CategoriesHarmonica

How Altered Tunings Can Take Your Playing To The Next Level

How Altered Tunings Can Take Your Playing To The Next Level

Have you ever found yourself meandering away on a harmonica, repeating the same old riff? Or maybe you’re finding it impossible to play a particular tune on your ten hole harp, irrespective of how much you practise? The solution to both of these problems may be to move away from your old harmonica, and onto something fresh and… altered!(?)

What Are Altered Tunings?

Before we look in detail at the range of altered tunings on the market, and how these can be used to enhance your playing, it’s worth considering what exactly is deemed to be standard tuning. In the case of a 10 hole diatonic harmonica, the most commonly used tuning – and the one that is to such an extent a default that it often won’t be specifically mentioned on the harp or its packaging – is Richter.

Many musicians who pick up the diatonic harmonica after having previously learnt to play a chromatic instrument, such as the piano or guitar, are puzzled by the weird note layout of Richter tuning. It all starts off intuitively –  C, D, E, then suddenly there’s a jump to G. ‘Where the hell has the F gone?’ is what many players think. Then, only a hole later, they’re confronted with a missing A. The middle of the harmonica follows a more logical pattern, lulling the player into a false sense of security before abruptly reversing the note order, then completely passing over the B at the top end. It all seems, to many beginners, to be unnecessarily complicated and not at all user friendly.

What we have to remember, however, is that Richter tuning was created with a very different genre of music in mind than the blues, folk and country music that harmonicas are most commonly used for today. In the early days of harmonica production, diatonics were used primarily for playing varieties of German Oom-pah music, thus the need for major chords to be available in the first four holes (necessitating, for example, the deletion of F and A in the lower octave on a C harp).

In the twentieth century, the limitations of Richter tuning were partially overcome by techniques developed predominantly by blues players, such as bending and playing the harmonica in positions other than first. In some ways, this stifled innovation; rather than changing the tuning to better reflect the needs of the music they were playing, musicians developed techniques to overcome the inherent limitations of a tuning that wasn’t really fit for purpose.

Much like the persistence of the QWERTY keyboard layout, Richter is still the dominant tuning merely because it is the default, and not because it is the best way of arranging notes on a harmonica (or keys on a keyboard in the case of QWERTY). However, there is now a wide range of harmonicas on the market that use altered tunings in order to enable greater expression and/or ease of use. Let’s take a look at some of these and see how they can improve both your playing and creativity.

Powerbender and Powerdraw

Alternate Tunings for Harmonicas
Alternate Tunings for Harmonicas

These two tunings were both created by Brendan Power to overcome some of the limitations of Richter tuning when bending notes. The Powerbender maintains the same layout as Richter on the lowest four holes, but modifies it from holes five to ten so that the draw note is the higher on on each hole. This enables easier draw bending in the upper register, and overblows on all holes.

The Powerdraw tuning is a combination of Richter and Powerbender; the bottom six holes are tuned the same as Richter, but the top  four holes are tuned the same as Powerbender. This makes it a little more intuitive for players who have only every used Richter harps, but still allows for draw bends at the high end.

Buy these tunings if:  You want to play soulful bluesy riffs and you want full chromaticism without having to resort to overdraws or blow bends.

Harmonicas available in these tunings: Brendan Power Powerbender, Brendan Power Powerdraw, Seydel Session Steel Powerbender, Seydel Session Steel Powerdraw.

Wilde Tunings

Seydel 1847 Classic - Minor Wilde Tuning
Seydel 1847 Classic – Minor Wilde Tuning

Will Wilde is a virtuoso diatonic player who specialises in rock guitar style riffs and solos on the harmonica. To enable him to achieve this he has worked with Seydel to create two signature tunings – Wild Rock and Minor Wilde – which are available on selected Seydel diatonics.

Wilde Rock is much like Powerbender in that it maintains the Richter note layout at the bottom end, but makes substantial changes in the upper register in order to allow for draw bends across the whole range of the harmonica. As this note layout was designed from scratch for playing blues and minor pentatonic licks, it enables much easier access to rock style riffs and solos, but is much less optimised for traditional folk and country tunes.

Minor Wilde is based on Wilde Rock tuning, but is designed for minor keys.

Buy these tunings if: You want to play fast, rocky riffs without Richter’s limitations at the high end.

Harmonicas available in these tunings: Seydel Session Steel Wilde Rock, Seydel 1847 Classic Wilde Rock, Seydel 1847 Classic Minor Wilde.

Paddy Richter

Brendan Power Paddy Richter
Brendan Power Paddy Richter

Another Brendan Power tuning, this time with the primary aim of making traditional Irish tunes easier to play quickly. It does this by changing just one note compared to standard Richter – hole three blow is raised by a tone, so that it no longer duplicates hole two draw. This makes it a much easier harp on which to play fast Irish jigs, which often make frequent use of the sixth note in the root key.

Buy this tuning if: You like to play traditional Irish tunes and find Richter tuning holds back your speed.

Harmonicas available in these tunings: Brendan Power Paddy Richter, Seydel Session Steel Paddy Richter, Seydel Noble Paddy Richter

Natural and Harmonic Minors

Lee Oskar Natural Minor Diatonic Harmonica
Lee Oskar Natural Minor Diatonic Harmonica

Whilst natural minor tunes can be played to some extent on standard Richter tuned harps in third, fourth of fifth positions, a natural minor tuned harp (usually designed to be played in second position, and labelled as such) will enable access to minor chords and will make the playing of minor key tunes much more intuitive.

Harmonic minor harps have a slightly different sound and are more suitable for Eastern music, with the raised seventh providing an exotic feel to the harmonica.

Buy these tunings if: You want to play minor key blues, reggae or folk tunes (natural minor) or you want to experiment with Eastern/Gypsy music (harmonic minor).

Harmonicas available in these tunings: Hohner Marine Band 1896, Lee Oskar Natural Minor, Lee Oskar Harmonic Minor, Seydel Session Steel Natural Minor, Seydel Session Steel Harmonic Minor, Suzuki Manji.

