The Harmonica and Irish Traditional Music

by Don Meade

Revised March, 2016

 Donald J. Meade
All rights reserved
TABLE OF CONTENTS

INTRODUCTION 3

WHAT KIND OF HARMONICA? 4

TECHNICAL TIPS 13

MAJOR, MINOR, MODAL 16

ORNAMENTATION 19

CUSTOMIZING AND MAINTAINING

CHROMATIC HARMONICAS 22

Appendix A: IRISH HARMONICA DISCOGRAPHY 27

Appendix B: MODE AND POSITION CHART 33

Appendix C: HARMONICA HISTORY 34

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INTRODUCTION ingenious musicians from China to the
The name “harmonica” has been applied to American south have found novel ways to
a variety of musical instruments, the earliest play very different styles of music on it.
of which was probably an array of musical Musicians in Ireland, influenced by the way
glasses created by Ben Franklin in 1761. in which song airs and dance tunes are
The 19th-century German-speakers who played on instruments with a longer history
invented the mouth-blown free-reed in the country, have developed their own
instrument now known as the harmonica distinctive techniques and styles.
originally called it a Mundharmonika
(“mouth harmonica”) to distinguish it from Instrumental technique is not really the key
the Handharmonika, i.e., the accordion. to playing Irish traditional music. Anyone
English speakers have since called it many who has ever heard a classical violinist
things, including the mouth organ, mouth stiffly bow through a fiddle tune will
harp, French harp, French fiddle, harpoon, understand that technical competence
gob iron, tin sandwich and Mississippi cannot substitute for an understanding of
saxophone. “Mouth organ” is the name traditional style. That understanding can
most commonly heard in Ireland, where only be acquired by listening to and
“harmonica” is sometimes used to refer emulating good traditional players. If you
only to larger chromatic models. want to play Irish music, you should listen
to as much of it as possible. Listen
There is a notable local mouth organ especially to music on the uilleann pipes,
tradition in south County Wexford, home to fiddle and flute, the most important vehicles
the renowned Murphy family of Bannow, for Irish traditional music for centuries and
but the instrument is quite popular the instruments on which the foundations of
throughout Ireland. It is, however, not traditional style were built.
usually regarded as highly by traditional
music lovers as are the closely related If you can hum, lilt or whistle an Irish tune,
concertina and button accordion. Many you can learn to play it on the harmonica.
people still think of the harmonica as little The rest is just a matter of practice. Trying
more than a musical toy. to play a tune you don’t really know, even if
you can read sheet music or follow a
The tin whistle once suffered from a similar written pattern of blow and draw notes, is
reputation. In recent decades, however, really harder in the end than playing by ear.
Mary Bergin and other virtuoso players
have brought the once-humble whistle to You don’t need formal lessons to play Irish
the forefront of the Irish musical tradition. music on the harmonica. Trial and error will
The harmonica is overdue for a similar re- be your best teacher. Once you have a tune
evaluation. Recordings by the Murphys, in your head, just try to play it. The more
Eddie Clarke and other top Irish players you play, the more you will understand
provide convincing proof that the mouth about the structure and patterns of Irish
organ is fully capable of conveying all the tunes, and about the harmonica itself. And
beauty and subtlety of Irish traditional airs the more tunes you learn, the easier it will
and dance tunes. become to pick up new ones.

How to Learn Irish Music Before attempting to play jigs and reels,
The harmonica was designed to play and you should start by playing slower song
accompany simple major-key European airs, marches and waltzes. These tunes
melodies. The instrument has proved to be provide an opportunity to build up your lip
surprisingly flexible, however, and muscles, work on breath control and tone,

3
and generally figure out how the harmonica are “single-action” free-reed instruments.
works. Keep in mind that a complete
traditional musician must be able to play On a double-action instrument like the
slow airs as well as fast dance tunes. piano accordion or “English” concertina,
the same note sounds on both the press
When you acquire enough proficiency to and draw of the bellows when any key is
move on to livelier tunes, keep in mind the pressed. On a single-action instrument,
importance of a steady tempo. If you have each button or hole sounds reeds for two
to slow down to play a difficult passage in a different notes. If you press (or blow) you
tune, you're playing the rest of it too fast. get one note but if you draw out you get an
It's better to play slowly at a consistent adjacent note in the same scale. This in-
tempo. If you can play fast, it doesn't mean and-out pattern imposes a certain natural
that you have to do so all the time. No one rhythm on the music and helps to explain
would try to sing every song they know as why single-action instruments are the free
quickly as possible but too many musicians reeds of choice for Irish dance tunes.
take that approach to Irish dance tunes.
Stick to a tempo that lets you put some On both the button accordion and
expression into the music. harmonica (but not the concertina), the
notes of the scale are lined up in one row.
Mouth Accordion? Moreover, the tuning of chromatic
Fast-paced and highly ornamented Irish harmonicas, which will be discussed below,
dance music is a challenging repertoire on is much like that of Irish-style two-row
any instrument. Harmonica players will find button accordions. Because of these
that some of the typical melodic patterns similarities, harmonica players can often
and embellishments used by fiddlers, flute adapt button accordion techniques to their
players and pipers are difficult to reproduce instrument.
on their instrument. While no Irish tune is
totally impossible to play on the harmonica, That said, it must be pointed out that it took
some just don't fit it very naturally. a long time for the button accordion to be
accepted as a valid instrument for Irish
Some tunes are awkward on other traditional music. Only when accordionists
instruments too. Flute players and pipers succeeded in approximating the rhythm
often alter fiddle tunes to make them and ornamentation used on more traditional
playable on their instruments, and it is a instruments did the “box” come into the
rare button accordionist who is comfortable mainstream of Irish music. Harmonica
playing in all the keys used by fiddlers. You players can profit by their example.
shouldn't give up without a struggle, but if
re-phrasing a passage or changing a key WHAT KIND OF HARMONICA?
allows you to play music that is otherwise There are several distinct types of
fiendishly difficult, you don’t have to be harmonicas. It is possible to play Irish
ashamed to do so. traditional music on all of them, and each
has its own advantages and disadvantages.
Irish harmonica players can take some
inspiration from players of other free-reed Standard Diatonic Harmonicas
instruments used in the Irish tradition. The The diatonic harmonica is by far the most
harmonica has a lot in common with the common variety. The most popular version,
button accordion and “Anglo-German” often referred to as a “Richter” harmonica
concertina, both of which have a long (see appendix on harmonica history) is a
history of use by Irish musicians. All three small instrument with 10 holes, each of

4
which contains a blow reed and a draw apart for a fuller sound. All diatonic
reed. Most diatonics have a single reed for harmonicas have reeds only for the notes in
each note but some have two, which may a single major (do-re-mi...) scale – they are
be tuned slightly apart in order to produce a like pianos with no black keys.
wavering “tremolo” effect or an octave

STANDARD “RICHTER SYSTEM” 10-HOLE DIATONIC HARMONICA

Key of C
Blow reeds in upper case, draw notes lower case; available “bent” notes in italics

1 2 3 4 5 6 7 8 9 10

D# F# A#/B

Cd Eg Gb Cd Ef Ga bC dE fG aC

c# f/f# g#/a# c# g#

The scale used on a diatonic harmonica draw 4, but in the high octave, blow 7 is do
can start on any of the twelve notes used in while re is draw 8 in the next hole.
Western music. Standard diatonic
harmonicas are available for all twelve, The standard harmonica’s low octave starts
some in both high- and low-pitched with the blow reed in hole number 1 but the
versions. The harmonica is classified by the scale is missing fa and la, while so is both a
note on which the scale starts. If do is C, draw note in hole 2 and a blow note in hole
the harmonica is in the key of C. 3. The reason for these gaps and
duplications is that the low octave tuning
A typical ten-hole diatonic such as the scheme was designed to make it possible
Hohner Marine Band has a range of three to play simple two-chord accompaniment
octaves, but the only complete one starts to major-key melodies.
with the blow note in hole 4. To play this
scale, you first blow into and then draw Some of the missing notes can be played
from hole 4, then repeat this in holes 5 and by “bending” other notes. We’ll return to
6. To finish the scale you reverse breath the subject of bending below, but even with
direction in hole 7, first drawing and then that aid the standard 10-hole diatonic’s
blowing. This reversal of breath direction tuning scheme sharply limits one’s ability to
ensures that the next octave starts on a play many Irish traditional melodies.
blow note.
Extended Range Diatonics
The high octave that starts with blow 7 Longer standard diatonics give more scope
lacks the 7th note (ti) in the scale. The for solo melody playing as they extend the
pattern of blow and draw notes is also range of notes above the gapped scale in
altered in this octave – draw notes are the the first three holes. If you stick to the right
lower of the two notes in each hole. In the side of the longer diatonics, all the notes in
middle octave, do and re are blow 4 and the diatonic scale are available. The same

5
draw bends are available as on the 10-hole scale on a C instrument it is necessary to
instrument and there are a few more blow skip from 10-blow to 12-draw and back to
bends possible in the highest holes. 11-blow to play C, D and E in sequence.
Hohner’s Marine Band M364 and M365 are
As with the 10-hole diatonic, the draw the most easily available extended-range
notes are in different positions relative to diatonic models. The 12-hole M364 is
the adjacent blow notes in each octave. available in C, D and G, and the 14-hole
This is very apparent in the extended high M365 only in C and G.
range, where in order to play a C major

12-HOLE HOHNER M364

Key of C

1 2 3 4 5 6 7 8 9 10 11 12

D# F# A#/B C/D D#/F#

Cd Eg Gb Cd Ef Ga bC dE fG aC bE dG

c# f/f# g#/a# c# g#

14-HOLE HOHNER M365

Key of C

1 2 3 4 5 6 7 8 9 10 11 12 13 14

D# F# A#/B C/D D#/F# F#/B A/D#

Cd Eg Gb Cd Ef Ga bC dE fG aC bE dG fC aE

c# f/f# g#/a# c# g#

“Cross Harp” and Country Tunings harp” or “second position” scale, which
The standard 10-hole diatonic harmonica starts on a note pitched a fifth higher, i.e.
can be used to play Irish tunes but it is so instead of do. In the C scale, so is G,
most favored by blues players, who make which means the cross-harp scale on a C
up the largest segment of the harmonica- harmonica starts on G. So to play the blues
playing public. Blues stylists, however, do in G, you use a C harmonica.
not usually play in the key in which the
harmonica is tuned, preferring the “cross A complete cross-harp scale starts with

6
the blow reed in hole 6. The seventh note in the second note of the scale.
this scale is half a step lower (flatter) than in
the major scale, e.g., F instead of F# (F Bending, which will be discussed in more
sharp) when playing on a C harmonica. In detail below, is one way to play missing
addition to providing this “blue” note, cross notes on a diatonic harmonica but
harp shifts important notes in the scale to “country-tuned” diatonics provide another
low draw reeds that can be easily “bent” to solution. These are standard ten-hole
sound notes the harmonica wasn’t diatonics on which one or more reeds have
designed to play at all. In the low octave, a been retuned so that you can play a
cross-harp scale starts with 2 draw (or 3 complete two-octave major scale in the
blow, which is the same note) but you have cross-harp position.
to bend 3 draw down a whole step to play

SIMPLE COUNTRY TUNING – SHARPENED 5 DRAW

Altered C harmonica

1 2 3 4 5 6 7 8 9 10

D# F# A#/B

Cd Eg Gb Cd E f#* Ga bC dE fG aC

c# f/f# a c# f g#

Irish tunes set in the “mixolydian mode” One way to play major melodies in
(more on modes below) use a blues-like crossharp position (and still be able to
scale with a flattened 7th interval, and for throw in a lot of bluesy bends) is to retune
these the cross-harp position on a regular the 5 draw reed, sharpening it half a step to
diatonic works well. You can also play a F# on a C instrument (see the asterisked
true major scale in the cross-harp position note above). With a combination of bent
if you start with the blow reed in hole 6, but notes and this one retuned reed, you can
you need to play a blow bend in hole 9. On play a true major scale in crossharp
a C harmonica, this is a G major scale with position in two different octaves. If you start
F# instead of F. But you can’t play a G with the G draw reed in hole 2, you have to
major scale in the octave that starts with play a draw bend in hole 3 to sound A. If
draw 2. You can bend draw 3 down to you start the scale with the G blow reed in
sound A, but there is no bend that will give hole 6, you have to play a blow bend in hole
you an F# in the 5 draw hole. This is 9 to sound F#. Rick Epping, the first
because bends are only possible if the American to win the All-Ireland mouth
pitches of the two reeds in a hole are offset organ championship, has made good use
by at least a whole tone, and the difference of this tuning, which is available on the
between E and F is only a half tone. Seydel “blues favorite country” model.

