I'm at kind of a cross roads, I'm thinking of picking up chromatic but I go back and forth. I'm already proficient with Richter, playing all bends / overbends in tune, my current quest is getting my 3 draw bends to sound as close in timbre to unbent notes as possible and getting songs down. I'm at that point in life where time will be a very rare commodity (about a year or so away from starting a family). My question is how easy is the transition to Chromatic? Is it worth it (considering my situation)? Or should I just focus on Richter harp?
Two players you should check out are Koei Tanaka and Filip Jers. They play both Richter harps and chromatic to a very high level.
The chromatic is different in size and feel, but the scale is the same as a Richter holes 4-7 repeated in each octave. I recommend putting time into both. Eventually you'll make a natural preference for one or the other - or get good at both, like Filip and Koei.
if you have spent the time with your diatonic to become proficient, it is likely you would quickly tire of the structured sound of a chrome. stick with what you know and love and focus on increasing your diatonic expertise. why bother to diversify. be great at one rather than pretty good at two
I also entertained this question years ago, and worried about diluting my focus. I spend more time on diatonic, but I did decide to pursue chromatic, as well, since I love the sound of it just as much as diatonic. I'm not sure if my proficiency has been increased or reduced by studying both, but I can tell you the chromatic has given me more distinction in my music community, because it is much less commonly played around here. I have found that studying both instruments has been helpful, but it's not that way with everyone. I think if you like the chromatic, and are drawn to it, you should absolutely give it a go. It will certainly alleviate the wondering...and could become addicting, as it did for me.
If the chrom interests you, then get one and work with it. Like it was mentioned before, it has a distinctive sound. And will help make you a more well rounded musician. You’ll have more arrows in your quiver so to speak.
I played just the diatonic for 3 years before starting to work with the chrom. After a year and a half of getting comfortable with it, I started using it with some of the songs my band does. We’ve actually changed the groove a little on two of them because of the “feel” of the chromatic’s sound, and everyone seems to like that sound more for those particular songs.
Nothing wrong with only playing the short harp. It’s my main squeeze. But if you like the idea of options, then go get a good chrom.
I don't think it has to be a choice of one path or the other.
The issue should be about what kind of music you want to make. Do you want to play classical, or jazz, or show tunes, or focus mainly on rock or blues and/or other roots music? Do you want to learn to read sheet music and play chromatic in all keys as you would a saxophone or clarinet? Are you really just interested in exploring another voice for your music?
The chromatic can be studied as a fully chromatic instrument to be played in all keys, and that is the intent of its making, despite leading to some awkward phrasing in some keys due to button and breath changes, and limited chord possibilities in other keys. This approach of approaching the chromatic as you would a horn has a fairly steep learning curve, as does playing a single diatonic fully chromatically.
Chromatic can also be used as a diatonic instrument with chords available in some keys, and the additional benefit of playing sharps and flats by pushing the button. But chromatics are available in different keys, like diatonics. Each key of chromatic can be relatively easily used in a few keys, much as a diatonic would be, without long study.
If the music you want to make requires a fully chromatic instrument, then the chromatic harmonica is more suited to that music than is a diatonic. It takes much higher level of mastery of diatonic overbends to convincingly play in all keys than it is with a chromatic harmonica. But neither is easy, even moderately easy.
However, you could pick up chromatic and explore playing in a few easily accessed modes and keys related to positions, and just take it as far as you want, without fully committing to playing a single chromatic in all keys. This is the approach I have taken, and it works for a lot of music. Chromatic harmonicas can add another option for accessing the music you want to make.
You can always use chromatic in limited ways and then decide to study chromatic in depth later, if your musical interests change. to me it is not an either/or situation. It is a decision about to what degree you will explore the instrument if you choose to try it.
If you choose to explore playing some chromatic harmonica you do not have to abandon improving your diatonic skills. ----------
I was in a about the same position as you although I already have no time ;) I started on the chrom a few months ago and am liking it more and more.
I think you should be decent in 3rd and 1st pos before starting the chrom, especially 3rd but otherwise go for it.
I've found that practicing on the chrom improves my tone on the diatonic because you really have to open up on the chrom to get the sound.Also, after you practice 5 hole splits on the chrom for a while, they will seem a heck of a lot easier on the diatonic.
