The chromatic harmonica is a type of harmonica that uses a button-activated sliding bar to redirect air from the hole in the mouthpiece to the selected reed-plate desired. When the button is not pressed, an altered diatonic major scale of the key of the harmonica is available, while depressing the button accesses the same scale a semitone higher in each hole. Thus, the instrument is capable of playing the 12 notes of the Western chromatic scale. The chromatic harmonica can thus be contrasted with a standard harmonica, which can play only the notes in a given musical key.
Famously accomplished chromatic harmonica players include classical players Larry Adler, Tommy Reilly, Antonio Serrano, Sigmund Groven, and Willi Burger; jazz players Toots Thielemans, [1] Mathias Heise, Gregoire Maret, Yvonnick Prene, Hendrik Meurkens, [2] and William Galison; and popular musicians Norton Buffalo and Stevie Wonder.
Chromatic harmonicas are usually 12, 14 or 16 holes long. The 12-hole chromatic is available in 12 keys, but because the entire chromatic scale is available by definition, most professionals stick with the key of C—which is perhaps easier to remember, since slide in will automatically be the sharps of the associated note.
Chromatic harmonicas are traditionally tuned to solo tuning, which has a similar layout to the diatonic's Richter tuning except that it eliminates the G on the draw and doubles the Cs that are not on the ends of the instrument. In the standard 12-hole chromatic in C the lowest note is middle C, while 16-hole variants start one octave lower. For the 16-hole variant, the layout is usually as follows. Note that the "D" in the last key-in draw note is common, though by no means present in all chromatic harmonicas.
blow | C | E | G | C | C | E | G | C | C | E | G | C | C | E | G | C | key out |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
draw | D | F | A | B | D | F | A | B | D | F | A | B | D | F | A | B | |
1 1′ | 2 2′ | 3 3′ | 4 4′ | 5 1 | 6 2 | 7 3 | 8 4 | 9 5 | 10 6 | 11 7 | 12 8 | 13 9 | 14 10 | 15 11 | 16 12 | ||
blow | C♯ | F | G♯ | C♯ | C♯ | F | G♯ | C♯ | C♯ | F | G♯ | C♯ | C♯ | F | G♯ | C♯ | key in |
draw | D♯ | F♯ | A♯ | C | D♯ | F♯ | A♯ | C | D♯ | F♯ | A♯ | C | D♯ | F♯ | A♯ | D |
Because it is a fully chromatic instrument, the chromatic harmonica is the instrument of choice in jazz and classical music. [3] [4] The "solo tuning" layout repeats itself at each octave, which simplifies playing in different octaves and keys in contrast to the Richter tuning system. Also, due to the windsavers on the low and mid-range holes, it can bend notes on both blow and draw notes, giving additional tonality if needed. In traditional harmonica bands, the chromatic harmonica plays the lead part.
Stock chromatics are well suited for players who play chromatics in third position traditional Chicago Blues, and benefit from having a selection of keys.
While the chromatic harmonica is capable of playing in all keys, it does have limitations. [5] For example, while chromatic harmonicas can "bend" notes down in pitch, as a single-reed bend it sounds quite different from the typical dual-reed bend of a blues harp, and can only bend downward by a semi-tone. Furthermore, unless the windsavers are removed, chromatic harmonicas cannot "overblow" except on the upper four holes. However, dual-reed bends and overblows are possible on slideless chromatic harmonicas, as the Tombo S-50. [6]
Perhaps more importantly, the number of chords, double-stops, and legato phrasings available is limited, unless the harmonica is retuned from standard tuning; the lack of a G on the draw makes it impossible to play the G chords available on a Richter-tuned device. Thus, while a chromatic harmonica is well-suited for playing lead or melody, diatonic harmonicas have a greater advantage when playing harmony or accompaniment.
As the chromatic harmonica is designed to play melodies in any key, many 16-hole and special version chromatic are only made in the key of C. Because of this, there are many approaches to get over the limits of the chromatic harmonica: the first and the most common approach, encouraged mainly by classical music players (such as Franz Chmel), is that a good harmonica player should try his or her best to use the chromatic in the key of C; some even discourage switching to other keys. An alternative approach is to have several keys and play them as if playing key of F on a key of C. Although it still requires being able to play over complex changes, modulating and so forth, it enables the player to focus more on the music. Another approach is using altered tunings such as Diminished, which requires learning to play three (or four) patterns and then be able to play in all keys.
