AN "OBVIOUS" IMPROVEMENT TO THE STANDARD DIATONIC TUNING OF THE MOUTH HARMONICA.
The main advantages of harmonicas are
1) It is small in size, therefore movements required for different notes or chords are small
2) Because each hole has a double function, by blowing or drawing giving possibly two different notes, the movements for the melodies or chord changes are even smaller.
3) For chromatic harmonicas, the sliding lever produces usually 2 more (in total 4) notes for each hole, which makes the movements for melodies rich in notes small.
4) Harmonicas are polyphonic wind instruments. After the suggested optimal tuning for chords but also for melodies below, the sequence of holes of the harmonica gives pairs of notes or triads-chords of notes which makes the underlying harmony of the melodies directly audible with little movements. Intervals of 3rds or 4ths are realized even at successive holes, while intervals of 5ths at holes with only one hole between them. This is not so easy in melodica or accordina.
5) The metal free-reeds have a penetrating but not sol oud and penetrating sound as thew trumpet or saxophone, which makes harmonicas appropriate for practice inside apartments and homes.
6) The techniques of tremolo by the palms and note bendings give special colors to the sound not possible with melodica or accordion.
7) The ability to order custom tunings for manufactured harmonicas is a great advantage compared to other instruments like piano or accordion, where the white keys cannot be changed to any desired diatonic scale.
8) The technique of blowing or drawing in a hole is a rather easy matter, and as the kips and mouth slide on the harmonica we get the feeling of glissando as in violin, but still, the notes are discrete. This allows for an easy and fast finding of the desired note in improvisation.
9) Based on the above the improvisation with harmonicas which combines melodies with chords and simultaneously sounding pairs of notes at intervals of 3rds, is a rather more direct and easier practice compared to all other instruments.
The strong advantage of harmonica is not single notes but pairs of notes or chords, therefore we cannot ignore the very important issue of chord-completeness in a harmonica that can play solo too.
The standard tuning of a diatonic harmonic e.g. G major is the next
OR IN STEPS OF THE DIATONIC SCALE INDEPENDENT FROM THE ROOT
In chords by 3 consecutive notes it has the pattern
OR
OR
In chords by 3 consecutive notes it has the pattern
OR
If we want a chord progression with harmonic transitions (in other words by intervals of 5th or 4th, besides 2nds) that involves all 3 major chords of the diatonic scale, with blows only here it is
While if we want a chord progression with harmonic transitions (in other words by intervals of 5th or 4th, besides 2nds) that involves all 3 minor chords of the diatonic scale, with draws only here it is
Given that blows are easier and longer compared to draws that are more difficult and shorter, it is more likely that improvising with such a tuning we will have happier music rather than sad music.
The above setting is the IONIAN MODE. The MYXOLYDIAN MODE would be
And the chords would be
Although the harmonic chord progression V, IV, I, V does occur in the blows, the root chord I occurs only once, compared to the Ionian mode that occurs twice. Personally, I prefer that IONIAN MODE as the root chord is more favorable by blows.
Other scales that can be put in cyclic order are
7-NOTES DOUBLE HARMONIC MINOR
7-NOTES NEAPOLITAN SCALE
6-NOTES CELTIC MINOR
E.g. for the latter and for Celtic D minor the tunning table would be
Other types of interesting tuning involve putting the melodic by 3rd sequence of chords of a diatonic scale, to a shift by a 5th higher as in the following table for D major
DIATONIC HARMONICA FOR CHORDS MAINLY
The circular tuning as we mentioned provides all the chords of the diatonic scale, in the blow and draw rows in the melodic sequence, in other words by steps of intervals of 3rd. The blow and draw rows are in chromatic relation, in other words, they differ by an interval of 2nd. This pattern can be varied. E.g. the blow row and the draw may still remain a melodic sequence of chords but now the blow and draw rows can differ by an interval of 5th (harmonic relation), as in the next table of tuning for the D major diatonic scale. Such a tuning provides also all the chords, in blow-draw pairs that are in harmonic relation (differ by an interval of 5th) but it is not intended so as to play melodies of known songs, but rather to play mainly chords in pairs of harmonic relations and improvise almost randomly and still the result is harmonic and melodic to listen , because it always plays an harpeggio of a chord.
Probably a happier alternative than the one in the table below would be that the draw row has lower pitch chords instead of higher. Thus for the first pair instead of blow=d4 f#4 a4 and draw=a4 c5 e5 , the blow=d4 f#4 a4 and draw=a3 c4 e4 .
In case we want also to more chords , then we should use the slide feature and design the tuning as
follows (The non-pushed slide is as befor , while by pushingte slide we create another harmonc pair of blow-draw rows but at an interval of 2nd away from the previous)
EACH PAIR OF BLOW-DRAW HAS THE NEXT PATTERNOF CHORDS
And the sequence of notes in intervals of semitones is
+7-3+7-4+7-3+6-3+7-4+7-3+7-4+7 etc
We could use a simplified version ofthe tuning so that at the blow row there is only one chord and at the draw row only one chord two major chords an intevalof fifth apart. E.g. F major-C major
as in the table below. Then we would have esentially a 5-tonic scale the
2-2-3-4-1 (called also greek pentatonic in post 117).
If we want to make an harmonica that plays only the minor pentatonic scale, it is really difficult. Because the two main chords of it e.g. for A minor pentatonic is Am and G major, which are relative chords. Thus te most obvious is toput then on the same blow or draw row. But what to put in the other as there is only one more note ? (A-C-E , C-E-G, the one note outside is D) The solutions is to create
a power chord A-D-A which is also a root power chord. And as a power chord is strong end better be at the blow row. Thus the solution inthe table below. This harmonica plays only the minor pentatonic scale, and 3 chords Am, Cmajor at thr draw raw and A power chord at the blow row.
Also, an alternative mixture of the Richter with the circular is the next, where in the first 3 holes is as in the Richter, but the last two octaves are circular. It has again all the 7 chords of the diatonic scale.
A combined tuning of the Richter and circular, has the chords V, I at the first 3 holes and it is identical with the Richter in the first 3 holes but it has the Ionian circular tuning for the rest of the holes from 4 to 10. It has again all the 7 chords of the diatonic scale, and the melodies are played on the higher 3 octaves, while the lower bass 3 holes are left for the chords I, V, as bass or chord-harmonica.
The only advantage of the standard chromatic tuning is that it is periodic per each octave. Nevertheless, the cost of it is double
1) There is a significant loss in chord completeness
2) We must reverse blowing drawing at the last notes 7 , 1 of each octave.
I believe it is better to sacrifice the periodicity per octave and have periodicity per 2 octaves and gain
1) Chord completeness
2) no reversing of blow-draw at the last pair of each octave.
3) Because during the minimum of 2 octaves the blow-draw properties of the notes reverse there is the possibility of breath-balance by shifting the melodic themes to the adjacent octave.
Or for 13 holes harmonica like the lucky 13 by Brendan Power:
In general harmonicas of 13 or 14 holes could devote the first 5-6 holes for playing in pairs chords X1(blow)-X2(draw), X4(blow)-X3(draw) (or any other triad of chords from a diatonic scale e.g. X4=X1=I ,X2=V, X3=IV or X4=X1=I ,X2=IV X3=V or X4=X1=I ,X2=V, X3=ii or X4=X1=I ,X2=ii X3=V or X4=X1=vi ,X2=V, X3=IV or X1=I ,X2=iii X3=IV or X1=I , X2=vi , x3=V or X1=I , X2=iii , X3=V etc) and the rest of 8-7 holes for 2 full octaves with circular tuning for melodies and a full set of 7 chords. Three chords is a simple and very usual set of chords for easy improvisations.
In the next examples X1=X4.
E.g. E.g, for C major and chords X1=I, X2=V, X3=IV
Or for C major and chords X1=I, X2=V X3=ii
According to the wikipedia (https://en.wikipedia.org/wiki/Blues_scale), a 6-notes version of the major country-blues scale is e.g. the
C, D, D♯/E♭, E, G, A, with interval structure 2-1-1-3-2-3. Or if we prefer a root at D, then D-E-F-F#-A-B-D. Below is the table for a harmonica with such a tuning.
On the other hand historically the Byzantine emptire was utilizing many 7-notes scales, not possible to include in the Bach equal tempered 12-notes chromatic scale. But 3 chromatic sacles of them are possible more or less to include, Two of the chromatic such scales are the harmonic minor (e.g. from the A natural minor we derive the harmonic minor by giving a sharp at G, thus A B C D E F G# A , with interval structure 2-1-2-2-1-3-1) and the double harmonic minor (an additional sharp to d thus A B C D# E F G# A , with interval structure 2-1-3-1-1-3-1). They where used mainly in religious hymns in the Churchs. But the 3rd such chromatic scale was used mainly in the Emperors palace and other cosmic events and was called parachromatic (see e.g. http://www.huygens-fokker.org/docs/modename.html http://www.huygens-fokker.org/scala/ ). The Byzantine parachromatic scale is called also inverse Persian or Purvi Theta scale. The part 2-1-1-3 is also known as samba pentachord in arabian culture, while the part 1-1-3 is known since ancient Greece time as the tonal tetrachord of the chromatic family. The interval structure of the parachromatic Byzantine scale is 2-1-1-3-1-1-3 . Thus starting from D , it would be D, E, F, Gb ,A, Bb, B , D We may observe that it is a 7-notes version of the Blues scale, and a tuning table for a harmonicas at the D4- major 6-notes Blues-country scale and a D4- parachromatic 7-notes scales are given below. (see also article https://simplerguitarlearning.blogspot.com/2019/06/235-parachromatic-byzantine-overtone.html )
CHROMATIC GENDRE: MORE 6-NOTES SCALES THAT ARE BEAUTIFUL FOR HARMONICAS. COMBINING PARTS OF THE PENTATONIC WITH CHROMATIC PARTS.