7
Another variation on standard tuning was The most sophisticated “country” tuning is
invented by harmonica ace Brendan Power. used on the Lee Oskar Melody Maker and
In this tuning, which he calls “Paddy Hohner “Country-tuned” Special 20
Richter,” the 3 blow reed is tuned up a models. This scheme raises the 5 blow reed
whole step (e.g., from G to A on a C a half step, as in simple country tuning, and
harmonica). Unlike “country” tunings, the 3 blow a whole step, as in “Paddy
Paddy Richter is not designed to enable Richter.” But it also raises the 9 draw reed
major-key playing in crossharp position but a half step. With these three alterations
does make it easier to play low-octave (shown with asterisks on the chart below),
melodies in the modes used in irish music. you can play a complete major scale over
Bending the 2 draw will supply the one two whole octaves, starting with draw 2,
remaining missing note in the diatonic without having to bend any notes.
scale.

“PADDY RICHTER” TUNING

C harmonica with sharpened 3 blow reed

1 2 3 4 5 6 7 8 9 10

D# F# B/A#

Cd Eg A* b Cd Ef Ga bC dE fG aC

c# f#/f a# c# g#

FULL COUNTRY (“MELODY MAKER”) TUNING

C harmonica with three altered notes

1 2 3 4 5 6 7 8 9 10

D# B/A#

Cd Eg A* b Cd E f#* Ga bC dE f#* G aC

c# f#/f a# c# f g#

Country-tuned harmonicas are usually a “G” Melody Maker is really just a standard
labeled in the cross-harp key (G for a C C instrument with three altered notes.
harmonica). But as the chart above shows,

8
This tuning is popular with Nashville-style Tremolo Diatonics
country musicians who want to apply Tremolo harmonicas have two reeds for
bluesy bends to major key melodies. Irish each note, one on the top plate and one on
singer and bouzouki ace Andy Irvine has the bottom. In these instruments, unlike
also made great use of Melody Maker standard “Richter” harmonicas, blow and
instruments in this way. The best example draw reeds are on the same reedplate, but
of applying this tuning scheme to Irish not in the same holes. Each reed is isolated
dance tunes without relying on bent notes in its own chamber. The top and bottom
is Galway native Paul Moran’s playing on plates have an identical tuning scheme, but
First Flight, a 2002 duet recording with the reeds on each are tuned with a slight
fiddler Fergal Scahill. offset in pitch to create the wavering
tremolo effect. This design was invented by
Country-tuned harmonicas might appeal to Wilhelm Anton Thie in Vienna and is known
anyone who has played a lot of blues as the Wiener or Thie system.
“harp” before attempting to tackle Irish
traditional music. You can stick with the Some Wiener tremolos, including Hohner’s
blow-and-draw note sequence familiar to Comet models, have the two reedplates
cross-harp players and continue to bend tuned an octave, rather than just slightly,
notes, but you’re not stuck with the apart. This is a different sort of tuning than
flattened seventh of the blues scale. that used on so-called Knittlinger-system
harmonicas like the Hohner Auto-Valve or

“ORIENTAL” TREMOLO DIATONIC HARMONICA

Key of C

1 2 3 4 5 6 7 8 9 10 11 12

Gd Cf Ea Gb Cd Ef Ga bC dE fG aC bE

Marine Band “full concert,” which have the most modern instruments
two reedplates tuned an octave apart but
still use the Richter system of having a blow The tuning scheme used for most tremolo
and draw reed in each hole on each plate. instruments made in the Far East (shown
above) is different. It is similar to that of
Most European-made tremolo instruments, extended-range Richter diatonic and
including Hohner’s Echo models, use the tremolo instruments. But in place of the
same tuning scheme as standard Richter chordal accompaniment setup in the first
diatonic harmonicas, with the first three three holes, there is a full four-hole low
holes set up for chord playing. These octave with no missing notes in the scale.
models are also usually tuned using “just” The middle and high octaves have the
intonation, in which the chords sound pure same tuning pattern as Richter diatonics
but the intervals between notes deviate but are shifted one hole to the right, starting
slightly from the “equal” intonation used on with blow 5 instead of blow 4.

9
There is a smaller pitch offset between the switch to playing both, as when a button
two reeds for each note on Oriental accordionist changes the coupler setting to
tremolos, which gives them a “drier” sound get a fuller sound. You can do this by
than European models. They are also tuned covering either the lower or upper reed
using equal temperament . As free-reed holes with your lip and playing only from
wizard Rick Epping has noted, these the top or bottom. Antrim tremolo ace
differences make Oriental tremolos more Kieran McHugh did this on his 1980’s
suitable than European models for melody cassette recording.
playing.
Despite the traditional pedigree of Oriental
Oriental tremolos are also quite tremolos, they don’t suit all Irish-style
inexpensive, So it's not surprising that this players. Many harmonica players don’t like
kind of harmonica is the one most the tremolo effect at all. And cross-harp
commonly played by traditional musicians stylists looking for bluesy effects will find
in Ireland, including the celebrated Murphy they can’t bend notes on a tremolo.
family of County Wexford as well as past
All-Ireland champions Michael Conroy, Noel Solo-tuned Diatonics
Battle, Austin Berry, John Gavin and Oriental tremolos are sometimes called
Pauline Gavin Callinan. At a fleadh cheoil “solo-tuned” because they don’t have any
mouth organ competition, most musicians missing notes in the diatonic scale. A true
will probably be playing Oriental tremolos. solo-tuned diatonic is a different sort of
Other diatonic instruments are allowed but harmonica designed so that the pattern of
chromatic players have been exiled to the blow and draw notes is the same in every
“miscellaneous instruments” competition. octave. The first octave starts with the blow
reed in hole 1 (do) and finishes with the
It used to be hard to find Oriental tremolo blow reed in hole 4 (again do). But the next
models in the U.S. in keys other than C but octave starts with the 5 blow reed, which is
Hohner now imports the Echo Celeste in all also do. The same pattern is repeated in
12 keys. Some Suzuki and Tombo tremolos the next octave, with both 8 and 9 blow
are also made in all keys, but they are not sounding do.
distributed in the U.S.
Doubling up the “tonic” (do) note makes
One interesting effect possible on tremolo each octave a standardized four-hole
harmonicas is to play on only one of the module in which the sequence of blow and
two reeds in each hole. The player can then

SOLO-TUNED DIATONIC HARMONICA

Key of C

1 2 3 4 5 6 7 8 9 10 11 12

Cd Ef Ga bC Cd Ef Ga bC Cd Ef Ga bC
to learn a separate tuning pattern in each
octave. The player does still have to acquire
draw notes is the same. There is no need a feel for which do reed he or she is

10
 playing. 4 and 5 blow are both do, for instruments built like chromatics but with
example, but 4 draw sounds mi (half a tone separate reedplates in D and G. One of the
lower) while 5 draw sounds re (a whole tone best reasons to play solo-tuned diatonics is
higher). that the same tuning scheme is used in true
chromatic harmonicas, so playing the solo-
A number of solo-tuned diatonic models tuned diatonic makes for an easy transition
are available from companies that include to the bigger instrument.
Huang, Hering, Seydel, and Hohner. The
Hohner Marine Band model (available only Chromatic Harmonicas
in C) produces a mellow tone and has long- If a diatonic harmonica is like a piano with
lasting reeds but the lowest notes are weak only white keys, the chromatic harmonica
because of air loss through the reed slots. supplies the black ones. It is called
On the air-tight, plastic-bodied Brazilian- “chromatic” because it includes all the
made Hering Master Solo (also only in C), colors of the musical rainbow. First
some reed slots are covered by plastic marketed by Hohner in 1910, the chromatic
“wind-saving valves” of the type used in is really two solo-tuned diatonic
chromatic harmonicas. These prevent air harmonicas in one instrument.
from passing around reeds that aren’t being
sounded and make for better tone and The reed plate on top has blow and draw
volume. The Hering is also cheaper than the reeds for one key, while the plate on the
Marine Band or Seydel solo models. The bottom has blow and draw reeds for a
company has very no distributor in the U.S., different key pitched half a tone higher
but some internet sellers still have stocks of (e.g., C on top, C sharp below). This
Hering instruments available. combination includes all the notes of every
key. In this respect the chromatic
Seydel make tremolo solo-tuned “Fanfare” harmonica is very similar to an Irish-style
instruments and recently introduced two-row button accordion.
excellent “Session Steel” solo-tuned
diatonics. They also make dual solo-tuned

CHROMATIC HARMONICA

Key of C

1 2 3 4 5 6 7 8 9 10 11 12

C d Ef G a b C C d E f G a b C C d E f G a b C

C#d# F f# G# a# c C# C# d# F f# G# a# c C# C# d# F f# G# a# c C#

11
To switch between the sets of reeds, the (more on chords and modes below). So if
player presses in a spring-mounted slide on you’re playing in G on a C chromatic, for
the right side of the harmonica. The slide example, you won’t be able to play a G
allows air to pass over only one set of reeds chord and playing C blow chords will clash
at a time. Pressing it in while playing a with the melody.
single note will raise the pitch by a half tone
(the interval between mi and fa or between One good chromatic harmonica for Irish
ti and do in the diatonic scale). music is the classic 10-hole, wooden-body
Hohner Chromonica 260, available in the
Chromatic harmonicas come in different keys of G and C, and not much changed
sizes and can have from 8 to 16 holes. To since its introduction around 1910. The G
play a particular note, the player must know instrument has the same range as “first
which hole to play, whether to blow or position” on the fiddle, from low G to a high
draw, and whether to press the slide. There C. It is a perfect instrument for playing
is a price to be paid for having reeds for tunes in G major and related modal scales,
every note. Some chords available in the and can be played in cross-harp position
usual diatonic tuning scheme cannot be for tunes based on a D scale. The
played on a chromatic. The chromatic’s Chromonica 260 in C can be used in cross-
reed slots are also covered with plastic harp position to play tunes in G or related
“wind-saving valves.” These flaps prevent modal scales, but playing in D on a C
air loss through blow reed slots when chromatic is quite awkward.
playing draw reeds (and vice versa), but
they also make it impossible to bend notes Hohner also makes other chromatic
and get that lonesome, bluesy wail that for models, including the 12-hole Super
many people defines the sound of the Chromonica 270 and the more expensive,
harmonica. In general, it is not possible to plastic-bodied CX-12. Both of these are
get as strong and gutsy a tone on any available in all keys, including D, which is
chromatic as it is on a small diatonic. particularly useful for Irish music.