Chromatic harmonicas tend to be significantly more expensive than their diatonic counterparts—with a typical chromatic harmonica selling at a price that is up to ten times higher than a simple diatonic harmonica. Chromatic harmonicas produced by reputable companies (such as Hohner, Seydel, [7] and Suzuki [8] ) range between 70 and 700 hundred US dollars.
Chromatic harmonicas are often described as either "straight tuned" or "cross tuned". This refers to the way the slider is shaped to isolate the reed set being played at a given position (button "in" or button "out"). Traditionally the chromatic was "straight tuned" and the slider selected either the upper reed-plate (button out) or the lower reed-plate (button in). In the later half of the 20th century a new system came into use in which the slider played the upper and lower reed-plates at the same time, staggered by which hole (thus with the button out the player might play the upper reed-plate in hole 1, the lower reed-plate in hole 2, and then the upper again in hole 3 and so forth; pressing the button reversed this). This allows for a larger hole in the slider, and thus presumably more air gets through, allowing a louder volume. The two methods co-exist with some companies and players preferring one style and others another.
There are at least two other types of slider design as well. The first one has holes side by side with each other in the slider, thus opening only the left side of the chamber or the right side depending on button position. The Renaissance chromatic uses this design, which is claimed to mix the larger hole of a cross-tuned design with an even shorter movement than in straight tuned sliders. The simple way of doing this is to construct the harmonica more like a traditional Richter diatonic whereas the standard chromatic design shares more in common with the Knittlinger octave harmonicas. Note, however, the Renaissance uses a complex comb design to achieve their slider design. The second type of alternative design is found mostly in East Asia and is based more along the traditional Weiner tremolo construction. Here each reed is isolated in its own cell within the comb and the slider selects a single reed at a time rather than a cell containing both blow and draw reeds. The Tombo Ultimo is an example of this type of chromatic.
Finally, there are also several types of non-slide chromatic instruments available, particularly in Asia, such as the horn harmonica, as well as Tombo's S-50, Tombo's Chromatic Violin Range, and others. Tombo Chromatic Violin Range (three and a half octaves), as well as S-50 (three octaves) use the tremolo scale tuning system (but with only one-reed): in essence it is a C♯ tremolo harmonica sitting on top of a C tremolo harmonica, with blow and draw reeds each sitting in a single cell. The player switches between a top row tuned to C♯ and a bottom tuned to C by changing the angle of the harmonica.
Like diatonic harmonicas, chromatics are available in numerous tunings. However, there are three more popular versions: one is Irish tuning, whereby notes are flattened (instead of sharpened) when the slide is in. This makes playing Irish music and, to a certain extent, blues, easier, since Irish music is commonly played in either the key of D or key of G. The use of C, with no sharps or flats, and B, with all flats, allows common Irish modes to be played while the downward-tuning slide allows ornamentation in keeping with the Irish tradition. Irish tuning can be achieved easily by reversing the slide (flipping the slide upside down) of a chromatic in the key of B major; alternatively, one can use the B major as is, but with slide-in as the home position.
blow | C | E | G | C | C | E | G | C | C | E | G | C | C | E | G | C | key out |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
draw | D | F | A | B | D | F | A | B | D | F | A | B | D | F | A | B | |
1′ | 2′ | 3′ | 4′ | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | ||
blow | B | E♭ | G♭ | B | B | E♭ | G♭ | B | B | E♭ | G♭ | B | B | E♭ | G♭ | B | key in |
draw | D♭ | E | A♭ | B♭ | D♭ | E | A♭ | B♭ | D♭ | E | A♭ | B♭ | D♭ | E | A♭ | B♭ |
Another variant is bebop tuning, which is done by tuning the redundant C/C♯ in holes 4′, 4, 8, and 12 blow into a B♭/B pair. This allows playing chords in the key of F, as well as playing a C7 chord.
