If the search query ‘what harmonica should I buy?’ is the most common harp-related entry on Google, then the corresponding ‘which key of harmonica should I buy?’ question must be a close second.
Before we examine this in detail, though, it’s worth noting an important point: if you never perform with other musicians, and never play along to recorded music, the choice of key is fairly irrelevant. You can transpose a piece of music to suit almost any key of harmonica, as long as the designation is the same (ie major to major or natural minor to natural minor. Harmonic minor to major, for instance, would be problematic). It might sound a little higher or lower than the original, but it won’t be fundamentally different (unless, of course, you subscribe to the theory that musical keys have their own distinctive and unique essence, which I don’t).
When I was a teenager, I’d often work out on the piano songs that I’d heard on the radio. As this was in the days well before the unfettered access to music we now enjoy via Spotify, YouTube, et al, this was performed largely from memory, resulting in me knowing many songs in keys that were vastly different from those of the originals (I tended to favour D♭, A♭, B♭ and their relative minors).
Of course, when I came to play some of these songs with other musicians I had to re-learn them in the correct keys, but the point is, had I continued to play alone, this wouldn’t have been necessary (pitch-related pedantry notwithstanding!) The same is true for the small percentage of harmonica players who perform entirely unaccompanied.
Enough Preamble – Which Keys Do I Really Need, Then?
If, however, you’re one of the 99% who wants to play along to music or as part of a band, choice of key is paramount. Traditional wisdom says that C, G and A are the best initial harmonicas to purchase, and this is what most of the multi-harmonica packs are comprised of. Is this advice correct, though, and, if not, what should we be buying when we start playing?
Spotify data analyst, Kevin Ning, examined the key of every track in the Spotify catalogue, which is largely comprised of Western contemporary music, and produced the following chart:
One of the big surprises here is the popularity of G major. In other analyses of popular music keys (albeit usually with much smaller datasets) C major has been shown to be the most widely used key by a significant margin. G major has usually been a distant second – often around half as frequently used as C major.
It has been posited by various commentators that C and G are both keys that are relatively easy to play on guitar and piano – historically the most popular instruments with which to compose music. Whilst I don’t disagree fundamentally with this, I would say that D major and E major, for me, are easier keys to work with on guitar (the latter key of which is a distant 11th in popularity in the Spotify catalogue), and Db, Ab, Eb and Bb are much nicer to use on keyboard (the latter especially for bluesy and jazzy pieces).
Flat keys, however, are not easy to work with on guitar, unless you’re using altered tunings, so maybe the popularity of C and G major is related to the need to find a common key that is the best compromise for the two most popular instruments.
The Useful Bit!
So, what does this tell us about the keys of harmonicas we should initially purchase? As most beginner lessons assume the use of a C harp, it’s probably safe to say that this should be our first choice, if only because it enables playing along to pre-recorded material in these lessons.
The next key should probably be A major, which, although only fourth in the chart above, is useful for a number of reasons. The majority of diatonic harp players are focused on the blues, and, as it’s easier to play this style of harmonica in the second position (cross harp), an A major harmonica translates to the key of E major. Whilst this only accounts for around 3% of music on Spotify, its popularity in the blues genre, which is only a small subset of the Spotify catalogue, is much greater. Similar justifications can be made for G major, D major and E major, in order of popularity.
Of course, this all assumes that the player is most interested in Western pop or blues-based music. Should you be a fan of playing ethnic or traditional folk music, then you would be better served by the likes of harmonic minor harps.
Returning to major key harps, once you have equipped yourself with C, A, G, D and E, it is worth considering E♭, especially if you like to play music which features horn sections, which often play in B♭, (which, of course is an E ♭ harp in second position). The only possible disadvantage to this harp is that it is at the higher range of the pitch register, so a low E♭, so, a low E♭, if it is available in your choice of harmonica, may sometimes be preferable.
Once you have the most popular keys, it’s then up to you to decide whether you want to expand to the standard 12 major keys, or venture into new areas, such as low and low low keys, or natural and harmonic minors. The great thing about the diatonic harmonica is that the relatively reasonable pricing of even fairly high end models means that an entire set of harps in every imaginable key can be purchased for less than the price of a half decent guitar, for instance. Just remember to keep them clearly labelled!
Every year, towards the end of the summer term at my secondary school, we were ‘treated’ to a speech by the head of the board of governors. Despite the fact that he was addressing an audience composed primarily of teenagers who’d already sat through at least one of these speeches in the past, the governor’s subject matter was unwaveringly consistent. So consistent, in fact, that by year three most of the students with a decent memory could probably have recited the whole thing verbatim.
The message itself was a fairly simple one – success is predicated more on hard work than on some elusive inspiration or special talent. The fact that I can still recall this, many years on, is, I suppose, testament, in some small way, to the fundamental truth of this notion. Or perhaps it was just its repetition every year for seven years.
Practice Makes Perfect
When we learn an instrument, we’re often told a similar message – practise, practise, practise, then practise some more. But some instruments seem to offer more in terms of delivering a return on your time investment than others. Which brings us to the harmonica, and a couple of commonly asked questions on harp forums – exactly how difficult is it to play, and how much return does it give you on your time spent learning to play it.
It’s probably useful at this point to provide a bit of detail on my own musical background. I was classically trained from a fairly young age as a pianist, then came guitars, bass and a bit of fairly poor drumming. The harmonica is my fifth instrument, and, in terms of my playing ability, it currently sits below bass but above drums.
Transferable Skills
The first thing to say, perhaps, is that being competent in other instruments before taking up the harmonica definitely speeds up initial progress. Once I’d worked out a major scale in the first position, for example, I could play simple tunes straight away. In this respect, it’s relatively intuitive to anyone who’s played a keyboard or piano – much more so than other wind instruments, whose note layouts often appear to have been designed by a lunatic (I’m thinking of you, saxophone).
Compared to playing the guitar, where sounding a set of clear notes initially feels like the work of impossibly complicated contortions of the fingers, the harmonica appears to be quite straightforward. Then you find you need to produce a note outside of the major scale, and suddenly things aren’t quite so easy. Bending notes on the guitar is the work of a few hours’ practice; bending notes on the harmonica involves attempting a variety of oral gymnastics with seemingly little effect on the note’s pitch. Then repeating, ad infinitum, with no obvious improvement.