There is a whole host of other altered tunings out there besides these, so it’s worth doing a quick search to see if there is anything else that fits your needs, but the tunings above are the ones that I would recommend starting out with. Some of these, such as Powerbender, will help you to play existing licks more easily, whilst others, such as harmonic minor, will take you into whole new musical realms, and help to stop your playing becoming stale and repetitive.

As ever, any questions please drop us a line in the comments sections.

 

JP

 

 

 

CategoriesHarmonica

Music and the Art of Focused Practice

Music and the Art of Focused Practice

I’ve written in the past about the role of practice versus natural ability in the learning of an instrument, and the 10,000 hour rule for mastery of a skill, popularised by the writer and intellectual Malcolm Gladwell. It is only recently, however, that I’ve begun to think in detail about exactly how this focused practice needs to be structured for the best results. It’s probably prescient at this point to say that I’m not a dogmatic adherent to the theory that all skills can be mastered by all people given enough time and the correct pedagogical techniques, but I do believe that the influence of innate abilities is often overestimated in today’s society.

In Outliers, Gladwell argues that relatively small differences in natural aptitudes at specific skills in the early stages of childhood can form a virtuous circle that results in these individuals being more enthusiastic about practising these skill than peers whose initial ability level may be only marginally lower. Those who show an innate talent for maths, for example, would be more likely to enjoy solving mathematical problems, and, as a consequence, get better at maths through consistent and regular practice, than those who initially find it harder, and thus shy away from the subject. This theory is at least partly corroborated by evidence showing that children with birthdays early in the academic year tend to perform better in national attainment tests taken later in life than those born further into the academic year. The difference is not a consequence of the age variance at the time of the tests, which is minimal in percentage terms, but is more likely to be explained by the age difference when schooling is started, when cognitive growth is most rapid, and younger children in the year group are at more of a disadvantage. This disadvantage is further amplified by the effects described above.

Gladwell goes on to describe the importance of focused practice; that is to say, the type of practice that is most likely to yield progress. Even a child prodigy such as Mozart, he indicates, would have concentrated on focused practice for large periods of his early life, helped by a father who was remarkably forward thinking in pedagogical terms. But what exactly is focused practice, and how can we use it to improve our playing?

What is Focused Practice?

For a little while now, I’ve been attempting to master the piano on the well known Nina Simone hit, My Baby Just Cares For Me. Most of you, I think, will be at least partially familiar with the tune, and will recognise its descending bassline and jazzy, bluesy piano, but for those who don’t know it I’ve included a version below. It starts with a fairly simple combination of stabby inverted chords in the right hand with a walking bass style bottom end played in the left hand. However, by about two thirds of the way through the song some tricky stuff creeps in, involving significant right and left hand separation both rhythmically and tonally.

My approach to learning and mastering this song had, until recently, been to play it all the way through, stumble over a few bits, then try again. Occasionally I would repeat a phrase that I found difficult, but most of the time I’d play start to finish and then circle back again. Unfortunately my progression with this piece of music had seemed to reach a plateau; sometimes I’d feel that I’d improved a bit, but after any sort of sustained break from playing it I would be roughly back to square one. The reason for this lack of progression may seem obvious in hindsight, but at the time I felt that I was doing exactly what I should do – focused practice on a single piece of music. This had worked for me on simpler pieces of music in the past, but for something complex like this song I needed a different approach.

Four Stages of Competence

There’s a well known theory in the psychology of learning that breaks down skills acquisition into four stages: unconscious incompetence, conscious incompetence, conscious competence and unconscious competence. Stage one – unconscious incompetence – is not always pertinent to playing an instrument, unless you’re tone deaf or deluded about your own abilities; it’s pretty hard to be incompetent at playing a particular piece whilst also being unconscious of this fact. Most players, instead, find themselves somewhere beween stage two and stage three, with, perhaps, a smattering of stage four at some points in a given musical work.

The point to take home here is that if you practise pieces of music by playing them all the way through, all of the time, it’s likely that, unless you are in at least stage three throughout the piece, you’re not making the best use of your time. So what do you do instead?

Isolate Parts

With complex tasks it’s often best to break them down into constituent parts and focus on perfecting each of these before putting them together as a whole. It’s no good trying to correct multiple technical areas at once, as your brain will not be able to find the necessary focus, and you’ll be left with a mess. I finally perfected the solo part of My Baby Just Cares For Me, by isolating the difficult parts in each hand, then perfecting them by practising, in a critical, but not overly critical, way again and again, until each hand could play its part cleanly and consistently. After that it was just a case of putting the two hands together, which was made easier by the fact that I didn’t need to worry about exactly what each hand was playing – by this point I had mastered this and, therefore had to focus only on synchronising them.

I may be making this sound easy. Unfortunately it isn’t and wasn’t. Practising in this way can be tiresome, which is why many musicians will either move on to something else, or try to play the whole song, albeit imperfectly. One of the keys, (no pun intended!), to progression, of course, is persistence, and I strongly believe that this is a more important quality in top musicians than supposed natural talent, but this type of practice can be made more bearable and productive by ensuring that it is done in small segments. Three sessions of 20 minutes practice will yield much better results than an hour labouring away. Short sessions also allow for development time – think of it as the unconscious digesting the practice. It’s also worth understanding that the development of your playing will not be a nice linear process from beginner to expert. Instead it will be marked by a series of improvements punctuated by plateaus where no significant development appears to be happening. Ensuring that you stay committed and consistent throughout these plateaus is the key to achieving the jumps in ability level that appear to come out of nowhere, but which are actually a consequence of persistent hard work eventually paying off. It is also vital that you focus on rewarding yourself mentally for any small gains, whilst visualising mistakes not as inherent errors that are impossible to remove, but areas for improvement that will be addressed by continued work.

In the classic Simpsons episode, The Otto Show, Homer asks Bart where his guitar is. Bart apprehensively tells his father that he found it too hard, to which Homer replies, ‘It’s OK, son. If a job’s hard to do it’s not worth doing!’ The reality of learning an instrument, sadly, is the opposite of this sentiment – focus on the hard parts of playing and your weaknesses and progression will come naturally.

