Subject: [Harp-L] The "Perfect" Fusion of Chromatic and Diatonic?

[EGS1217@xxxxxxx]

Hi Bob:
 
I know nothing about circular breathing and special tunings, but do have to  
add something to your mention of "Someone to Watch Over Me" and Seydel  
chromatics. 
 
 First ..that was one of my 'debut' songs, played my first time  in public at 
SPAH, 2006, chosen at the very last second...it plays easily on any  
chromatic  (C, Bb, beginning on 3 blow with no slide action required)   which made it 
that much easier for me to deal with my paralyzing stage fright  ;)...
 
...and I do still very much love my Bb Seydel Deluxe 48 stock chromatic  
bought from Rupert at Buckeye, 2007.  It has a lovely clear tone (I've  described 
it before as being the only Bb chrom I've found to sound consistently  similar 
to my Super 64 in it's bell-like tone).  I can easily switch from  one to the 
other without a noticeable difference in brightness of sound...cost  only 
$89. at Buckeye.  Rupert is one of the nicest people to deal  with.  
 
So I'm not sure if it's the "Circular" tuning enabling you to play that  
particular song...unless you're starting on a different key?  So would  appreciate 
your letting me know just how YOU play that song. 
 
Regards,
Elizabeth 
 
"Message: 3
Date: Thu, 29 Nov 2007 03:24:22 -0500
From: Robert Coble  <robertpcoble@xxxxxxxx>
Subject: [Harp-L] The "Perfect" Fusion of  Chromatic and Diatonic?
To: harp-l@xxxxxxxxxx
Message-ID:  <ca074077c8dddbc8cfca5ef0d5811612@xxxxxxxx>
Content-Type: text/plain;  charset=US-ASCII; format=flowed

I have a bias toward the Seydel Circular  Tuning. I currently play the 
Blues Session
Circular Tuning diatonics, and  have a complete set of all 12 keys. (I 
haven't tried
the low tunings  yet.) I love these harps, because there are NO missing 
notes in  the
diatonic scale for over two octaves, AND I can get 3-note (at least)  
chords on EVERY
scale degree for over two octaves. Bending is limited to  halftone draw 
bends ONLY;
there are NO blow bends. Overblowing for full  chromaticism is 
supported, but I don't
use it (so far). The lower octave  allows nice bends for the b3, b5, b7 
blues notes.

I just got a Seydel  Chromatic Deluxe specially designed at the factory 
with Circular
Tuning.  I wanted a chromatic with the EXACT same note and breathing 
patterns  as
my diatonics. It cost $136.00 (which included shipping to the USA).  
Delivery time
from order placement to delivery was less than 3 weeks. The  price for 
the stock
Seydel Chromatic Deluxe is $89.95 at Coast to Coast  Music (not 
including shipping).
So, for the measly additional sum of  $46.05, I got a custom designed 
chromatic
harmonica that I  LOVE!  Please note that Seydel manufactures these 
special designs;
they do NOT  retune an existing harmonica. This is a very tight little 
harp, and  it
compares favorably (IMHO) to the ubiquitous Hohner 270. (Yeah, I do  
have one of
them, but I don't like it very much; I prefer the Hohner 280  16-holer.)

I used A=442Hz as the reference pitch, because I wanted a  somewhat 
"brighter"
sound. When the slide is OUT, the tuning is IDENTICAL  to the stock 
Seydel Blues
Session with Circular Tuning for the Seydel  labeled "G" harp. (That 
corresponds to
"C" major.) When the slide is IN,  the tuning is IDENTICAL to the stock 
Blues Session
with Circular Tuning  for the Seydel labeled "Ab" (G#) harp. (That 
corresponds to
"C#/Db"  major.) Because of the nature of Circular Tuning, the range of 
notes  is
actually greater than a standard 12-hole chromatic. My special design  
starts on G3,
the G below middle C, and extends up through 3 full octaves  of "C" 
major. I wanted
to be able to ascend from the V back up to the  lowest I; it's a nice 
little run that's very
useful on the low end. C3 is  the lowest starting point that Seydel will 
consider. That
corresponds to  the lowest note on a Hohner 280 (the 16-holer).

Because this special  chromatic has EXACTLY the same breathing patterns 
as my
diatonics. It  makes switching between diatonics and chromatic drop dead 
simple.
I was  able to take the chromatic out of the nice box, and play "Someone 
To  Watch
Over Me" with no fumbling around. The notes I previously had to bend in  
the bridge
were so easy to get with the slide in! No intonation  differences 
between unbent and
bent notes! No switching mental gears when  changing from diatonic to 
chromatic
and back again: just play the thing!  It seems very intuitive to hit the 
slide button
whenever an accidental is  required.

It also means that I have all those nice chords available,  which cannot 
be played on a
standard chromatic. The only loss (not a big  issue for ME) is that 
octaves CANNOT be
played; because of the nature of  Circular Tuning, the breath direction 
switches from
one octave to  another. It seems that most players compensate for the 
lack of chords
on  the standard chromatic by using octaves for a fuller sound. (Hey! 
That's  MY
observation/opinion on using octaves; you're certainly entitled to your  
own.)

The biggest obstacle for most people is that the in/out  breathing 
patterns switch from
octave to octave with Circular Tuning. It  took me about 4 months to 
totally switch from
standard diatonics to the  Circular Tuned diatonics, but I was NOT 
practicing every day.
I could  have switched over much sooner, if I had worked at it regularly.

Now my  problem is trying to find the funds to buy more of these special  
chromatics!
I'd love to have a complete set in all 12 keys eventually,  but that may 
take years, given
that I'm retired and the shekels for my  harp addiction are severely 
limited. I have to
thank Mrs. Santa Claus for  an early Christmas present!

Just walking along (while playing harp) on  another "road less traveled,"
Crazy ("bout Seydel harps) Bob"
 
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