Like all skills, though, progression never maps as a nice smooth gradient of continual improvement; it’s more like the odd, sudden “eureka!” moment, followed by endless plateaus of ‘am I ever going to get any better?’. Persist, however, and usually you’ll make the leap – this was certainly the case with bending, where it took many, many fruitless hours before I achieved any variation in pitch.
Comparison With Other Instruments
In terms of difficulty, I would say that this isn’t quite comparable with the trickier initial aspects of being a pianist, such as coordinating left and right hands to perform completely different tasks. It’s more akin to the level required on the guitar to move seamlessly between chords, with no dead notes sounding and no delay. That is to say, tricky at first, but within reach without having to commit half of your life to practising the technique.
By this point you should be able to do a passable imitation of a harmonica player. Enough, at least, to fool the very untrained ear into thinking that you can actually play. Not enough, however, to sound good to anyone who’s a fan of the instrument.
The next stage is being able to play more complicated melodies at speed without hesitation or nasty squealing noises. This is analogous, in many ways, to learning guitar solos; in fact, given the strong connection of both instruments with the blues, the scales used tend to be very similar for many of the most popular pieces of music.
Of course, the differences between the average and the great are obvious not only in the complexity of a piece and the speed at which it can be played, but also in the tone produced. I have to say at this point that I haven’t quite mastered a perfect tone yet; just like when I became competent on guitar and could string together a few decent sounding licks at speed, it sounds relatively impressive at first, but a closer listen reveals little imperfections that are notable in a good player’s rendition by their absence.
Conclusion
So, in answer to the original question – in my view, the harmonica has a less extreme learning curve initially than instruments like the guitar or piano, and, ultimately, is not as hard to reach a reasonable level of competence with. Like all instruments, though, achieving true mastery will take a considerable amount of time and energy – perhaps even conforming to the old 10,000 hour rule of focused practice. With this in mind, I’ll report back in around a decade, hopefully with news of my virtuosic ability!
In our series of buyers’ guides we look at the product ranges of the major harmonica manufacturers and explain the differences between models. This time it’s the turn of Japanese brand, Suzuki.
Not a Motorbike Manufacturer
In the US and Britain in the 1970s, the conglomerate reigned supreme. Companies like ITT were so diversified that their interests could include such bizarrely dissimilar areas as baked goods, telephony and forest products.
By the 1980s, this level of diversification had become deeply unfashionable, and most western companies divested themselves of their more outlandish subsidiaries in order to focus on their core competencies.
This trend towards ‘focus only on what you’re good at’ did not, however, have much effect in Japan, where the keiretsu – a set of companies with interlocking shareholdings, which, in many ways resemble conglomerates – is still the pre-eminent type of major corporation.
It’s slightly surprising, then, to find that Suzuki Musical Instruments is not part of a keiretsu itself and has no connection with Suzuki Motors. Unlike one of Japan’s other musical instrument manufacturers – Yamaha – which is part of a larger company producing a mystifyingly large range of products, from motorbikes to pianos, Suzuki is a standalone company that focuses on instruments alone. And its most popular instrument (and the one with which its name was made) just happens to be the harmonica.
A Brief History
Manji Suzuki, the founder of the company, began making Suzuki harmonicas by hand, more than 70 years ago, in a small rented room in Sumiyoshi. The business expanded rapidly in the immediate post-war period, helped to some extent by the Japanese Ministry of Education’s policy of stipulating the use of simple, low cost harmonicas to teach music in primary and secondary schools.
The 1960s saw the company diversify a little with production of the keyboard harmonica, which again proved exceptionally popular in the education sector. This experience with keyboard-based instruments partially influenced Suzuki’s decision to acquire the Hammond Organ Company in 1989, which it still owns today.
Suzuki in 2017 produces a range of musical instruments, from xylophones to electric pianos, but it’s probably safe to say that the harmonica remains the instrument for which it is most famous. Let’s take a look at its range and explain the fundamental differences between models.
This is a very reasonably priced, Chinese-made diatonic harmonica designed for the entry level market. Despite its low price it is robust and durable. Available in C, D and G.
The Manji is a Japanese-made, mid to upper-end diatonic harmonica, which is available in a large range of keys and tunings, including natural minor and country.
The wood/resin composite comb combines the tonal qualities of a wooden comb with the non-absorbency features and durability of a plastic comb. The reeds are high quality phosphor bronze. A very high quality harp for those looking for the resonance and feel of a wooden comb but without the potential swelling issues.
The Blues Master is the equivalent Suzuki model to the Hohner Special 20 and hits a similar price point.
Made in Japan with an ABS plastic comb and phosphor bronze reeds, it’s ideally suited, as the name suggests, to blues playing, and allows easy bending of notes. Available in 12 major keys.
This is another entry level harmonica, manufactured in China and featuring laser tuned reeds and a moulded plastic body. This harp has a particularly mellow tone, which makes it most suitable for folk and country music. Available in 12 major keys.
The Harp Master sits slightly below the Blues Master in the Suzuki range, but features a similar construction and, like the Blues Master, is made in Japan. The main difference is the brass reeds on the Harp Master, which lend it subtly different tonal qualities. Available in 12 major keys.
This is one of Suzuki’s most popular models. Featuring an aluminium alloy comb that gives it a unique sound and response. Available in 12 major keys plus high G and low F. Made in Japan.
Featuring the same construction as the standard Pro Master, but with a valve system which circulates air to allow note bending in the blow as well as the draw cycle. Made in Japan and available in 12 major keys as well as high G and low F.
Pro Master Gold Valved (MR-350GV)
This harp features the same design and construction as the MR-250V, but the cover has been gold plated for a uniquely opulent look. Made in Japan and available in 12 major keys as well as high G and low F.
This is a relatively new all hardwood model from Suzuki. The comb and cover are constructed from rosewood, which is a rare and exotic wood more commonly seen on high end guitars and violins. The result is a rich, warm sound that’s quite different from harmonicas that use the more traditional metal and pearwood, or metal and plastic construction. Made in Japan and available in 12 major keys as well as high G and low F.
FireBreath (MR-500)
Features a rosewood comb for a warm, bluesy sound, but has the same body as the MR350, which facilitates tongue blocking. Made in Japan and available in 12 major keys as well as high G and low F.