 

 

 

 

CategoriesHarmonica

What is the Best Harmonica for Children?

What is the Best Harmonica for Children?

The harmonica is an ideal instrument for children to learn the basics of music, whilst still having fun. The learning curve for playing simple melodies is relatively shallow, and, as diatonic harmonicas are tuned to a single key, errors will not generally sound cacophonous! Compare this to some other instruments, such as the recorder or violin, which, when played poorly, can be akin to a form of torture, and it’s clear to see the advantage of letting a child start their musical education with the naturally tuneful blues harp.

There are many harmonicas that are designed specifically for the junior market – some merely from a price or aesthetic point – so it can be difficult to sort the metaphorical wheat from the chaff. Let’s examine some of the main options to help you avoid any pitfalls.

Buy Cheap, Buy Twice?

There’s an old adage when buying musical instruments that suggests that cheaper purchases are a false economy. However, there is also the counter force at play that parents often don’t want to invest serious money in what might be just a whim of their child’s. The good news with harmonicas is that even a professional level diatonic will only set you back £30 to £100; compared with, say a saxophone or piano, this is a remarkably small outlay for a serious instrument.

Of course, there are plenty of models of harmonica below this price that are specifically designed for children. Let’s look at some of these and see if they offer any advantages over standard diatonics.

Hohner Speedy

Hohner Speedy Yellow Harmonica
Hohner Speedy Yellow Harmonica

The first thing you’ll notice about Hohner’s Speedy harmonica, other than its bright primary colours, is the fact that it has only four holes, providing just a single octave. Whilst this limits the tonal range, it does make playing simple melodies much easier for small children. It also features larger holes, meaning that mouth position doesn’t need to be as precise as with a standard ten hole harp when trying to achieve single notes. As such, this is our number one choice of harmonica for small children just starting out on the harmonica.

Suzuki Airwave

Suzuki Airwave Diatonic Harmonica
Suzuki Airwave Diatonic Harmonica

The Suzuki Airwave is not dissimilar to a much larger version of the Speedy, albeit one with the standard ten holes rather than four. It is considerably bigger than a standard diatonic harmonica, but with larger holes and spaces between holes, to facilitate the playing of single notes by beginners. Its dimensions make it unsuitable for very young children with small hands, but for those around 8 years and up it is a great sounding and playing harmonica that replicates the tone and feel of a standard diatonic but with a lower price point and easier initial playing experience. This makes it our recommended harmonica for slightly older children, who have either progressed from the Speedy or who are just starting out with the harmonica.

Hohner Big River MS

Hohner Big River Harp Pro Pack
Hohner Big River Harp Pro Pack

Whilst there are a number of ten hole, standard sized children’s diatonics on the market, many of them are harder to play than a harmonica designed for adults. For tweens and teenagers who wish to play a standard blues harp, we’d recommend skipping both the plastic bodied ten hole harmonicas, and the cheaper, Chinese made harmonicas from brands like Hohner and Suzuki, and go straight to a German or Japanese made instrument. One of the most inexpensive of these is the Hohner Big River, which features a durable ABS comb, replaceable reed plates (making it m0re cost effective than inexpensive harps in the long run) and decent airtightness – something lacking in many Chinese made harps. This latter feature will make more complex techniques, such as bending, far easier than on a cheaper harmonica, which, in turn, will help to ensure that your child or teenager continues to practise!

What Key of Harmonica Should I Buy for a Child?

Most children’s harmonicas are only available in C, but if you are purchasing an adult harmonica, such as the Big River, you will be given a choice of keys. You should always choose C as the starter key for a number of reasons; most online lessons are in the key of C; more songs are written in C than any other key; and C is in the middle of the tonal range of standard tunings, meaning that the player will learn to bend on moderately thick reeds, especially at the bottom end, rather than very thick reeds (too hard) of the lower keys, or the thin reeds of the higher keys (too easy). This will stand them in good stead when they move on to other keys.

Do I Need More Than One Key?

It’s not necessary to purchase more than one key of diatonic harmonica unless your child wishes to play along to songs that aren’t in the key of the harp that they have, or to play with other musicians.

CategoriesHarmonica

Hohner Marine Band – The Definitive History

Hohner Marine Band – The Definitive History

Hohner’s Marine Band diatonic harmonica has been a mainstay of the German brand’s range for over 120 years. Let’s take a look at its history, how it has influenced the development of countless other harmonicas, and how current models compare to those which are now antiques.

What is a Hohner Marine Band?

When most players picture a Marine Band harmonica, they visualise a classic nailed-together ten hole blues harp, with a wood comb and brass reeds. Whilst this is partially accurate, Hohner, over the years, has used the Marine Band name to refer to a whole host of different harmonicas, from the 12 hole 364/24s to the plastic combed Special 20. We’ll delve into this in more detail later in this article, but, for the sake of simplicity, when we refer to ‘Marine Band’ without any further designations, we are discussing the classic ten hole model that has undergone various revisions over the years, but is still available, as the 1896 model, in a design that would be familiar to the Victorian players of the very first Marine Bands.

When was the First Hohner Marine Band Manufactured?

Hohner had been manufacturing harmonicas for several decades before the release of the Marine Band, whose design was patented in 1896. Confusingly, initial models from this period with the 1896 model number were sometimes sold as the ‘Marine Orchestra’, ‘Orpheus’ or ‘Up To Date’ in various markets. As an aside here, it is always interesting to witness the sheer amateurishness of Victorian/Edwardian marketing – today no company in their right mind would use such a ridiculous phrase as ‘up to date’ as a product name!

Early Marine Band Models

Pre War Marine Band
Pre War Marine Band

Models of Marine Band harmonica from before the middle of the 1930s are visually distinguishable from later models by their ‘Mickey Mouse’ cover plates. This refers to the circular tabs where the cover plates are nailed to the comb. This distinctive feature was lost on all later Marine Band models, with the exception of the 125 Anniversary Marine Band, which replicates the aesthetics (but, crucially, not the temperament) of a 1920s 1896.

