Bebop Tuning on the Chromatic Harmonica

[Gnarly He Man]

I like it, not everyone wants to try it.
Most folks feel that any change brings the possibility of loss.
My experience shows me the main drawback with bebop is that when playing in the key of A, you lose the C# on hole 4.
So I use a D harp for A, making it a really easy key! It’s like playing in G.
I am using Orchestra tuning as well, so the D starts on A3.

[Gnarly He Man]

This is really for Ed, but heck, welcome anybody who cares--
Bebop tuning doesn't change most of the harp--all the draw notes stay the same, and you can still play a C major scale without using the button.
The note that is changed is the four hole blow, on both notes (slide out and in).
Since a lot of people use blow hole five for the C (or draw button 4), that note on that hole doesn't mess much up.
Now you have a Bb as a slide out note--which means you can play an F scale without using the button--draw 2, blow 3, draw 3, blow 4, blow 5, draw 5, blow 6, and the final F on draw 6.
And Bb is remarkably more legato--
Blow 4, blow 5, draw 5, draw button 5, draw 6, blow 7, draw 7 and the final Bb either on blow 8 or as draw button 7 (I like draw notes).

[Jimmy Halfnote]

 Fine Gary but i don't get how Bb is anymore legato than before , as in ;
               
            B      B               B                                   (B)     
          draw,draw,draw,draw,draw,blow,draw(draw)

                                                                        jh.

[Gnarly He Man]

Arpeggio is better—no button.
And the breath exchange is better.
Going to or from the G (relative minor) same breath direction, no button.

[Gnarly He Man]

OK, back to dissertation mode:

Bebop tuning is not the only alternative to solo tuning. There is a page at overblow.com which refers to some other tunings. These include:
1. Diminished, such that all holes are tuned: Blow, Blow button, Draw, Draw Botton produce notes ascending chromatically, with the last note reoccurring on next hole as a blow note. For example, C C# D Eb, and the next hole starts with Eb.
2. Gnarly (actually first proposed by John Yeadon) Diminished, such that all holes are tuned: Blow, Blow button, Draw (same note as blow button), Draw Botton produce notes ascending chromatically, with only three notes on this hole. The next hole begins with the next chromatic note, so for example, C C# (C#) D, and the next hole starts with Eb. The chords produced on these two tunings are all diminished 7ths, in that the only interval on two adjacent holes is a minor third.
3. Augmented, such that notes ascend chromatically, with no enharmonics--so Blow, Blow button, Draw, Draw Botton produce notes ascending chromatically, with the next hole starting with a blow note that is the next chromatic note. For example, C C# D Eb, and the next hole starts with E. The chords produced on this tuning are all augmented, in that the only interval on two adjacent holes is a major third.
4. Slippy, such that draw notes are a semitone higher that blow notes, and the slide raises a note by two semitones. For example, Blow, Blow button, Draw, Draw Botton produce C D C# Eb, and the next hole starts with E.
5. LeGato, a chromatic harmonica based on the Newton Fourkey tuning, which use a five hole per octave tuning using two pentatonic scales. The slide raises the note a semitone.
None of these tunings are based on solo tuning, and so as such, require the player to relearn the instrument. Bebop tuning changes only one note, so relearning is easier, and a player can even use a standard tuned solo instrument if necessary.

There is another tuning worth mentioning--Power Chromatic as a slide instrument. I have been posting about it recently, but since I referenced this page just now, it's a good idea to include it here.
https://forums.SlideMeister.com/index.php?topic=18171.0

This tuning raises the F (and F#) a half step, and lower the fourth hole blow C to A (and the button note to Bb).

[Malarz]

I’ve just quickly read through this thread after it was suggested to me that Bebop tuning might be the way to go on a chromatic tuned D/C# (or, is it C#/D, I’m still not sure!) My goal is to have a chromatic with notes and pattern that comes as close as possible to the note pattern of a two-row D/C# button accordion which I’ve played in the past and which works well for most of the Quebecois/French-Canadian, Irish and Scottish tunes I usually play.

I’m playing tremolo now and feel its a good starting point but want to be able to more easily play so many of the quick and tricky note patterns.

Thanks to all for your posts and knowledge about tunings.

Ken

[actualbeaunz]

y'all. Thanks to this forum thread and a conversation with Bill Barrett, i just tuned my old solo tuned C super 64 to "bebop" tuning. Six reeds! (wish i was equipped to do videos, I'll work on that.) Anyway, first time ever trying to tune reeds. All told, it took me four hours. i was getting faster with each one. Used soldering iron, solder, files and tiny engraver, petersen Istrobo tuner app on my phone. Sounds really cool!!! Thanks for everyone's input so far. Next challenge: replacing a reed. Is there a good online resource for buying these tiny tools individually? i'm really not interested in buying the hohner or seydel "toolkit," but might have to if i can't figure out the generic tool names. Specifically, i'm looking for the studbolts, starnuts, and wrench that hohner uses.....

[Gnarly He Man]

Welcome to the club!

[IaNerd]

Folks may also consider *Inverted* Bebop, which is introduced here, including a video review by Brendan Power:  https://www.brendan-power.com/forum/viewtopic.php?f=9&t=612&start=10#p2812

[SlideMeister]

I like Be-Bop! I just wish I wouldda been introduced to it earlier.

[Gnarly He Man]

I like Be-Bop! I just wish I wouldda been introduced to it earlier.

Word.
I got lucky, I was only a couple of years into the chrom when I switched.
Here's an early post.
https://forums.SlideMeister.com/index.php?topic=1708.0
Note that I am suggesting that Slippy (an augmented tuning) is worthy of merit.
I'm looking at you, SaxonyFan . . .

[ribanez]

after some time just playing the bebop tuned chromatic harmonica, I am quite convinced that one of the best advantages of it is on the sharp keys of D, A, E, B.
I think this is the benefit I discovered of this tuning after really embracing it mentally. First came the double stops available and the flat keys, 'cause one always thinks of Bb, instead of A#.
Having this legato between C# and B, G# and B, A# and B, Bb and Cb, simplifies a lot the phrasing on several keys 

[John M G]

With maybe one or two too many C chromatics I searched this thread out for a better understanding of bebop tuning and it's advantages.
Having read every post it appears that now at 68 it's way too late to really try and explore.
I'm sadly nowhere near advanced enough with the standard solo tuned chromatic to look for any other solutions to make the kind of music I want to make! 
I guess it's back to the practice room...............and more practice!
An enjoyable read though Gnarly none the same.
Happy new year everyone.
Cheers John

[Gnarly He Man]

Never too old, but lots of great players using solo tuning.
Hope you are doing OK John . . .