Theoretically, a single chromatic instrument The Brazilian-made, 12-hole Hering 5148,

can be used to play in any key. Classical 7148 (a slightly better version) and low-C
and jazz harmonicists do, in fact, play this “Baritono” 6148 models are excellent for
way, so the most expensive professional- Irish music but, as noted above, it has
quality instruments are only made in the become difficult to get new Hering
key of C. In practice, however, some keys instruments in the U.S.
require extensive use of the slide and are
very awkward on the C harmonica, Seydel, based in Germany, makes a variety
especially when one is playing fast-paced, of chromatics. Their better models are
highly ornamented Irish dance music. Even available in “Irish tuning” (B/C or F#/G) and
the most accomplished classical players they will also make a C#/D model on
concede that “flat keys” like F and B flat are request. These tunings are extremely useful
easier on the C harmonica than the “sharp when you start trying to use the slide for
keys” like D and G common in Irish music. ornamentation as will be discussed below.

Another problem with the purely chromatic The Suzuki SCX-48 Chromatix is a superb
approach is that the chords available on the instrument with very high quality reeds and
C chromatic really only work for melodies an innovative modern design. Like the
set in C major or in some of the modal Hohner CX-12, however, the reeds for a
scales that use the same array of notes given key are split between the top and

12
bottom plates, which makes it far more 40, adds extra reed chambers to the
difficult to customize for “Irish” tunings. standard ten-hole diatonic instrument so
You can’t simply swap out a reed plate but that all notes, not just the usual ones, can
must retune the entire instrument. be bent a full tone lower.
Other Asian-made chromatic models are
available from Huang, Miwha, Tombo and Brendan Power is a master of alternate
Lark. Be aware that the Hering “blues tunings, including his “Powerbender,”
chromatic” and “Vintage 40,” as well as which re-tunes the high octave of a
Hohner “Koch” and “slide harp” models are standard diatonic for easier play, and other
chromatics with the same pattern of exotic models. He has recently begun using
missing notes in the first three holes as a a 3-D printer to make improved plastic
standard Richter diatonic instrument. bodies for Hohner Chromonicas and exotic
“Franken-harmonicas” that combine
Other Tuning Schemes multiple reed plates in a single instrument.
There are many other harmonica tuning See www.brendan-power.com.
systems besides those shown in the charts
above. The Lee Oskar line includes diatonic Where to Get a Harmonica
harmonicas in “major 7th” (all the F’s on a C Hohner standard diatonic instruments are
diatonic tuned up to F#), harmonic minor widely available in retail music stores.
(all the E’s and A’s on a C diatonic tuned Other types of Hohner instruments, and
down to D# and G#) and natural minor (all virtually all non-Hohner harmonicas, are
the E’s and B’s on a C diatonic tuned down most easily ordered these days from online
to D# and A#). The Seydel website’s vendors.
“Configurator” allows for almost any tuning
scheme a customer can devise. TECHNICAL TIPS

Hohner’s Steve Baker model is a 12-hole Playing Single Notes

diatonic instrument that, instead of adding The first problem beginning harmonica
a higher range of notes to the normal 10- players face is how to play one note at a
hole layout, applies the gapped-scale time. Some players use their tongue to
tuning normally used in holes 1 through 3 to block out the notes they don't want to play.
another, lower set of three holes. This This technique is particularly favored by
sacrifices the highest notes to provide more those who like to tap their tongue against
of the low-end draw bends preferred by the left side of a standard diatonic to sound
blues and country stylists. chords while playing the melody from the
right side of the instrument (more on this
“Valved” diatonics are made by fitting wind- below). Tongue blocking can also be used
saving valves (little plastic strips) on draw to play the same note in two different
reeds 1 through 6 and blow reeds 7 octaves, one on the left side of your tongue
through 10. This prevents air leakage as and the other on the right.
well as the usual sort of blues bending. The
option remains to remove some of the The other way to play single notes is to
valves to allow bends where needed. pucker your lips, opening them just enough
Valving only draw reeds is a typical choice. to blow into or draw out of one hole at a
Models include the Suzuki Promaster time. You can still play chords by opening
Valved. your lips a bit more, but it's harder to get
the “oom-pah” chordal accompaniment
A new type of harmonica invented by Rick prized by tongue-blockers. It is easier,
Epping, the Hohner “Extreme Bending” XB- however, to play fast and accurate single-

13
note melodies this way. It is possible, of which the harmonica is set, the available
course, to combine the two techniques. chords are less useful. Dorian modal tunes
(more on this below) are an exception. A D
Chords Dorian tune, for example, is best
On all types of harmonicas, blowing any accompanied by D minor and C chords,
three adjacent notes produces a major which are the only two three-note chords
chord. On a C instrument, it’s a C chord – available on a chromatic. But for other
the notes C, E and G in some order. On a modal scales, only “wrong” chords are
standard C diatonic, D minor chords (notes available.
D, F and A) are available by drawing from
holes 4, 5 and 6 or from holes 8, 9 and 10. Despite the limitations, playing chords is a
A partial B minor chord (B and D) can be key element of style for many harmonica
sounded by drawing from holes 3 and 4 or players. But if you use the harmonica’s
from 7 and 8, and a partial F major (F and limited chords to accompany tunes that
A) in holes 5 and 6 or 9 and 10. These same they don’t really suit, you will produce
chords are also available, in slightly something like the “harmony” an uilleann
different positions, on Oriental tremolo, piper gets from sounding the instrument’s
solo-tuned and chromatic instruments (see D drones to accompany a melody set in G
the charts above). or A. Whether this sounds horrible to you or
just characteristic of the instrument is
On the standard C diatonic, but on no other matter of taste. Chromatic ace Eddie Clarke
type of C harmonica, a G major chord frequently added C chordal accents to G
(G,B,D) is produced by drawing on holes 1, tunes. This didn’t sound all that odd, but
2 and 3 or 2, 3 and 4, and a G7 chord the availability of more appropriate chords
(G,B,D,F) by drawing on holes 2, 3, 4 and is one of the main reasons to use
5.. The gaps in the low octave scale in the chromatics in different keys rather than
“Richter” tuning scheme were designed to trying to play everything on a single
make these “dominant” and “dominant 7th “ instrument.
chords available, thus providing basic two-
chord backing for major-key melodies. Bending Notes
One way to play the missing notes on a
A tongue-blocking player can achieve a diatonic harmonica is to “bend” notes to
great effect by “vamping” on the tonic and get the missing pitches. Bending is a key
dominant 7th chords while playing the element of blues style. If you’ve never done
melody. This can be done by tapping the this, try the easy bend on the draw note in
tongue against the harmonica, alternately hole 3 on a standard 10-hole harmonica.
blocking and unblocking holes on the left Find the hole, purse your lips and draw air
side of the instrument while playing the through it so that a single note sounds.
melody from the right side of your mouth. Suck hard, draw your tongue back and
This style of simple accompaniment recalls drop your jaw slightly to lower the pitch.
that used on the melodeon (single-row You can control the degree of the bend by
diatonic button accordion), which has a subtle adjustments of tongue and jaw.
similarly limited selection of bass chords on
the left side of the instrument. To hear a Bending can only be done in a hole in
master of the tongue-blocking chord which the musical interval separating the
technique, listen to the late Phil Murphy's blow and draw reed is greater than a half
solos on the CD The Trip to Cullenstown. step. If the higher reed in a hole is a draw
It's hard to believe there’s only one player! reed, you can play a draw bend, and vice
If you’re not playing in the major key in versa. This means you can play draw bends

14
in holes 1, 2, 3, 4 and 6, and (with a bit and considerable practice is required to
more difficulty) blow bends in holes 8, 9 control them. Some highly accomplished
and 10 of a standard diatonic. The available diatonic players use “overblow” and
bends are shown in italic in the tuning “overdraw” techniques pioneered by
charts above. harmonica virtuoso Howard Levy to sound
tones that cannot played with traditional
What you’re really doing when bending is bends. Irish harmonica ace Mick Kinsella
not lowering the sound of the reed you makes use of these advanced techniques,
think you’re playing but forcing the other, but they are outside the scope of this article
lower-pitched reed in the same hole to and (in this writer's opinion anyway) not
produce a tone midway between the two. well suited to Irish music played in
traditional style.
By bending notes, the harmonica player
can imitate the way fiddlers, pipers and The Lips and Tongue
flute players flatten or slide up into notes. Whether you’re a tongue blocker or a lip
The harmonica, in fact, is the only free-reed puckerer, your lips can be painfully chafed
instrument on which this element of Irish by rubbing on the harmonica. As you
traditional style can be used. It's very become more proficient and relaxed, this
possible to overdo this effect. Note bending problem will ease. If necessary, however,
is a hallmark of blues “cross-harp” style you can use a little vaseline or other non-
and not in synch with the usual sound of toxic lubricant on your lips. Don't use too
Irish music as played on other free-reed much or you'll blow the lubricant onto the
instruments. reeds and deaden the sound.

To bend or not to bend is really a question When you start playing the harmonica, you
of taste and style, but the type of will discover lip muscles you didn’t know
instrument also figures in. Players such as you had. You have to build up your
Mark Graham and Andy Irvine, who use “embouchure” (to use the high-falutin’
single-reed diatonics and have been heavily musical term) in the same way that other
influenced by American blues and country wind instrument players do. Relaxation is
styles, make extensive use of bends in their key, however. If you grip the instrument
playing, producing an interesting trans- too tightly with your lips, the muscles will
Atlantic fusion style of Irish music. get fatigued in a hurry and you will not be
able to continue playing.
But you can’t really bend notes on a
tremolo harmonica of the type used by the Even if you don't use tongue blocking,
Murphy brothers or Noel Battle because the you'll still want to use your tongue when
blow and draw reeds are separated into playing the harmonica. To separate two
different chambers and can’t interact. successive notes of the same pitch, for
Similarly, the “wind-saving valves” in a example, you may find it useful to tongue
chromatic harmonica block the airflow from the second note. You do this by starting the
passing over the blow reed when you’re note with a “T” sound, as if saying “tah.”
sounding the draw reed in the same This will release the air from your mouth in
chamber (and vice versa). So while you can a short puff.
choke a chromatic reed a bit, you can’t
really bend the tone fully as you can on a Many tunes have melodic passages that
diatonic. require the player to alternate between one
lower note and a succession of higher
Not all bends are easy to play in all keys, notes. These patterns are easily played on