The Overdrive has a design that is unique to Suzuki: it has separate air holes at the back of the case that when blocked with a finger increase air flow over the reeds, making it easier to overblow and overbend. Made in Japan and available in 12 major keys as well as high G and low F.
Suzuki Pipe Humming
This chrome plated harmonica has a unique design that enables vibrato via the use of an extension tube that can be switched for left or right-handed playing.
Made in Japan and available in 8 keys (C, C#, A, G, D, Am, Gm, and Dm).
Suzuki Fabulous F20E and F20J
These two models are at the upper end of Suzuki’s diatonic range. The F20E is tuned to equal temperament, whilst the F20J is tuned to just temperament. The latter tuning is beloved of folk players and some blues players due to the very full sounding chords it enables.
These harps both feature silver-plated brass combs and cases and phosphor bronze reeds. As expected at this price point, the build quality is extremely high and the tolerances supremely precise. Made in Japan and available in 12 major keys as well as high G and low F.
This is the sister harmonica to the Manji, and features the same composite comb. The main difference is the Pro Master style cover plates, which lend it a clear, warm sound, most suited to pop and jazz styles. Made in japan and available in 14 major keys.
This chromatic harp is available in a range of sizes, from 12 to 16 holes. Featuring an ABS body and chrome-plated brass cover plates, it’s precision made in Japan and is extremely airtight.
Sirius
This range of harps, available in a number of configurations, from 12 to 16 holes, is a step up in price from the Chromatix. Based on the Fabulous design, it has a warm and expressive sound. Made in Japan.
Fabulous
This is one of Suzuki’s top end chromatic models and has the quality and feel that matches its price. The cover plates and body are silver plated brass and the mouthpiece is gold plated. Made in Japan and available in 12, 14 and 16 hole models.
Grégoire Maret Signature Models
These two models share the same design, but differ in their construction. The G48 features brass coverplates,whilst the G48W uses rosewood for a subtly richer sound and a different feel in the hand. Made in Japan.
Suzuki SCT-128 Chromatic Tremolo
This is a 16 hole tremolo/chromatic hybrid, with a gold-plated mouthpiece, chrome plated brass cover plates and an ABS body. The reeds are phosphor bronze. Made in Japan.
Tremolo Suzuki Harmonicas
Humming Mate
This is a pocket-sized tremolo harmonica with 13 double holes, an ABS body and stainless steel cover plates. Made in Japan.
These popular entry level tremolo harmonicas are available in 16, 20 and 24 double hole sizes and feature ABS bodies and stainless steel cover plates.
SU Series
The SU Series is available in a wide range of sizes and configurations, including an ‘M’ model with a maple comb for a vintage sound and feel. Cover plates are either stainless steel or chrome plated brass.
SBH-21 Baritone
This tremolo harmonica is pitched one octave lower than the standard 21 hole instruments, giving it unusual warmth and depth. Features an ABS body with brass cover plates. Available ion C and C#.
In our harmonica buyers’ guides we outline the differences between the models produced by the major manufacturers. This time it’s the turn of Lee Oskar.
What’s in a Name?
The world of harmonicas has its fair share of artist-related products – from the signature models of harp produced by Hohner and carrying the names of such luminaries as Bob Dylan and Ozzy Osborne, through to artist-endorsed models, such as Stevie Wonder’s Super 64x.
There is, however, only one musician who has established an entire company devoted to designing and promoting a complete range of harmonicas – legendary virtuoso and ex War member, Lee Oskar.
Lee Oskar – A Brief History
Oskar was given his first harmonica at the age of six, during a time when, he recalls, the instrument was enjoying a period of particular popularity amongst children in his neighbourhood. Unlike many of his peers, though, Oskar persisted with his playing, and when he moved to the United States, at the age of 18, the harmonica was one of the few items that travelled with him.
Following a short period busking on the streets of New York, Oskar made his way to Los Angeles, where he met former Animals frontman Eric Burdon. This meeting ultimately led to the two collaborating with other musicians to form the band War, which won international plaudits for its output in the emerging jazz funk genre in the late 1960s and beyond.
Oskar left War in 1993, after 24 years, to pursue solo projects and expand his harmonica company, which he had started a decade earlier, and which today produces a range of harmonicas in a wide variety of tunings, all manufactured by Tombo in Japan.
A Model of Simplicity
With many of the older harmonica manufacturers there’s an often bewildering array of models and harmonica types on offer, many with similar names, which can make choosing the correct one for your needs somewhat difficult.
Lee Oskars harmonica range, in comparison, is mercifully simple: one basic design of ten hole harp with four varieties of tuning. They’re even colour coded to help with identification. Let’s look at the design, and key differences:
This is a standard major key diatonic harp, with an identical note layout to other major diatonic harmonicas, such as the Special 20, Folkmaster and Marine Band. Played in the first position, the root note, therefore, is on the 4th hole when blowing.
Lee Oskar Major Diatonic Harmonica
In terms of construction, it features a plastic comb, which eliminates the swelling issues that can afflict wooden combs, and replaceable brass reed plates. These are mounted to the comb with 3 self-tapping screws, which enable easy disassembly.
It’s interesting to note that all Lee Oskar models are tuned to 441 plus – slightly higher than the 440 which has become a modern standard for many instruments. This can provide a brighter sound, but it also compensates for the slight flatness induced by most harmonica players. Furthermore, they’re equal tuned, as are many harps produced in Japan, which makes them particularly suited to single note playing.
Lee Oskar recommend this harmonica for blues, folk, rock, country and pop genres.
This natural minor harmonica is identical in construction to the major diatonic, and features the same equal tuning, but the notes available are from the listed natural minor, rather than major, scale.
Lee Oskar Natural Minor Diatonic Harmonica
These harps are designed to be played in the 2nd position and are labelled as such (ie a G minor will have its root note at hole 2 draw, not hole 4 blow).
The Natural Minor is suited to playing minor key material without the need to bend to reach the requisite notes of the minor scale. Lee Oskar recommend it for use with minor key music in the blues, rock, country, reggae, pop and jazz genres.
The Harmonic Minor model is, again, identical in construction to other Lee Oskar harps. In terms of tuning, it is similar to the natural minor harp, but with the seventh note raised one semitone. So, for example, A harmonic minor would have the same notes as A natural minor except that the F would be replaced with an F#.
