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The Richter-tuned harmonica, or 10-hole harmonica (in Asia) or blues harp (in America), is the most widely known type of harmonica. It is a variety of diatonic harmonica, with ten holes which offer the player 19 notes (10 holes times a draw and a blow for each hole minus one repeated note) in a three-octave range.

The standard diatonic harmonica is designed to allow a player to play chords and melody in a single key. Because they are only designed to be played in a single key at a time, diatonic harmonicas are available in all keys. Harps labeled G through B start (on hole 1 blow) below middle C, while Harps labeled D♭ through F♯ start above middle C (C₄). Here is the layout for a standard diatonic harmonica, labeled C, starting on middle C (C₄).

Although there are three octaves between 1 and 10 'blow', there is only one full major scale available on the harmonica, between holes 4 and 7. The lower holes are designed around the tonic (C major) and dominant (G major) chords, allowing a player to play these chords underneath a melody by blocking or unblocking the lower holes with the tongue. The most important notes (the tonic triad C–E–G) are given the blow, and the secondary notes (B–D–F–A), the draw.

Valved diatonics[edit]

The valved diatonic is one of the most common ways of playing chromatic scales on diatonic harmonicas. While chromatic is available, valved diatonic is also common, and there are reasons to use a valved diatonic rather than chromatics. It does not have a slide assembly (so that it has less air leakage), and it has a wider tonal range and dynamic. As well, it has a smaller size and is much more suitable to use with microphone, and it is still cheaper than chromatic, even for a premade one like Hohner's Auto Valve or SuzukiPromaster MR-350v.

Valved diatonics are made by fitting windsavers on draw holes 1–6 and blow holes 7–10; this way, all reeds can be bent down a semitone at least, although most players can easily bend down a whole tone. Alternatively, one can simply buy a factory-made valved diatonic such as the SuzukiPromaster Valved.

The disadvantage of the valved diatonic is that it does not require one to develop proper embouchure in order to bend the notes accurately. Also, many of the notes reached by bending are nearer just intonation, and the slightly lower equal tempered pitches preferred by western classical music are unattainable. This limits the number of chromatic notes available when playing classical repertoire when compared with that of jazz or blues. Another thing worth noting is that, due to the valved bends being one-reed bends, the sound is less full than traditional bends, and may seem dull, making it less dynamic. One way to address this is by having an additional reed that activates when one bends a note; this is the philosophy of Hohner's XB-40 and Suzuki's SUB30 Ultrabend.

Mike Easton is a harmonica repairman from Harrisburg, PA, USA. He kindly wrote this page on tuning techniques & tips that he has worked out for himself in his trade to share with you. Tuning is neccessary when reeds go out of tune, or if you wish to rearrange the notes available to you or if you require a different pitch base or temperament.

For too long harmonica players have been at the mercy of the various harmonica manufacturers when it comes to the tuning of their instruments, but it's not such a daunting task to take matters into your own hands and tune the things yourself. First Sounds - Lesson 1 - Harmonica Academy has online lessons that really work 'a very good site for learning how to play the diatonic harmonica' Tabs, blues backings, audio. 'The HOHNER Harmonica Tuner is developed by Dirk's Projects in collaboration with HOHNER Musikinstrumente. This tuner enables Harmonica owners to tune their own instrument. The tuning process is easy to learn and is clearly explained in the tutorial video. The tuner software can tune single reeds, but also double reeds tuned in tremolo. Great deals on HOHNER Harmonicas. It's a great time to upgrade your home music studio gear with the largest selection at eBay.com. Fast & Free shipping on many items! Hohner HBP Hoodoo Blues Beginner Harp Harmonica Set 3 Pack Keys C D & G with Case. 4.1 out of 5 stars (102) Total Ratings 102, $19.72. Free Shipping. Hello Mystery Harmonica Player! This a relatively easy thing for anyone who has ever tuned a harmonica. If not please refer to our comprehensive video series called Harp Tech Studies (available under the heading 'New Equipment'). We recommend referencing either the Peterson iStroboSoft or Cleartune-both available as smartphone Apps. Jul 16, 2015  Hohner Auto Valve Harmonica Review. Written by admin on July 16, 2015. Posted in Diatonic Harmonicas, Harmonica Reviews, Hohner Harmonicas, Intermediate Harmonicas. Editor Rating; Rated 3 stars. The Hohner Auto Valve features 40 reeds and two separate rows of 10 holes each. Therefore, it can be played as a regular C or high C diatonic.