15
the fiddle or flute, but present difficulties on sustained notes more smoothly.
the harmonica because the player must
move back and forth between widely No two harmonica players sound alike,
separated holes without sounding any of even if they play the same instrument in the
the notes in between. It is often possible to same style. A large aspect of the
alter the melody to avoid this difficulty, but harmonica’s sound is determined by the
you can also tongue your way around the resonance provided by the player’s mouth,
problem. If you use your tongue to throat and even lungs. Good players
emphasize each of the higher notes, it will constantly (though usually unconsciously)
be easier to play them cleanly without change the shape of their mouth and the
sounding any of the “in-between” notes. force of their breath in order to coax notes
into (or out of) tune and to create the kind
An alternative to tonguing is to use the of tone they wish to hear. With practice,
back of your throat, as if saying “kah.” This you will come up with your own distinctive
is a technique favored by some flute harmonica sound.
players. You can also play a rapid-fire,
trumpet-style triplet with tongue or throat, When moving from note to note on the
as if saying “tah-tah-tah” or “tah-tah-kah.” . harmonica you can move your head back
and forth or move the harmonica. It will
Other Body Parts ease the tension on your neck muscles and
The nose is another useful body part for make for smoother playing if you learn to
harmonica players. Half the notes on the move the harmonica. You'll also look less
harmonica are draw notes, which require like a deranged muppet if you play this way.
the player to breathe in, so some of the air
you need to stay conscious will be acquired Many harmonica players in Ireland play
just by playing draw notes. You can “tremolo” instruments, which have a built-in
supplement this air supply, however, by wavering sound because each note is
breathing in through your nose as well as sounded by two reeds tuned slightly apart.
your mouth when you play a draw note. On single-reeded instruments, a vibrato
effect can be achieved by cupping the
Many minor and modal tunes (see section harmonica in both hands and opening and
on modes below) emphasize the draw closing the top or bottom hand. A little of
notes. On these tunes, you may find your this goes a long way, but it is a good effect
lungs getting uncomfortably full. You can on slow airs.
cope with this by using your nose like the
air valve on an accordion, expelling excess A more sophisticated vibrato can be
air through your nose whenever blow notes produced by controlled pulsing of the
do come along. throat muscles or diaphragm. This typical
wind instrument technique has been
On any wind instrument, whether the flute, exploited by jazz, blues and classical
trumpet or harmonica, the player must learn harmonica players. Brendan Power, Mick
to produce an economical and steady Kinsella and Rick Epping’s Triple Harp
supply of air. If you find yourself out of Bypass recording features virtuoso use of
breath after playing for a short while, you’re this effect.
doing something wrong. Sit up straight or
stand to play and use the muscles in your MAJOR, MINOR, MODAL
abdomen to regulate the flow of air. This Harmonica players, like other traditional
will prevent you from getting out of breath musicians, learn mostly by ear and don't
as easily and you will be able to play pay much attention to theory. It is useful,

16
however, to know a bit about the different key between every two white keys on a
scales used in Irish music. piano. And this whole-whole-half-whole-
whole-whole-half pattern of intervals
The Major Scale in First Position defines the major scale.
The standard diatonic tuning scheme was
designed to make it easy to play melody Modes
and chords for a single major key, which Using the same array of notes as the major
can be thought of as the “home key” of the scale but starting on a note other than do
harmonica. Even on a chromatic produces a “modal” scale in which the half-
harmonica, it is easier to play in the home tone intervals fall in different places. Tunes
key than in any other. Playing in this key is that use the notes of a major scale but that
often called “first position.” start and resolve on some other note than
the tonic note of that scale are referred to
The major scale is simply the familiar do-re- as modal tunes. Such tunes abound in Irish
mi... diatonic scale. A major-key melody, music as they are easily played on the harp,
whether it's “Twinkle, Twinkle Little Star” or tin whistle, un-keyed flute or the chanter of
“The Irish Washerwoman,” will usually finish the uilleann pipes,
(“resolve”) on do, the “tonic note” of the
key. If you are playing a C harmonica, the The “Ionian” mode is another name for the
home key is C and do is C. major scale. If you use the same notes but
start the scale with re instead, you will
On a standard 10-hole diatonic harmonica, produce what is known as the re scale or
a complete major scale starts with do on “Dorian” mode (some blues players call this
the blow reed in hole 4 and ends with do on “third position” or “slant harp”). A Dorian
the blow reed in hole 7. The sequence of melody will resolve on re instead of do and
blow and draw notes necessary to produce the third and seventh notes will be half a
this scale is easy to master. As discussed tone flatter (lower) than the corresponding
above, you can also start the major scale notes in the major scale.
with do on the blow in hole 1, but there will
be missing notes in scale in that range. The Dorian melodies are extremely common in
third octave, which starts with 7 blow, is Irish music. Most Irish tunes referred to as
nearly complete, lacking only the 7th note of being in a “minor” key actually use Dorian
the scale. scales that resolve on A, E, D or B. A-
Dorian tunes such as “The Star of Munster”
On an Oriental tremolo, complete major use the same notes as major key tunes in
scales start with the blow notes in holes 2, the key of G and so can most easily be
5 and 8; on a solo-tuned or chromatic played on a G harmonica. E-Dorian tunes
instrument, with the blow notes in holes 1, such as “Cooley's Reel” are easiest on a D
5 and 8. On Melody Maker instruments, harmonica. D-Dorian tunes (e.g., “Master
complete scales start with draw 2 and blow Crowley’s Reel”) are easiest on a C
6. In these tuning systems, there are no instrument and B-Dorian tunes (e.g., “The
missing notes in the diatonic scale. Banks of Lough Gamhna”) on an A
instrument.
In the major scale most notes, including do
and re, are separated by an interval called a The natural minor scale, also called the
whole tone. The difference between mi and Aeolian or la mode, or “fourth position,” can
fa, however, as well as that between ti and be played using the same array of notes as
do, is only half as great and is known as a the major scale but starting on la. In this
half tone. This is why there is not a black scale (which is not nearly as common in

17
Irish music as the Dorian mode), the third, but they are extremely uncommon in Irish
sixth and seventh notes are half a tone music. A great many Irish melodies cannot,
flatter (lower) than in the major scale. A true however, be strictly classified by scale or
E-minor tune (e.g., “The Rights of Man”) mode. Some use one mode in the first part
uses the same notes as G major and so can and another in the second. Others use
most easily be played on a G harmonica. A- gapped scales in which the third and/or
minor tunes (e.g., “Paddy Ryan’s Dream”) seventh notes are never played at all. Still
are easiest on a C harmonica and B-minor others inconsistently flatten the third or
tunes on a D harmonica. seventh notes of the scale, slipping back
and forth among Ionian, Mixolydian and
Another mode commonly used in Irish Dorian modes. Such tunes are most easily
music is the Mixolydian or so mode, which played on a chromatic instrument.
uses the same notes as the major scale but
starts on so. This mode is the basis for the Positional Playing
blues cross-harp (“second position”) scale. Major melodies in first position are the
It is also the scale used on the highland easiest on the harmonica. Strictly modal
bagpipes. On a standard 10-hole diatonic, tunes that use the same notes as the first
the only full Mixolydian scale stars with the position major scale are also quite easily
blow note in hole 6, but you can also start it played. It’s trickier to play major melodies
with the blow note in hole 3 if you bend the outside of first position, or modal melodies
draw note in hole 3 to sound the next note that start on other than the usual notes, To
in the scale. On a chromatic harmonica, the do so requires notes not easily playable on
Mixolydian scale starts with the blow note a diatonic harmonica.
in hole 3 or 7.
An example of positional playing would be
The seventh note of the Mixolydian scale is to play in D major on a G harmonica. This is
flat compared to the major scale, so a similar to the Mixolydian/cross harp
Mixolydian tune rooted on D (e.g., “Rakish position described above. The difference is
Paddy”) can be most played easily on a G the seventh note of the scale, which in a
harmonica, which has a C natural instead of Mixolydian tune is half a step lower than it
a C#. Mixolydian tunes based on A (e.g., is in the major scale. The D Mixolydian
“The Ivy Leaf”) are easiest on a D scale, for example, includes a C natural
harmonica and those rooted on G (e.g. instead of the C# of D major.
“The Girl That Broke My Heart”) on a C
harmonica. To play in D major on a standard G
diatonic, you can bend the draw D in hole 2
Draw notes are more prominent in Dorian, down to C# and, with more difficulty, bend
Aeolian and Mixolydian melodies than in down the blow D in hole 9. Unfortunately,
Ionian (major) melodies. This can cause you can't bend the blow D in hole 6, and
problems because of the need to expel the that just happens to be where the most
excess air that accumulates in your lungs useful C# would be located. That’s why the
between blow notes. Like anything else, the Lee Oskar Melody Maker and other
more you practice playing in these modes, country-tuned models are tuned the way
the easier it will become. The key is to be they are with the C reed (5 draw) sharpened
economical with your breath and to use up to sound C#. With these instruments, it's
your nose to expel air when necessary. easy to play a true major scale in second
position.
There are other modes, including the
Phrygian (mi), Lydian (fa) and Locrian (ti), Other positions are possible on diatonic

18
harmonicas, but the need to bend more the point where the original melody is
notes presents more difficulties. You can obscured. You should definitely leave out
try to play a true D minor (Aeolian mode) ornamentation that you can't play without
tune on a C harmonica, for example, but disrupting the rhythm of the tune.
there is no reed for the B flat in the D minor
scale, and no way to produce one in the Because of the similarities between the
second octave by bending. With Howard button accordion and the harmonica, the
Levy-style “overblows” and “overdraws,” it kind of embellishments that can be played
is possible (though very challenging) to play on the harmonica are the same ones that
chromatically on a diatonic harmonica. That are available on the “button box.” If you
is not, however, a style compatible with the listen to what good Irish button
sound of other free-reed instruments used accordionists do to ornament their music, it
in the Irish tradition. will give you some hints on how to dress up
Irish tunes on the harmonica.
Without resorting to note-bending or
overblows, diatonic harmonica players can Grace Notes
emulate melodeon players, who often craft The simplest ornament on the harmonica is
settings that omit notes they can’t play. the grace note. This is a very quick note
Connemara melodeon great Johnny that leads into a note of normal duration,
Connolly is a master of this technique, which is the note being “graced.”. The most
which he demonstrates by playing subtly useful grace note is the higher one sounded
different settings of “Miss McLeod’s Reel” using the same breath direction in the hole
in D, G and A major – all on a box that has just to the right of the note being graced,
only the notes for the D major scale. though you can also “grace” with a lower
note.
On a chromatic harmonicas, all positions
are theoretically possible, as any note The note being graced is not delayed by
missing on one reed plate is available on the grace note. Instead, the grace note
the other. In practice, some positions are subtracts marginally from the length of the
ridiculously difficult, but the slide does note previous to the one being graced.
make it relatively easy to play a G scale on Grace notes can be tongued but are also
a C harmonica, an scale A on a D very useful for separating two identical
harmonica or a D scale on a G harmonica. notes without using your tongue. This is a
This chromatic cross-harp approach can be technique often used by button
heard at its best on recordings by Eddie accordionists and mimics the way pipers,
Clarke. fiddlers or flute players flick down a finger
to separate notes of the same pitch.
A chart illustrating the common modes and
positions most easily played on harmonicas Triplet Ornaments
of different keys is included as an The most important ornamental figure on
appendix. the harmonica is a quick two-hole triplet
played without changing breath direction. A
ORNAMENTATION triplet is three notes played in the same
Ornamentation is one of the keys to making amount of time as two notes of normal
your harmonica playing sound truly Irish. duration. Triplet ornaments are much easier
The amount of ornamentation you put it is a if you purse your lips rather than tongue-
matter of taste and different players have block to play single notes. Blow or draw
different styles of embellishment. As a rule, any note and quickly (without changing
you should avoid over-decorating tunes to breath direction) shift one hole to the right

19
and back to the original note. The middle next hole to the right to play the middle
note of the triplet is usually (but not always) note before returning to the original hole
two steps higher than the note being and drawing again.
ornamented, e.g., do-mi-do.
An entirely different sort of staccato triplet
The first note of the triplet can be tongued can be played with the tongue alone on a
to give it extra emphasis or to separate the single note. Play any note (blow notes are
triplet from the preceding note when, as is easier for this) and use your tongue as if
often the case, that note is of the same saying “tah-tah-tah.” Alternatively, you can
pitch as the first note of the triplet. To hear do what trumpet players do and use the
how this two-hole triplet should sound and back of your throat to finish the triplet, as if
where it should be used in a tune, the best saying “tah-tah-kah.” Tremolo master
model would be recordings by the Murphy Kieran McHugh of Antrim used this
family or Noel Battle. technique on his cassette recording.

