest running scale.
WARNING: Wonking out on positions (!) on chromatic harmonicaTake the key of the harp and locate it ont the circle of fifths.
The smoothest playing major keys will be the five keys located counter-clockwise of the harp key: 12th, 11th, 10th, 9th, and 8th. The smoothest playing minor leys will be the relative minors of those: 3rd minor, 2nd minor, 1st minor, 12th minor, and 11th minor.
Thanks for your response Winslow.
So, looking at your above question your answer isn't clear to me, it could be don't or do. If it's still do, I'm not sure I understand how to choose.
Graham:
As usual Winslow has a comprehensive and practical answer, pointing out that it all depends on keys and styles (and positions) you may prefer. There are reasons that a lot of the jazz players (from Larry Adler to Toots Thielemans right up to today's greats such as Yvonnick Prené and Hermine Deurloo) stick with the C chormatic for all keys. But the jazz genre seems to lean more on single notes rather than chords. But as Winslow points out, if chording adds what you want for the music you play, certain keys of harp will work better than others.
That's why the classic blues chromatic tunes gravitate to third position (i.e., D on a C harp). When you draw anywhere on the mouthpiece, you get that great minor 6th root chord that you really can't get on a Richter-tuned diatonic. And you can get great blues sounds without ever pushing in the button.
(But ignore stories about how Little Walter never used the button. Baloney. Listen to him on Muddy Waters' recording of "Don't Go No Further." He's playing in Eb on a C chromatic, i.e., third position with the button in, and then uses the button to get amazing chromatic runs up and down the chord changes.)
So again, if you're thinking one more key, think about what sort of sound you're looking for, e.g., single notes, or that chromatic chordal sound with the minor 6h chord. Then think about how often you play in 3rd position, and how often in other positions. E.g., if you pick up a Bb chromatic in addition to your C, you can play nice blues lines without relying the button (i.e., either leave it pushed in the whole time, or leave it untouched the whole time) in C, Db, D and Eb.
Overriding all of this is understanding that in many ways the chromatic is a completely different instrument.
Keep us updated!
Ukulele Rob plays Hohner™ harmonicas customized by Kinya Pollard, The HarpSmith™
Graham,
There are real advantages to just sticking with C's, and learning to play blues in any and all keys on them. E.g., you only have to carry one chromatic in your bag. "Big Harp George" Bisharat, Mark Hummel, and Dennis Gruenling play differenent keys on C chromatics. Over the years I've gotten fairly good at 2nd position (e.g., G on the C) and 12th (F on the C), but then, those keys involve only one sharp or one flat in the key signature. Using just the C is also a good way to learn to read music.
But that said, I also have a Bb and low F. And generally play them in 3rd position. Just 'cause it's easy and intuitive.
So if you're set on another key, the Low F CX-12 conversion will give you a nice set of lower notes (more like the SCX 64's low end) and give you a great sound in 3rd position on blues in G.
Enjoy and let us all know what you end up doing.
Ukulele Rob plays Hohner™ harmonicas customized by Kinya Pollard, The HarpSmith™