Lee Oskar Harmonic Minor Diatonic Harmonica
This tuning is particularly suited to traditional ethnic music, which can be difficult to play on a major diatonic or natural minor harmonica.
The Harmonic Minor is labelled in the first position.
Melody Makers are tuned to play major scales, but are designed to be played in the second position (and are labelled as such). This makes it possible to play certain pieces of music, especially those that contain exact melodies that do not include bending, much more easily than on a major diatonic harp.
Lee Oskar Melody Maker Mouth Organ
This makes them less suited to the blues, but more suited to country, pop, world, African and reggae genres.
Having a range of harps with different tuning types can add colour to your playing and can have the beneficial effect of encouraging you to explore new musical directions. Try one of the Lee Oskar harmonicas today and see where it takes you!
To help you choose the best harmonica for your needs, we’ve put together a series of buyers’ guides. As it’s the biggest and arguably best knowm harp maker, we’re starting with Hohner.
Hohner – The Brand
There are some brands whose names become so synonymous with the products they manufacture that the brand itself becomes the generic noun used to describe all similar items. Hoover is an oft-quoted example of this, but there are others, including, incredibly, ‘Bubblewrap’ and ‘Ping Pong’. Whilst the brand ‘Hohner’ might not be quite so interchangeable with the word ‘harmonica’, it’s safe to say that it would probably be the first company the average person would think of if asked to name a manufacturer of the instrument.
A Little History First
Founded in Trossingen in the south west of Germay in 1857 by watchmaker, Matthias Hohner, the company can lay claim to being one of the oldest extant harmonica producers in the world (the honour of oldest actually goes to compatriots and rivals, Seydel, who were established ten years earlier).
Trossingen at the time was the centre of a watchmaking industry, and it was, perhaps, the availability of craftsmen familiar with working with relatively small parts that led to it becoming a hub for harmonica production.
Christian Messner, a former watchmaker from the region, was the first to establish a workshop manufacturing harmonicas in Trossingen in 1827. His instruments were produced by hand, by a single craftsman in the artisan tradition, and, although laborious to make, were relatively crude instruments.
Matthias Hohner, however, beginning his operations 30 years later, was able to see the benefits of production methods and technologies that had begun to appear in the latter part of the industrial revolution. He replaced humans with machines where the latter could be more accurate than the former, instituted division of labour and adopted innovations such as using brass for the reed plates instead of moulded lead. This, together with the company’s adoption of protective covers for the harmonicas resulted in an instrument that was of the highest quality available at the time, but at a price point that was competitive.
Hohner harmonica design from the 1860s.
Hohner’s Expansion Internationally
Demand for harmonicas grew throughout the following decades, with export trade to America being particularly high. By 1879 Hohner was producing around 72,000 harmonicas a year and employing over 200 workers.
At the start of the 20th century, Matthias handed over the business to his five sons, who continued to develop export markets and refine the company’s manufacturing processes. By 1930, Hohner had acquired a number of its competitors and had become the largest musical instrument company in the world, employing around 4,000 people.
Hohner Factory in the 1920s
The pre-WW2 period was, perhaps the golden age for Hohner harmonica production, with numerous popular musicians from the blues, folk and western genres utilising its distinctive sound in their recordings.
Despite the interruption of the Second World War, and the enlisting of the company by the Nazis to produce detonators for the war effort, Hohner continued to flourish in the 1950s, with large numbers of its harmonicas finding their way to export markets.
The Downturn
The rise of rock’n’roll, however, with its focus on the triumvirate of guitar, bass and drums, led to a precipitous drop in sales of Hohner’s harmonicas in the early 1960s. Even the use of the instrument by the two biggest acts of the decade – The Rolling Stones and The Beatles – couldn’t seem to reinvigorate the market.
The 1970s and 1980s saw diversification into electronic instruments, and disastrous financial results, culminating in a takeover by Kunz Holding, a subsidiary of the Taiwanese musical instrument company, KHS, in 1987.
Takeover and Return to Profitability
This takeover, and the subsequent drive for profitability led to entry level models being produced in the far east and significant workforce reductions, with the company employing only around 600 people by 1997
This all eventually reaped rewards, though, when in 2001 the company posted its first profit in 20 years.
Choosing a Hohner Harmonica
Today Hohner produces a wide range of harmonicas, and the number of models can sometimes be a little bewildering. Let’s take a look at the various ranges and explain the key differences.
Diatonic Harmonicas
This type of harmonica is the most ubiquitous and usually features 10 holes, each with one blow and draw note. Because they are tuned to a particular key, if you want to play songs in several different keys (either with a band or to a recording) then you’ll need more than one harmonica. (The caveat here is that it is possible to play cross harp, allowing more than one key to be played on a single diatonic harp, but we’ll leave this for now.)
Marine Band
Hohner Marine Band 1896 Classic – Open Case
This is, perhaps, the most famous name in the lineup. First produced at the end of the 19th century, it was later adopted as the instrument of choice by blues, folk and pop artists, from Jimmy Reed to John Lennon. All models are made in Germany.
Today there are a number of variations:
Classic: the original Marine Band with a pearwood lacquered comb and brass reedplates.
Deluxe: improved comb design for greater volume, triple lacquering for longevity and an Ultraglide coating for comfort.
Crossover: triple lacquer bamboo comb for a brighter sound, Modern Compromise Tuning.
Thunderbird: bamboo comb, tuned an octave lower than standard.
364/24: 12 hole version of the traditional Marine Band.
365/28: Upper register is expanded to two more holes over the 364/24.
Progressive Series
Hohner Rocket Diatonic Harp
These are more modern looking harps, with ABS mouthpiece surfaces and combs, arguably providing better comfort and less chance of swelling than wood. All Progressive Series models are made in Germany.
The Rocket: designed to be loud and comfortable to play, with a comb that features rounded sides and edges.
Rocket Low: similar design to The Rocket, but available in the keys of LC, LD, LEb, LE and LF.
Rocket Amp: features the same construction as The Rocket, but has covers without side vents to facilitate playing with a microphone.
Special 20: this was the first Hohner harmonica to be manufactured with a plastic comb, potentially making it more airtight and less prone to swelling than wooden combed harps. Many modern harmonicas from other manufacturers are based on the Special 20.