Fiddlers, pipers and flute players often play Slide Ornaments

a four-note ornament called a “short roll” Another kind of one-hole triplet can be
that takes up half a beat (a quarter note or played only on a chromatic harmonica. This
two eighth notes) in a reel or hornpipe. In triplet is composed of the note being
the short roll, the note being ornamented is ornamented followed by a note a half step
preceded by a higher grace note and lower and the original note (e.g., do-ti-do).
followed by a note half a step lower before This kind of ornament is known as a
the player returns to the main note. If G is mordent to classical musicians, but I refer
the note being ornamented, the short roll to it as a “slide triplet” because you play it
includes the sequence A-G-F#-G. The short by using the slide on the chromatic.
roll cannot really be played quickly enough
on the harmonica or the button accordion The slide triplet can be played quickly and
to make it work. Box players usually smoothly only if all three notes are in the
substitute a triplet for a short roll, and same hole and same breath direction. This
harmonica players can follow their example. is possible only if you start the triplet on the
higher-pitched of the two reed plates. On
Staccato and Tongued Triplets standard chromatic harmonicas, the notes
On blow notes you can play a one-hole on the higher-pitched reed plate are on the
triplet by changing breath direction for the bottom of the instrument and are only
middle note. Blow any note, then quickly available if you push the slide in.
play the draw note in the same hole and
return to the original blow note. Each note To use slide triplets on a standard
in this kind of triplet has a clipped-off chromatic harmonica, you hold the slide in
“staccato” sound that is particularly with your thumb or finger when playing.
effective when playing hornpipes. It also When you come to a note you want to
approximates the sound of a bowed triplet ornament, you briefly release the slide and
on the fiddle. press it in again. An alternative is to
disassemble the slide mechanism and
You can also play a staccato triplet reassemble it with the slide upside down,
ornament on a draw note, but it may take so that notes on the higher-pitched reed
two holes. You usually want the middle plate sound with the slide out. That way,
note of the triplet to be higher than the note you play the triplet by quickly pressing and
being ornamented, so when starting on a releasing the slide, which is easier on the
draw note, you usually need to move to the hand (more on this below in the section on

20
reversing the slide). another. Such triplets are very common in
Irish tunes and can often put in or left out
To hear what the slide triplet should sound for sake of variation.
like, listen to the recordings of Eddie
Clarke, who pioneered this technique and Some upward triplets are easily played
relied almost exclusively on it for because two of the notes are in adjacent
ornamentation. As with other ornaments, holes and use the same breath direction. To
you can tongue the first note of the triplet to play an E-F#-G (la-ti-do) triplet on a G
give it extra emphasis or to separate it from chromatic, for example, you draw from
a preceding note of the same pitch. holes 7 and 8 then blow into hole 8.
It is tempting to try to use the slide triplet Other triplets require the player to change
on the lower-pitched reed plate, i.e., the breath direction twice by blowing and
one normally played when the slide is out. If drawing in one hole and then blowing into
you do so, however, the middle note of the the next hole to the right. For example, to
triplet will be a half step higher instead of a play a B-C-D (mi-fa-so) triplet on a G
half step lower than the note being chromatic, you blow and draw in hole 6 and
ornamented. This just doesn't sound right, then blow into hole 7 (on a diatonic it's
as it doesn't resemble ornaments used by holes 5 and 6). This sort of triplet sounds
Irish musicians on other instruments. If you very clipped. Sometimes this sound is what
want to embellish a note on the lower- is desired, as when a fiddler purposely
pitched plate, you really should stick to the bows each note of a triplet instead of
two-hole triplet described above. slurring them together.

The big disadvantage of the slide triplet is If you want to play such a triplet more
that you cannot use it when playing smoothly, you can use the slide to play the
standard instruments in concert pitch. middle note of the triplet. Doing this allows
That's because you're playing from the you to play all three notes as blow notes. A
higher reed plate, e.g. G# on a G similar technique is used by two-row button
instrument. There are ways around this accordionists, who use the lower-pitched
problem, however, which will be discussed outer row of buttons like a chromatic
in the section on custom tunings below. harmonica player uses the lower-pitched
reed plate.
Anyone accustomed to playing the
chromatic harmonica in the “normal” To play a smooth mi-fa-so triplet, hold the
fashion may have problems adjusting to a slide in, blow into hole 6. Move to hole 7
system based on playing from the higher- while simultaneously releasing the slide to
pitched reed plate. If you've become sound the second note, then press the slide
accustomed to using the slide to get a note again while continuing to blow into hole 7
half a step higher, it is disorienting to get a to complete the triplet. Practice is required
note half a step lower. If you're already a to perform this sequence quickly and
chromatic player, you will have to lose old accurately.
habits and relearn certain tunes to use this
scheme. On a standard harmonica, when playing
from the higher-pitched reed plate with the
Upward and Downward Triplets slide in, every note is half a step higher than
The triplet ornaments described above start it would be on the lower reed plate. When
and end on the same note. It is also playing an upward slide triplet in holes 6
possible to play upward or downward and 7, however, the middle note (the one
triplets that start on one note and end on played with the slide) is actually a whole

21
tone higher than it would have been on the raised half a step since you're on the C#
lower-pitched reed plate. The melodic reed plate (it can be played in C if you play
difference is hardly detectable when the from the higher C plate on a standard B
triplet is played quickly, however. harmonica).

True Rolls The rhythm of either version of the long roll

As noted above, it is not possible to play a is tricky to master. The first note (the one
“short roll” quickly enough on the being “rolled”) should be sounded the
harmonica, and we must substitute a triplet. longest, while the fourth, lower note should
It is possible, however, for a harmonica be played very quickly. The slide version of
player to produce a passable five-note the true roll is easier to play in good rhythm
“long roll,” an ornament that replaces a than the diatonic version because that
whole beat in a jig, reel or hornpipe. The quick fourth note can be played with a flick
long roll starts with the note being of the slide instead of moving to another
ornamented and then continues with a hole. The slide roll also sounds better
higher note, the main note, a lower note because the fourth note is a half-tone lower
and the main note again, e.g., G-A-G-F#-G. than the note being rolled, which sounds
more like the rolls played by fiddlers, pipers
To play a long roll fast enough to fit into a and fluters.
jig or reel, all the notes must use the same
breath direction. To do this on a diatonic Chromatic players can use an alternative
harmonica, play any note and then, without that is easier to play. Just hold the note that
changing breath direction, move to the next you want to ornament to the last possible
hole to the right, back to the original hole, split second and then use the slide to
then to the next hole to the left and back to squeeze in a quick triplet. This is not really
the original hole. If you start with the blow a roll, but it's played in the same amount of
note in hole four, the roll would use the time and can be used in place of a true roll
notes do-mi-do-so-do (C-E-C-G-C on a C until you master the real thing.
diatonic). This sort of ornament is adapted
from the rolls played by old-time melodeon CUSTOMIZING AND MAINTAINING
(one-row accordion) players. CHROMATIC HARMONICAS

A chromatic player can produce a snappier Reversing the Slide

version of the long roll by using the slide. Eddie Clarke played standard Hohner
You must play from the higher-pitched chromatics while holding the slide in with
bottom reed plate on the chromatic in order his thumb, releasing it to play triplet
to use the effect. The chromatic long roll ornaments or notes on the upper reed
can be thought of as a Murphy-style two- plate. The same effects can be achieved
hole triplet followed by an Eddie Clarke- with less stress on your hand by reversing
style slide triplet. To play it, blow or draw the slide, i.e., by assembling the slide
any note on the bottom (higher) reed plate mechanism upside down so that the
and then, without changing breath higher-pitched reeds are played when the
direction, play the note in the next hole to slide is out.
the right. Return to play the original note
and then use the slide to sound the note To do this on a standard chromatic, remove
half a step lower finishing on the original the screws holding the slide assembly to
note. If you start with the blow note in hole the harmonica. Be careful not to lose the
5 on a standard C chromatic, this is do-mi- small plastic cylinders in the screw holes.
do-ti-do (C-E-C-B-C) but with every note Lift off the outermost piece (the

22
mouthpiece) to expose a three-layer play in G on a C instrument.
sandwich of thinner metal strips. Take off
the outer layer of the sandwich to get at the To use Clarke’s ornamentation system in
innermost strip, the slide itself. The slide “first position” (e.g. in G on a G harmonica),
has a small hole on the right side through you need instruments tuned C#/D or F#/G.
which the end of a spring protrudes. These aren't standard tunings, but you can
Detach the slide from the spring, turn it buy or assemble such instruments from
over and reattach it upside down. Then some makers and dealers. Seydel has
reassemble the whole mechanism and F#/G instruments as a standard item and
reattach the screws. With the slide upside their website will take custom orders for
down, you can produce an Eddie Clarke- virtually any tuning. Hohner chromatics in
style slide ornament by quickly pressing these tunings can be assembled by
and releasing the slide. matching reed plates from different sets. To
change a standard G/G# chromatic into an
You can also reverse the slide on Hering F#/G model, you need to get an F# reed
and Seydel chromatics but not on some plate from a standard F set. Then you
other models. It is difficult, for example, to remove the G# plate and replace it with the
disassemble the slide mechanism on the F# plate.
Hohner Chrometta. The Suzuki Chromatix
and Hohner’s CX-12 model are “cross To assemble a C#/D Hohner Super-
tuned,” i.e., the reeds for the “home” key Chromonica 270, you have to replace the
are split between the top and bottom D# plate with a C# plate from a Hohner
plates. Reversing the slide will still work, “tenor” C set of plates. A C# plate from a
though on the Suzuki this requires drilling a Hering 6148 “Baritono” C set can be used
new hole in the slide as the hole is not in the same way to replace the D# plate on
centered, but swapping reedplates for Hering instrument. You can’t use a C# plate
custom tunings (see below) won’t work on from a regular C set because D instruments
these models. are the lowest-pitched chromatics and C
the highest. The low octave on a D
Custom Tunings instrument is below the lowest note on a
The disadvantage of playing from the standard C instrument, so a standard C#
bottom reed plate of standard chromatics is plate doesn’t match up with a standard D
that you can't play in concert pitch. That's plate. Unfortunately, you cannot assemble
why Eddie Clarke, who played on C/C# a ten-hole C#/D or F#/G Hohner
Chromonicas, was always half a step sharp Chromonica 260 this way because Hohner
on his recordings. That might be handy for doesn’t make ten-hole D, tenor C or F reed
sessions where everybody is playing half a plates.
step sharp, but it's annoying when you
want to play with other musicians in Hering or Seydel plates are easily changed
standard tuning. because they are attached to the comb
with screws instead of tacks. To change
Clarke could have played in concert pitch if plates on Hohner Chromonica models, you
he had used a standard chromatic must carefully pry up the tacks holding
harmonica in the key of B, which has a them to the wooden body. The new reed
bottom reed plate in the key of C. Such an plate must then be tacked down as tightly
instrument, which is tuned much like a B/C as possible to avoid air leaks.
button accordion, has been used by Irish
harmonica virtuoso Mick Kinsella. Like Hohner does not sell customized
Clarke, Kinsella uses “second position” to harmonicas directly. You have to buy a

23
standard instrument from a retailer and If you still choose to have Hohner do the
send it to Hohner to change the plates. As modifications, you have to mail the
plates are normally sold as a set, you will instrument to them at the following
be charged for plates you don’t need, e.g. address:
an F plate when you really only want an F#.
The Hohner repair department used to be Hohner, Inc.
very customer-friendly and would adjust Harmonica Repair Department
and re-tune instruments for reasonable 1000 Technology Park Drive
rates. The policy changed around 2009, Glen Allen, VA 23059
however, so that it now costs about as
much to have a chromatic re-tuned as it
would to buy an entirely new instrument.

