Richter-tuned Harmonica - Playing in Different Keys

Playing in Different Keys

Aside from bending, Richter-tuned harmonicas are modal.

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

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

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

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

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