Golden Melody: this is a retro-inspired model with rounded edges. Because it’s tuned to equal temperament it’s most suitable for single note playing.
MS Series
Hohner Big River Harp Pro Pack
This line of harps features modular construction, enabling covers, reed plates and combs to be swapped between harmonicas. All MS Series models are made in Germany.
Blues Harp: features a doussie comb and mouthpiece surface and stainless steel covers.
Big River Harp: this model has a plastic comb and streamlined covers with side vents.
Pro Harp: black ABS comb and black coated mouthpiece surface. Particularly popular amongst rock musicians.
The Meisterklasse: features full length cover plates, an aluminium comb and slightly larger nickel-coated reed plates.
Enthusiast Series
These are entry level harmonicas, made in China, that are competitively priced and are designed primarily for beginners.
Blues Bender PAC: Patented Acoustic Covers are designed to facilitate note bending. Plastic comb and mouthpiece surface.
Pocket Pal: plastic comb and mouthpiece surface, screw assembly for easy maintenance.
Blues Band: features a plastic comb and mouthpiece surface.
Hot Metal Harp: similar to the other models in the Enthusiast Series, but with a sound more orientated towards hard rock.
Silver Star: a robust beginners’ model with a plastic comb and mouthpiece surface.
Chromatic Harmonicas
Chromatic harmonicas consist, effectively, of two harps, tuned a semitone apart and separated from each other by a slide, which is operated by a button at the side of the instrument.
So, in the case of a chromatic harp tuned to C, when the button is not activated, the harmonica will have the notes of the scale of C major available. Conversely, when the button is depressed, the notes of C# major are available, meaning that a chromatic harp can play in any standard Western key. This is particularly useful in jazz and classical music, where the chromatic has seen the most use.
Like the diatonic harps, Hohner groups its chromatic models into a number of lines:
These are entry level chromatic harps available with various ranges, from 2 to 3.5 octaves, indicated by the number in the model name (ie Chrometta 8 has two octaves, Chrometta 10 has 2.5, etc).
CX12 Line
Hohner CX12 Black Harmonica
The CX12 Series models are made in Germany and feature a single unit integrating the mouthpiece and covers, which can be disassembled without using any tools.
CX12 Black: injection moulded plastic comb, 1.05mm brass reed plates and a plastic mouthpiece surface.
CX12 Jazz: narrower mouthpiece and a red/gold finish.
CX12 Gold: thicker reed plates for a louder acoustic sound. Gold anodized casing. Particularly suited to classical pieces, and other instances where volume is required without amplification.
Chromonica Line
chromonica-270-48-deluxe
The Chromonica models share common design features with the original chromatic harmonica first manufactured by Hohner in 1912. Chromonicas are all made in Germany.
Discovery 48: entry level model in the Chromonica range, featuring 48, 1.2mm brass reeds, a straight slide and an ABS comb.
Toots Mellow Tone: thinner reed plates (1.05mm) and a pearwood comb, give this harp a warm sound. The mouthpiece surface is chrome, rather than ABS and the reed plates are nickel coated.
Toots Hard Bopper: similar to the Mellow Tone but with thicker reed plates (1.2mm) for a more powerful sound.
Chromonica 40: classic Chromonica model, with a 2.5 octave range, pearwood comb and 1.05mm brass reed plates.
Super Chromonica (AKA Chromonica 48): similar to the 40, but with a full 3 octave range.
Chromonica 48 Gold: special edition of the 48 with gold cover, reed plate and mouthpiece surfaces.
Super Chromonica Deluxe: similar to the standard 48, but with thicker (1.2mm) reed plates for greater volume and response.
Chromonica 64: full 4 octave range and an ABS comb. Extra octave is in the lower range.
Performance Line
Hohner Silver Concerto Chromatic Harmonica
These are the top end Hohner chromatic harmonicas and are designed for the needs of expert and professional players.
ACE: this very modern looking harmonica features Acoustic Coupling Elements, enabling the user to modify tonal colour, and a VarioSpring system, which allows easy adjustment of spring pressure.
Silver Concerto: Hohner’s most exclusive harmonica is built to order and features a sterling silver comb and silver plated mouthpiece surface.
Amadeus: 3 octave range, gold plated mouthpiece surface and a CNC milled transparent acrylic comb.
Meisterklasse: designed specifically for classical players, this harp has a 3.5 octave range from G – C, an aluminium comb and 1.2mm brass reeds.
Super 64: 4 octave chromatic harmonica, used by Stevie Wonder on many of his hits. ABS comb and silver plated mouthpiece surface with round holes.
Super 64X: similar to the standard Super 64, but with a transparent polycarbonate comb and double thickness reed plates in the bottom two octaves.
Tremolo Harmonicas
Hohner Golden Melody Tremolo Harmonica
These types of harp have two reeds per note – one tuned slightly sharp, the other slightly flat – which gives a distinctive warbling note, particularly suited to traditional folk music.
Echo 2×32: features a maple comb, and is double-sided, giving the keys of C and G in one instrument.
Echo 2×48: similar to the 32, but with 2 x 48 reed plates, giving a greater range.
Echo 32 Tremolo: standard 32 hole tremolo harmonica featuring a maple comb and mouthpiece surface.
Echo 48 Tremolo: similar to the 32, but with 48 reed plates for a larger range.
Golden Melody Tremolo: 40 hole model with a plastic, rather than wooden, comb, to eliminate swelling.
Kreuzwender: six separate tremolo harmonicas in different keys, joined together by metal stars at the end. Each harmonica can be chosen by rotating the instrument.
Ocean Star 48: 48 hole tremolo harmonica tuned to give a slow tremolo effect.
Big Valley 48: 48 hole tremolo harmonica with a particularly bright sound. ABS comb and mouthpiece surface.
Octave Harmonicas
Hohner Comet 40 Octave Harmonica
Octave harmonicas, like tremolo harps, have two reeds per note, but instead of being tuned slightly sharp and flat they are tuned an octave apart, giving a very powerful sound. Like tremolos, octaves are most widely used in folk music.
Unsere Lieblinge 32: traditional 32 reed octave harmonica with a maple comb.
Unsere Lieblinge 48: 48 hole version of the 32.