“IRISH-TUNED” CHROMATIC HARMONICAS

F#/G

1 2 3 4 5 6 7 8 9 10 11 12

G a B c D e f# G G a B c D e f# G G a B c D e f# G

F#g# A# b C# d# f F# F# g# A# b C# d# f F# F# g# A# b C# d# f F#

C#/D

1 2 3 4 5 6 7 8 9 10 11 12

D e F# g A b c# D D e F# g A b C# D D e F# g A b c# D

C# d# F f# G# a# c C# C# d# F f# G# a# c C# C# d# F f# G# a# c C#

B/C

1 2 3 4 5 6 7 8 9 10 11 12

Cd E f Ga bC Cd E f Ga BC Cd E f Ga bC

B c# D# e G# a# a# B B c# D# e G# a# A# B B c# D# e G# a# a# B

24
U.S.-based Seydel players can get repairs bits of your lip and dried saliva. Take the
or modifications done by Texas-based slide mechanism apart, carefully clean the
Greg Jones, who can be reached at: pieces, and reassemble it. Be careful not to
lose the little plastic cylindrical screw
[email protected] anchors.

Jean DuVal, a Quebec flute and harmonica Before reassembling the slide mechanism,
player, created a 10-hole Chromonica with you can help keep it working smoothly by
a solo-tuned top reed plate in G and a rubbing a little oil on the slide (I prefer olive
bottom plate in D. The D plate was oil to toxic machine oil!). A little oil on a
originally a C# plate that he re-tuned up half wooden comb can also help keep the wood
a tone. While this tuning does not allow the moist and create a bigger tone.
use of Eddie Clarke-style slide triplets, it
does make for interesting shortcuts, as you Ironically, by cleaning the slide you may
can go from G or A down to D merely by remove bits of gunk that helped to seal the
pressing in the slide. Seydel has recently gap between the body of the instrument
added factory-made G/D solo-tuned and the slide assembly, and this might
instruments (called “Samplers”) to their line. actually cause more air loss and a weaker
sound. Removing and re-attaching the
Brendan Power uses a variety of non- slide mechanism may also cause the hole
standard tunings, including a “slide to become so chewed up that the screws
diatonic,” a chromatic instrument on which no longer hold properly. You can use bits of
the bottom reed plate is tuned a whole tone paper to help anchor the screw in the hole.
instead of a half tone higher than the top
plate. On such an instrument, you can play Except for the very highest notes, each
on the top reed plate and flick the slide in reed on a chromatic harmonica is covered
and out to get triplets that go up a whole by a plastic flap called a wind-saving valve
tone and back. Power also feels that this or simply wind-saver. The two overlapping
setup makes some difficult passages more plastic strips that make up each valve on
easily playable. some models often become stuck together
and rise above the reed slot, which causes
Maintenance an annoying flapping noise and a weaker
Diatonic harmonicas are fairly robust but sound. The valves will eventually get moist
chromatics, with their complicated slide and loosen up after a few minutes of
assembly and “wind-saving” valves, need a playing but you can separate the parts
lot of regular attention to play well. yourself with careful use of a small
screwdriver, knife or toothpick to hasten
If you've got a harmonica with a wooden this process.
comb, you should try not to soak it or put it
under the tap to clean it. Old-time blues The opposite problem is also possible – a
players used to do this with wooden valve can get sticky and will adhere to the
diatonic harmonicas because it makes for a plate, causing a delay before the reed
bigger sound. But a wet wooden comb will sounds. It helps to warm up a cold
expand, cause air leaks and abrade your instrument before playing so that
lips. On a chromatic, it can make it condensation doesn’t cause this to happen.
impossible for the slide assembly to fit You can also carefully lift up and clean a
properly. You do need to take off and clean sticky valve.
the pieces of a chromatic slide assembly
occasionally, as they get gummed up with Reeds do go out of tune. The D and G blow

25
reeds you use the most tend to go flat after plate. You can pry the reed up to restore it
a while. You can re-tune a reed by to life. Be gentle as it won't sound if lifted
scratching it gently on one end or the other. too high either! Eventually a reed may
Scratch or file the reed near the tip to raise simply get too worn out to retune. At that
the pitch. Scratch it nearer the base to point, you really need a new reed plate, but
lower the pitch. If you want to tune blow don't throw away the old one. Save it to
reeds, which are on the underside of the scavenge spare wind-saving valves.
reed plate, take the plate off the comb to
get at them. A harmonica repair kit from If the slide is working properly but you hear
Lee Oskar includes files and chisels for two dissonant notes when playing from a
tuning reeds as well as other useful single hole, you probably have a crack in
implements. the comb. The crack allows air blown in
one hole to vibrate reeds on both reed
If a reed doesn't sound at all, it's probably plates. If the crack is not too severe, you
because a hair or a piece of dried skin is can fill it in with wax or wood glue, but if
stuck to it or touching it. Carefully brush the this doesn't work, you need a new comb.
reed with a soft toothbrush. You can also
lift the reed with a small screwdriver, pin or For professional assistance with harmonica
toothpick and remove any extraneous repair and customization, I have had good
matter interfering with a clean sound. experiences with:

A reed that buzzes may be out of Greg Jones

alignment, so that the vibrating reed [email protected]
touches the side of the slot in which it is Seydel
mounted. You can correct this by gently
nudging the reed sideways, something Gary Lehmann
made easier with a small wrench that is [email protected]
included in the Lee Oskar tool kit. Suzuki

A reed may also stop sounding altogether if Burke Trieschman

metal fatigue causes it to droop so that [email protected]
there is not enough of a gap between the custom work on Hohner and other
end of the reed and the surface of the reed models

26
 APPENDIX A: IRISH / SCOTTISH / QUEBECOIS HARMONICA DISCOGRAPHY

Full-length harmonica recordings (CD’s DONALD BLACK

unless otherwise noted) West Winds, Greentrax and (with Malcolm
Jones) Close to Home (MacMeanmna)
TOMMY BASKER A Scotsman who plays mostly double-
The Tin Sandwich, Silver Apple reeded tremolo diatonics. His chord playing
www.cranfordpub.com and rhythmic emphasis closely mimics the
The late Cape Breton Islander played Scots sound of Scottish piano accordion players.
and Irish tunes on simple diatonic
harmonicas. He used virtually no LOUIS BLANCHETTE
ornamentation and rarely played single Blanchette (1905-1969) recorded many
notes. He had rock solid rhythm though, sides of Quebec reels (one reel per track) in
and his chordal style emulated the Cape the 1930s on the “musique à bouche” with
Breton fiddle technique of continually accompaniment from piano and his own
droning on open strings. Basker's 1960s stamping feet. His playing was reissued on
duets with fiddler Johnny Wilmot appear on a couple of LPs. There are some familiar
Silver Apple's Wilmot CD. Irish/Scots melodies, some with an odd
beat added or subtracted. Strong dance
NOEL BATTLE rhythm, clean playing on tremolo
Music From the Reeds instrument.
The Mullingar Races (with accordionist
Mick Foster) TOM BYRNE
Up and About in the Morning (with Tom Byrne
concertina player Roisin Broderick) A Donegal resident who grew up in Crewe,
The many-time All-Ireland champion from England, Byrne released a 2009 CD
Westmeath plays classic tremolo-style. His produced (and played on) by fiddle star
first CD, with accompaniment from pianist Frankie Gavin. It features fast-paced,
Brian McGrath, was released in 2008, brilliant playing on chromatics. Byrne, who
followed by two duet collaboraions. Battle’s has a powerful tone and superb technique,
style is similar to that of the Murphys, but shines on challenging Sean McGuire-style
he prefers slightly quicker tempos and his hornpipe showpieces.
mostly major-key irepertoire is drawn more
from tunes in the mainstream of EDDIE CLARKE
contemporary Irish traditional music. Crossroads (with Joe Ryan), Green Linnet
Sailing into Walpole's Marsh, Green Linnet
JOEL BERNSTEIN Unheard, CCÉ
The Rashers (with Randal Bays), cassette The late Eddie Clarke's music is required
Pigtown Fling listening for any would-be Irish chromatic
Joel, who lives in Seattle, performed with harmonica player. A Dublin resident
fiddler Randal Bays as “The Rashers.” His originally from Virginia, County Cavan,
chromatic playing in the Eddie Clarke style Clarke pioneered the system of playing a
is extraordinary and he also plays great chromatic from the higher-pitched reed
diatonic harmonica. The Rashers tape can plate, using the slide for ornaments. He
be ordered from Joel at 3635 Burke N., favored the cross-harp position and
Seattle, WA 98103. The more recent recorded most often in G# major and
Pigtown Fling (and his old-timey duet with related modal scales on a standard Hohner
fiddler Ruthie Dornfeld, Ways of the World) C SuperChromonica. In his duets with Clare
were issued on Bays’s Foxglove label. fiddler Joe Ryan, he matched Ryan so

27
closely that it's sometimes hard to DAVID HERZHAFT
distinguish the sound of the two Harmonica Celtique (Henry Lemoine - 41
instruments. The compilation Sailing into rue Bayen 75017 Paris)
Walpole's Marsh included two solos and A book and CD from a French diatonic
two duets with east Galway fiddler Maeve player with a background in blues and
Donnelly. Clarke’s Green Linnet LP tracks country. He plays Irish, Scottish, Quebec,
are available as digital downloads from French and Cape Breton tunes. The CD has
various music websites. Unheard, a new thirty pieces played in normal and slow
multi-CD set of recordings of Clarke’s versions to aid the learner.
harmonica playing and singing produced by
Cavan fiddler Antóin Mac Gabhann, was IRON LUNG
released in late 2009. Triple Harp Bypass
An all-star trio that includes Brendan
JAMES CONWAY Power, Mick Kinsella and Rick Epping, with
Mouth Box help from guitarist Martin Dunlea. It’s an
www.jimmyconway.com eclectic recording that is not purely Irish
Conway is a Chicago musician who plays traditional music, as there are a good deal
many instruments in several styles, but on of bluesy stylings and original
this self-produced disc concentrates on compositions. But this is an amazing
Irish harmonica. He plays mostly diatonic alliance of diatonic and chromatic virtuosi
instruments, with a few tracks on a D and the disc includes great demonstrations
chromatic, all with good rhythm and solid of most of the ways you can play Irish and
Irish style. The disc also includes Conway's American old-time music on mouth organs.
excellent tin whistle playing, guitar backing Available from www.brendanpower.com
from Martin Hayes' partner Dennis Cahill
and a cameo appearance from harmonica BRYCE JOHNSTONE
genius Howard Levy. The Chicago Jimmy Moothie (Smith/Mearns)
Conway, by the way, is not the Australian Mostly waltzes, airs and marches from this
one, a well-known blues player down Scotsman. The cover photo shows him
under. holding one of the those rotating spindles
that hold several tremolo mouth organs of
TONY EYERS various keys.
Black Mountain Harmonica
Australian diatonic player who uses his own DONAL KAVANAGH
tuning system, a variation on country tuning A Dubliner and His Harmonica
that he calls “Major Cross.” Kavanagh plays tremolo instruments in old-
http://www.harmonicatunes.com/index.htm time Irish style. He also uses some
chromatics, but more as solo-tuned
JOHN GAVIN and PAULINE GAVIN- diatonics as he doesn’t much use the slide.
CALLINAN His repertoire is heavy on airs, hornpipes
William's Pride and waltzes, all played with sparing use of
Top-flight, old-school tremolo diatonic ornamentation but always in good rhythm.
playing by a father-and-daughter duo from You can order Donal's CD for $16 (US) from
Ballynacally, County Clare. Bouzouki him at 61 Elizabeth Street, Aylmer, Quebec
backing from Eoin O’Neill. Available online J9H 1E8
from Custy’s Traditional Music Shop.