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
We noticed in the previous post that the Blues-country scale with interval structure 2-1-1-3-2-3, (and any cyclic permutation of it, is still the same scale although a different mode of it) sounds partially as the pentatonic scale 2-2-3-2-3 and partially with chromatic part 1-1-3 which was identified as the ancient Greek tonal tetrachord of the chromatic family. By writting the Blues scale in a different 5th mode of it (cyclic permutation) makes it more clear: 2-3-2-1-1-3 . The 2-3-2 part is inherited from the pentatonic scale 2-2-3-2-3 and the 1-1-3 is the ancient Greel tonal tetrachord of the chromatic family (that exist also in the Byzantine emperor parachromatic 7-notes scale). Such scales may be obviously be used in Gypsy jazz, but in ordinary western jazz too.
Other parts of the pentatonic sacle are also the 2-2-3,
1) Thus we may discover the next hexatonic scale that should sound similarly 2-2-3-1-1-3 and it is not a different mode of the Blues-country scale. In the tables below we show this tuning , when starting from the root D . Thus D-E-F#-A-Bb-B-D. It is still a 6-notes version of the Byzantine parachromatic scale of the previous post but different from the Blues-country scale, still sounding in a similar way.
2) There are the invesres of course of the previous hexatonic scales a) the inverse ofthe Blues-country in the mode 2-3-2-1-1-3, which is the 2-3-2-3-1-1 (after inverting and taking a cyclic permutation of it). b) The inverse of the 2-2-3-1-1-3, which is the 3-2-2-1-1-3 ((after inverting and taking a cyclic permutation of it). We write them always so as to separate the pentatonic part, and the chromatic part.
3) If we combine now the pentatonic part 2-3-2 (of the Blues scale) with the chromatic part 1-3-1 (which exists in the harmonic minor) we get a hexatonic scale 2-3-2-1-3-1, that sounds partially as pentatonic and partially as chromatic (harmonic minor). It is a 6-notes version of the harmonic minor scale,perfect for harmonicas that favor in the cyclic tuningthe heaxtonic scales. Some times it is also called the Erik Satie hexatonic scale. (See e.g. the video https://www.youtube.com/watch?v=okU96j6ThIM&t=8s )We give below the tuning table when starting from the root D. And of course there is the inverse of it again which is not a different mode of it. D-E-G-A-Bb-C#-D.
4) If we combine now the pentatonic scale part 3-2-2 with the chromatic part 1-3-1 (which exists in the harmonic minor) we get a hexatonic scale
3-2-2-1-3-1, or at a different mode as 2-1-3-1-3-2 that sounds partially as pentatonic and partially as chromatic (harmonic minor). It is a 6-notes version of the Neapolitan scale 2-1-3-1-1-2-2 (e.g. from D it would be D-E-F-G#-A-Bb-C-D), perfect for harmonicas that favor in the cyclic tuning the hexatonic scales. We give below the tuning table when starting from the roor D thus D-E-F-G#-A-C-D , with interval structure at the mode 2-1-3-1-3-2 .And of course there is the inverse of it again which is not a different mode of it.
5) If we start with the double harmonic minor, e.g. from A, it is A-B-C-D#-E-F-G#-A which has interval structure 2-1-3-1-1-3-1 , we may derive an appropriate hexatonic which contains a part ofthe pentatonic scale ,which here is the 3-2-3. The resulting scale is the 3-2-3-1-2-1, or in a different mode the 2-1-3-2-3-1. Starting from the root D it is D-E-F-G#-Bb-C#-D.At Blow it is Bb major and at Draw it is C#minor
The mode 1-2-1-3-2-3 e.g. F# G ABb C# D# would give at the Blow row a single minor chord F# and at the Drow row a major chord D# .
There are also similar hexatonic scales that are symmetric like 3-2-1-3-2-1 or 3-1-2-3-1-2 or 1-2-3-1-2-3. The latter when placed to an harmonica tuning it gives at the blow row a single chord and at the draw row again a single chord E.g. A-Bb-C-D#-E-F#-A.
ENHARMONIC GENDRE: MORE HEXATONIC SCALES FOR HARMONICAS : UTILISING AKEBONO 5-NOTES SCALE
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
One natural way to derive a hexatonic scale is to require that part ofthe hexatonic scale is either in the pentatonic or in the 7-notes diatonic. Thus here the two versions 2-2-2-1-4-1 and 2-2-2-4-1-1 may be obtained. In notes relevant to the D major scale at appropriate modes are 1) 4-1-2-2-2-1 as D-F#-G-A-B-C#-D and 2) 1-2-2-2-4-1 as A-B-C#-F-F#-G-A
Below are tables of tuning for such harmonicas. The first of them has been called in post 204 the Cretan hexatonic
Still one more hexatonic with rather familiar sound is the 2-2-1-2-4-1, which can be obtained my omiting a note from the 7-notes diatonic scale E.g. C D E F G B C. For the D major scale it would be D E F# G A C# D. Its table is shownbelow when starting from C3. It is an harmonic not to play all possible songs in it (such would be a cyclic tuning one) but to play melodies that are easily accompanied by two only chords the I=1Major, and viidim=7diminished (which sounds like the V7) as all the blow row is the 1major and all the draw ros is the 7diminshed.
And there is also the very beatiful 2-2-1-4-2-1 that when tuned at an harmonic gives the Blow-row a minor chord and the draw-row a dimished chord.
Similarly the 2-2-1-2-1-4 or D E F# G A Bb D which can be considered a hexatonic version of the G melodic minor.
Other beatiful such scales that combine the Chromatic with the enharmonic gendre are the
2-1-4-1-3-1. The Blow-row is a major chord and the draw-row another major chord one semitone apart. We give the tuning table below when starting from G3 as Hexatonic _enharmonic_harmonic_minor.
More examples are symmetric hexatonic scales like the 1-1-4-1-1-4, or non-cyclic permutations of them like 4-1-4-1-1-1, and 4-4-1-1-1-1.
I have not checked exactly some similar ideas of Brendan Power for Chinese or Japanese-like tunings of the harmonica, but maybe some tunings might coincide.
Another case is the pair of chords Blow=6m draw=5#dim E.g. in the G minor it is
Blow=G Bb D and Draw=A C F#, thus the hexatonic of the enharmonic gendre 2-1-2-2-4-1.
G A Bb C D F# with the tuning table below
More such scales are the
3-4-1-1-2-1
3-4-1-2-1-1
And even more of them in post 225.
CHROMATIC TUNING
The standard chromatic tuning e.g. for C major scale is
Again this tuning is not complete in all chords of the diatonic scale.
The only advantage of this tuning is that it is periodic per each octave. Nevertheless the costs of itis double
1) There is significant loss in chord completness
2) We must reverse blowing drawng at the last notes 7 , 1 of each octave.
I believe it is better to sucrifice the periodicity per octave and have periodicity per 2octaves and gain
1) Chord completness
2) no reversing of blow-draw at the last pair of each octave.
3) Because during the minimum of 2 octaves the blow-draw properties of the notes reversem there is the possibility of breath-balance by shifting the melodic themes to the adjacent octave.
The next chromatic tuning does have all the chords of the diatonic scale. Furthermore, by not producing sharps for notes 3 and 7 (E and B) which is not necessary for the completeness of chromatic notes, we have additional advantages in the chords.
Harmonica is a marvelous little instrument with nice harmonic sound.
The standard Richter-tuning is specializing in playing the Blues, and the chords I, ii, V.
For this reason I refused to learn harmonica when I was a student as it was that it was too much specializing in Blues, and I could play in order the melodies only in the middle. Now that I discovered that you can configure your harmonica the way you want I decided to learn harmonica. There is one only aspect that I do like the Richter tuning: It forces you to play with 2 major chords and one only minor thus forces youtoplay mainly happy music! I realize now that with the Ionian circular tuning the harmonica might have become, the most friendly instrument as friendly as the Celtic harp or Chinese panflude (which is with a single flexible blow pipe in the mouth and at the other end a sliding on a driver blowing-device on all tubes, one each time).
For this reason I refused to learn harmonica when I was a student as it was that it was too much specializing in Blues, and I could play in order the melodies only in the middle. Now that I discovered that you can configure your harmonica the way you want I decided to learn harmonica. There is one only aspect that I do like the Richter tuning: It forces you to play with 2 major chords and one only minor thus forces youtoplay mainly happy music! I realize now that with the Ionian circular tuning the harmonica might have become, the most friendly instrument as friendly as the Celtic harp or Chinese panflude (which is with a single flexible blow pipe in the mouth and at the other end a sliding on a driver blowing-device on all tubes, one each time).
But what if we want a harmonica that is not specializing in any particular type of music? What would be then the optimal tuning? Here we answer this question.
The main advantages of harmonicas are
1) It is small in size, therefore movements required for different notes or chords are small
2) Because each hole has a double function, by blowing or drawing giving possibly two different notes, the movements for the melodies or chord changes are even smaller.
3) For chromatic harmonicas, the sliding lever produces usually 2 more (in total 4) notes for each hole, which makes the movements for melodies rich in notes small.