Orchestral Harmonicas
Hohner Bass 58 Orchestral Harmonica
These are designed primarily for ensemble playing and are produced in melody and chord versions.
Chord 48: 384 reeds, enabling 48 different chords to be played.
Bass 58: 29 hole, 58 reed instrument, with reeds tuned an octave apart for a deep, rich sound.
Bass 78: 78 reed version of the Bass 58.
Other Models
Hohner also produces signature models, such as the Ozzy Osborne and Bob Dylan harps, which are based on the instruments used by the artists, but customized to give them a unique look and feel.
Hohner Bob Dylan Signature Harmonica
Questions?
Hopefully this will have helped you to determine the correct Hohner harmonica for your needs and playing style, but please drop us a line by phone (01373 469777) or email ([email protected]) if you have any questions.
In the sleeve notes of Scottish indie band, Belle and Sebastian’s fourth album, ‘Fold Your Hands Child, You Walk Like A Peasant’ there’s a curious piece of prose about Glasgow hipsters and the subjects of their conversations.
I remember reading this back in 2000, when the album was released, and pondering what was meant by the word ‘hipster’ in this context. Sure, I’d seen the term used occasionally in books, and heard it in the odd film and TV programme, but its usage in these media seemed to be confined to a very specific and limited time period: from the 1940s until the late 1960s. It was almost as if the term had passed out of the popular consciousness at around the same time that the Altamont Free Concert had signalled the beginning of the end for flower power.
The Modern Era Hipster
Fast forward to the present day, though, and it’s difficult to imagine any urban dweller not being au fait with the modern hipster and their particular aesthetic, musical and culinary preferences. Hipsters, and the word itself, are, in short, ubiquitous.
Like many nouns in the English language, however, the meaning of ‘hipster’ has mutated over the years. Originally used to describe the sort of predominantly white jazz aficionados made famous by Jack Kerouac, the word all but disappeared for several decades, only to be resurrected in the late 1990s as a largely pejorative term for an emerging subculture of young people who rejected mainstream lifestyle choices.
Authenticity
Whilst it’s difficult to generalise about such a broad social group as hipsters, one notably widespread feature of their aesthetic has been a focus on what might be called authenticity. This is, perhaps, best exemplified in the re-emergence of the indie folk scene in the early 2000s (‘real’ instruments, such as the banjo, acoustic guitar and ukulele being viewed as having more musical ‘authenticity’ than the sampled or electronic sounds of contemporary pop) and the appearance of the ‘lumbersexual’. The latter, which appropriates the rugged style of the traditional lumberjack whilst stripping it of any practical purpose, is, perhaps, the clearest example of the millennial trend of adopting, then modifying, traditional stereotypes.
A New Trend
Which leads us to the harmonica; an instrument that hits all the hipster cues – it’s authentic, little used in current music, and, in the case of chromatic harps, at least, has something of the steampunk about it – yet has remained strangely off their radar.
Until now, that is.
Seydel’s 1847 and Session Steel models make a point of having ‘beard-friendly’ cover plates. Given the prevalence of beards amongst hipsters (the male ones, at least), I began to wonder if this was a response to an upsurge in harmonica use in the hipster community. Would our speciality coffee shops and craft beer bars suddenly be overwhelmed with the dulcet tones of badly played diatonics? Would the farmers’ market of Great Britain witness bespectacled lumbersexuals sifting one-handed through slightly grubby looking organic veg with the other hand clutching a chromatic harp?
Seydel Session Steel Blues Mouth Organ
Desperately Seeking Hipsters
A quick Google search gave mixed results. Whilst some websites were insistent that harmonicas were a key feature of the hipster lifestyle (one even giving the blues harp equal placing with the ukulele in the hipster’s portable musical instrument collection), the depth of results was somewhat lacking. By page two I was into the realms of somewhat idiosyncratic pages, such as those of the band ‘The Harmonica Hipsters’, whose lack of content on their site left me with no answer as to whether they are indeed hipsters, or even play harmonicas, and the ‘I Hate Harmonicas’ playlist by the user ‘Hipsters Suck!’ (so much negativity…)
So, out to the real world I ventured, eager to test my hypothesis. The first stop was one of the hipster meccas – an independent speciality coffee shop. At this point, I should probably admit an interest – I love coffee, and I love good coffee shops – so, it’s safe to say that this was not the most onerous of research tasks.
Flat whites and harmonicas in a speciality coffee shop
Unfortunately, after two single origin espressos, a filter coffee made with a vacuum syphon, and a flat white, I had yet to spot a single harmonica. I was also so highly caffeinated that, had someone walked in with a harp I would probably have wrenched it from their hands and performed a bad rendition of ‘Piano Man’ on it.
I was similarly disappointed at the local farmers’ market, where the hipster quotient was strangely low, and the harmonica quotient even lower (well, zero, actually). Where were all the skinny jeans wearing, quiff haired millennials? Then I remembered that it was out term time. The student hipsters had returned to their parental homes, leaving the city to the middle aged, middle class locals and a large number of slightly bewildered looking Asian tourists.
My final destination, and last opportunity of the trip to prove my supposition, was the holy grail of hipsterdom: speciality coffee, craft beer and smashed avocado in a single venue. Surely here I would encounter any harmonica-carrying lumbersexuals the city had to offer.
My eyes scanned the room for the flash of light on metal. Nothing. I bought several extraordinarily expensive beers served in tiny glasses and waited. Still nothing. I had a few false alarms, when harmonica-sized cases were withdrawn from bags. They were all for sunglasses.
Then, just as I was about to abandon my search I saw it. A Seydel 1847 Silver resting on the saucer of a half drunk flat white, its owner conspicuous by his or her absence.
So, I waited once more.
Then, finally, a figure emerged from the back of the bar, picked up the harmonica, downed the coffee and left. Well, he certainly had a beard, and the trousers were tight enough to fit in any hipster’s wardrobe. Unfortunately, the age (over 60, by my estimate), leather waistcoat and Robert Plant hairstyle, meant that, if this harmonica player were a hipster, he was a master of disguise.
The Answer
Are hipsters embracing harmonicas, then? On the basis of my admittedly limited experience the answer is probably ‘no’. If they do, though, we’ve got a La Marzocco FB80, hipster-certified espresso machine in the warehouse for in-house drinks, so a chipboard-heavy speciality coffee/harmonica pop-up would always be a possibility!