28
MICK KINSELLA KIERAN McHUGH
Harmonica The Wind in the Reeds, independent
Steve Larkin and Mick Kinsella cassette
Mick, a Dubliner with Wexford roots now An Antrim native who plays a tremolo
living in Clare, is a superb all-around diatonic instrument, McHugh managed the
harmonica player who has mastered neat trick of playing on one reed plate and
traditional blues style, Howard Levy covering the other with his lip, then
overblows, jazz improvisation and the Eddie switching to double-reed tremolo sound for
Clarke approach to Irish music on the a fuller effect, much like a button
chromatic harmonica. Mick has used a B accordionist switching couplers. He used
chromatic to play in any key, a truly trumpet-style tongued triplets for
chromatic approach that mirrors that of B/C ornamentation.
button accordionists. His debut solo
recording includes traditional Irish tunes as ARTHUR MIDDLETON
well as original melodies, jazz, blues and Mouth Organ Maestro
Balkan music. His duo disc with fiddler Harmonica Favourites (cassettes)
Steve Larkin focuses on Irish repertoire. An Aberdeen native who plays diatonics for
Mick also appears as a guest artist on waltzes, airs, marches, schottisches and
recordings by Altan, Niamh Parsons and other tunes. Another harmonica player, Bert
others. And he joined Brendan Power and Burwood, joins on Harmonica Favourites
Rick Epping on the Iron Lung CD. along with piano, bass and drums.

BRUNO KOWALCZYK PAUL MORAN

A French player who plays mostly Tombo A Flying Start (with Fergal Scahill)
tremolo on tunes from Quebec and Ireland. Paul Moran and Fergal Scahill, All-Ireland
mouth organ and fiddle champs from
GABRIEL LABBÉ Corofin, County Galway, collaborated on
Masters of French Canadian Music 3, with this great duet album that is the best
Philippe Bruneau (Folkways) example of playing Irish music on a
Harmonica Diatonique, Musique “country tuned” harmonica. Moran plays on
Traditionnelle Québécoise (Studio Victor) Lee Oskar “Melody Maker” instruments,
Hommage à Alfred Montrmarquette which allow him to play major key tunes in
(Disques Transit) “second position” on a diatonic instrument.
L'harmonica, une Passion (Disques Transit), The instrument’s restricted range
Gabriel Labbé, Harmonica diatonique sometimes forces Moran to change octaves
(Disques Tout Crin) to find the necessary melody notes in some
En Concert, Gabriel Labbé, un Passionné passages, and he does not make use of the
d'Harmonica (SPDTQ DVD) instrument’s note-bending capabilities.
Rencontre avec Gabriel Labbé, un
Passionné d'Harmonica (SPDTQ DVD) THE MURPHYS
The Trip to Cullenstown, Claddagh
Labbé (1938-2008) was Québec’s most The Tin Sandwich Band
famous hamonica player and a big The late Phil Murphy and his sons John and
influence on all French Canadian folk Philip (“Pip”) from Bannow, Wexford
musicians of recent decades. formed a celebrated Irish mouth organ trio
in the 1980’s. The Murphys play mostly
Oriental tremolo diatonics and favor relaxed
tempos. They make great use of chordal
accompaniment and play well-thought-out

29
arrangements with cleanly executed two- JEAN SABOT (with Laurent Dacquay)
hole ornaments and rock-solid rhythm. The Harmonica-Violon (Coop Breizh)
Murphys can also be heard on some tracks A harmonica/fiddle CD from Brittany
of the fiddler Kevin Burke's recording Up featuring much Irish music.
Close (Green Linnet) and on a locally
distributed 1980s cassette, Traditional STEVE SHAW
Music from South Wexford. Their most Blowing Through the Reeds
recent recording is with the Tin Sandwich An independent recording of Irish, Scots
Band, together with button accordionist and English dance tunes and airs on
Benny McCarthy and guitarist/singer Donal diatonic harmonicas (Lee Oskar G, Hohner
Clancy. Special 20 low D), played at moderate
tempos with sparing use of ornamentation.
BRENDAN POWER Shaw tunes down his 2 draw reeds rather
New Irish Harmonica, Punch/Green Linnet than the 3 blow reeds commonly altered in
Born in Kenya, raised in New Zealand and “country tuning,” but to the same effect.
now living in England, Power plays both With Martin Cole on guitar, fiddle, mandolin
diatonic and chromatic harmonicas in and vocals. Available directly from Shaw at
blues, Irish, jazz, Balkan and other styles. [email protected]. See his website at:
He also re-tunes instruments to his own http://mysite.wanadoo-
patterns, including chromatics on which the members.co.uk/trad_irish_harmonica
two reed plates are set a whole tone rather
than a half tone apart, and unique “Power TONY “SULLY” SULLIVAN
Bender” models. New Irish Harmonica Traditional Mouth Organ
included some very traditional-style tracks CD and tutor from the Manchester musician
and others that were free interpretations of better known as a tenor banjo player. See:
Irish music incorporating elements from www.halshawmusic.co.uk/mouth.html
American country and blues styles. Power
is much in demand as a session player and JAMES THURGOOD
can be heard on River of Sound, Arcady's Handy Little Rig: Celtic and Old-Time
Many Happy Returns, Altan's Blackwater Harmonica from the Maritimes (CD Baby)
and many other discs. He has many other A Canadian who plays Irish, Scots and old-
solo discs, and has recorded with Mick time North American tunes in strict dance
Kinsella and Rick Epping as “Iron Lung” tempo using a simple, ten-hole Hohner Pro-
(see listing above). He has a CD-ROM Harp in G. The “Celtic” tracks are clean and
tutorial available from Madfortrad.com, and in good rhythm, if a bit slower than is now
self-published tutors on playing Irish music popular, and without much use of
on diatonic and chromatic harmonicas. His ornaments. His “old-time” tracks include a
retuned harmonicas, recordings and books lot huffing and puffing and unique
are available through www.brendan- ornamental flourishes. The CD includes
power.com extensive liner notes on harmonica styles
and players in the Maritimes.
ANDY O’SULLIVAN
Amergin, Green Note MATT WALKATE
A Kerry-based group that features Andy’s Harmonica and Flute
Hohner CX-12 chromatic harmonicas with An English player of diatonic and
accordion, fiddle, banjo and other chromatics, Matt deploys a powerful tone
instruments. His playing of Sliabh Luachra and techniue on this recording featuring
tunes and barn dances is clean and in good diatonic and chromatic harmonica as well
rhythm – the best feature of this CD. as flute and songs, with guitar, mandola

30
and bodhran accompaniment. Available JOE BURKE
from Matt (who performs and records with A Cape Bretoner who had some tracks on
the band The House Devils) at The Gaelic Tradition in Cape Breton, vol 1,
[email protected] a now-deleted Topic recording.

SEAN WALSHE PAUL DAVIS

Traditional Harmonica: The Wicklow Way Armagh Pipers Club, The Song of the
The man who introduced Eddie Clarke to Chanter,
the chromatic plays it in his own style on Outlet LP
C#/D instruments. Order from him at: A 1970s recording featuring members of
Sean Walshe, Ballinaclash, Rathdrum, Co. the Armagh Pipers Club. The late Paul
Wicklow, Ireland Davis, an Englishman who played flute and
concertina on the album, had one great
GLENN WEISER track on harmonica, “Father Kelly's Reel,”
Author of several harmonica tutors, which he played on a C chromatic, using
including Irish and American Fiddle Tunes Murphy-style rolls.
for Harmonica. See
www.celticguitarmusic.com/celHarrm.htm GERRY DONOGHER (or Danaher)
A Sligoman born in 1935 who learned his
DON WESSELS music from his father John, a fiddle player.
On Orkney Recorded with the Coleman Country Ceili
Maine native Don Wessels issued this CD Band for RTE, it can be heard on The Living
recorded in the Orkney Islands with local Tradition, released in 2000 by the Coleman
musicians, which includes Scottish as well Archive.
as Irish material. Visit his website at
www.donwessels.com RICK EPPING
Rick is an all-around free-reed man who
Recordings with some harmonica tracks often plays harmonica and concertina
simultaneously. The first American to win
JAMES ANDREWS, DONALD DAVIDSON, an All-Ireland mouth organ championship,
WILLIAM KEMP and THE SILVER CITY Rick has toured with Frankie Gavin and
HARMONICA BAND with the harmonica trio Iron Lung (see
Sook and Blaw listing above). He is also the inventor of the
A CD reissue of 78 rpm discs from the Hohner “Extreme Bending” harmonica, an
Scottish mouth organ players listed above instrument that gives crossharp stylists the
as well as other free reed players. ability to bend notes that can’t be altered in
that way on a traditional harmonica. A 1976
JAMES ANDREWS and JIMMY LP by the group Pumpkinhead includes a
HIDDLESTONE very impressive solo track by Rick on a
Bob Smith's Ideal Band, Topic LP country-tuned diatonic harmonica. He has
Andrews and Hiddlestone recorded some also recently recorded with Dervish singer
tracks with this Glasgow band in the early Cathy Jordan and Sligo guitarist, fiddler
'30s, including Andrews' tour de force and blues-style harmonica player Seamie
version of the “High Level Hornpipe,” on O’Dowd.
which he switches back and forth between
two diatonic harmonicas. The liner notes LARRY FITZPATRICK
included a Scottish newspaper review of a Off to California, Advent LP
competition won by Andrews, with the Larry was a native of Enniscorthy, County
headline “Sookin' and Blawin'.” Wexford who played three tracks (reels,