4) Harmonicas are polyphonic wind instruments. After the suggested optimal tuning for chords but also for melodies below, the sequence of holes of the harmonica gives pairs of notes or triads-chords of notes which makes the underlying harmony of the melodies directly audible with little movements. Intervals of 3rds or 4ths are realized even at successive holes, while intervals of 5ths at holes with only one hole between them. This is not so easy in melodica or accordina.
5) The metal free-reeds have a penetrating but not sol oud and penetrating sound as thew trumpet or saxophone, which makes harmonicas appropriate for practice inside apartments and homes.
6) The techniques of tremolo by the palms and note bendings give special colors to the sound not possible with melodica or accordion.
7) The ability to order custom tunings for manufactured harmonicas is a great advantage compared to other instruments like piano or accordion, where the white keys cannot be changed to any desired diatonic scale.
8) The technique of blowing or drawing in a hole is a rather easy matter, and as the kips and mouth slide on the harmonica we get the feeling of glissando as in violin, but still, the notes are discrete. This allows for an easy and fast finding of the desired note in improvisation.
9) Based on the above the improvisation with harmonicas which combines melodies with chords and simultaneously sounding pairs of notes at intervals of 3rds, is a rather more direct and easier practice compared to all other instruments.
10) Because the sliding of the lips by blowing only or drawing only in consecutive holes is easier than alternating blowing and drawing while sliding the lips, the result is that more often we produce improvisational melodies with more 3rds than 2nds which is more melodic and harmonic rather than chromatic, and so the improvisation is harmonically and melodically more beautiful. Of course, this is the same with the double two zamponia panflute but the additional advantage of the harmonica is that because of the small size of the holes we can produce easily chords or simultaneously sounding pairs of notes at intervals of 3rds.
The strong advantage of harmonica is not single notes but pairs of notes or chords, therefore we cannot ignore the very important issue of chord-completeness in a harmonica that can play solo too.
The standard tuning of a diatonic harmonic e.g. G major is the next
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | |
|---|---|---|---|---|---|---|---|---|---|---|
| blow | G | B | D | G | B | D | G | B | D | G |
| draw | A | D | F♯ | A | C | E | F♯ | A | C | E |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | |
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1 | 3 | 5 | 1 | 3 | 5 | 1 | 3 | 5 | 1 |
| draw | 2 | 5 | 7 | 2 | 4 | 6 | 7 | 2 | 4 | 6 |
| blow | I | I | I | |||||||
|---|---|---|---|---|---|---|---|---|---|---|
| draw | V | ii | vii |
OR
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 1M | 1M | |||||||
| draw | 5M | 2m | 7d |
We notice some irregularities
1) The blow upper row repeats the root chord G major and the horizontal sequence of intervals is not alternating major-minor 3rds but also a 4th. Thus there is no upper horizontal uniformity of intervals
2) The lower draw row again is not uniform. From the D and right there is an alternation of major-minor intervals, but the first A-D is a 4th and the 6-7 is an interval of 2nd. The sequence repeats
3) Non-uniformity exists also in the vertical intervals, that are mainly 2nds but the 2 and 3 are 3rds
4) Only the chords of the steps of the diatonic scale 1, 5, 2, 7,6 are playable horizontally. The chords 3, 4 are missing.
The logic of why the notes are placed as they are seen seems to be so as to play chords for 3 consecutive notes, while at the same time provide all the notes of the diatonic scale.
Now if we set the requirements that
a) Play as many chords as possible by 3 consecutive notes
b) Provide all the notes of the diatonic scale
c) Make the design as symmetric as possible for intuitive reasons
Then the ionian mode circular tuning is the very well known double row panflute arrangement
(e.g. zamponia panflute)
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | |
|---|---|---|---|---|---|---|---|---|---|---|
| blow | G | B | D | F# | A | C | E | G | B | D |
| draw | A | C | E | G | B | D | F# | A | C | E |
OR
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | |
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1 | 3 | 5 | 7 | 2 | 4 | 6 | 1 | 3 | 5 |
| draw | 2 | 4 | 6 | 1 | 3 | 5 | 7 | 2 | 4 | 6 |
In chords by 3 consecutive notes it has the pattern
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | I | iii | V | vii | ii | IV | vi | I | ||
| draw | ii | IV | vi | I | iii | V | vii | ii |
OR
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 3m | 5M | 7d | 2m | 4M | 6m | 1M | ||
| draw | 2m | 4M | 6m | 1M | 3m | 5M | 7d | 2m |
If we want a chord progression with harmonic transitions (in other words by intervals of 5th or 4th, besides 2nds) that involves all 3 major chords of the diatonic scale, with blows only here it is
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | I | V | IV | I | ||||||
| draw |
While if we want a chord progression with harmonic transitions (in other words by intervals of 5th or 4th, besides 2nds) that involves all 3 minor chords of the diatonic scale, with draws only here it is
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | ||||||||||
| draw | ii | vi | iii | vii |
The above setting is the IONIAN MODE. The MYXOLYDIAN MODE would be
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | |
|---|---|---|---|---|---|---|---|---|---|---|
| blow | D | F# | A | C | E | G | B | D | F# | A |
| draw | E | G | B | D | F# | A | C | E | G | B |
And the chords would be
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | V | vii | ii | IV | vi | I | iii | V | ||
| draw | vi | I | iii | V | vii | ii | V | vi |
Although the harmonic chord progression V, IV, I, V does occur in the blows, the root chord I occurs only once, compared to the Ionian mode that occurs twice. Personally, I prefer that IONIAN MODE as the root chord is more favorable by blows.
Other scales that can be put in cyclic order are
7-NOTES DOUBLE HARMONIC MINOR
7-NOTES NEAPOLITAN SCALE
6-NOTES CELTIC MINOR
E.g. for the latter and for Celtic D minor the tunning table would be
DIATONIC HARMONICA FOR CHORDS MAINLY
The circular tuning as we mentioned provides all the chords of the diatonic scale, in the blow and draw rows in the melodic sequence, in other words by steps of intervals of 3rd. The blow and draw rows are in chromatic relation, in other words, they differ by an interval of 2nd. This pattern can be varied. E.g. the blow row and the draw may still remain a melodic sequence of chords but now the blow and draw rows can differ by an interval of 5th (harmonic relation), as in the next table of tuning for the D major diatonic scale. Such a tuning provides also all the chords, in blow-draw pairs that are in harmonic relation (differ by an interval of 5th) but it is not intended so as to play melodies of known songs, but rather to play mainly chords in pairs of harmonic relations and improvise almost randomly and still the result is harmonic and melodic to listen , because it always plays an harpeggio of a chord.
Probably a happier alternative than the one in the table below would be that the draw row has lower pitch chords instead of higher. Thus for the first pair instead of blow=d4 f#4 a4 and draw=a4 c5 e5 , the blow=d4 f#4 a4 and draw=a3 c4 e4 .
follows (The non-pushed slide is as befor , while by pushingte slide we create another harmonc pair of blow-draw rows but at an interval of 2nd away from the previous)
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 3m | 5M | 7d | 2m | 4M | 6m | 1M | ||
| draw | 5M | 7d | 2m | 4M | 6m | 1M | 3m | 5M |
And the sequence of notes in intervals of semitones is
+7-3+7-4+7-3+6-3+7-4+7-3+7-4+7 etc
We could use a simplified version ofthe tuning so that at the blow row there is only one chord and at the draw row only one chord two major chords an intevalof fifth apart. E.g. F major-C major
as in the table below. Then we would have esentially a 5-tonic scale the
2-2-3-4-1 (called also greek pentatonic in post 117).
a power chord A-D-A which is also a root power chord. And as a power chord is strong end better be at the blow row. Thus the solution inthe table below. This harmonica plays only the minor pentatonic scale, and 3 chords Am, Cmajor at thr draw raw and A power chord at the blow row.
Also, an alternative mixture of the Richter with the circular is the next, where in the first 3 holes is as in the Richter, but the last two octaves are circular. It has again all the 7 chords of the diatonic scale.
A combined tuning of the Richter and circular, has the chords V, I at the first 3 holes and it is identical with the Richter in the first 3 holes but it has the Ionian circular tuning for the rest of the holes from 4 to 10. It has again all the 7 chords of the diatonic scale, and the melodies are played on the higher 3 octaves, while the lower bass 3 holes are left for the chords I, V, as bass or chord-harmonica.
The only advantage of the standard chromatic tuning is that it is periodic per each octave. Nevertheless, the cost of it is double
1) There is a significant loss in chord completeness
2) We must reverse blowing drawing at the last notes 7 , 1 of each octave.
I believe it is better to sacrifice the periodicity per octave and have periodicity per 2 octaves and gain
1) Chord completeness
2) no reversing of blow-draw at the last pair of each octave.
3) Because during the minimum of 2 octaves the blow-draw properties of the notes reverse there is the possibility of breath-balance by shifting the melodic themes to the adjacent octave.
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
|
|
blow
|
1
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3
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5
|
1
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3
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5
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7
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2
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4
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6
|
draw
|
2
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5
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7
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2
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4
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6
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1
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3
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5
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7
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1
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2
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3
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4
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5
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6
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7
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8
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9
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10
| |
blow
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C
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E
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G
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C
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E
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G
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B
|
D
|
F
|
A
|
draw
|
D
|
G
|
B
|
D
|
F
|
A
|
C
|
E
|
G
|
B
|
Or for 13 holes harmonica like the lucky 13 by Brendan Power:
In general harmonicas of 13 or 14 holes could devote the first 5-6 holes for playing in pairs chords X1(blow)-X2(draw), X4(blow)-X3(draw) (or any other triad of chords from a diatonic scale e.g. X4=X1=I ,X2=V, X3=IV or X4=X1=I ,X2=IV X3=V or X4=X1=I ,X2=V, X3=ii or X4=X1=I ,X2=ii X3=V or X4=X1=vi ,X2=V, X3=IV or X1=I ,X2=iii X3=IV or X1=I , X2=vi , x3=V or X1=I , X2=iii , X3=V etc) and the rest of 8-7 holes for 2 full octaves with circular tuning for melodies and a full set of 7 chords. Three chords is a simple and very usual set of chords for easy improvisations.
