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Author Topic: Hering Chromatics - F#  (Read 505 times)

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Online jonclayton

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Hering Chromatics - F#
« on: July 19, 2012, 12:07:08 PM »
Does anyone know if the Hering Chromatic in F# starts above middle C or below? I understand F# diatonics are high. But I might go for an F# Chromatic if they start low.




Offline llumagsara

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Re: Hering Chromatics - F#
« Reply #1 on: July 19, 2012, 12:41:26 PM »
i have D, E, G, A, Bb all below middle C

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Offline Grizzly

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Re: Hering Chromatics - F#
« Reply #2 on: July 19, 2012, 02:05:17 PM »
Hering makes an F# chromatic?

Tom
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Offline llumagsara

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Re: Hering Chromatics - F#
« Reply #3 on: July 19, 2012, 02:46:08 PM »
not sure, but yes comb with reedplates spare in all keys...

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Offline smojoe

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Re: Hering Chromatics - F#
« Reply #4 on: July 19, 2012, 03:41:45 PM »

F# Hering is 4 from the bottom. Eb, E, F, F#. Then G, Ab, A, Bb, B, and then middle C.

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Offline Greg McCrea

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Re: Hering Chromatics - F#
« Reply #5 on: July 19, 2012, 04:01:40 PM »
What he said. The F# is a half step below the standard G chromatic, not a bad register for Eddie Clarke Irish playing (low note is the same as low G string on fiddle). You need a Baritono AND a D chrom to put together an Irish D (unless they make a C# chrom, but I don't think they do)

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Online jonclayton

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Re: Hering Chromatics - F#
« Reply #6 on: July 19, 2012, 11:10:50 PM »
Hering makes an F# Chromatic?

Tom

Tom you forgot to use the past tense.

I just ordered one in D today and thought it was going to be a high D, but if it's low, well...sweet.

But a low F# will be useful too. Some nice minor keys, some nice flat keys, and a G chrome right there anytime I want it.

Offline Lancelot

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Re: Hering Chromatics - F#
« Reply #7 on: July 20, 2012, 12:18:01 PM »
The lowest note of a Seydel Deluxe Chromatic Irish [slides flat] in G is an F# on the 1 blow with slide in. I would think it might be far the simplest and cheapest way of getting what you seem to be going for. I could be totally wrong, of course, thrown off by a mention of the famous Eddie Clarke and his flipslide playing. Anyway, the Seydel is a stock item, not a custom, and is an excellent harmonica, well made, tuned, and gapped. I bought one from DannyG and I love it.

edited to add stuff. :)
« Last Edit: July 20, 2012, 12:34:36 PM by Lancelot »
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Offline McManus

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Re: Hering Chromatics - F#
« Reply #8 on: July 20, 2012, 01:15:49 PM »
I see posts on Hering Chromatics; I don't believe I've seen them in a store.
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Online jonclayton

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Re: Hering Chromatics - F#
« Reply #9 on: July 31, 2012, 01:06:05 AM »
The lowest note of a Seydel Deluxe Chromatic Irish [slides flat] in G is an F# on the 1 blow with slide in. I would think it might be far the simplest and cheapest way of getting what you seem to be going for. I could be totally wrong, of course, thrown off by a mention of the famous Eddie Clarke and his flipslide playing. Anyway, the Seydel is a stock item, not a custom, and is an excellent harmonica, well made, tuned, and gapped. I bought one from DannyG and I love it.

edited to add stuff. :)

Thanks, but my goal is not to play in G and then hit the slide for flats, it's to play in F#m, starting with blow rather than draw. If I occasionally play in G, it will probably be all diatonic so it's no hardship to hold the slide in. But I want to play on standard chromatics.

I received the Hering F# (Velvet Voice) today, it sounds great but one flaw; apparently the F# reedplate is taken from the bottom of an F/F# chrome. Therefore, the last draw note is not lower than the blow note, it's higher. So on the highest octave, there's no F natural to resolve the final F#, it's a G instead. So I have two G's up there, and no F natural.

Otherwise it's nice. Live and learn.

Offline streetlegal

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Re: Hering Chromatics - F#
« Reply #10 on: July 31, 2012, 02:35:38 AM »
I think it should be possible to tune that top G down to play F natural, by adding a little weight to the tip of the reed.

Offline Lancelot

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Re: Hering Chromatics - F#
« Reply #11 on: July 31, 2012, 06:36:54 AM »
Hi, jonclayton. I guess that what I was thinking was that one might do as Eddie Clarke did, playing primarily with the slide in, so that one would have a blow F# as the tonic in each octave of the scale. Sorry if I misinterpreted too much.
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