blow | C | E | G | B♭ | C | E | G | B♭ | C | E | G | B♭ | C | E | G | B♭ | key out |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
draw | D | F | A | B | D | F | A | B | D | F | A | B | D | F | A | B | |
1′ | 2′ | 3′ | 4′ | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | ||
blow | C♯ | F | G♯ | B | C♯ | F | G♯ | B | C♯ | F | G♯ | B | C♯ | F | G♯ | B | key in |
draw | D♯ | F♯ | A♯ | C | D♯ | F♯ | A♯ | C | D♯ | F♯ | A♯ | C | D♯ | F♯ | A♯ | C |
Another popular version of alternative tuning is classical tuning, which is done by switching between the blow and draw of the fourth hole of each octave:
blow | C | E | G | B | C | E | G | B | C | E | G | B | C | E | G | B | key out |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
draw | D | F | A | C | D | F | A | C | D | F | A | C | D | F | A | C | |
1′ | 2′ | 3′ | 4′ | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | ||
blow | C♯ | F | G♯ | C | C♯ | F | G♯ | C | C♯ | F | G♯ | C | C♯ | F | G♯ | C | key in |
draw | D♯ | F♯ | A♯ | C♯ | D♯ | F♯ | A♯ | C♯ | D♯ | F♯ | A♯ | C♯ | D♯ | F♯ | A♯ | C♯ |
This easily allows Imaj7 and IIm7 chords, as well as many others, to be played–a benefit for various musical styles.
Another tuning is minor tuning for natural and harmonic minor Im7 and IIdim7 normal position.
blow | C | E♭ | G | B♭ | C | E♭ | G | B♭ | C | E♭ | G | B♭ | C | E♭ | G | B♭ | key out |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
draw | D | F | A♭ | B | D | F | A♭ | B | D | F | A♭ | B | D | F | A♭ | B | |
1′ | 2′ | 3′ | 4′ | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | ||
blow | C♯ | E | G♯ | B | C♯ | E | G♯ | B | C♯ | E | G♯ | B | C♯ | E | G♯ | B | key in |
draw | D♯ | F♯ | A | C | D♯ | F♯ | A | C | D♯ | F♯ | A | C | D♯ | F♯ | A | C |
In music, a glissando is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. In other contexts, it refers to discrete, stepped glides across notes, such as on a piano. Some terms that are similar or equivalent in some contexts are slide, sweepbend, smear, rip, lip, plop, or falling hail. On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure, except on instruments that have a slide.
The harmonica, also known as a French harp or mouth organ, is a free reed wind instrument used worldwide in many musical genres, notably in blues, American folk music, classical music, jazz, country, and rock. The many types of harmonica include diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth to direct air into or out of one holes along a mouthpiece. Behind each hole is a chamber containing at least one reed. The most common is the diatonic Richter-tuned with ten air passages and twenty reeds, often called the blues harp. A harmonica reed is a flat, elongated spring typically made of brass, stainless steel, or bronze, which is secured at one end over a slot that serves as an airway. When the free end is made to vibrate by the player's air, it alternately blocks and unblocks the airway to produce sound.
In music theory, an interval is a difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
A pitch pipe is a small device used to provide a pitch reference for musicians. Although it may be described as a musical instrument, it is not typically used to play music as such.
An autoharp or chord zither is a string instrument belonging to the zither family. It uses a series of bars individually configured to mute all strings other than those needed for the intended chord. The term autoharp was once a trademark of the Oscar Schmidt company, but has become a generic designation for all such instruments, regardless of manufacturer.
Overblowing is the manipulation of supplied air through a wind instrument that causes the sounded pitch to jump to a higher one without a fingering change or the operation of a slide. Overblowing may involve a change in the air pressure, in the point at which the air is directed, or in the resonance characteristics of the chamber formed by the mouth and throat of the player.
The garmon, commonly called garmoshka, is a kind of Russian button accordion, a free-reed wind instrument. A garmon has two rows of buttons on the right side, which play the notes of a diatonic scale, and at least two rows of buttons on the left side, which play the primary chords in the key of the instrument as well as its relative harmonic minor key. Many instruments have additional right-hand buttons with useful accidental notes, additional left-hand chords for playing in related keys, and a row of free-bass buttons, to facilitate playing of bass melodies.