In the next examples X1=X4.
E.g. E.g, for C major and chords X1=I, X2=V, X3=IV
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
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11
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12
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13
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C3
|
E3
|
G3
|
C4
|
E4
|
G4
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D5
|
F5
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A5
|
C6
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E6
|
G6
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B6
|
G3
|
B3
|
D4
|
F4
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A4
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C5
|
E5
|
G5
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B5
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D6
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F6
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A6
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C7
|
Or
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
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11
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12
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13
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C3
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E3
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G3
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C4
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E4
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G4
|
C5
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E5
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G5
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B6
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D6
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F6
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A6
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G3
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B3
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D4
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F4
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A4
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C5
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D5
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F5
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A5
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C6
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E6
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G6
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B6
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And for C major and chords X1=I, X2=ii X3=V
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
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11
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12
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13
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C3
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E3
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G3
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C4
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E4
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G4
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C5
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E5
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G5
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B6
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D6
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F6
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A6
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D3
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F3
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A3
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G4
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B4
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D5
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D5
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F5
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A5
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C6
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E6
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G6
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B6
|
Or for C major and chords X1=I, X2=V X3=ii
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
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11
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12
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13
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C3
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E3
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G3
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C4
|
E4
|
G4
|
C5
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E5
|
G5
|
B6
|
D6
|
F6
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A6
|
G3
|
B3
|
D4
|
D4
|
F4
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A4
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D5
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F5
|
A5
|
C6
|
E6
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G6
|
B6
|
As alternative to half chord-based and half-scaled based design ofthe tuning ofthe harmonica, we mayhave the multi-scales based design.
E.g. we may utilize half of the first part of the above harmonica to play the Blues 6-notes scale, and the rest the full diatonic scale (cyclic tuning) thus in total and for the C major scale as below
Blues+diatonic
If we consider e.g. the C the blues 6-notes scale to to be the C Eb E F# G Bb (intervals in semitones
3-1-2-1-3-2) which is a 6-notes simplification of the double harmonic minor 7-notes scale
C Eb E F F# G Bb (intervals in semitones 3-1-2-1-3-1-1), then the tui would be
E.g. we may utilize half of the first part of the above harmonica to play the Blues 6-notes scale, and the rest the full diatonic scale (cyclic tuning) thus in total and for the C major scale as below
Blues+diatonic
If we consider e.g. the C the blues 6-notes scale to to be the C Eb E F# G Bb (intervals in semitones
3-1-2-1-3-2) which is a 6-notes simplification of the double harmonic minor 7-notes scale
C Eb E F F# G Bb (intervals in semitones 3-1-2-1-3-1-1), then the tui would be
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
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11
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12
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13
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C3
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E3
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G3
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C4
|
E4
|
G4
|
C5
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E5
|
G5
|
B6
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D6
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F6
|
A6
|
Eb3
|
F#3
|
Bb3
|
Eb4
|
F#4
|
Bb4
|
D5
|
F5
|
A5
|
C6
|
E6
|
G6
|
B6
|
Notice that in the blowing row we have the chord C E G43 times initialy , while in the draw raw, the
major chord Eb F# Bb and the major chord F# Bb Eb, and the augmented chord F# Bb D.
On the other habd if we consider that the Blues scale is the major country 6-notes scale
C D Eb E G A C (interval structure 2-1-1-3-2-3) which is a 6-notes simplification of the 7-notes Byzantine parachromatic scale C D Eb E G Ab A C (interval structure 2-1-1-3-1-1-3) Then the tuning would be
See alo post 245 about the first 4 blue notes of diatonic scale.
3 OR 4 CHORDS HARMONICAS
The rule for 2 or 3 or 4 chords-based tunings is that
1) horizontally either in the blow row or in the draw row are not allowed intervals other than 3rds, 4ths, 5ths for reasonsof harmony.
2) But any inversion of the chord is allowed
3) And of course you try to put as many notes of the diatonic scale as possible and with the right pitch order, so that in cyclic sequence they are in the smalest possible intervals
The way to play such harmonicas is better not uniform distribution of time among the notes but to spend more time in the 3 zones (either blow or draw) of 3 consecutive notes that define the pattern of the 3 or 4 chords this 3+3 +3 holes.
If we want to set the 3 basic major chords of a diatonic scale 1M, 4M, 5M at the blow row ,together with their closest from below diminished chords (that resolve to them) that is 7dim, 3dim, 4#dim , then this is possible with a bonus of two additional chords apearing in the draw row the 3m and 6m.
Here is how this can be done for the G major diatonic scale in the next table. The 3 basic major chords are Gmajor, Cmajor Dmajor in the blow row, and the 3 diminished chords that the resolve to them at the draw row are the F#dim, Bdim, C#dim. The bonus chordss are the Bm and Em. The total 3 octaves scale has interval structure 2-2-1-2-4-1-4-1-2-2-1-4-4-1-2-2-1-2-2
The chord positions are as in the next table
If someone does not want to utilize the resolving diminshed chords and wants to remain inside the diatonic scale on way to do it is as in the next table for the C major scale
Notice that the main goal of such a tuning is not to play all posible songs of the C major scale (this is done by the cyclic tuning) but to play songs and improvise over the 3 major chords of the scale 1M 4M 5M.
Still another version of the 1M 4M 5M that has 3 times the 1M 2 times the 5M and one time the 4M is the next forthe Fmajor scale
The chord positions are as in the next table
And still another alternative is the
With tuning table at the C major the one below
If on the other hand we want to substitute the 4M chord with the minor relative 6m , then a possible tuning for the F major scale would be the next table
While if we want as in the blues to substitute the 4M with the lower relative chord 2m, then a possible tuning would be as in the next table for the G major scale. IN MY OPINION THE RICHTER TUNINGI SNOT THE OPTIMAL TUNING TO PLAY IMPROVISATIONS OVER THE TRIAD OF CHORDS I ii V (or 1M 2m 5M) . The next tuning iS CLOSER TO THE OPTIMAL FOR IMPROVISATIONS OVER THE TRIAD I ii V.
Stil another version o 1M , 2m 5M is the next for the C major scale
We may compare it with the Richter tuning
For a minor chords triad like the iii, vi, ii, (3m , 6m, 2m) the next table of tuing is a way for the Bb diatonic scale
The full 3-octaves scale in semitones for te abive harmonica is 2-1-4-3-2-3-2-1-4-2-1-4-3-2-2
Notice that there in it the inverse of the Greek-Richter pentatonic 2-1-4-3-2 (see post 117 ) which is maximal harmonic, and is repeating twice in the full 3-octaves scale. Also there is the 3-2-3-2 which is 4 notes part of the standard pentatonic scale 3-2-3-2-2.
For triads like 1M 4M 3m the next table is a way for the G major diatonic scale
MORE TUNIGS ARE POSSIBLE WITH 4 CHORDS LIKE THE NEXT PATTERNS
THE OBVIOUS ADVANTAGES OF THE IONIAN CIRCULAT TUNING ARE
0) All types of music can be played, as with the piano. Actually, this tuning occurs in Zamponia panflutes with double rows of tubes.
major chord Eb F# Bb and the major chord F# Bb Eb, and the augmented chord F# Bb D.
On the other habd if we consider that the Blues scale is the major country 6-notes scale
C D Eb E G A C (interval structure 2-1-1-3-2-3) which is a 6-notes simplification of the 7-notes Byzantine parachromatic scale C D Eb E G Ab A C (interval structure 2-1-1-3-1-1-3) Then the tuning would be
1
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2
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3
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4
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5
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6
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7
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8
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9
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10
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11
|
12
|
13
|
C3
|
Eb3
|
G3
|
C4
|
Eb4
|
G4
|
C5
|
E5
|
G5
|
B6
|
D6
|
F6
|
A6
|
D3
|
E3
|
A3
|
D4
|
E4
|
A4
|
D5
|
F5
|
A5
|
C6
|
E6
|
G6
|
B6
|
See alo post 245 about the first 4 blue notes of diatonic scale.
3 OR 4 CHORDS HARMONICAS
The rule for 2 or 3 or 4 chords-based tunings is that
1) horizontally either in the blow row or in the draw row are not allowed intervals other than 3rds, 4ths, 5ths for reasonsof harmony.
2) But any inversion of the chord is allowed
3) And of course you try to put as many notes of the diatonic scale as possible and with the right pitch order, so that in cyclic sequence they are in the smalest possible intervals
The way to play such harmonicas is better not uniform distribution of time among the notes but to spend more time in the 3 zones (either blow or draw) of 3 consecutive notes that define the pattern of the 3 or 4 chords this 3+3 +3 holes.