I'm just focusing on blues chromatic for now but may eventually get into jazz and other styles.
My 2 cents.
---------- 4' 4+ 3' 2~~~ -Mike Ziemba Harmonica is Life!
Last Edited by slaphappy on Sep 23, 2015 8:53 AM
@20reeds If you never start you'll never get good at it. I think it is very possible to get to high level at both. How much time you have to play really depends how bad you want to play! @Doug I read something recently that contradicts everything people say about chroms. I saw an old Hohner add in a music catalogue that stated the new chromatic harmonica designed to play in the key of C and G. I'm wondering if any early chromatic harmonica ads said anything about being able to play in all keys?
Are you looking for a new sound, or music style, available notes, or just a new challenge?
I've dabbled in Chrom, but as has been said, first and third are much easier because the layout is the middle octave of the Richter. I half valve mine for get a bit more expression from it.
Other new challenges could be a new tuning. I've been working at PowerBender tuning which gives more notes using draw bends.
I've played them both for decades and it doesn't have to be an either or. Plenty of guys double on sax and flute or clarinet. It's much easier I think to play all of your scales and arpeggios on chromatic at first. ----------
Don't listen to others, and especially not the naysayers. If you like the idea, try it out. You could start with a cheap Swan chrom (under $100) and then, if you like, it, spring for something better.
I've played both diatonic and chromatic pretty much since the beginning and have never regretted playing both. One reinforces the other. You get ideas on one that might never occur to you on the other, and you may find that the idea transfers, but generates another new idea in the transfer. Improving your technique on one will often force you to recognize holes you didn't even realize existed on the other (or both).
Even if you can play chromatically on a diatonic, the chromatic sounds different and offers different note combinations. It gives you a different kind of flexibility because you can move around much more easily in chromatic material without the technical challenges of making a bend or overbend sound and play in tune. You'll find that certain things just sing on the chromatic while others sound best on the diatonic. =========== Winslow
I have a few chromatic harmonicas to spare--if you contact me, I can send you one to try. If you like it, you can buy it. Serious inquiries only--music theory helps a lot, don't ask if you are inclined to resist thinking about music. You pay shipping and a modest deposit--how modest? I dunno, how broke are you? Got collateral? You can send me your busted Spiers or Harrison harps to hold . . . I might wind up fixing them!
Edit:
Oh, and while the chromatic was designed to escape the tyranny of C, it's not easy to play in sharp keys, so if you are playing in bands that favor guitar keys over horn keys, let me know that too. It might mean you want to try a chromatic in a key other than C. Also, I favor a tuning that makes chromatic better, let me know if you are interested in that. It's called bebop, and it eliminates the redundant C notes on a normal tuned chrom.
Or just practice diatonic--Howard Levy could play chromatic harmonica if he wanted to, maybe that's true for you too--that will be easier to determine if you try putting some time into chrom, I know from personal experience that it's easier to say no to an instrument you have never tried, that can't be returned for a refund if you wind up hating it!
Last Edited by Gnarly on Sep 23, 2015 11:28 AM
However, I have to disagree about sharp keys. They're a lot easier than chromatic players make them out to be. I think that unfamiliarity is the biggest obstacle.
Here's me playing in E major (4 sharps) on a C chromatic (verse ends and solo in the middle):
@chromaticblues, I own a 1924 Hohner Chromatic. It is set up like the Koch model. I don't know about early chro adds but it would be a few years before Hohner built the modern chromatic where playing in any key is far easier than on the Koch design.
PS- 20REEDS. buy one. You won't regret it.
---------- I'm out of the Biz for a while till I get over my burnout. You can try HarveyHarp or arzajac, or just look the page nacoran put together under Forum Search. .
Last Edited by MP on Sep 23, 2015 2:30 PM
Winslow, my experience (which pales next to yours) is that the combination of breath shift, hole change and slide engagement is uncomfortable on a chrom in C while playing in the key of E. Isn't She Lovely is in E--I don't play it like Stevie. Perhaps if I put the time in I could sound as well as some--but it's hard for me to sound legato in E.
