Tuning recipes
Hi, Kinya.
I'm befuddled by all of the "tuning recipes," just intonation (various kinds), compromised (various kinds), equal temperament (I think I kind of get that one), "1950s tuning," etc., etc..
I just don't want to sound out of tune any more than I have to. I pretty much only play blues, and for me, that means single notes including bends, slaps, pulls, shakes, octaves, and sometimes low chord chugging.
My ear is refined only to the point that I can sometimes tell if something is way out of tune against the "band" or backing track, and I can hear the octave "beat" when either the harp or my technique causes discrepancy between the octaves.
When I pull out my tuner (pick one), and play notes to see if they are in tune, many of them are not (sometimes I can "get them into tune" by "force" while I'm playing (adjusting air pressure, mouth configuration, crossing my eyes, etc.). But I understand that maybe they are tuned to a specific "tuning" and they are SUPPOSED to be so many cents flat or sharp. But JEEZ!
My question:
If someone like me were just to calibrate a tuner at 442 and tune each reed until the tuner said it was in tune (on average), what would be the likely outcome when playing the blues with a band?
I'm learning new music jargon all the time!
Thanks, Kinya.
I think I get that part.
Octaves should sound the same (that is, in tune), no matter which recipe we use, right? Since we tune to "no beat." So, it's really just a difference in how the chords sound? (My ear is really not that refined, but maybe it's subliminal?)
So, if it really makes a difference to the human ear when there is a 2, or 4, or 14 cent "offset" from equal temperament (depending on the tuning recipe), why doesn't it sound terrible when the band is playing in tune, and the harmonica is purposely playing "out of tune"?
I'm thinking, if I start off tuning to a different pitch (A=442 instead of everyone else's A=440), then I tune my root note 6 blow and 10 blow 6 cents sharp from THAT (according to one of the compromised tuning recipes), and 4 cents sharper than my 2 draw root note and my 3 blow root note, no wonder it never sounds quite in tune with the band (that's my story, and I'm sticking to it).
So, if I become expert enough, I'll be able to bend all those notes 2-14 cents up or down when I need to (whenever that might be?)? Wow. I won't hold my breath for that.
Thanks again. You are a genius.
Hello Marcos,
Q: Octaves should sound the same (that is, in tune), no matter which recipe we use, right?
A: Correct. Middle C2; for example, is the same pitch (note) as lower C1, except it vibrates exactly (deviations will beat) twice the speed. Upper C3 vibrates twice as fast as middle C3 ...
In the case of Tremolo harmonicas--that echo type of sound--is created by purposely de-tuning the two notes within the octave. For example, C1 = 0 Hz and C2 = +8 Hz.
You may actually like the "beat" sound in your octave playing. Just listen to William Clarke on his big five hole octave Chromatic harmonica songs.
Q: So, if it really makes a difference to the human ear when there is a 2, or 4, or 14 cent "offset" from equal temperament (depending on the tuning recipe), why doesn't it sound terrible when the band is playing in tune, and the harmonica is purposely playing "out of tune"?
A1: It is the relationship of notes within the chord that makes or breaks our sonic bliss. A piano, for example, is not Equal Tuned. If so, it's chords would be displeasing to our ears.
A2: We can sound terrible against the band in cases where our harmonica has been de-tuned too much. For example, in "Just Intonation" Temperament, the 5 draw (flatted 5th in the chord) is de-tuned about -28 cents! The 5 draw note mixed into a chord sounds great, but played as a single note--it will stick out like a sore thumb. With exception of Hering Harmonica's "1923 Vintage" diatonic harmonica, I can't recall any other harmonica manufacture who offers--on purpose--Just Intonation Temperament Tuning.
Q: I start off tuning to a different pitch (A=442 instead of everyone else's A=440) ...
A: The reason Harp Techs calibrate their tuners to 442Hz is to automatically compensate (like a handicap) for the "unavoidable" shortcomings of the diatonic harmonica: (1) Normal to intense harmonica playing will automatically bend the pitch down approximately -1 cents, and (2) Cover plates will lower the diatonic harmonica's tuning by approximately -1 cents.
MARCOS, "Thanks again. You are a genius".
HARPSMITH, "Yes we are"!
Your Harpsmith,
Kinya
Hi Marcos
Good to hear from you.
Q: If someone like me were just to calibrate a tuner at 442 and tune each reed until the tuner said it was in tune (on average), what would be the likely outcome when playing the blues with a band?
A: If you tune each reed to zero [0] on your chromatic tuner, your harmonica will sound closer to an 12TET (12 Tone Equal Temperament) harmonica. This will be similar to the Hohner Golden Melody and Lee Oskar harmonicas. The outcome--in the context of playing Blues--would be that your chords may sound stark ... more jiggy jaggy when compared to a harmonica tuned in Compromised Just Intonation. This will be similar to the entire family of Hohner Marine Band harmonicas (including, 1896, MB Deluxe, Crossover, Thunderbird).
Essentially, it is a matter of taste (technique) ... a dash of this and a dash of that. 12TET harmonicas can sound good in many genres--depending on the expertise of the artist. One of my all time favorite players is Tex Nakamura. He was the first of many harmonica players who replaced first chair player Lee Oskar in the band, WAR. Tex's harmonica of choice is Tombo/Lee Oskar. This instrument's 12TET tuning sounds perfect for the type of music WAR performs, with harmonica chords or octaves rarely heard. But when I heard Tex Nakamura's new band, "The 44s" performing at the Poorhouse Bistro in San Jose, CA, he and his Tombo/Lee Oskar harmonicas blew the new roof off the rafters with his searing blues playing!
ON THE BENCH
For 12TET tuning, your first set begins on the "blow" reed plate:
[01] Tuning 4+ as your first REFERENCE TONE
[02] Tune no beat 1+ to match 4+
[03] Tune no beat 7+ to match 4+
[04] Tune no beat 10+ to match 7+
Your next set:
[05] Tune 3+ as your REFERENCE TONE
[06] Tune no beat 6+ to match 3+
[07] Tune no beat 9+ to match 6+
Your next set:
[08] Tune 2+ as your REFERENCE TONE
[09] Tune 5+ no beat to match 2+
[10] Tune 8+ no beat to match 5+
"Draw" Reed Plate:
[11] Tune 4 as your REFERENCE TONE
[12] Tune no beat 1 to match 4
[13] Tune no beat 8 to match 4 (note five hole octave)
Next:
[14] Tune 2 (this should match 3+)
Your next set:
[15] Tune 3 as your REFERENCE TONE
[16] Tune no beat 7 to match 3
Your next set:
[17] Tune 5 as your REFERENCE TONE
[18] Tune no beat 9 to match 5
Your last set:
[19] Tune 6 as your REFERENCE TONE
[20] Tune no beat 10 to match 6
Whew. Good Job!
Your Harpsmith
Kinya