The role of such 3 or 4 chords tuning of harmonicas is not to play all possible songs and melodies (this is best done by the cyclic tuning) but to improvise on melodies that are accompanied only with these 3 or 4 chords AND to play easily only these 3 or 4 chords as it is
simple to know where to find them. This combination of solo playing and chord playing when estricted to 3 or 4 chords only is best done with such tunings and not with the universal cyclic tuning than can play of course the same thing but in a quite more difficult way requiring significant skill. If the improvisation melody in such 3-4 chords harmonicas requires passing notes that exactly missing notes from the sequence ofthe diatonic scale, then bending of notes might apply. On the other hand the missing notes define subscales of the diatonic scale that are beautiful and fitting best with the chords
If we want to set the 3 basic major chords of a diatonic scale 1M, 4M, 5M at the blow row ,together with their closest from below diminished chords (that resolve to them) that is 7dim, 3dim, 4#dim , then this is possible with a bonus of two additional chords apearing in the draw row the 3m and 6m.
Here is how this can be done for the G major diatonic scale in the next table. The 3 basic major chords are Gmajor, Cmajor Dmajor in the blow row, and the 3 diminished chords that the resolve to them at the draw row are the F#dim, Bdim, C#dim. The bonus chordss are the Bm and Em. The total 3 octaves scale has interval structure 2-2-1-2-4-1-4-1-2-2-1-4-4-1-2-2-1-2-2
The chord positions are as in the next table
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 4M | 5M | |||||||
| draw | 7d | 3d | 4#d |
If someone does not want to utilize the resolving diminshed chords and wants to remain inside the diatonic scale on way to do it is as in the next table for the C major scale
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 4M | 1M | |||||||
| draw | 7d | 5M | 7d |
Still another version of the 1M 4M 5M that has 3 times the 1M 2 times the 5M and one time the 4M is the next forthe Fmajor scale
The chord positions are as in the next table
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 4M | 1M | |||||||
| draw | 5M | 1M | 5M |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 1M | 4M | |||||||
| draw | 7d | 5M | 1M |
If on the other hand we want to substitute the 4M chord with the minor relative 6m , then a possible tuning for the F major scale would be the next table
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 6m | 1M | |||||||
| draw | 7d | 5M | 7d |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 2m | 1M | |||||||
| draw | 7d | 5M | 7d |
Stil another version o 1M , 2m 5M is the next for the C major scale
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 5M | 1M | |||||||
| draw | 7d | 2m | 7d |
We may compare it with the Richter tuning
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 1M | 1M | |||||||
| draw | 5M | 2m | 7d |
For a minor chords triad like the iii, vi, ii, (3m , 6m, 2m) the next table of tuing is a way for the Bb diatonic scale
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 6m | 2m | 6m | |||||||
| draw | 3m | 6m | 3m |
Notice that there in it the inverse of the Greek-Richter pentatonic 2-1-4-3-2 (see post 117 ) which is maximal harmonic, and is repeating twice in the full 3-octaves scale. Also there is the 3-2-3-2 which is 4 notes part of the standard pentatonic scale 3-2-3-2-2.
For triads like 1M 4M 3m the next table is a way for the G major diatonic scale
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 4M | 1M | |||||||
| draw | 7d | 3m | 7d |
MORE TUNIGS ARE POSSIBLE WITH 4 CHORDS LIKE THE NEXT PATTERNS
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 4M | 5M | 4M | |||||||
| draw | 1M | 2m | 1M |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 4M | 5M | 4M | |||||||
| draw | 3m | 1M | 3m |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 1M | 4M | 1M | |||||||
| draw | 7d | 3m | 7d |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | ||
|---|---|---|---|---|---|---|---|---|---|---|
| blow | 4M | 5M | 4M | |||||||
| draw | 1M | 6m | 1M |
THE OBVIOUS ADVANTAGES OF THE IONIAN CIRCULAT TUNING ARE
0) All types of music can be played, as with the piano. Actually, this tuning occurs in Zamponia panflutes with double rows of tubes.
1) The blow upper row is alternating major-minor 3rds only. Any 3 consecutive notes are a chord of the diatonic scale
2) The draw lower row is alternating major-minor 3rds only. Any 3 consecutive notes are a chord of the diatonic scale
3) The vertical intervals ( draw-next hole blow), are only intervals of 2nds. You know where to find each note, not because you have played the tuning 50,000 times but because they are in the natural order of their pitch.
4) All the chords of the steps of the diatonic scale 1, 2,3,4,5,6, 7, are playable horizontally. No chord is missing.
5) All the 3 major chords in harmony chord progression occur in the blows
6) All 3 minor chords in harmonic progression occur in the draws.
7) Because the periodicity is not per one octave but per two octaves, all the notes in the first two octaves occur, either as blows or as draws which not only give a balance in the breath but also allows more bends to occur as draw-bends which is easier.
8) The Ionian mode of this tuning seems to be more favored by the blows compared t the Myxoliodian mode.
9) A complete balance of drow and blow breaths can be achieved with the chromatic technology, where instead of adding sharps or flats we interchange drow and blow property of the same note (as in the example table below)
10) We may enhance the octaves range by the chromatic harmonica technology, where instead of adding sharps or flats we jump to the next octave whenever we push the button-lever (as in the example table below)
11) The same cyclic tuning in the Aeolian mode can give tunings with the harmonic minor or also the double harmonic minor scale.(see example below)
12) In the case of chromatic harmonica, the optimal tuning for chord completeness is as in the example below, which allows for chords like 3major instead of only 3minor and 7major7 instead of only 7dimished when pushing the slide. In other words besides the full spectrum of 7 chords of the diatonic scale, I ii iii IV V vi vii or 1M, 2m , 3m, 4M 5M ,6m , 7dim , we also have, after utilizing the lever-slide at the steps 3 and 7 , also the chords 3M and 7M. which is a very common requirement in pop, jazz , latin and other folk , or classical music, which comes from modulating from the natural minor to the harmonic minor and double harmonic minor.
HAPPILY THOUGH MODERN MANUFACTURES OF HARMONICAS LIKE HOEHNER (http://www.tuning-designer.com/)
OR SEIDEL(https://www.seydel1847.de/epages/Seydel1847.sf/en_GB/?ObjectPath=/Shops/Seydel/Categories/Configurator/Config_Harmonikas )
HAVE ONLINE TUNING DESIGNER TOOLS SO AS TO ORDER YOUR HARMONICA WITH ANY ORDER OF NOTES YOU WANT.
And indeed I did so ordered and use harmonicas with the above improvement of tuning which are by far easier and more meaningful to play!
Similarly an Harmonic minor tuning would in the same rules , so as to have all the chords of the scale.
So e.g. an A harmonic minor such harmonica would have tuning
and not in the standard way that has few only chords!
HEXATONIC SCALES FOR THE HARMONICA
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
THUS WE WILL HAVE THE NEXT 6 TYPES OF CHORD PAIRS IN THE HARMONICA WHICH ARE CHORDS IN DIATONIC CHROMATIC RELATION
M=MAJOR m=MIOR d=DIMINSIHED
n=number of semitones that the roots are apart
DIATONIC GENDRE: 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.com/2018/08/117-small-7-notes-diatonic-scale-and.html )
An example is in the next table of tunning for the case of D root.
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
Stil another mode of it is the next where at blowing is the major chord and at draw is the minor. In the example table below we are in t he G major scale.
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. It could be called maybe Celtic 6-notes major, because both the blow-row chord and the draw-row chord are major chords! MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW. Below is the table of such a tuning for a harmonica starting from D, and not C but with the same interval structure 2-3-2-2-2-1. And there is alo the inverse of this scale with interval structure 2-1-2-2-2-3 E.g. again derivable from the 7-notes C major mode of the diatonic scale , but now we omit C. Thus D-E-F-G-A-B-D . I believe the previous discussion completely clarifies the distiction between a scale and its modes.
The Byzantine culture absorbed the musical culture of Ancient Greece, that used mainly not 7-notes scales but 4 and 5 notes scales of total length an interval of 4th or 5th (called tetrachorda). The names of the modes Ionian, Dorian, Phrygian , Lydian etc were originally different 7-notes scales in the Byzantine empire relevant to the places in Greece that were mostly used, that when the European culture after Bach absorbed them in the 12-notes equal tempered system, thet altered them, and they ended to become different modes of the one diatonic scale and not different scales.
The inverse of the Celtic major, which is the 2-1-2-2-2-3 has one minor chord at the Blow row and one minor at the draw row. Here the tuning table at the G major scale as 2m-3m
Hexatonic scales as the above at various modes of them are used not only at modern handpans but also at chinese Bahu flutes.
CHROMATIC GENDRE: BLUES - COUNTRY 6-NOTES MAJOR SCALE AND THE 7-NOTES BYZANTINE PARACHROMATIC SCALE.
5) All the 3 major chords in harmony chord progression occur in the blows
6) All 3 minor chords in harmonic progression occur in the draws.
7) Because the periodicity is not per one octave but per two octaves, all the notes in the first two octaves occur, either as blows or as draws which not only give a balance in the breath but also allows more bends to occur as draw-bends which is easier.
8) The Ionian mode of this tuning seems to be more favored by the blows compared t the Myxoliodian mode.
9) A complete balance of drow and blow breaths can be achieved with the chromatic technology, where instead of adding sharps or flats we interchange drow and blow property of the same note (as in the example table below)
10) We may enhance the octaves range by the chromatic harmonica technology, where instead of adding sharps or flats we jump to the next octave whenever we push the button-lever (as in the example table below)
11) The same cyclic tuning in the Aeolian mode can give tunings with the harmonic minor or also the double harmonic minor scale.(see example below)
12) In the case of chromatic harmonica, the optimal tuning for chord completeness is as in the example below, which allows for chords like 3major instead of only 3minor and 7major7 instead of only 7dimished when pushing the slide. In other words besides the full spectrum of 7 chords of the diatonic scale, I ii iii IV V vi vii or 1M, 2m , 3m, 4M 5M ,6m , 7dim , we also have, after utilizing the lever-slide at the steps 3 and 7 , also the chords 3M and 7M. which is a very common requirement in pop, jazz , latin and other folk , or classical music, which comes from modulating from the natural minor to the harmonic minor and double harmonic minor.