I can't see that there's much of a decision to make. It is, after all, a harmonica. Choosing to not learn to play the chromatic is choosing to limit yourself and your future options.
It's a wonderful thing to be able to play all the beautiful melodies there are in the world, and you never know where your musical journey will take you.
Edit: I would never advocate putting the diatonic aside in favor of the chromatic as I like them both equally; and yes, learning the chromatic requires a lot of practice, but I would hope that we're already practicing all the time anyway, right?
Last Edited by Dr.Hoy on Sep 23, 2015 3:55 PM
20Reeds if you wanna get into some chrom blues listen to little Walter, George smith,rod piazza,Dennis gruenling. If those blokes turn you on,then grab a chrom harp. Won't hurt ya diatonic work at all. If anything it will make it feel like a lil sports car compared to the chrom Grand cruiser.
Thanks for the offers / Input everybody! Yeah I guess I'll pony up the dough and pick one up, I like the mechanical like sound... Thinking about playing with a classical guitarist. I guess I equate Richter with more of a violin/vocal sound and Chrom as a more accordion like sound. Thanks again!
@MP It was a 1930'S ad (at least that's what it said). I've also heard someone else say the same thing. If someone has any knowledge of the contrary I would be interested in seeing it. I'm not saying I know for sure that the chrom wasn't designed to play in all keys, but there isn't any proof that I know of! It really doesn't matter, but I just think it's interesting. Heay the diatonic was designed to be played in first position with two chord German folk songs. My point is harmonicas are used in far greater ways than they were designed for.
@ chromaticblues I got my first chromatic for my birthday in 1961. After hearing my dad's cousin play old tunes on his G chromatic in a screen house at their country home in Missouri I asked for a chromatic harmonica like his. He played his songs mainly in G, the key of his chrom, though he might have played a couple songs in minor modes of G. At that time I played Bb clarinet in school. I learned songs on chromatic by ear, not by reading. I think that there were C and G chromatics and no other keys sold at that time. ----------
Doug S.
Last Edited by dougharps on Sep 23, 2015 7:15 PM
@diggsblues thanks for the video, I can see the variations in tone, however the only real reason I would pick up Chrom is for the accordion like sound... I guess the staccato available that isn't so readily there on a Richter harp is really what is drawing me to a Chrom.
I'm pretty deep into acoustic blues, old-timey and bluegrass music played with my diatonics. Mostly out of a sense of responsibility as a harmonica player I have a very nice Hering Baritono chromatic customized some years ago by Zombor Kovacs, now Brendan Power's X-Reed partner. It gathers dust.
YMMV of course, but I agree completely with those who've suggested that the your decision hinges on precisely what genre and type of melodies you want to play.
Michelle
---------- SilverWing Leather - Custom leather creations for musicians and other eccentrics.
I don't seem to have the discipline for chromatic, and I also find they rip my mustache hairs something terrible. That said, they are useful for learning theory (maybe not as useful as piano, but useful). Ask yourself what exactly are you going for. If you want to learn theory or particularly like the chromatic sound, then chromatic all the way. Personally, I like the timbre of diatonics better. I wouldn't, for the sound I'm going for, try making my 3 draw bends to sound like unbent notes. That crankiness to me is what the blues is about. (That said, being able to switch between cranky and clean easily is even better). If you just want chromaticity (Thank you spellcheck!) there are couple other options out there.
There are a few exotics, like the Turboslide (the bastard child of a chromatic and a diatonic with magnets), the XB-40, the X-Reed, and the overdrive, and Brendan's dual harmonica mouthpiece, as well as just using overblows.
There is also the sadly overlooked two harp approach. I can't find the video, but Mr. Powers had a great one of a young man in Asia absolutely flying using two harps. The idea is you grab two harps, often a C and a C#, but any two consecutive harps work, and that gives you all your notes. You get all the bend noises but you have all the notes without overblows. Apparently it's big in Asia. I even bought a paired set of tremolos from Huang designed specifically for it. Theoretically, you could run through all the normal position options more or less, only with two harps. There is a learning curve. (I am more likely to do it with two keys a fifth apart for other things, but that's because you don't need as much technical skill, you are using it more to get the sound of a couple positions.)