In his 2008 book, Outliers, the American intellectual and writer, Malcolm Gladwell, discusses the role of natural ability in achieving world class expertise in a particular skill. In one of the early chapters, he focuses on the work of Stanford professor, Lewis Terman, who sought out child prodigies and followed their subsequent progression into adulthood.
What Gladwell finds interesting about these “Termites” – as the studied children were nicknamed – is that, despite having exceptionally high IQs, none fulfilled Terman’s hypothesis that they would grow up to be pre-eminent figures in art, business, science, government or literature.
The music world is also full of child prodigies, yet few develop into artists of the calibre that would be expected, given the talents displayed at such early ages. They may learn to play complex Mozart pieces with perfect accuracy and exquisite feeling, yet they fail to ape the great composer in his ability to create original work.
The Exception
Stevland Hardaway Morris, better known by his stage name of Stevie Wonder, is one of the few exceptions to this rule. Born six weeks premature, and with retinopathy of prematurity, leading to permanent blindness, Wonder had few of the advantages of life enjoyed by many child prodigies, especially those in the classical oeuvre. Yet it was clear, even at a young age, that he possessed not only a polymath’s command of multiple instruments, but also a creative flair that would see him release original material at the tender age of twelve.
Although Stevie is, perhaps best known as a keyboard player, vocalist and songwriter, the harmonica has featured heavily both in his own work and in his contributions to the recordings of other artists.
Early Success
Wonder’s remarkable talent for playing the harp was obvious at an extremely young age. This is evident in rare footage of the Motortown Revue, a series of concerts designed to promote Motown artists in the early 1960s, where a 12 year-old Stevie wows the crowd with a virtuoso performance of ‘Fingertips’ on the bongos and harmonica. Later released as a single, “Fingertips” went on to top the Billboard Pop Singles Chart, giving Wonder his first true hit, and making him the youngest artist to achieve the number one position.
First Original Hit
After a short period in the wilderness, while his voice underwent the usual changes that adolescence brings, Stevie scored his first self-penned hit with “Uptight (Everything’s Alright)” which displayed a harder, more rock-influenced sound. During this period he was also signed to the Motown songwriting department, which led to him composing songs for himself and labelmates, most notably ‘Tears of a Clown’ which gained Smokey Robinson and the Miracles the coveted number one singles spot.
Back to the Harmonica
Towards the late 1960s the harmonica began to feature heavily again in Wonder’s music: initially in an album of instrumental jazz/soul tracks, entitled ‘Eivets Rednow’, and later with the memorable singles, ‘I Was Made to Love Her’ and ‘For Once in My Life’. It’s a testament to Wonder’s interpretation of the latter that most people assume that he wrote it (in fact it was originally penned by Motown songwriter and producer, Ron Miller, as a much slower piece, intended to be performed in the swing genre).
In both of these hits, Stevie Wonder displays his trademark harmonica style: virtuosic without being self-indulgent. Compared to the harmonica that featured in other, predominantly folk-based, contemporary chart singles, Wonder’s solos are notable for their complexity, and use of jazz scales, whilst still remaining true to the primary tune of the song itself.
Classic Era
Throughout the 1970s Stevie Wonder matured as an artist, touring with bands such as The Rolling Stones, and developing a sound that was quite distinct from his early Motown work. This period produced his two finest albums: 1973’s ‘Innervisions’ and 1976’s ‘Songs in the Key of Life’, both of which feature heavily in most music magazine’s top albums of all time.
Commercial Success
The 1980s saw Stevie Wonder build on this critical success with significant commercial achievements, including his first platinum album – ‘Hotter than July’ and the phenomenally popular ‘Happy Birthday’ single, which was part of his ultimately successful campaign to establish Dr Martin Luther King’s birthday as a national holiday in the USA.
Other work included collaborations with Elton John and The Eurythmics, on whose respective singles, ‘I Guess That’s Why They Call it the Blues” and ‘There Must be an Angel’ Wonder played harmonica, with trademark zeal.
Later Years
Although the last 25 years has seen a reduction in Wonder’s original musical output, he has continued to contribute to the work of many popular artists, been sampled by others (perhaps most famously, in Coolio’s 1995 hit single ‘Gangsta’s Paradise’, which extensively sampled ‘Pastime Paradise’ from ‘Songs in the Key of Life’), and performed live to huge audiences, at events such as the Winter Olympics and Glastonbury Festival.
Style and Harmonica Choice
From a playing perspective, Stevie overwhelmingly favours the chromatic harmonica. Unlike the more ubiquitous diatonic harmonica, commonly used for folk music and the blues, the chromatic harmonica has a full range of notes, by dint of more holes (up to 16, rather than 10) and a slide, which raises the pitch of each hole by a semitone. The primary downside of the chromatic harp is the additional difficulty in learning to play it. Circular breathing, as commonly practised by classical wind instrument players, is a necessary skill, due to the chromatic harmonica generally requiring a greater amount of air to produce its wider range of notes.
Wonder’s use of the chromatic harp is quite distinctive. Harmonica artist, Randy Singer has noted that Stevie manipulates the slide forcibly, whilst using a significant amount of vibrato to achieve a shifting effect. This is mixed with a fluttering effect from his use of the tongue to achieve his trademark sound.
Although Stevie now mainly plays a custom made Huang harmonica, many of his recordings feature the Hohner Chromonica Super 64. Players wishing to attempt to replicate his sound will find this a good starting point, as it offers the necessary four octave range at a competitive price point. (As an aside, it’s worth noting that chromatic harmonicas obviate the need to purchase multiple harps, as they can effectively play in any key, making the generally higher initial outlay significantly more bearable).
Hohner Chromonica Super 64 Harmonica
A slightly cheaper alternative is the Hohner Chromonica 64, which features similar construction but replaces the silver mouthpiece surface of the Super 64 with nickel.
Hohner Chromonica 64 Harmonica
Conversely, players who are willing to spend a little more would be advised to look at the Chromonica Super 64X, which upgrades the mouthpiece surface to gold, and produces a louder, richer sound, particularly in the low range, due to its double reed plates.
Hohner Chromonica Super 64x Harmonica
Of course, while all of these models will give you the potential to play like Stevie, they, unfortunately, won’t instantly imbue you with his talent (more’s the pity!)