HAPPILY THOUGH MODERN MANUFACTURES OF HARMONICAS LIKE HOEHNER (http://www.tuning-designer.com/)
OR SEIDEL(https://www.seydel1847.de/epages/Seydel1847.sf/en_GB/?ObjectPath=/Shops/Seydel/Categories/Configurator/Config_Harmonikas )
HAVE ONLINE TUNING DESIGNER TOOLS SO AS TO ORDER YOUR HARMONICA WITH ANY ORDER OF NOTES YOU WANT.
And indeed I did so ordered and use harmonicas with the above improvement of tuning which are by far easier and more meaningful to play!
Similarly an Harmonic minor tuning would in the same rules , so as to have all the chords of the scale.
So e.g. an A harmonic minor such harmonica would have tuning
HEXATONIC SCALES FOR THE HARMONICA
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
THUS WE WILL HAVE THE NEXT 6 TYPES OF CHORD PAIRS IN THE HARMONICA WHICH ARE CHORDS IN DIATONIC CHROMATIC RELATION
M=MAJOR m=MIOR d=DIMINSIHED
n=number of semitones that the roots are apart
IONIAN/MYXOLYDIAN: M2m
DORIAN: m2m
FRYGIAN: m1M
LYDIAN: M2M
AEOLIAN: m2d
LOCRIAN:d1M
But we also present many other non-diatonic chromatic pairs that involve also augmented chords and a re met in the harmonic minor (which apears also in the overtone sequence) double harmonic minor, melodic minor (which apears also in the overtone sequence) etc
E.G.
m2M (Erik Satie hexatonic of the harmonic minor heptatonic)
M2dim (hexatonic from melodic minor)
m1m
M3m
M1M (Hexatonic from the harmonic minor)
aug2M
dim1m
m6m
aug3aug
dim1aug
etc
I have ordered and play all of the next chromatic hexatonic scales of the harmonic minor scale and invererse harmonic minor scale (Blues 7-tonic) and when I will find time I will upload sound files of them
ALL OF THE HEXATONIC TUNING IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
THUS WE WILL HAVE THE NEXT 6 TYPES OF CHORD PAIRS IN THE HARMONICA WHICH ARE CHORDS IN DIATONIC CHROMATIC RELATION (the roots are separated by an interval of 2nd)
e.g. if the 7-notes diatonicscale is the C-D-E-F-G-A-B-C in semitones 2-2-1-2-2-2-1 then
M=MAJOR m=MIOR d=DIMINSIHED
1,2,3 etc =number of semitones that the roots are apart
1) IONIAN/MYXOLYDIAN: M2m C-D-E-F-G-A-C in semitones 2-2-1-2-2-3 and over the Blow-draw 2 chords Cmajor Dminor
or G-A-B-C-D-E-G and over the Blow-Draw 2 chords Gmajor Aminor (also called Celtic minor hexatonic)
2) DORIAN: m2m D-E-F-G-A-B-D in semitones 2-1-2-2-2-3 and over the Blow-Draw 2 chords Dminor-Eminor (also called Celtic major hexatonic)
3) FRYGIAN: m1M E-F-G-A-B-C-E in semitones 1-2-2-2-1-4 and over the Blow-Draw 2 chords Fmajor-Eminor (also a hexatonic version of the
akebono 5-notes scale)
4) LYDIAN: M2M F-G-A-B-C-D-F in semitones 2-2-2-1-2-3 and over the Blow-Draw 2 chords Fmajor-Gmajor (also called an alternative
version of Celtic major scale)
5) AEOLIAN: m2d A-B-C-D-E-F-A in semitones 2-1-2-2-1-4 and over the Blow-Draw 2 chords Aminor-Bdim
6) LOCRIAN:d1M B-C-D-E-F-G-B in semitones 1-2-2-1-2-4 and over the Blow-Draw 2 chords Bdim-Cmajor (also called enharmonic major)
But we also present many other non-diatonic chromatic pairs that involve also augmented chords and a re met in the harmonic minor (which apears also in the overtone sequence) double harmonic minor, melodic minor (which apears also in the overtone sequence) etc
E.G.
m2M (Erik Satie hexatonic of the harmonic minor heptatonic)
M2dim (hexatonic from melodic minor)
m1m
M3m
M1M (Hexatonic from the harmonic minor)
aug2M
dim1m
m6m
aug3aug
dim1aug
etc
In the future I will upload sound files that show how such harmonicas sound as I have more than 30 different such hexatonic scales 2-chords harmonicas with different emotional moods. With a simple 2-chord backtrack they are an excelelnt simple way to learn and practice improvisations of any type of emotional mood.
In ancient Greece according to Aristoxenos, there were 3 musical gendres , the diatonic , the chromatic and enharmonic which were also tetrachords (total length an interval of 4th) and pentachords (total legth an interval of 5th and consisting from an initial or final tone and a tetrachord as before) and by combing a tetrachord with a pentachord they got various 7-notes scales inside an octave. In other words the 7-notes scale was of the form Tetrachord1+2+tetrachord2 , in which case it was called two "divorced" tercahords or Tetrachord1+tetrachord2+2 in which case it was called two adjoint tetrachords. 1) the Diatonic was balanced feelings (that eventually after more than 1 thousand years resulted to the 7-notes diatonic scale, and a simplified rounding of their tetrcahords to a single one was the 2-2-1 and most probably all permutations of it ) the 2) Chromatic was sad feelings (that eventually after more than 1 thousand years resulted to the 7-notes harmonic minor and double harmonic minor scales, blues scale etc , And a simplified rounding of their tetrachords to a single one was the 3-1-1 nd most probably all permutations of it ) and 3) the enharmonic was happy feelings (used major 3rd intervals and a simplified rounding to a single one was the 4-(1/2)-(1/2)) and most probably all permutations of it ) and has many similarities with the Japanese 5-notes scales like the Akebono with interval structure 4 - 2 - 1 - 4 - 1 e.g. at the mode 2-1-4-1-4 e.g. A B C E F A. (See e.g. the video https://www.youtube.com/watch?v=vv7CO-nVFj8 )
DIATONIC GENDRE: 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.com/2018/08/117-small-7-notes-diatonic-scale-and.html )
An example is in the next table of tunning for the case of D root.
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
Stil another mode of it is the next where at blowing is the major chord and at draw is the minor. In the example table below we are in t he G major scale.
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. It could be called maybe Celtic 6-notes major, because both the blow-row chord and the draw-row chord are major chords! MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW. Below is the table of such a tuning for a harmonica starting from D, and not C but with the same interval structure 2-3-2-2-2-1. And there is alo the inverse of this scale with interval structure 2-1-2-2-2-3 E.g. again derivable from the 7-notes C major mode of the diatonic scale , but now we omit C. Thus D-E-F-G-A-B-D . I believe the previous discussion completely clarifies the distiction between a scale and its modes.
The Byzantine culture absorbed the musical culture of Ancient Greece, that used mainly not 7-notes scales but 4 and 5 notes scales of total length an interval of 4th or 5th (called tetrachorda). The names of the modes Ionian, Dorian, Phrygian , Lydian etc were originally different 7-notes scales in the Byzantine empire relevant to the places in Greece that were mostly used, that when the European culture after Bach absorbed them in the 12-notes equal tempered system, thet altered them, and they ended to become different modes of the one diatonic scale and not different scales.
Hexatonic scales as the above at various modes of them are used not only at modern handpans but also at chinese Bahu flutes.
CHROMATIC GENDRE: BLUES - COUNTRY 6-NOTES MAJOR SCALE AND THE 7-NOTES BYZANTINE PARACHROMATIC SCALE.
ALL 7 HEXATONIC SCALES FROM THE 7 MODES OF THE 7-NOTES BLUES SCALE (OR INVERSE HARMONIC MINOR SCALE)
Some og these hexatonic scales of the inverse harmonic minor are also hexatonic scales of the diatonic scale or the melodic minor or the double harmonic minor!
7-NOTES BLUES SCALE C-D-Eb-F-Gb-A-Bb (or in semitones 2-1-2-1-3-1-2) also inverse harmonic minor scale, with chords
Cdim, Dminor, Ebminor, FMajor, Gb augmented , A diminished , Bb major
4.1) 1st mode C-D-Eb-F-Gb-A-C (or in semitones 2-1-2-1-3-3) based on the 2 chords Cdim-Dm
4.2) 2nd mode D-Eb-F-Gb-A-Bb-D (or in semitones 1-2-1-3-1-4) based on the 2 chords
Dmin-Ebmin (hexatonic caval double harmonic minor too)
4.3) 3rd mode Eb-F-Gb-A-Bb-C (or in semitones 2-1-3-1-2-3) based on the 2 chords Ebmin-Fmajor (Erik Satie hexatonic scale)
4.4) 4th mode F-Gb-A-Bb -C-D-F (or in semitones 1-3-1-2-2-3) based on the 2 chords
Fmajor-Gbaug ( inverse hexatonic neapolitan )
4.5) 5th mode Gb-A-Bb-C-D-Eb-Gb (or in semitones 3-1-2-2-1-3) based on the 2 chords
Gbaug-Adim
4.6) 6th mode A-Bb-C-D-Eb-F-A (or in semitones 1-2-2-1-2-4) based on the 2 chords Adim-Bbmajor (hexatonic enharmonic major, or hexatonic Locrian mode)
4.7) 7th mode Bb-C-D-Eb-F-Gb-Bb (or in semitones 2-2-1-2-1-4) based on the 2 chords
Bbmajor-Cdim (Hexatonic melodic minor too)
ALL 7 HEXATONIC SCALES FROM THE 7 MODES OF THE 7-NOTES HARMONIC MINOR SCALE .