Playing in different keys[edit]

Aside from bending, Richter-tuned harmonicas are modal.

Playing the harmonica in the key to which it is tuned is known as 'straight harp' or 'first position' playing. For example, playing music in the key of C on a C-tuned harmonica.

More common (especially in blues and rock) is 'crossharp' or 'second position' playing which involves playing in the key which is a perfect fourth below the key of the harmonica (for example, on a C tuned harmonica, a second position blues would be in G—resulting in the instrument playing in mixolydian mode). This is because the notes of the G pentatonicscale (a commonly used scale in blues and rock) are more easily accessible on a C-tuned harmonica. The lower notes of harps in the lower keys (G through C) are easier to bend, but take more wind. Since much of crossharp is played on the inhalation, every opportunity for exhalation must be capitalized upon—by blowing out lots of air on every exhaled note and during every pause. Crossharp lends itself to seventh and ninth chords (particularly G⁷ and G⁹) as well as blue notes (particularly on D chords, where the harmonica is tuned to play D minor while the other instruments play D major).

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Another method is to play in the key one whole tone above that of the harmonica. On a C-tuned harmonica, this would mean playing in the key of D. This is known as 'slant harp' or 'third position' playing, and results in the harmonica playing in dorian mode. This is much less intuitive as it requires the ability to bend notes completely accurately, and there are fewer useful chords available than in 1st or 2nd position playing. The technique offers many notes that are not achievable in the other positions without overblows, such as the blue note on the third degree, which may or may not be favorable depending on the circumstance. The bends available at the lower end of the instrument also make playing melodies in a D major scale relatively easy for those who have any semblance of proficiency at the bending technique, though most of the notes (all but the second and fourth, E and G) in the scale are on the draw, requiring great skill and strategy in exhaling, even more so than in crossharp.

Continuing along the circle of fifths, fourth position, fifth position, sixth position and zeroth positions can be played, with the scales played in those positions indicated as follows:

Note that using blue notes, any of the seven positions can be used over music in its corresponding major scale if only the notes in the corresponding pentatonic scale are played.

Specially tuned instruments[edit]

Some players prefer specially tuned variants of the diatonic harmonica. Several manufacturers, for instance Lee Oskar Harmonicas, make a variety of harmonicas to help players used to a 'cross-harp' style to play in other styles. Cross-harp players usually base their play around a mixolydian scale starting on 2 draw and ending a 6 blow (with a bend needed to get the second tone of the scale; a full scale can be played from 6 blow to 9 blow). Lee Oskar specially tunes harmonicas to allow players to play a natural minor or major scale from 2 draw to 6 blow, or a harmonic minor scale from 4 blow to 7 blow. Below are some sample layouts (the key labels describe the scale from 2 draw to 6 blow, whereas traditional harmonicas are labelled according to the scale between 4 and 8 blow).

• Country tune: Identical to standard Richter tuning, except hole 5 draw is raised a semitone.

• Natural minor (cross harp, 6 blow to 9 blow) / Dorian (straight harp, 4 blow to 7 blow):

• Harmonic minor (straight harp, 4 blow to 7 blow)

• Major (cross harp, 6 blow to 9 blow), Lee Oskar Melody Maker (this will be labeled as 'G': Melody Major's key indicate cross harp's key, starting from draw 2)

With the major second on 3 blow (where, in standard Richter tuning, the cross harp tonic would be repeated) and a major 7th (rather than a minor 7th) on 5 draw, the Melody Maker has a full major scale. This can be very useful for playing major key melodies, for example, fiddle tunes, quickly, without having to do a lot of precise bending or overblowing. This tuning, designed and marketed by Lee Oskar, is a particularly interesting evolution of the harmonica, since it allows a player accustomed to playing 'cross harp' (in Mixolydian) to play in a major key (which is what the standard layout is designed for in the first place). Rather than providing the standard tonic C and dominant G⁷ chords, the Melody Maker provides a G^M7 chord (2–5 draw), a C⁶ chord (1–4 blow), an Am or Am⁷ chord (3–5 or 3–6 blow), a D chord (4–6 draw) and a C chord (6–10 blow). If we are in the key of G, then, the melody maker provides the I chord, the IV chord, the V chord and the ii chord, allowing ii–V–I progressions as well as I–IV–V progressions.