31
flings and hornpipes) on this 1970s LP of shoulder rack so that he can double on
San Francisco Irish musicians. He was a bouzouki.
spectacularly good player on a 10-hole
standard diatonic, using vamping chords LARRY KINSELLA
and two-hole triplet ornaments. The Irish Phonograph, EMI LP
This LP includes a 1938 track from Wexford
MARK GRAHAM native Larry Kinsella, the first solo
Natural Selections harmonica player to record Irish music. It's
with Kevin Burke and Open House: Open a superb rendering of the hornpipes “The
House; Second Story, Hoof and Mouth (all Showman's Fancy” and “Pretty Maggie
Green Linnet) Morrissey.”
Graham played harmonica and clarinet in
Open House, a band that also included the XAVIER LAUNE
fiddler Kevin Burke. Graham plays French player with group Distant Shores.
chromatics in the Eddie Clarke style and is
also a great diatonic player for Irish and DON MEADE
“old-timey” American tunes. The author of this pamphlet has been
recorded on a few tracks on recordings by
LARRY GRIFFIN New York-based button accordionist/fiddler
Ballinasloe Fair, Traditional Crossroads Tom Dunne, singer Susan McKeown and
Larry, who played fine tongue-blocking Scotland’s Battlefield Band. A solo
chordal accompaniment to songs, can be recording is in the works.
heard on tracks with Dan Sullivan's
Shamrock Band and with singer Dinny NOEL PEPPER
“Jimmy” Doyle on this reissue collection of The Lark in the Clear Air, Topic LP
Victor 78 rpm recordings. Pepper, a Corkman living in England,
played diatonics with a huff-and-puff style
STEVE HICKMAN on several cuts of this compilation of
Celtic Thunder, Green Linnet “music on small instruments.” He soloed on
Steve plays on one track on Celtic slow airs and played dance tunes with
Thunder's first record, a great reel duet flutist Paddy Moran.
(“The Woman of the House/Paddy Lynn's
Delight”) with flute player Linda Hickman. FRED TOWNSEND
An Ottawa Valley player (father of fiddler
ANDY IRVINE Graham Townsend) who, according to the
Andy is most famous for his singing and notes to James Thurgood’s CD, recorded
bouzouki playing with the bands Planxty his own playing.
and Patrick Street. But all of his solo and
band discs include very tasty harmonica REG WATKINS
playing. His harmonica is especially A Newfoundland player who, according to
prominent on his classic 1970s duet disc the notes to James Thurgood’s CD, also
with Paul Brady. Andy favors country-tuned recorded his own mouth organ playing.
diatonic instruments and often uses a

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 APPENDIX B: MODE CHART

Starting Notes for Modal Scales

Mixo-
Harmonica Mixo- lydian Dorian Major
Key Ionian Aeolian Dorian lydian 1st pos. 4th pos. 2nd pos.

C C A D G C A G

D D B E A D B A

G G E A D G E D

A A F# B E A F# E

Other names for modal scales:

Ionian do mode major scale, straight harp 1st position

Dorian re mode slant harp 3rd postion
Aeolian la mode natural minor scale 4th position
Mixolydian so mode cross harp 2nd position

The chart above illustrates the most “third position” and the Aeolian mode
common modal scales used in Irish music, “fourth position.”
and the keys of the harmonicas on which
they can most easily be played. The last three columns illustrate positional
scales, each of which requires one note
The Ionian mode is the major scale. Playing that is not available on a standard diatonic
in the major scale in which the harmonica is harmonica. G major on a C harmonica
pitched (e.g., C on a C harmonica) is called (“Major in 2nd position”) can be played by
“straight harp” by blues players. Other raising the seventh note of the scale half a
modes use the same array of notes but step, i.e., F# rather than F. A country-tuned
start the scale in a different place. The diatonic is retuned to allow this. On a
Mixolydian mode, which starts with so (G chromatic instrument, the F# can be played
on a C harmonica), is the “cross-harp” by using the slide.
scale favored by blues and country sylists.
The Dorian mode, used extensively in Irish “Mixolydian in 1st position” (e.g., a C scale
traditional music, starts on re (D on a C with B flat) and “Dorian in 4th position” (e.g.,
harmonica) instead of do. The Aeolian an A natural minor scale with C sharp) are
(natural minor) mode starts on la (A on a C not spectacularly difficult on a chromatic
harmonica). harmonica, as these scales include only
one note that must be played by using the
Blues players over the years have referred slide. On standard diatonic instruments,
to modal positions by number. “Straight however, these positions are only playable
harp” is “first position” and “cross harp” is with Howard Levy-style “overblows” and
“second position.” The Dorian mode is “overdraws.”.

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 APPENDIX C: HARMONICA HISTORY

Like the concertina and accordion, the As Missin’s website illustrates, sheng-type
harmonica is a “free-reed” instrument, i.e., instruments use reeds cut out of the
one that produces sound from the passage reedplate itself and that lie in the same
of air over vibrating “reeds” that in modern plane. Either blowing or drawing will vibrate
instruments are actually thin metal strips. the reed, but it requires a resonating
The reed in a saxophone or similar chamber to make much of a sound and the
instrument is said to “beat” against the pitch is partially dependent on the size and
cushion of air that separates it from the shape of that chamber. Kratzenstein’s reed
mouthpiece, while the double reeds in an was slightly offset from reedplate, which
oboe mouthpiece or inside the chanter of meant that it would sound only if blown or
the uilleann pipes beat against the air drawn upon in a single direction. But it
cushioned between the two reeds. But free would also sound without any additional
reeds don’t beat at all – they just vibrate in resonator. This feature was crucial to the
mid-air. That vibration produces a tone by later construction of small mouth organs
its effect on the air stream directed over it, with reeds for many pitches. Russian organ
a stream that may be supplied by a builder Franz Kirschnik adopted the new
bellows, as in an accordion, or by lung reed design to build the first reed organ
power, as with the harmonica. (harmonium), an instrument that quickly
spread to the rest of Europe in the late
Free-reed instruments, including the 1700s and predates all other Western free-
Chinese sheng and Laotian khaen (often reed instruments.
called Asian mouth organs or harmonicas)
have been played since antiquity in the Far The first mouth-blown instrument to make
East. The reeds in these instruments are set use of the new-style free reeds was the
into bamboo tubes that rise out of a æolina (aka æoline or æolian). This name,
wooden or gourd wind chamber. The player derived from Æolus, the Greek god of wind,
blows into a mouthpiece, which directs air has also been applied to other instruments,
into the tubes. Each tube has a hole in the including a type of reed organ, but the
side, which the player covers with a finger mouth-blown æolina, invented in the early
to allow the reed within to sound. 1820s, was a simple, uncovered plate on
which reeds tuned to various pitches were
Examples of the sheng were brought to mounted. The player sounded the reeds by
Europe in the 17th century and it has often blowing directly on them. The earliest
been speculated that they must have had æolinas had only blow reeds laid out in
some influence on the creation of Western chords, but more sophisticated versions
free-reed instruments. But as harmonica soon appeared.
historian Pat Missin has pointed out (see
www.patmissin.com), modern European The German Æolian Tutor, published in
free reed instruments really date from 1780, England in 1830, included illustrations (see
when Christian Gottlieb Kratzenstein, a below, from patmissin.com) of many
Danish professor of physiology, won a prize different versions, including a two-octave
from the Imperial Academy of St. chromatic model with the reedplate
Petersburg in Russia for a “speaking mounted on wood and on which a C
machine” based on a free reed of a diatonic scale could be played on blow
different type than that used in Asian mouth reeds and sharps and flats on draw reeds.
organs. The booklet also pictured an all-blow

34
“chromatic pandean aeolian” on which the played today, with a single blow and draw
player pressed tabs on the sharp and flat reed in each hole, is usually attributed to an
reeds to make them sound. inventor named Richter from Austrian-ruled
Bohemia. Richter is a mystery man,
As the title of the English booklet makes however, and we don’t even know his first
clear, the æolina was regarded as a name or the date of his invention. Häffner
“German” instrument. The concertina, and Lindenmüller cite an 1882 article in the
invented by English scientist Charles Zeitschrift für Instrumentenbau (Instrument
Wheatstone, is the only major Western free- Maker’s Gazette), which listed a harmonica
reed instrument developed outside of maker named Joseph Richter who founded
German-speaking central Europe, where his business in Haida, Bohemia in 1828 and
many artisans were working on new mouth- relocated to Regensburg, Bavaria in 1867.
and bellows-blown free-reed instruments in This may have been Richter the harmonica
the 1820’s and 30s. Wheatstone’s first free- inventor, but no trace of harmonica
reed instrument was a mouth-blown, metal- production survives in any of the several
reed variation on the sheng that he called a Bohemian towns named Haida or Haidau.
“symphonium.” His bellows-blown
concertina was developed simultaneously Vienna rather than Berlin or Bohemia seems
with a similar instrument called the to have been the real center of free-reed
“konzertin” invented by Carl Friedrich Uhlig development. One contributor was the
in Chemnitz, Saxony. clockmaker Georg Anton Reinlein, who
made both reed organs and early
Christian Friedrich Ludwig Buschmann is accordions. In 1828 he advertised in the
often cited as the inventor of the æolina, Wiener Zeitung a “newly designed two-
which he called the Aura, in Berlin in 1821, octave Mund-harmonika on which one can
as well as a some sort of improved mouth play not only chords but anything at all.”
organ in 1828. No examples of his Given the date, this may have been an
instruments survive, however, and the only improved version of the æolina rather than
real source for these claims is a book a more modern mouth organ.
written by one of Buschmann’s
descendants at the height of Nazi-era In 1834, Friedrich Thie, an immigrant from
German nationalism in 1938. Prussia, started making mouth organs in
Vienna, where his son Wilhelm Anton Thie
The modern harmonica’s “tin sandwich” (1833-1905) would go on to became a
design has reedplates on the top and major harmonica manufacturer. The
bottom of a chambered wooden or plastic younger Thie’s “Wiener” tremolo design,
“comb,” with metal cover plates protecting which has important differences with
the exposed reeds. We don’t really know Richter’s, probably dates from the 1850s.
who made this design breakthrough, or The vast majority of diatonic harmonicas
when and where such instruments were produced today are versions of either the
first produced. Martin Häffner and Lars Richter or Thie design.
Lindenmüller in their book Harmonica
Makers of Germany and Austria (published Vogtland, which straddles the mountains
by the German Harmonica Museum), separating Bohemia from what was then
gathered a great deal of information, but the kingdom of Saxony, was another center
many questions about early harmonica of early mouth organ production. In the late
history remain unanswered. 1820s, violin maker Johann Georg Meisel
and his partner Johann Langhammer began
The most common type of harmonica producing mouth organs of some sort in

35
Graslitz, Bohemia (now Kraslice in the Richter design. Around the same time,
Czech Republic). Around the same time, clockmaker Christian Messner started a
Johann Wilhelm Rudolph Glier and his harmonica business in Trossingen, Swabia,
brothers started their own mouth organ where his cousin Christian Weiss later set
workshop in Klingenthal on the Saxon side up his own firm.
of the border. Eventually, over 100 small
manufacturers were making mouth organs Matthias Hohner was a relative latecomer
in the region. Klingenthal is still a center of to the business when he founded his own
harmonica and accordion production, led Trossingen firm in 1857 after having had a
by Seydel, a firm founded in 1847 and chance to observe Weiss’ methods. But it
revived after German reunification. was Hohner who led the switch from hand
craftsmanship to mass production,
Harmonica manufacturing also spread to absorbed most of the smaller German firms
the southwestern German states. Furniture and became the world’s dominant
maker Ignaz Hotz and his son Friedrich manufacturer. Hohner is still the world
took up Mundharmonika production in the leader, but harmonicas are now produced
mid-1820s in Knittlingen, Baden, where in great numbers by other makers in
they developed the “Knittlinger” Germany, China, Korea, Japan, the Czech
harmonica, an octave-tuned version of the Republic and Brazil.

36