Some og these hexatonic scales of the inverse harmonic minor are also hexatonic scales of the diatonic scale or the melodic minor or the double harmonic minor!
7-NOTES HARMONIC MINOR SCALE A-B-C-D-E-F-G#-A (or in semitones 2-1-2-2-1-3-1) with chords Aminor-Bdim-Caug-Dminor-EMajor-FMajor-G#dim-Aminor
4.1) 1st mode A-B-C-D-E-F-A in semitones 2-1-2-2-1-4 based on the 2 chords
Amin-Bdim (Aelian diatonic too)
4.2) 2nd mode B-C-D-E-F-G#-B in semitones 1-2-2-1-3-3 based on the 2 chords Bdim-Caug
4.3) 3rd mode C-D-E-F-G#-A -C in semitones 2-2-1-3-1-3 based on the 2 chords Caug-Dminor (Neapolitan Hexatonic too)
4.4) 4th mode D-E-F-G#-A-B-D in semitones 2-1-3-1-2-3 based on the 2 chords Dminor-Emajor (Erik Satie hexatonic)
4.5) 5th mode E-F-G#-A-B-C-E in semitones 1-3-1-2-1-4 based on the 2 chords
Emajor-Fmajor
4.6) 6th mode F-G#-A-B-C-D-E-F in semitones 3-1-2-1-2-3 based on the 2 chords
Fmajor-G#dim
4.7) 7th mode in semitones 1-2-1-2-2-4 based on the 2 chords
G#dim-Amin (hexatonic enharmonic minor)
FROM THE 7-NOTES MELODIC MINOR THE HEXATONIC SUBSCALES NOT COVERED BY THE PREVIOUS ARE THE NEXT
E.g. let the 7-notes melodic minor A-B-C-D-E-F#-G#-A in semitones 2-1-2-2-2-2-1 and chords
m-m-aug-M-M-m-d the next are additional hexatonics
C-D-E-F#-G#-A-B-D in semitones 2-2-2-2-1-3 and 2 chords Caug-Dmajor
B-C-D-E-F#-G#-B in semitones 1-2-2-2-2-3 and 2 chords Bminor-Caug
F-G#-A-B-C-D-F# in semitones 2-1-2-1-2-4 and 2 chords F#minor-G#dim
According to the wikipedia (https://en.wikipedia.org/wiki/Blues_scale), a 6-notes version of the major country-blues scale is e.g. the
C, D, D♯/E♭, E, G, A, with interval structure 2-1-1-3-2-3. Or if we prefer a root at D, then D-E-F-F#-A-B-D. Below is the table for a harmonica with such a tuning.
On the other hand historically the Byzantine emptire was utilizing many 7-notes scales, not possible to include in the Bach equal tempered 12-notes chromatic scale. But 3 chromatic sacles of them are possible more or less to include, Two of the chromatic such scales are the harmonic minor (e.g. from the A natural minor we derive the harmonic minor by giving a sharp at G, thus A B C D E F G# A , with interval structure 2-1-2-2-1-3-1) and the double harmonic minor (an additional sharp to d thus A B C D# E F G# A , with interval structure 2-1-3-1-1-3-1). They where used mainly in religious hymns in the Churchs. But the 3rd such chromatic scale was used mainly in the Emperors palace and other cosmic events and was called parachromatic (see e.g. http://www.huygens-fokker.org/docs/modename.html http://www.huygens-fokker.org/scala/ ). The Byzantine parachromatic scale is called also inverse Persian or Purvi Theta scale. The part 2-1-1-3 is also known as samba pentachord in arabian culture, while the part 1-1-3 is known since ancient Greece time as the tonal tetrachord of the chromatic family. The interval structure of the parachromatic Byzantine scale is 2-1-1-3-1-1-3 . Thus starting from D , it would be D, E, F, Gb ,A, Bb, B , D We may observe that it is a 7-notes version of the Blues scale, and a tuning table for a harmonicas at the D4- major 6-notes Blues-country scale and a D4- parachromatic 7-notes scales are given below. (see also article https://simplerguitarlearning.blogspot.com/2019/06/235-parachromatic-byzantine-overtone.html )
CHROMATIC GENDRE: MORE 6-NOTES SCALES THAT ARE BEAUTIFUL FOR HARMONICAS. COMBINING PARTS OF THE PENTATONIC WITH CHROMATIC PARTS.
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
We noticed in the previous post that the Blues-country scale with interval structure 2-1-1-3-2-3, (and any cyclic permutation of it, is still the same scale although a different mode of it) sounds partially as the pentatonic scale 2-2-3-2-3 and partially with chromatic part 1-1-3 which was identified as the ancient Greek tonal tetrachord of the chromatic family. By writting the Blues scale in a different 5th mode of it (cyclic permutation) makes it more clear: 2-3-2-1-1-3 . The 2-3-2 part is inherited from the pentatonic scale 2-2-3-2-3 and the 1-1-3 is the ancient Greel tonal tetrachord of the chromatic family (that exist also in the Byzantine emperor parachromatic 7-notes scale). Such scales may be obviously be used in Gypsy jazz, but in ordinary western jazz too.
Other parts of the pentatonic sacle are also the 2-2-3,
1) Thus we may discover the next hexatonic scale that should sound similarly 2-2-3-1-1-3 and it is not a different mode of the Blues-country scale. In the tables below we show this tuning , when starting from the root D . Thus D-E-F#-A-Bb-B-D. It is still a 6-notes version of the Byzantine parachromatic scale of the previous post but different from the Blues-country scale, still sounding in a similar way.
2) There are the invesres of course of the previous hexatonic scales a) the inverse ofthe Blues-country in the mode 2-3-2-1-1-3, which is the 2-3-2-3-1-1 (after inverting and taking a cyclic permutation of it). b) The inverse of the 2-2-3-1-1-3, which is the 3-2-2-1-1-3 ((after inverting and taking a cyclic permutation of it). We write them always so as to separate the pentatonic part, and the chromatic part.
3) If we combine now the pentatonic part 2-3-2 (of the Blues scale) with the chromatic part 1-3-1 (which exists in the harmonic minor) we get a hexatonic scale 2-3-2-1-3-1, that sounds partially as pentatonic and partially as chromatic (harmonic minor). It is a 6-notes version of the harmonic minor scale,perfect for harmonicas that favor in the cyclic tuningthe heaxtonic scales. Some times it is also called the Erik Satie hexatonic scale. (See e.g. the video https://www.youtube.com/watch?v=okU96j6ThIM&t=8s )We give below the tuning table when starting from the root D. And of course there is the inverse of it again which is not a different mode of it. D-E-G-A-Bb-C#-D.
4) If we combine now the pentatonic scale part 3-2-2 with the chromatic part 1-3-1 (which exists in the harmonic minor) we get a hexatonic scale
3-2-2-1-3-1, or at a different mode as 2-1-3-1-3-2 that sounds partially as pentatonic and partially as chromatic (harmonic minor). It is a 6-notes version of the Neapolitan scale 2-1-3-1-1-2-2 (e.g. from D it would be D-E-F-G#-A-Bb-C-D), perfect for harmonicas that favor in the cyclic tuning the hexatonic scales. We give below the tuning table when starting from the roor D thus D-E-F-G#-A-C-D , with interval structure at the mode 2-1-3-1-3-2 .And of course there is the inverse of it again which is not a different mode of it.
5) If we start with the double harmonic minor, e.g. from A, it is A-B-C-D#-E-F-G#-A which has interval structure 2-1-3-1-1-3-1 , we may derive an appropriate hexatonic which contains a part ofthe pentatonic scale ,which here is the 3-2-3. The resulting scale is the 3-2-3-1-2-1, or in a different mode the 2-1-3-2-3-1. Starting from the root D it is D-E-F-G#-Bb-C#-D.At Blow it is Bb major and at Draw it is C#minor
The mode 1-2-1-3-2-3 e.g. F# G ABb C# D# would give at the Blow row a single minor chord F# and at the Drow row a major chord D# .
There are also similar hexatonic scales that are symmetric like 3-2-1-3-2-1 or 3-1-2-3-1-2 or 1-2-3-1-2-3. The latter when placed to an harmonica tuning it gives at the blow row a single chord and at the draw row again a single chord E.g. A-Bb-C-D#-E-F#-A.
ENHARMONIC GENDRE: MORE HEXATONIC SCALES FOR HARMONICAS : UTILISING AKEBONO 5-NOTES SCALE
MOST OF THE HEXATONIC TUNINGS IN THIS DISCUSSION HAVE A SINGLE CHORD AT THE BLOW ROW AND ANOTHER SINGLE CHORD AT THE DRAW ROW.
ACTUALLY ANY TWO SUCCESIVE CHORDS IN THE DIATONIC SCALE (E.G. 7DIM-1M, OR 4M-5M, 3M-4M, 5M-6m , 6m-7dim) CAN BE USED FOR AN APPROPRIATE TWO-CHORD HEXATONIC TUNING HARMONICA.