• Optimized blues tuning (this will be labeled as 'C': starting from draw 1)

It is also possible for harp players to tune the harmonica themselves. By making small scratches in a reed, the note played can be changed. It is possible to either get a higher or a lower note. Some harp players make extensive use of these modifications. One of the most famous examples is the harp solo on 'On the Road Again' by Canned Heat, on which the harmonicist, Alan 'Blind Owl' Wilson, gets the minor third crossharp on the sixth drawn reed, which is normally the major second crossharp. There are books, toolkits and guides to tuning and harp customization available on the Internet; anyone interested in trying their hand at tuning should be prepared to sacrifice a few harmonicas during the learning curve.

12-hole and 14-hole diatonic[edit]

Hohner had made a few non-standard harmonicas. All of them have more than 10 holes and are labeled 'grosse richter'. For 12 holes, Hohner makes the M364 Marine Band, as well as the M36460 Marine Band Soloist. The Marine Band Soloist is solo tuned, with 3 full diatonic octaves with all notes of the major scale of the key of C. Since it can bend notes in the same way as a regular diatonic harmonica in the middle octave, some players use this for blues (and even jazz) instead of the more well-known solo-tuned harmonica, the chromatic harmonica, since the bent notes sound very different from true semi-tones. (For layout, see below at Chromatic harmonica, key out) In this configuration, blues players usually play in the third position, the D-minor blue scale.

In addition to the M364 models with 12 holes, there is also the Hohner Marine Band M365 14-hole harmonica. The general dimensions of the 12- and 14- hole Hohner harmonicas are a bit bigger than regular diatonic harmonicas. The M36401 and M36501 harmonicas (in the key of C) are pitched one octave lower than the standard 10-hole C diatonic. Thus, hole-4 blow is the same pitch as hole-1 on a regular diatonic harmonica in the key of C. The Marine Band M36408 and M36508 (in G) are similar to a usual G diatonic, having the higher end expanded.

Holes 1 through 4 and 6 are draw-bendable, and holes 8 through 14 are blow-bendable. Note the extra holes 11–14 which in theory extend the bending capabilities a lot (from A down to E in hole-14, for example), although in practice these are quite limited.

There is also the Steve Baker Special (M3658) manufactured by Hohner, a special tuned 14-hole diatonic. Below, the layout of the Steve Baker Special in the key of C:

They come in five keys:

• C – M36581
• D – M36583
• F – M36586
• G – M36588
• A – M36590

This harmonica opens up lots of interesting possibilities, especially for blues harmonica, like extended tongue-block octave playing, the possibility to play exactly the same 2nd position riffs in two octaves, etc.

Extra-reed harmonicas[edit]

Two harmonica models have been released with altered designs that allow for increased bending abilities, and in effect, chromatic playing on a diatonic harmonica. They are often referred to as 'extra-reed' harmonicas, because they carry more than the usual 20 reeds of a diatonic harp.

The Hohner XB-40, invented by Rick Epping, features an entirely new body design, though in practice, it is still a Richter-tuned (diatonic) harmonica. Here the blow reeds and the draw reeds are sealed off one from another with valves, effectively creating two separate cells in the comb for each hole in the mouthpiece: one for blow and another for draw. A second reed is then placed in this cell at a zero-offset (no gapping) so that it does not sound under normal playing. However, it is placed on the opposite side of the reed-plate from the speaking reed and tuned so that it responds when the player “bends” the note downwards in pitch. This allows for every note on the XB-40 to be bent downwards a whole-tone or more, whereas on standard diatonics only certain notes (the higher-pitched in the cell) will bend at all.

The other Richter-tuned harmonica of this kind is the Suzuki SUB30 Ultrabend. Where the XB-40 uses valves and a total of 40 reeds, the SUB30 takes a different approach. Each hole of the harmonica houses a third reed, totalling thirty reeds altogether and thus, where the harmonica draws its name. The third reed is dubbed a 'sympathetic reed', tuned one tone below the pitch of the lowest note, and is normally passive to airflow. The reed becomes active when the player uses the bending technique, allowing the low note in each hole to be bent down one semitone. Unlike the XB-40, the SUB30 retains the typical shape and size of most other ten-hole diatonic harmonicas.