Most changes during the pre-war period were aesthetic, although there were some minor alterations to the rolling of the cover plates at the rear. One important aesthetic change, from a historical perspective, however, was the removal of the embossed star on the cover plates, whose five points were said to represent Herr Hohner’s five sons. This seemingly innocuous symbol was likely to have been seen as potentially detrimental to Hohner’s standing with the Nazi party in the 1930s and 1940s, so was quietly removed.

Post-War Marine Bands

Hohner Marine Band
Hohner Marine Band

Post-war Marine Bands remained largely unchanged from their pre-war siblings until the early 1980s, when a plastic case replaced the the venerable cardboard one. Later in the 1980s the Marine Band reed plates had their temperaments altered in series of changes, moving from the 7 limit Just Intonation that had been a feature of the harp since its creation, to various compromised temperaments. Interestingly, the latest 1896 models have moved back to a tuning closer to Just Intonation, signalling the start, perhaps, of an eventual full circle movement?

During the 1990s, Hohner made a somewhat disastrous foray into machine built harmonicas with its initial MS range, This featured a poorly received MS Marine Band, which was quickly pulled from the market, but which led to the ‘hand made’ moniker being added to 1896 models in order to distinguish them (and presumably to stop sales being hurt through confusion with the MS Marine Band).

A further change, made in 2000, saw the 1896 gain stainless steel reed plates rather than nickel coated mild steel ones, then the final update came in 2011, when sealing of the pearwood comb was introduced, making the Marine Band a little more resistant to swelling.

Marine Band Today

Hohner Marine Band 1896 Classic Harmonica
Hohner Marine Band 1896 Classic Harmonica

The Marine Band 1896 is now part of a larger range of harmonicas that fall within the Marine Band Series. These all share a similar architecture and feature wood combs, but are quite different. Let’s take a closer look at the various models on offer:

Marine Band 1896: This is the closest harmonica to the original Marine Band, and still has nailed together construction, a pearwood comb, and the same size and shape of reeds as its forebears.

Marine Band Deluxe: A significant increase in price over the 1896 model gives you bolted together construction, upgraded reed plates and a triple sealed comb, which is significantly more resistant to swelling than the standard Marine Band.

Marine Band Crossover: This takes the construction and footprint of the Deluxe and adds further upgrades to the reed plates and an extremely swell resistant bamboo comb.

Marine Band Thunderbird: This is the low tuned iteration of the Crossover and has slanted cover plates to enable sufficient air space for the larger reeds.

Outside of this series lies the 364/24 Marine Band, which is fundamentally a 12 hole version of the 1896, albeit one that has the option of a chromatic-like solo tuning.

How Has The Marine Band Been Influential?

The Marine Band’s influence on the world of harmonicas and popular music cannot be overstated. Marine Bands have been a staple of almost every influential 10 hole player, from Bob Dylan to Little Walter, and their distinctive sound has been featured on hundreds of hit records. From a design point of view, it’s the most famous and copied harmonica in existence, and the fact that it is still sold today in a form that is not significantly different from that first produced over a century ago is a testament to the inherent rightness of the original design.

Which Marine Band Harmonica Should I Buy?

Many players see images or footage of Sonny Boy Williamson playing a 7 limit just intonation Marine Band and assume this is what they need to get the authentic blues sound. They feel that these is something inherently better about these pre-1980s harmonicas. This sentiment is mirrored in the vintage guitar world, where pre-CBS Fenders and early Gibson Les Pauls command stratospheric prices. The truth, however, is that there is nothing particularly special about these vintage harps;  the famous players who used them did so more through expediency than anything else. In short, the Marine Band was one of the few decent harmonicas widely available in the 1950s and 1960s, ergo most blues players from this era used them.

For players looking for a traditional sound and feel, and who don’t mind fiddling around with nails when replacing reed plates, the 1896 is still one of the best sounding harmonicas on the market. It’s also fairly economically priced for a German made harp.

Players who prefer easy ergonomics, and/or are prone to causing combs to swell will be better served by the Deluxe or Crossover. Of the two, the Crossover is, in my opinion, the superior harmonica, but it is slightly more expensive than the Deluxe; something that adds up when buying a complete set.

The Thunderbird and 364 are both harmonicas that suit special use cases, but are also both excellent instruments. The former is one of the best sounding and playing low tuned harmonicas on the market, and the latter is one of the few 12 hole harmonicas that is widely available.

 

 

CategoriesHarmonicaHarmonica Players

What Harmonica Does Stevie Wonder Play?

What Harmonica Does Stevie Wonder Play?

Stevie Wonder has played a few different harmonicas throughout his career – most of them chromatic – but the specific instrument with which he is most commonly associated is the Hohner Super 64. This is a 16 hole chromatic from the German manufacturer with a wide tonal range. Let’s take a look at this harmonica and others used by Stevie over the years, and see how he has become the undisputed master of the chromatic harmonica.

Hohner Super 64

Hohner Chromonica Super 64 Harmonica
Hohner Chromonica Super 64 Harmonica

Having produced the world’s first chromatic harmonica at the beginning of the twentieth century, Hohner had already been manufacturing 12 hole chromatics for many years before it created the 16 hole Chromonica 64, which was one of Stevie’s early chromatics. 16 hole chromatics are a key part of Stevie’s sound, as they provide a greater tonal range than the more common 12 hole chromatics – something that Wonder exploits on many of his solos.

The Super 64, which is effectively an upgraded version of the standard Chromonica 64, became Stevie’s main instrument from some point in the mid 1960s (probably around the time that Hohner recognised his talent and snapped him up as an endorser of their harmonicas). The Super 64 featured a number of upgrades over the standard Chromonica, including a silver plated mouthpiece, which is smoother than the chrome one on the Chromonica 64, and a generally more robust feel, with a brighter, more expressive tone.

The Super 64 can be heard in action on many of Stevie’s most famous singles, including For Once In My Life and I Was Made To Love Her.

