User:Veggieburgerfish/richter tuning

Richter tuning is a system of choosing the reeds for a diatonic wind instrument (such as a harmonica or accordion), named after Joseph Richter, a Bohemian instrument maker who adopted the tuning for his harmonicas the early 19th century and is credited with inventing the blow/draw mechanism that allows the harmonica to play different notes when the air is drawn instead of blown. The Richter tuning was devised as a means of allowing inexpensive instruments, such as diatonic harmonicas, to be able to play simple folk songs and basic accompaniment.

Every Richter Tuning faces the compromise of Melody and Harmony. For example, in the case of the harmonica, a simple 7-holed tuning which involved the tonic and the dominant chords of C and G might look something like this:


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7
 * C || E || G || C || E || G || C
 * D || G || B || D || G || B || D
 * }

This chord-optimised tuning however, omits the note a from the c major scale

Variants
There have been many variants of Richter tuning.

Country tuning
Country tuning raises the initial F by a semitone to an F♯. This primarily aids in harmony in the key of G, facilitating easy play of the G-C-D (I-IV-V) chord progression, while maintaining a partial G7 (minus the root) higher on the harmonica. It can occasionally be helpful in some melodies, most notably "The Star-Spangled Banner," which has a low F# and a high F. For example:


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7 ||  8 ||  9 || 10
 * G || C || E || G || C || E || G || C || E || G
 * B || D || G || B || D || F♯ || A || B || D || F
 * }

(Compare this to major seventh tuning, below.)

Harmonic minor tuning
Harmonic minor tuning is a variation in which E is replaced by E♭ and A is replaced by A♭. Thus the blow notes repeat a sequence of
 * C E♭ G

(perhaps shifted to begin with E♭ or with G) and draw notes at some point begin to follow a repeating sequence of
 * D F A♭ B

though perhaps with a different initial sequence.

For example:


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7 ||  8 ||  9 || 10 || 11 || 12 || 13 || 14 || 15 || 16
 * G || C || E♭ || G || C || E♭ || G || C || E♭ || G || C || E♭ || G || C || E♭ || G
 * B || D || G || B || D || F || A♭ || B || D || F || A♭ || B || D || F || A♭ || B
 * }

Major seventh tuning
Major seventh tuning raised each F by a semitone to F♯. For example


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7 ||  8 ||  9 || 10 || 11 || 12 || 13 || 14 || 15 || 16
 * G || C || E || G || C || E || G || C || E || G || C || E || G || C || E || G
 * B || D || G || B || D || F♯ || A || B || D || F♯ || A || B || D || F♯ || A || B
 * }

(Compare this to country tuning, above.)

Melody Maker tuning
Melody Maker tuning raises the first or second draw-note G by a full note to an A, and raises each F by a semitone to F♯. For example:


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7 ||  8 ||  9 || 10
 * G || C || E || A || C || E || G || C || E || G
 * B || D || G || B || D || F♯ || A || B || D || F♯
 * }

Natural minor tuning
Natural minor tuning is a variation in which E is replaced by E♭ and B is replaced by B♭. Thus the blow notes repeat a sequence of
 * C E♭ G

(perhaps shifted to begin with E♭ or with G) and draw notes at some point begin to follow a repeating sequence of
 * D F A B♭

though perhaps with a different initial sequence.

For example:


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7 ||  8 ||  9 || 10 || 11 || 12 || 13 || 14 || 15 || 16
 * G || C || E♭ || G || C || E♭ || G || C || E♭ || G || C || E♭ || G || C || E♭ || G
 * B♭ || D || G || B♭ || D || F || A || B♭ || D || F || A || B♭ || D || F || A || B♭
 * }

Paddy Richter tuning
Paddy Richter tuning (developed by Brendan Power) allows a two octave scale suitable for melody-based music. It was developed with Irish jigs, reels and hornpipes in mind but is suitable for other melodic music also. The tuning raises the 3 blow by a semitone eg from D to E on a G harp. (note that the F's are F# not Fnat). The lower octave requires a bend on the 2 draw to achieve a missing note (C in the example below)

For example:


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7 ||  8 ||  9 || 10
 * G || B || E || G || B || D || G || B || D || G
 * A || D || F# || A || C || E || F# || A || C || E
 * }

(above Paddy Richter tuning was checked on a Paddy Richter G Harp using an electronic Chromatic Tuner)

Richter Extended tuning
So-called Richter Extended tuning is in fact a significant departure from Richter tuning. In "Richter extended tuning," all Fs and As are removed from the instrument, and the dominant (G) chord is, like C on the blow, extended through all of the holes on the draw, following the sequence


 * D G B.

For example:


 * {| class="wikitable" style="text-align:center"

! hole ! blow note ! draw note
 * 1 || 2 ||  3 ||  4 ||  5 ||  6 ||  7 ||  8 ||  9 || 10 || 11 || 12
 * C || E || G || C || E || G || C || E || G || C || E || G
 * D || G || B || D || G  || B || D || G  || B || D || G  || B
 * }