In ancient Greece according to Aristoxenos, there were 3 musical gendres , the diatonic , the chromatic and enharmonic which were also tetrachords (total length an interval of 4th) and pentachords (total legth an interval of 5th and consisting from an initial or final tone and a tetrachord as before) and by combing a tetrachord with a pentachord they got various 7-notes scales inside an octave . In other words the 7-notes scale was of the form Tetrachord1+2+tetrachord2 , in which case it was called two "divorced" tercahords or Tetrachord1+tetrachord2+2 in which case it was called two adjoint tetrachords. 1) the Diatonic was balanced feelings (that eventually after more than 1 thousand years resulted to the 7-notes diatonic scale, and a simplified rounding of their tetrcahords to a single one was the 2-2-1 and most probably all permutations of it ) the 2) Chromatic was sad feelings (that eventually after more than 1 thousand years resulted to the 7-notes harmonic minor and double harmonic minor scales, blues scale etc , And a simplified rounding of their tetrachords to a single one was the 3-1-1 nd most probably all permutations of it ) and 3) the enharmonic was happy feelings (all possible major 3rd intervals were usually more than all possible minor 3rd intervals and a simplified rounding to a single one was the 4-(1/2)-(1/2)) and most probably all permutations of it ) and has many similarities with the Japanese 5-notes scales like the Akebono with interval structure 4 - 2 - 1 - 4 - 1 e.g. at the mode 2-1-4-1-4 e.g. A B C E F A. (See e.g. the video https://www.youtube.com/watch?v=vv7CO-nVFj8 )
One natural way to derive a hexatonic scale is to require that part ofthe hexatonic scale is either in the pentatonic or in the 7-notes diatonic. Thus here the two versions 2-2-2-1-4-1 and 2-2-2-4-1-1 may be obtained. In notes relevant to the D major scale at appropriate modes are 1) 4-1-2-2-2-1 as D-F#-G-A-B-C#-D and 2) 1-2-2-2-4-1 as A-B-C#-F-F#-G-A
Below are tables of tuning for such harmonicas. The first of them has been called in post 204 the Cretan hexatonic
Still one more hexatonic with rather familiar sound is the 2-2-1-2-4-1, which can be obtained my omiting a note from the 7-notes diatonic scale E.g. C D E F G B C. For the D major scale it would be D E F# G A C# D. Its table is shownbelow when starting from C3. It is an harmonic not to play all possible songs in it (such would be a cyclic tuning one) but to play melodies that are easily accompanied by two only chords the I=1Major, and viidim=7diminished (which sounds like the V7) as all the blow row is the 1major and all the draw ros is the 7diminshed.
THE CASE OF 2-2-1-2-4-1 IS OF EXTREME IMPORTANCE AS IT PRODUCES HAPPY MUSIC
E.G. FOR C MAJOR IT IS C MAJOR-Bdiminished AND IN NOTES C-D-E-F-G-B-C AS IN THE TABLE BELOW.
And there is also the very beatiful 2-2-1-4-2-1 that when tuned at an harmonic gives the Blow-row a minor chord and the draw-row a dimished chord.
Similarly the 2-2-1-2-1-4 or D E F# G A Bb D which can be considered a hexatonic version of the G melodic minor.
Other beatiful such scales that combine the Chromatic with the enharmonic gendre are the
2-1-4-1-3-1. The Blow-row is a major chord and the draw-row another major chord one semitone apart. We give the tuning table below when starting from G3 as Hexatonic _enharmonic_harmonic_minor.
More examples are symmetric hexatonic scales like the 1-1-4-1-1-4, or non-cyclic permutations of them like 4-1-4-1-1-1, and 4-4-1-1-1-1.
I have not checked exactly some similar ideas of Brendan Power for Chinese or Japanese-like tunings of the harmonica, but maybe some tunings might coincide.
Another case is the pair of chords Blow=6m draw=5#dim E.g. in the G minor it is
Blow=G Bb D and Draw=A C F#, thus the hexatonic of the enharmonic gendre 2-1-2-2-4-1.
G A Bb C D F# with the tuning table below
More such scales are the
4-3-1-2-1-1
4-3-1-1-2-1
4-3-1-1-2-1
3-4-1-1-2-1
3-4-1-2-1-1
And even more of them in post 225.
CHROMATIC TUNING
The standard chromatic tuning e.g. for C major scale is
The only advantage of this tuning is that it is periodic per each octave. Nevertheless the costs of itis double
1) There is significant loss in chord completness
2) We must reverse blowing drawng at the last notes 7 , 1 of each octave.
I believe it is better to sucrifice the periodicity per octave and have periodicity per 2octaves and gain
1) Chord completness
2) no reversing of blow-draw at the last pair of each octave.
3) Because during the minimum of 2 octaves the blow-draw properties of the notes reversem there is the possibility of breath-balance by shifting the melodic themes to the adjacent octave.
The next chromatic tuning does have all the chords of the diatonic scale. Furthermore, by not producing sharps for notes 3 and 7 (E and B) which is not necessary for the completeness of chromatic notes, we have additional advantages in the chords.
The strong advantage of harmonica is not single notes but pairs of notes or chords, therefore we cannot ignore the very important issue of chord-completeness in a harmonica that can play solo too. In the case of chromatic harmonica, the optimal tuning for chord completeness is the next, which allows for chords like 3major instead of only 3minor and 7major7 instead of only 7dimished when pushing the slide. In other words besides the full spectrum of 7 chords of the diatonic scale,
1M, 2m , 3m, 4M 5M ,6m , 7dim , we also have, after utilizing the lever at the steps 3 and 7 , also the chords 3M and 7M. which is a very common requirement in pop, jazz , latin and other folk , or classical music, which comes from modulating from the natural minor to the harmonic minor and double harmonic minor.
Curiously enough the scale that is produced by sliding the lever is the dorian mode of the B major scale and not the ionian mode of the C# major scale which is very convenient too as we get two quite often used scales and also a chromatic harmonica at the same instrument
1M, 2m , 3m, 4M 5M ,6m , 7dim , we also have, after utilizing the lever at the steps 3 and 7 , also the chords 3M and 7M. which is a very common requirement in pop, jazz , latin and other folk , or classical music, which comes from modulating from the natural minor to the harmonic minor and double harmonic minor.
Curiously enough the scale that is produced by sliding the lever is the dorian mode of the B major scale and not the ionian mode of the C# major scale which is very convenient too as we get two quite often used scales and also a chromatic harmonica at the same instrument
FURTHERMORE a further idea to balance blow and draw breath is to take any tuning diatonic harmonica and make it with a lever with the same exactly notes but pushing the button changes the blow property of a note to a draw one of the same note and vice versa. Here is the example of a C major diatonic harmonica that by utilizing the designer of chromatic one we remain in the same notes of the diatonic but we use the lever of the chromatic harmonica to switch from the blow property of a note to a draw property of the same note and vice versa. Such an harmonic can be played with only blows or only draws too by using the lever. And of course it transfers draw to blow bends and vice versa
And of course we may have a use of the button-lever not for chromatic version of the harmonica, but for jumping in the next octave in a diatonic harmonica
E.g. for a D major diatonic harmonica (cyclic with all the chords) a design of such a button would be the next
And of course we may have a use of the button-lever not for chromatic version of the harmonica, but for jumping in the next octave in a diatonic harmonica
E.g. for a D major diatonic harmonica (cyclic with all the chords) a design of such a button would be the next
HARMONICAS WITH STATIC MOUTHPIECE CONNECTED WITH A FLEXIBLE TUBING WITH SLIDING BLOWING DEVICE MOVED BY THE HAND?
The history of harmonica writes that it was inspired by the Chinese instrument Sheng, which is like a wooden panflute but with one only blowing pipe that distributes the air to many pipes. (e.g. https://en.wikipedia.org/wiki/Sheng_(instrument) ) Actually this may have lead the chinese to make an interesting panflute with a single flexible blowing pipe (as in bag pipes) and a sliding mouthpiece on the row of tubes like in the next link. (e.g.https://www.aliexpress.com/item/3283820 ... b201603_53)
Now this indeed makes the panflute 66% easier and faster to play as I have tried and tested. It is easier to move and slide the blowing-mouthpiece across the tubes, than to move the whole of the panflute across your mouth.
IS THERE A SIMILAR WAY TO APPLY AND PLAY THE HARMONICA?
I believe there is given a smart design and crafting (as many by Brendan Power) . Since harmonicas are good in playing chords , obviously the static mouthpiece must be of at least 3 holes (but not more than 4 holes), and allowing all the techniques , of tongue blocking , lip-blocking , bending, overblowing etc. Then this static mouthpiece will have distribute the air with 3 separate flexible pipes (possibly within one larger) to a sliding blowing device with at least 3 holes again, sliding on the many holes of an harmonica. The sliding blowing device will be moved fast with the hands. It is expected that with such an harmonica some advantages would be
1) You can play faster and learn it faster
2) you can play easier and more accurately, because you see the position of sliding blowing device across the holes of the harmonica
3) The mouth action is simpler and easier , static ,as there is no friction between the harmonica holes and the mouth.
Some disadvantages would be
1) New methods of holding the harmonica and sliding the blowing device must be created.
2) New methods of creating tremolo with the two palms , must be created.
It seems that the idea of sliding blowing device is not new as e.g. it occurs in the ChengGong harmonica (https://www.patmissin.com/gallery/gallery03.html), but the main idea of the ChengGong harmonica is entirely different.