Huang Harmonicas

Many sources on the internet point to Stevie using Huang harmonicas at one point in his career. The Huang brothers were originally Hohner technicians, but in the 1980s branched out into producing their own range of harmonicas, which are still available today. Most sources point to Frank Huang customising Stevie’s existing Super 64s throughout much of his earlier career; he certainly used a range of tunings, such as Db, Bb and G, that aren’t stock for Hohner’s 16 hole harps, and some harmonica experts suspect that Stevie’s base tuning is slightly raised from the standard modern orchestral pitch of A=440Hz. However, Wonder can be seen playing a range of unidentifiable chromatics on some performances from the 1980s onwards, suggesting that he may have been playing custom built Huang harmonicas at this point.

Hohner Super 64X

Hohner Chromonica Super 64x Harmonica
Hohner Chromonica Super 64x Harmonica

Hohner’s Super 64X shares fewer parts with the cheaper Chromonica 64 than the standard Super 64 does, and has double thickness reed plates, which provide a deeper, more resonant sound.  Stevie uses this harmonica extensively on later recordings, although, like his Super 64, it is likely that it was highly customised to suit his technique and playing style.

Suzuki Sirius 64

Suzuki Sirius S-64C Chromatic Harmonica
Suzuki Sirius S-64C Chromatic Harmonica

Despite being a Hohner endorser, in recent years Stevie has often been seen playing a Suzuki chromatic – namely the Sirius 64. This chromatic built on Suzuki’s experience with the Fabulous diatonic harp, and features brass weights in the body to add extra resonance, and the Japanese company’s signature phosphor bronze reeds.

Other musicians and reviewers have been overwhelmingly positive about the Sirius, describing it as one of the best chromatics available, especially for professional recording work, so it is, perhaps, unsurprising that Wonder has used this harmonica regularly.

What Harmonica Should I Buy to Sound Like Steve Wonder?

Although Stevie has used a range of custom harmonicas over the years, he could take any 16 hole chromatic and sound like Stevie Wonder, because 99.9% of his sound is intrinsic to him and his playing style. This doesn’t mean that you can’t sound like him, at least to some extent, but it would require tens of thousand hours of focused practice, plus detailed study of Stevie’s specific techniques. Unfortunately, just buying a Super 64X or Sirius 64 and having it customised to Wonder’s specifications will not get you any nearer to approximating his sound.

 

CategoriesHarmonica

How Much is My Harmonica Worth?

Around once a week on average, I receive an email from a customer who has been dealing with a late relative’s estate and has found a collection of what appear to be vintage harmonicas. If they aren’t enquiring about whether we would be interested in buying them (we’re not – for reasons I’ll explain later) they’re usually concerned with the value of the instruments. My answer is always disappointing, as it can be summarised with the words ‘not’, ‘a’ and ‘lot’. One day I may be surprised by being shown a particularly rare and sought after harmonica, but that day has not yet arrived. Let’s look at why this is, and whether there are any harmonicas that have significant value.

There’s an old joke in the cycling world that goes something like this: my greatest fear is that after I die my wife sells my collection of bikes for what I told her I paid for them! Whilst I have had customers who have surreptitiously purchased sets of relatively expensive harps, the same joke can’t really be used in the world of harmonicas; they’re an inexpensive instrument (with a few notable exceptions), whose value is unlikely ever to be more than £100 on the used market.

The reasons for this are numerous. First, harmonicas have been made in their millions over the years, so supply is never likely to be particularly limited. Second, they’re an instrument with a finite lifespan, which doesn’t lend itself to being left unused for long periods of time. Third, and most importantly, the nature of how the harmonica is played brings with it a whole host of hygiene issues when buying a used instrument.

If we compare harmonicas to electric guitars, where certain models such as original ’59 Les Pauls and pre-CBS Fenders can command five and even six figure values, we can see how the different nature of these instruments and their production has influenced their value. Even at its early 1960s peak, Fender would have produced far fewer guitars than a brand like Hohner; I’d say the ratio of Hohner harmonicas to Fender guitars manufactured in a given year in the 1960s would have been at least 100:1. Ergo, no lack of harmonica supply. Guitars, if stored correctly, show no detrimental effects from being left unplayed, and many musicians even feel that an older instrument acquires a superior tone with age. This is not the same for harmonicas, where an unplayed diatonics or chromatic is likely to be rusty, swollen and good for nothing if left in a draw for a few decades. Lastly, and most obviously, there are no hygiene issues with playing a guitar that previously belonged to someone else.

All of this adds up to mean that vintage harps (and newer used ones) have very little desirability, and, therefore, value. There are exceptions, however, so let’s look at typical prices for different types of harmonica.

Nearly New Diatonics and Chromatics

CategoriesHarmonica

The Definitive History of the Hohner Special 20 Harmonica

Hohner may not lay claim to being the oldest extant manufacturer of harmonicas (that honour goes to its compatriot, Seydel, which is a few years more senior), but it can legitimately attest to being one of the most influential brands within the world of harps. Many of its innovations have changed the direction of the harmonica industry and have been widely copied by others. One of the most important of these was the creation of the world’s first diatonic harmonica with a plastic comb and recessed reed plates – the Hohner Special 20. Let’s have a look at the history of this harp and see why its design has been aped by so many other manufacturers since its launch.

Hohner in the 1970s

The 1970s were initially something of a fallow period for the German company, as they were for many businesses across the world. Energy prices had increased considerably, labour relations in factories were generally poor and the folk music boom created by artists such as Bob Dylan, and which drove significant harmonica sales, was starting to wane.  Hohner’s model range was also somewhat dated, with the venerable Marine Band – little changed since its creation in the Victorian era! – still being one of its most popular harmonicas. (There is, of course the side note that pre-1980s 7-limit Just Intonation Marine Bands are now very desirable, but that’s a story for another day!)

Hohner needed something new to reinvigorate sales, and the answer lay in creating a harmonica that solved some of the fundamental issues of harps with wooden combs – swelling and comb roughness – whilst also being cost effective to manufacture. That harmonica was the Hohner Special 20.