Hohner Musikinstrumente GmbH & Co. KG is a German manufacturer of musical instruments, founded in 1857 by Matthias Hohner (1833–1902). It is a subsidiary of Matth. Hohner AG. The roots of the Hohner firm are in Trossingen, Baden-Württemberg. Hohner has manufactured a wide range of instruments, such as harmonicas, kazoos, accordions, recorder flutes, melodicas, banjos, electric, acoustic, resonator and classical guitars, basses, mandolins and ukuleles. Hohner is known mostly for its harmonicas.
The Richter-tuned harmonica, 10-hole harmonica or blues harp, is the most widely known type of harmonica. It is a variety of diatonic harmonica, with ten holes which offer the player 19 notes in a three-octave range.
There are numerous techniques available for playing the harmonica, including bending, overbending, and tongue blocking.
A button accordion is a type of accordion on which the melody-side keyboard consists of a series of buttons. This differs from the piano accordion, which has piano-style keys. Erich von Hornbostel and Curt Sachs categorize it as a free reed aerophone in their classification of instruments, published in 1914. The sound from the instrument is produced by the vibration of air in reeds. Button accordions of various types are particularly common in European countries and countries where European people settled. The button accordion is often confused with the concertina; the button accordion's buttons are on the front of the instrument, where as the concertina's are on the sides and pushed in parallel with the bellows.
A melodeon or diatonic button accordion is a member of the free-reed aerophone family of musical instruments. It is a type of button accordion on which the melody-side keyboard contains one or more rows of buttons, with each row producing the notes of a single diatonic scale. The buttons on the bass-side keyboard are most commonly arranged in pairs, with one button of a pair sounding the fundamental of a chord and the other the corresponding major triad.
A tremolo harmonica is a type of diatonic harmonica, distinct by having two reeds per note. In a tremolo harmonica, the two reeds are tuned slightly off a reference pitch, one slightly sharp and the other slightly flat. This gives a unique wavering or warbling sound created by the two reeds being not exactly in tune with each other and difference in their subsequent waveforms acting against one another. The degree of beating can be varied depending on the desired effect. Instruments where the beating is faster due to the reeds being farther apart from the reference pitch are called "wet", whereas those where the beating is slower and less noticeable due to the reeds being more closely in tune are called "dry".
Christian August Seydel founded the C. A. Seydel Söhne harmonica factory in Klingenthal, Sachsen in 1847. The firm remains the oldest harmonica factory in the world and manufactures a wide range of harmonicas.
Diatonic and chromatic are terms in music theory that are used to characterize scales. The terms are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.
The Schwyzerörgeli is a type of diatonic button accordion used in Swiss folk music. The name derives from the town/canton of Schwyz where it was developed. Örgeli is the diminutive form of the word Orgel (organ). Outside of Switzerland the instrument is not well known and is hard to find.
Tablature is a form of musical notation indicating instrument fingering or the location of the played notes rather than musical pitches.
Richter tuning is a system of choosing the reeds for a diatonic wind instrument. It is named after Joseph Richter, a Bohemian instrument maker who adopted the tuning for his harmonicas in the early 19th century and is credited with inventing the blow/draw mechanism that allows the harmonica to play different notes when the air is drawn instead of blown.
Solo tuning is a system of choosing the reeds for a diatonic wind instrument to fit a pattern where blow notes repeat a sequence of
The Anglo or Anglo-German concertina is a member of the concertina family of free-reed instruments.
Starckwest Claks interpreter, composer, transcriptor of the JS Bach toccata Dm https://imslp.simssa.ca/files/imglnks/usimg/b/bc/IMSLP482830-PMLP153090-sir_starckwest_harmonica_chromatic_js_bach_toccata_dminor_transcription.mp3 and harmonica concerto Le sommeil des voeux https://ks.imslp.net/files/imglnks/usimg/5/53/IMSLP463227-PMLP752187-concerto_le_sommeil_des_voeux_orch_clakos_2017.mp3