1976 Auto Tune Harmonica Parts

References[edit]

Altered tuned harmonicas are available fromSeydel

Other resources for altered tunings

• An essential primer on altered tunings for chromatic harmonicaSome Musings On Altered Tunings For the Chromatic Harmonica by Pat Missin
• You can find most of the known tunings for harmonicas in:
  Altered States at Pat Missin's website on the tunings page.
• Overblow by Tinus has altered states for diatonic andchromatic harmonica using a very useful Java program demonstrating scales and keys over any key layout.
• Useful Chromatic Harmonica altered tuning articles & chartswritten by Max Greco.
• Harping! MIDI harmonica tablature program by Javier handles any harmonica tuning possible.

Altered Tunings of Note

There are many altered tunings that are in use by a number of players:

• For Chromatic Harmonica
  

  Solo tuning has an established place in the chromatic harmonica's short history, all education material & compositions for the chromatic harmonica to date are written on the assumption that solo tuning is in use. That is why it is still here and remains the most popular tuning - by default. And whilst there are some superb musicians using this, it doesn't make it the most practical layout for all musical styles & situations.

  • Bebop Tuning. This is a slight variation on Solo Tuning that has a big impact on the playability of the instrument when playing Jazz. Only two reeds per octave are retuned, on a standard Solo C holes 4, 8 & 12 have both the blow reeds (slide out & slide in) retuned to Bb (slide out) and B (slide in). This removes the C# enharmonic and one of the double C notes, it also removes the breath change required on those holes, instead every hole has the same blow/draw progression up the scale.It also changes the bias of the chromatic layout from just key of C to keys C and F. Therefore it is also known as C/F Bebop Tuning. It changes the blow chords available so that a dominant 7th is introduced and this needs to be accounted for, it also adds additional chordal possibilities. This is more popular than the other tunings because its the least radical change away from Solo Tuning so even those who have played Solo for many years can still adjust to it without losing too much time.
  • Alternate C6 Bebop Tuning. Similar to C/F Bebop however instead of using Bb & B on holes 4, 8 & 12, A/Bb are used. The blow chords are changed to C6 & Db6. This tuning facilitates interesting new opportunities and is used by William Gallison.
  • Classical Tuning.AKA I maj7/ ii min7 Tuning. Very close to solo tuning except that holes 4, 8 and 12 are flipped over so that the breath pattern does not change. For example with Cmaj7 / Dmin7 the first of the two C notes and C# notes are flipped to draw positions, making them much more useful, improving phrasing and enabling more legato phrases. It gives you more chords including Cmaj7, Emin, Dmin7 and F as well as Dbmaj7, Fmin and F#, in addition to many more useful partial chords.
  • Diminished Tuning AKA Dimi AKA Minnie AKA CAT (Chromatic Altered Tuning by Dr Yeadon), a different angle to the chromatic harmonica based on the diminished scale & chords.It provides the player with 1 octave per four holes like Solo tuning,however there is no bias towards any key. There are many partial chordoptions available, using only minor 3rd intervals, which in today's 12EDOtemperament are more sonourous and settled than major 3rds, making thediminished harmonica for good backing and harmonising.The slide is usally set up to sharpen the notes, and because of the evenly spread enharmonics there is plenty of oportunity for smooth transitions. Flat slide, whole tone slide and flat whole tone slide are all practical variations too.
    Personally I have come to rely almost exclusively on diminished tuning for my chromatics, and recommend it to beginners to seasoned players alike. In the long run I find it easier to play by ear and play overcomplex changes, than solo tuning, or any of the above.
  
  
• For Hohner XB-40. A lot of untapped potential for alteredtunings, its early days yet. One of the first tunings being experimented with, is theXB-40 Melody Maker^TM.A tuning Lee Oskargave the trademark to, when he first brought it out onto the market.
  

One thing to realise about new tunings is that it doesn't have to be amonumental task to learn them if approached from the angle of 'its amatter of just learning a few new scales'. With Diminished there are only a mere three scales to learn.
Once you have them down theres not much difference in the fundementals ofthe instrument itself, considering what can be gained it maybe worth youspending some time investigating and learning.
The more tools & skills you have available the more options you have andthe more likely it will allow you to be a musician who plays music andjust happens to use a harmonica, than being a harmonica player working tomake their instrument play music.

I have written a short page on Intervalic Theory which explains digital music notation neccessary to understand some of the layouts in the above pages, which makes the entire process much easier to understand.

1976 Auto Tune Harmonica Sheet Music

Music theory webpages on my websites:

Chromatic Harmonica Reference

• Music Theory II
  Harmonica Resources
  

1976 Auto Tune Harmonica Chords

1976 Auto Tune Harmonica For Sale