Hohner Marine Band Special 20

Pearwood and other similar woods had been the staple material for harmonica combs since the invention of the instrument in the 1800s. They were relatively easy to manipulate into the shapes needed both for diatonic and chromatic harps, and provided the harmonicas with a distinctive tone, which could be manipulated subtly through the exact choice of wood type.

The major downside of wood in this application, however, is its tendency to swell over time when exposed to moisture. As combs are a part of the harmonica that comes into direct contact with the player’s mouth, and, no matter how careful a player is with their drying out routine, some moisture will come into contact with the comb, comb swelling and roughness over time is the almost inevitable result. Sealing liquids applied to the comb can partially mitigate both issues, as can careful choice of wood type, but these are not foolproof.

So, enter the post-War wonder material – plastic, which can be shaped into almost any form that’s needed, is inexpensive, smooth to play and completely resistant to swelling. It also had the added advantage that it could be manipulated in such a way that the reed plates could be completely recessed behind the comb. This made for a much smoother experience for a player’s mouth when doing fast runs on the harp, and also allowed musicians with nickel allergies to play the harmonica for the first time.

Of course, there was some initial scepticism – harmonica players, like guitarists, tend to be traditionalists – and plastic didn’t have a great reputation in terms of tone on other instruments, such as guitars, which has experimented with the material. However, a large number of players were won over when they heard the Special 20 in action, and discovered that the tone was only marginally different to the Marine Band, and didn’t sound thin and artificial, as they, perhaps, had expected. Even famous blues harpists, like Sonny Terry, began to add Special 20s to their collection, especially for live use, where their durability and easy bending made them perfectly suited to live on the road.

It didn’t hurt that the Special 20 was based on the Marine Band, in terms of aesthetics and size; had they made it truly radical, like, say a modern Yonberg harmonica, the results may have been different. It was even called a ‘Marine Band Special 20’ for many years, which became slightly confusing when all of the other Marine Band range models used a wood comb.

Original Special 20s shipped with a rather fetching leather case. This was later updated to the plastic case that still comes with the Special 20 today.

Marine Band Special 20 with Leather Case
Marine Band Special 20 with Leather Case

Imitators of the Hohner Special 20

By the 1980s, other manufacturers had caught on to the idea of a plastic comb, and the Special 20 had more competition from the likes of Tombo, via the Lee Oskar range of harps, and, towards the end of the century, Seydel, which had reappeared after a period of neglect during its time behind the Iron Curtain. Suzuki in Japan had also begun to make diatonic harps that drew on the Special 20’s main design features, and the marketplace for harmonicas with plastic combs was looking much more competitive.

Suzuki Bluesmaster Diatonic Harmonica
Suzuki Bluesmaster Diatonic Harmonica

Hohner responded with the misjudged MS range, which imitated the modular design of Lee Oskar harps. Unfortunately, initial harps in this range were blighted by Hohner’s move to a computer controlled production line that led to numerous tuning and longevity issues, and which was later abandoned. MS harps such as the Pro Harp, are popular today, but as they have to ensure cross compatibility with wood combs (which feature on the MS Blues Harp), they don’t have recessed reed plates, and, in my opinion, don’t play as well as the Special 20.

Progressive Series Special 20 Versus Marine Band Special 20

The only major change to the Special 20 in its 50 year history was when Hohner moved it to be part of the Progressive range of harmonicas, which also features the Rocket and Golden Melody harps. This made sense, as the Special 20 has far more in common with the modern design of the Progressive range harps, which all feature ABS combs, than the traditional, wood comb Marine Band models. Unfortunately, this move coincided with a dip in quality, leading many players to claim a New Coke/Classic Coke situation, and search, often in vain, for new old stock of the ‘Classic’ Special 20.

The reality was that quality soon improved, and any difference between the two versions was either cosmetic (‘Progressive’ printed on the cover plates in place of ‘Marine Band’) or so small as to make no discernible difference (extra screws in the reed plates to allow Rocket and Special 20 reed plates to be interchangeable). Today, the Special 20 is as good as it’s every been and is an excellent choice for any level of player.

Should I Buy a Special 20, then?

The Special 20 offers easy bending, great durability and a dark tone that many players love. However, it is not without its flaws. The comb itself is quite a basic design, with square edges, and it’s no longer considered a high volume harmonica, if that’s your thing(!)

Hohner Rocket Harmonica
Hohner Rocket Harmonica

Personally, I prefer the Rocket, which is the same basic design as the Special 20 (their reed plates are identical, for one thing) but has a much nicer comb, with softer edges and chambers designed to increase volume. It’s a little more expensive than the Special 20, but the difference is marginal for the more luxurious feel it imparts. This said, if you want country tunings and a full range of keys, the Special 20 is still the harp to buy.

CategoriesHarmonica

432Hz Tuning – What’s all the Fuss?

432Hz Tuning – What’s all the Fuss?

The eagle-eyed of you may have noticed a slightly strange new harmonica on our website  – the Seydel Classic in 432Hz tuning. So, what does this rather long-winded title mean, and should you buy one? Read on and I’ll explain.

What’s a Frequency and Why Does it Matter in Music?

Put simply, a frequency, such as 432Hz is merely the rate at which a sound vibrates through a medium –  in most cases with music, a gas, unless you have a predilection for underwater listening! The Hz figure describes how many cycles the sound produces in the space of a second, so, for instance, a 432hz hum would be vibrating at 432 cycles per second. Western music divides the audible frequency range up into semitones, tones and octaves, usually by starting with a frequency, doubling it to create octaves, then evenly distributing the 11 remaining semitones throughout this octave range. This is known as equal temperament, and is not the only way to create a range of musical notes, but is the basis of tuning for many instruments, including pianos and some harmonicas. There are many other tuning systems, such as compromised (often used on harmonicas) and Pythagorean (rare these days, but more on this later), but they all have one thing in common – the need to define a starting frequency before they can create a stack of notes.

The note used in modern Western music to define the starting frequency has long been A4. This is the A note found on a a piano keyboard immediately above middle C. It is not entirely clear why A4 was chosen for this purpose (and older tuning systems, such as the Pythagorean, use alternative starting points, such as D4), but it may relate to the fact that A is a common open string on orchestral stringed instruments, making tuning to this note easier.

