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From: dijk~orldaccess.nl
Date: Mon, 09 Sep 96 12:33:57 GMT
Subject: Re Wim & Jazz Harmonica (alternative chrom tunings)

On Sun, 8 Sep 1996 12:07:20 -0400, Didi Neumann <101731.21~ompuserve.com>
wrote:

>So we could change the discussion to the question how Wim gets his
>augmented triad chrom" and in a years time we well see...

>There are two ways to try it out:
>1. Hardware method": Get the augmented triad chrom" by retuning an
>existing chrom. Winslow already did it. Maybe someone give some hints.
>2. Software method": Get a midi harmonica with a programmable interface.
>The advantage of this method would be the possibility to try out some other
>tunings. If there is only Wim trying out it may take some more years......
>We have been discussing this already, maybe there are some results off
>list?

Didi, thanks for your interest.

About Hardware method": Get the augmented triad chrom" by retuning an
>existing chrom. Siegfried Naruhn built such an instrument for me. He did do a
great job and for me it was possible to discover a lot of thinks about the
augmented triad system. But, a lot of problems arise:
- - retuning a chr. harmonica takes a lot of time
- - a retuned harmonica does not last as long (or short) as a harmonica in
original tuning. One needs a couple of harmonicas to be able to study it for a
year
- - the retuned (augmented triad) harmonica does not sound as well and it does
not play as well as an original model, so it can only be used in study
situations
- - to be able to make a PERFECT retuned chr. harm., one needs completely
different reedplates with the desired new positioning of the reed slots and its
reeds. Practicaly, these reedplates can only be made by a harmonica
manufacturer.


These are only the major problems. A lot of these problems can be solved by
developing a MIDI harmonica as I mentioned in previous writings.

The only way to convince a harmonica manufacturer and harmonica players of the
advantages (and disadvantages) of a different tuning system is:
- - completely mastering the tuning system
- - be an excellent harmonica player on both systems
- - have a retuned instrument that sounds as good as possible and is as flexible
as the original harmonica so the instrument is no obstacle
- - be completely aware of all the advantages and disadvantages of both systems
(not only theoraticaly but also practicaly!)
- - maybe some more (like 'marketing problems' or 'being as famous as Toots
Thielemans')

For me as a harmonica player, some problems arise:
- - During the six years I studied the harmonica intensively, my brains created
some kind of graphical representation of the note material I use during the act
of improvising. When I play the augmented triad system, this graphical
representation is no longer valid. Thats why I think, getting used to a new
tuning system will take a couple of years.
- - Getting used to the new tone positioning is not such a big problem. By only
playing written music (without improvising), I get used to it very quickly.
- - On stage, I still play the normal tuning system. All the time I need to get
used to the new tuning system, I also COULD use to develop myself more and more
on the old tuning system.

But, I am convinced of the fact that the augmented triad system OR the
diminished seventh chord system will be very helpful in developing a
contemporary jazz and classical way of playing which will be DIFFERENT from the
harmonica sound of today. That's why I will spend a large amount of time in
developing a MIDI harmonica and doing research in (useful) alternative tuning
systems.

I hope everybody who did try out alternative tuning systems for chromatic
harmonicas, will write me about their experiences. It would be very helpful to
me.

Wim Dijkgraaf
The Netherlands