It’s a sad feature of the modern world that a significant event can easily be overshadowed in the popular consciousness if it happens to coincide with a different event that is deemed more newsworthy by the media.
Recent history is littered with examples of this kind of “popularity Top Trumps”, not least of which were Mother Theresa’s death being eclipsed by Princess Diana’s fatal car accident, and Groucho Marx’s passing away being dwarfed by the untimely demise of Elvis Presley.
And so, in the week that has given us the death of Chuck Berry, one of the true pioneers of early rock and roll, it is, perhaps, inevitable, that the loss of blues harmonica legend, James Cotton, has been somewhat overlooked.
Cotton, who was known for his virtuoso harp work, both as a solo artist and on recordings and performances with a range of blues and rock acts, died of pneumonia on Thursday 16th March 2017 in Austin, Texas, at the age of 81.
Early Life
Born in Tunica, Mississippi, but later moving to West Helena, Arkansas, where he met and was mentored by blues harmonica player and songwriter, Sonny Boy Williamson II, Cotton actually began his musical career, albeit the amateur part, as a drummer. It soon became clear, though, that the harmonica was where his talents lay, resulting in him being recruited, in the early 1950s, to Howlin’ Wolf’s band, where he remained for a number of years.
In 1953, he recorded his first solo record – Straighten Up Baby – for Sun Records, following this with a second single – Cotton Crop Blues.
From Blues to Rock
After a stint recording and touring with Muddy Waters, Cotton, by then nicknamed “Mr Superharp” in honour of his talent on the harmonica, fronted a number of eponymous bands, including the James Cotton Blues Band. During this time he released a range of live and studio albums, including 100% Cotton, High Energy and Live and On the Move. He combined this work with his own bands with forays into blues rock territory through collaborations with artists such as Janis Joplin, The Grateful Dead, Led Zeppelin and Santana, amongst others.
Awards
In the 1970s he resumed his work with Muddy Waters, which reached its zenith with the Grammy award-winning Hard Again LP, released in 1977. The 1980s brought further Grammy nominations for his Live in Chicago and Take Me Back albums, then in 1996 he received a Grammy in the Best Traditional Blues Album category for his Deep in the Blues LP. His work in the 2000s included Grammy-nominated studio albums, Giant and Cotton Mouth Man.
He was inducted into the Blues Hall of Fame in 2006 and in 2010 was honoured by New York’s Lincoln Center with an all-star concert. The Festival International de Jazz de Montréal paid tribute to Cotton with their 2015 B.B. King Award for his contributions to the blues.
Later Years
Cotton continued to tour, even as a senior citizen, and credited this as a means by which he felt younger:
“That’s because I like to see people dance and have a good time,” he told one interviewer. “I like to keep it up, keep it moving. I always liked people like Jimi Hendrix, Janis Joplin and Santana. I don’t sing much anymore but I don’t let it bother me too much, I just concentrate on blowing harp more.”
Playing Style
As a blues harp player, Cotton was renowned for his explosive style, precise choice of notes and tonal variety.
The New York Daily News described him as, “The greatest blues harmonica player of all time.” NPR Weekend Edition offered a similar tribute: “Conjure up a list of all-time great blues harmonica players, and high up on it you’ll see the name James Cotton.”
Primarily a diatonic harp player, Cotton tended to use various types of Seydel 1847 harmonicas, including the 1847 Silver, which can be heard on many of his live recordings.
Seydel 1847 Silver Blues Harmonica, as used by James Cotton
Legacy
Cotton’s hard-blowing style has influenced generations of harmonica players, and his work with Muddy Waters was particularly significant in the impact it had on later rock bands, such as the Rolling Stones.
He is survived by his wife, Jacklyn Hairston Cotton, two daughters, a son, and numerous grandchildren and great-grandchildren.
The Harmonica Company would like to wish all the harmonica lovers out there a Happy New Year! We relaunched the site late 2016 under new ownership and with a much more professional approach. We can now boast to having a UK warehouse, and dedicated customer service and warehouse staff.
It is our ambition to make sure we offer the quickest delivery service in the business, we have already introduced UK next day and Saturday shipping options, as we have a fantastic relationship with Interlink/DPD.
It was a pleasure to be able to announce our relationship with the harmonica league chairman Ben Hewlett, who is our resident teacher and has kindly offered a FREE beginners course when booked through The Harmonica Company, the usual price is £35. You can book the course here.We expect to be able to start adding his Sonny Boy’s harmonica range soon too, watch this space.
2017 is the 170th anniversary of Seydel, and with it they have announced the introduction of a special anniversary harmonica called 1847 ONE70, which is a gold plated 1847 Noble with brand new cover plates. We are very proud to be able to say that we will be stocking it, and we will start shipping them out to customers as soon as they arrive in our warehouse.
What does 2017 have in store for The Harmonica Company?
It is our ambition to have a very active 2017, and without giving too much away we are working on expanding our range and announcing some interesting things. We are in discussions with multiple large harmonica manufacturers, which will help revolutionise our supplier/product range. We can announce that we will be stocking the four Lee Oskar harmonicas in every key, and that order has gone in this week. Our accessory range will grow into amps and mics, and we have a large pile of books to start adding to the site in the next month. It is a busy and fun time!
Our initial launch has been wonderful and we couldn’t have done it without our customers support, in such a short period of time since the relaunch we have truly become a global business sending mouth organs to Canada, USA, UK, Ireland, Germany, France, Italy, Spain, Serbia and Sri Lanka. We are hoping in 2017 we can add many more destinations to the list.
According to Oxford University Press (OUP) the most commonly used word in Gloucestershire is ‘Harmonica’. The OUP analysed 123,436 entries for the 2016 BBC Radio 2 Chris Evans Breakfast Show’s ‘500 Words’ short story competition. For the first time in the competitions history they used specialised software, every entry was analysed by an academic and technology team from Oxford University.
The results then found the top ten most commonly used words in each county’s entries in the competition.
In Gloucestershire the top 10 words used more than any other are:
harmonica
moles
sheriff
gangsters
blitz
ballerina
flowery
tracker
pepperoni
snowmen
It is always nice to have the harmonica (otherwise known as the “mouth organ”) recognised in any way, what better way, than to be the most commonly used word.