Thus, tuning systems will be described in terms of the frequency given to the note A4, and all other notes will be created by using a system, such as equal temperament, to ascertain their frequencies in relation to this starting point. But who defines the starting point?

A=440Hz

Between the two world wars, a group of influential musicians and physicists decided that the frequency at which orchestras were tuned needed to be standardised. Up until this point there was a whole range of different tuning standards used by various countries. France, for instance, used A4=435hz for much of the 19th Century, whilst other countries went as high as A4=450hz. Eventually, in 1950, the International Organization for Standardisation deemed A4 = 440 as “concert pitch” and this has largely been adhered to since. However, there are many players and musicians who prefer the lower tuning of A=432hz. Let’s examine why this is.

Why do some Musicians Prefer A4=432hz?

There a number of different reasons why some musicians prefer the 432hz tuning standard, ranging from the mystical to the mathematical. It’s worth noting that the origins of both of these schools of thought can be traced back to a single influence – Pythagoras.

Known to most people through his eponymous theorem, Pythagoras’s influence actually extends far beyond geometry; his school of philosophy had a fundamental influence on Christian theology, and he is credited with a system of temperament that is based on D4 =288hz (although the exact origins of this are debatable). It’s interesting to note that the Pythagoran system creates its notes via a system of pure fifths, based on what was seen as a ‘perfect’ ratio – 3/2. Now, the Pythagoreans were obsessed with the notion of the ‘perfect’ world they observed in maths, and the disparities they witnessed between the imperfections of the natural world and the perfections of geometric proofs, for instance, gave rise to the idealism of Plato and his disciples.  A perfect fifth from D4=288hz gives us A=432hz, and a quasi-mystical, quasi-mathematical origin for the A=432hz tuning standard – the Pythagoreans used it! However, it should also be noted that the Pythagorean temperament does not produce many of the intervals used in modern music, such as major and minor thirds and major and minor sixths, so its influence today is, perhaps, overstated.

Another Mathematical Justification

A further maths – based justification for the superiority of A=432hz is related to the Schumann resonance – basically a measure of the spectrum peaks in an extremely low frequency portion of the Earth’s electromagnetic field – known informally as the ‘Earth’s heartbeat’. When you calculate the fundamental frequency of these waves, you reach a figure of 7.83hz, which, when rounded up to 8Hz, can be multiplied exactly into 432Hz, thus endowing the 432Hz tuning system with a vibration that is naturally in tune with the earth’s.

It may not have escaped your notice that this is a somewhat hokey bit of confirmation bias and selective rounding. You may also have noticed that 440hz, which is modern concert pitch, is also divisible exactly by 8Hz!

Other quasi-mathematicalTh justifications centre on numerology (prime number summation and the like) or relationships between the number 432 and the dimensions of celestial objects. Needless to say, cherry picking, coincidence and confirmation bias also play a significant role here, making one wonder if there really is any justification for 432Hz being superior to concert pitch, or, for that matter, any other system of tuning. However, these is one area where academic studies seem to suggest that there might be something in this 432hz business – unlikely as it seems: healing properties!

Does 432Hz Have Healing Properties?

Three studies published in peer reviewed journals, including this paper on the effects of 432Hz on anxiety show statistically significant effects of the tuning on various measures of health and wellbeing of test subjects, both human and animal. Of course, the datasets used in these studies are relatively small, and further research is necessary to fully confirm the findings and determine a causal mechanism, but these initial results do seem to suggest that justifications for 432hz are not wholly without foundation.

Can I Play With Other Musicians in 432Hz Tuning?

The short answer to this question is yes! However, there are a few complexities that mean you may not be thanked by your bandmates if you turn up to a gig with a 432Hz harmonica. Chief among these is that the band will all need to re-tune. 432Hz may not be much lower than the 440Hz that most players typically tune to, but it is enough for you to sound awful if one of you is in the lower tuning and the rest in the higher one. Try using the following online tone generator to produce notes at 440hz then at 432hz – there is a significant difference when switching between the two – something akin to a very flat or sharp vocalist performing a song! Whilst it is relatively easy for instruments such as guitars and basses to tune to 432Hz using a chromatic tuner, pianos and fixed tuning instruments, such as harmonicas, are not so easy to change.

For the same reason, you won’t be able easily to play along to songs or backing tracks apart from in the very unlikely event that the artist to whom you are listening is also utilising a 432Hz tuned instrument. Of course, you can use software applications, such as Audacity, to pitch shift existing music down to 432Hz, but this does introduce a significant new layer of complexity. How much of an issue this is to you is dependent on how much you intend to play along to existing recordings, or to what extent you are willing to play around with music production apps.

What Harmonicas are Available In 432Hz Tuning?

Standard harmonicas are tuned out of the box to somewhere between 440Hz and 443Hz. The higher of these two figures is to allow for a slight decrease in frequency when blowing or drawing hard. Pretty much any harmonica can be tuned down to 432Hz, but this is a fiddly and time consuming job that is best left to professional fettlers.

For out of the box harmonicas, Seydel is the only company to provide 432hz tuning (and, in fact, any tuning from 450Hz down to 432Hz) as an option. This is available on most of its diatonic harmonicas as a custom option, with a slight increase in price to cover the additional work required to produce the harp in 432Hz. The only harps from its current range that do not have 432Hz as an option are the entry level models with brass reeds, such as the Solist Pro and Session Standard.

We currently offer the 1847 Classic on our website, as this tends to be the most popular model from the Seydel range for this tuning. However, should you wish to order any of the available Seydel range in 432Hz, please get in touch – lead time is usually 7 working days, as these would be made to order by Seydel in Germany, and the cost will usually be around £10 – £15 more than the standard model.

 

CategoriesHarmonica

Hohner Special 20 Marine Band and Progressive Series Reed Plate Compatibility

Hohner Special 20 Marine Band and Progressive Series Reed Plate Compatibility

As I mentioned in a previous post, there exist two versions of the Hohner Special 20 – the older Marine Band series harp and the Progressive series model. This can make things slightly confusing when purchasing replacement reed plates, as there are differences that hinder compatibility.

