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Yes.

27 years in the wayback machine will do that....

The bigger holes might help, but ultimately every player needs to be able to play single notes on their desired instrument. If that's diatonic, then learning on this one will still leave them with difficulties getting single notes on diatonic, so on balance, I'd recommend just digging in on that instrument.

1) I play diatonic, chromatic, tremolo, and bass harmonica, all with different hole sizes and spacing, so the differences between standard diatonic and Trochilus holes sizes and spacing don't make much difference to me. It just took a little time to get used to them. 2) The high register on my Trochilus Bb versus my brass-combed tricked-out Bb marine Band sounds mellower. The notes respond easily. 3) I used pucker and tongue blocking interchangeably on all my harps, switching as it suits whatever it is I'm doing at the moment.

Paddy richter changes only one note from standard tuning: Blow 3 is raised to the next scale step (A instead of G on a C harp). Melody maker changes two additional notes: Draw 5 and 9 are raised one semitone (F to F# on a C harp) to facilitate playing major-scale melodies in second position, as in playing in G major on a C harp). )

Yes, bends are the same oob both sides of the slide with the blue-combed tuning. The red-combed "pop" tuning is a whole other thing, though.

Glad I was able to help!

I don't think so - but them I've always played slide harps along with on-slide harps. One way to ease into it is to use the slide to add notes in a position you already know. For instance, in second position, start with slide-in Draw 6 to add that missing blue note, or on Draw 5 to make the scale into a true major scale.

Yeah, but I forgot the glasses!

I get how you could hear it that way. Even if you view the Bb-C-F progression as I - V/V -V, it still leans heavily toward the V (F). Myself, I hear it as Lydian. I used this progression partly because I like the Lydian (to my ears) feel, but also as a way of easing into a new position (it was originally created for a student). One way to start learning an unfamiliar position is to find notes that work in that position without having to alter any of the given pitches. That way you can start getting grounded in how the given notes feel agains the tonal center of a new position. Some of them, like root, fifth, and third, will have strong, fundamental relationships with that tonal center, while others, such as the raised fourth in this case, will sound more outside and exotic. I suppose playing against a backing track of only one chord might be a surer way to develop that sense, but I had this track already and it was fun to play over.

​@@winslowyerxa8505 Yeah, it sounded fun, and it sure sounded good as well! I really like the sound of lydian as well, both in eleventh and twelfth position. But I feel like in this tune, the Ab in the Bb7 chord and the Eb in the F7 chord makes it sound less strictly lydian. It might be because I'm used to playing other instruments, but I tend to think in scales and melodies, rather than strict positions. I don't really think differently when playing a C harp in C major (1st pos.) or Dm dorian (3rd pos.). To me, a richter tuned harp is already simultanously in all 7 modes of major, if you just use the regular blow and draw notes. What I do feel is very useful though is to learn the pattern of bends that enable you to go beyond those modes. Eleventh position is one such example, but to me, so is playing 2nd position blues, 2nd position in regular minor (which happens to be very close to both of the previously mentioned ones) or playing in sixth position on a country tuned harp (which would be Bm on a C harp). I do appreciate how positions are very useful for putting words to the way a harmonica tuning fits into the music.

How many? Did you count them, or did you instead focus on the overall musicailty?

@@winslowyerxa8505 OK - 1.12 subs, 120 views so far , 10 likes.... My comment and one other guy calling it "interesting"... I drop the mic now or keep going?

Thanks. It's a Trochilus Pop tuning (red comb), which is fully chromatic but tuned more like a diatonic.

Do you brush your teeth and clean your mouth before playing? This is your first line of defense against sticking valves. Removing valves will reduce airtightness and efficiency. If you remove the coverse from the harmonica and remove the valves visible on the outside of the reed block, you will lost some airtightness and volume. If you remove the reedplates from the comb and also remove the inside valves, there is a good chance that the harmonica will become very airy and leaky, perhaps to the point of being unplayable. I would suggest that you completely disassemble the reedplates from the comb and give them a bath in lukewarm water, swishing them about in the water, and then letting them dry. If you have access to an ultrasonic cleaning bath, even better. Then reassemble the harmonica and test its playability. But remember that good oral hygiene is essential for valve health.

@@winslowyerxa8505 Thank you so much sir, for yor advice.🙏🏻 Let me tell you that, I always brush well..before playing..and I take care of the harmonica like my child. Now, I am sure that I should not remove the valve. Thanks a million...! 🙏🏻😍

But one more thing Sir... Some of the Harmonicas are without valves... Even though, they are non valve, they provide good sound and also we can easily play it. We don't even feel, the air licking problem while perform. They are very smooth and effortlessly we can play the song. According to me, question does not arive to stick the valve on the reed..but still I am confused. How it happens...? Please kindly explain me Sir..!🙏🏻😍🌹

@@arunwedhikar1983 I'm not sure what you're asking. Are you asking what causes a valve to stick to the reedplate, or are you asking how to ad a valve to a reed? It's true that the new models without valves play with more airthightness than a vavved instrument with the valves removed. But all unvalved instruments lose strength of sound.