Hohner makes two sizes of extended range diatonics, 12-hole (#364) and 14 holes (#365). Neither is solo tuned (although Hohner makes a solo-tuned C-harp using the #364 chassis). Seydel also makes a 12-hole model in both solo tuning and extended standard tuning (which I explain below).
The G-harp you have has the same range as a regular G-harp for the first 10 holes, then adds four more holes at the top end. The blow bends in holes 11 and 12 are very wide. Hole 11 bends down four semitones, from B to G (same note as Blow 10), while Hole 12 bends down from D to Bb (five semitones). Holes 13 and 14 have even wider blow bends, but they may not be practical to achieve if the harp isn’t well set up.
The 14-hole Hohner 364 comes in Low C and regular G. The 12-hole #364 comes in Low C, Low D, and G. Sonny Boy Williamson used a low C for his studio recording of “Bye, Bye Bird,” and used a low D for the love versions recorded in Europe.
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Hohner makes two sizes of extended range diatonics, 12-hole (#364) and 14 holes (#365). Neither is solo tuned (although Hohner makes a solo-tuned C-harp using the #364 chassis). Seydel also makes a 12-hole model in both solo tuning and extended standard tuning (which I explain below).
The G-harp you have has the same range as a regular G-harp for the first 10 holes, then adds four more holes at the top end. The blow bends in holes 11 and 12 are very wide. Hole 11 bends down four semitones, from B to G (same note as Blow 10), while Hole 12 bends down from D to Bb (five semitones). Holes 13 and 14 have even wider blow bends, but they may not be practical to achieve if the harp isn’t well set up.
The 14-hole Hohner 364 comes in Low C and regular G. The 12-hole #364 comes in Low C, Low D, and G. Sonny Boy Williamson used a low C for his studio recording of “Bye, Bye Bird,” and used a low D for the love versions recorded in Europe.