How do I Know Which Special 20 I Own?

This question is pretty easy to answer – if it has ‘Marine Band’ embossed on the top cover plate, as in the picture below, it’s the older style Marine Band Special 20.

marine band special 20

If it has “Progressive’ embossed on the top cover plates then it’s the newer – you guessed it! – Progressive Series model.

What’s the Big Difference?

The Special 20 was moved to the Progressive Series in 2015, and this did make sense; other Marine Band models featured wooden combs, whilst the Special 20 was always an outlier with its recessed reed plates and ABS comb. The only major revision to the harp that wasn’t purely cosmetic was the addition of extra holes to accommodate the Rocket with which it shares a reed plate design. Tone wise, you’d be hard pressed to tell the older and newer harmonicas apart.

Replacing Reed Plates

If you have the older model you can still use the new reed plates (in fact Hohner no longer manufactures Marine Band Special 20 reed plates) you just need the TM99200 screws, which you can order by dropping us an email.

Installation should be no harder than with any other reed plates and you’ll soon have your Marine Band Special 20 back to playing at its best!

JP

CategoriesHarmonica

Hohner Progressive Series Harmonicas – Which One Should I Buy?

Hohner Progressive Series Harmonicas – Which One Should I Buy?

Like many large companies, Hohner sometimes lets its marketing department get a little carried away. Witness the creation of the MS Series, which was a direct reaction to the modular nature of the Lee Oskar range, yet which now includes so much product overlap that it has become bewildering to most customers. I have yet to ascertain, for example, why Hohner created the Juke Harp within this range, when it already has two existing MS models that are virtually identical in construction, and which utilise the same comb and reed plates (namely the Big River and Pro Harp).

Thankfully, the Progressive Series is a little more logical in its range of models. Let’s take a look at them and explain the main differences between the five constituent harmonicas.

Special 20

Hohner Special 20

Originally part of the Marine Band Series, the Special 20 became a Progressive Series harmonica in 2015. Contrary to popular opinion, there were no major changes to the harmonica itself as part of this move; the updates were related only to aesthetics and the position of the screw holes for the reed plates. However, as mentioned in a previous blog post on here, there did seem to be something of a dip in quality across Hohner harmonicas around this time, which may account for people thinking that the Progressive Series changes were responsible for the Special 20 playing and sounding slightly worse.

The good news is that this harp is now back to its best quality wise, and it is now my number one recommendation for players looking for a durable, great sounding harp that is good enough for professional use, but is still remarkably affordable.

One thing to note is that the Special 20 is also available in country tuning – indicated by the letters ‘ct’ engraved on the top cover plate, and a ‘country’ sticker on the box. Country tuning is a modification of Richter, with the 5th draw reed raised a semitone. This is useful for country music, but most players should choose the standard Richter tuned version, which is more suitable for blues and folk styles.

Buy if… You want an inexpensive, durable, German-made harmonica that sounds great for most musical styles.

Don’t buy if… You like the feel and tone of a wood comb; you need minor tunings.

Rocket

Hohner Rocket Harmonica

If you happened to read Hohner’s original marketing material at the launch of the Rocket (no pun intended!) you’d be forgiven for thinking that Hohner had cured cancer and simultaneously brought about wold peace, such was the level of hyperbole. The reality was (and still is) that the Rocket is merely a much nicer, louder version of the Special 20.

The main improvements over the Special 20 are a comb with rounded edges, which is much more pleasant to hold, bigger slots for increased volume, and greater airtightness from the use of additional screws attaching the reed plates to the comb. The latter is, perhaps, the most important feature, making the Rocket more responsive than the Special 20, facilitating bends and overblows.

Buy if… You like the sound and feel of the Special 20, but want a bit more volume and responsiveness.

Don’t buy if… You’re particularly parsimonious, as it costs a little bit more than its stablemate.

Rocket Amp

Hohner Rocket Amp Harmonica

Designed specifically for amplified use, the Rocket Amp shares reed plates, comb design and its basic shape with the standard Rocket; the only differences are the colour of the comb (green) and the lack of side vents, meaning that all of the sound is projected out of the front of the harp. For some reason known only to Hohner, it costs significantly more than the standard Rocket, despite being virtually identical. I guess the guy who makes the non vented cover plates must just be on a higher salary than the one who makes the vented plates!

Buy if… You like the Rocket but play mainly amped up

Don’t buy if… You never use a mic

Rocket Low

Hohner Rocket Low Harmonica

The Rocket Low continues Hohner’s policy of charging a premium for low tuned harmonicas (witness the price difference between the Crossover and Thunderbird, for example). Looks and feel are pretty much identical to the standard Rocket, but everything is an octave or so lower. Unlike Hohner’s Thunderbird, you don’t get fancy asymmetric cover plates to allow more space for the lowest reed plates to vibrate without touching metal, but then again, the Rocket Low isn’t offered in the lowest of keys – just Low C to Low F.

Like all low tuned harmonicas, this is not a harp that will bend easily in the lower range, but that’s not it’s raison d’etre. What you do get is a nice, clear, loud tone that’s far less squeaky at the top end than standard tuned harmonicas.

Buy if… You like deep, bassy harp sounds and don’t need a wide range of keys.

Don’t buy if… You like bending notes all over the place

Golden Melody

Hohner Golden Melody Harp
Hohner Golden Melody Harp

Finally we arrive at the odd one out in the Progressive Series – a strange, 50s Americana- inspired harmonica, which is also the only Hohner diatonic that’s tuned to equal temperament (read more about this here). Many players love this harp, especially for single note playing, but it’s safe to say that its looks have always been a little divisive.

This perhaps explains why Hohner has recently discontinued the Golden Melody, and is due to launch a replacement model with the same name (and temperament), in 2023. Initial expectations are that it will more closely resemble the aesthetics of the other harps in the Progressive range, which should help to improve its popularity.

Buy if… You like playing single note melodies

Don’t buy if… You focus on chords; you dislike the ‘Streamliner’ aesthetic.