Chromaticas with augmente tuning?

[Minima]

Picked this up from the General Forum thread lol

An augmented tuning has a layout such that chromatic ascension is accomplished by the following actions: blow hole n with slide out, blow hole n with slide in, draw hole n with slide out, draw hole n with slide in. You then repeat the same pattern for hole n+1. Each octave is therefore covered with only three holes and a 10 holer would get you 3 1/3 octave.

.....

There are many advantages to this tuning. If you would like to know more about it then you should start a new thread under the Playing Techniques section of the forum so that we don't get too far off subject on this thread.

This is a completely new concept to me.  

Are these only made to order/custom made in the US?

Who has one and what's the cost like?  Advantages and disadvantages?

Feedback for use from beginner/intermediate levels?

Cheers

[roady43]

Picked this up from the General Forum thread lol

An augmented tuning has a layout such that chromatic ascension is accomplished by the following actions: blow hole n with slide out, blow hole n with slide in, draw hole n with slide out, draw hole n with slide in. You then repeat the same pattern for hole n+1. Each octave is therefore covered with only three holes and a 10 holer would get you 3 1/3 octave.

.....

There are many advantages to this tuning. If you would like to know more about it then you should start a new thread under the Playing Techniques section of the forum so that we don't get too far off subject on this thread.

This is a completely new concept to me.  

Are these only made to order/custom made in the US?

Who has one and what's the cost like?  Advantages and disadvantages?

Feedback for use from beginner/intermediate levels?

Cheers

For me augmented tuning only has advantages because I play the "harmonica" as a melodic instrument (no chords). The chords on the augmented only could be used rarely for special jazzy altered chords as they always are all augmented thirds/triads...

You have to learn only 4 patterns to be able to play in all 12 keys (I fear for solotuning you need to remember 12 patterns for the same result...)

Others say that doubled keys in solotuning give you more/better possibilities for legato playing because you can decide for several combinations of tone changes either to play a draw or a blow note for the same key. For me these combinations never were a advantage specially because they won't help at all when you have to tie tones of bigger intervals (in contrary, they will make distances much bigger!)... I always hated to stumble over these redundant reeds...

Check out the threads about this topic on SlideMeister, e.g. augmented/diminished Fan Club threads in this forum:

https://forums.SlideMeister.com/general/augmented-tuning-whole-tone-slide-2012.0.htm

Okay this is a total newbie question, but does diminished tuning count? I recently purchased a solo tuned chrom and a diminished tuned and I like the diminished tuned much better. It just makes more sense to me.

In terms of chromaddicts demand concerning redundancies: NO  
quote:
I'll accept any symmetrical tuning system without redundant notes.

For full chromatic (no missing notes per octave), symmetrical and "making more sense": YES YES YES  
For the believe in alternativ tunings for harmonicas: I'd say, YES it counts!

Augmented asks for 4 patterns to be learned for the ability to play in all keys, diminished only 3.
Range of an augmented harmonica is much larger (4 octaves on 12 holes) than diminished (3 octaves).
Any augmented chord (f.e.: C - E - G# - C') consists of 2 large thirds building an augmented fifth, any diminished chord (A - C - Eb - Gb - A') of 2 or 3 small thirds (diminished fifth = A - Eb, diminished seventh = A - Gb).
Playing 3 or 4 holes at once on our instruments will make this all clearly audible and explains why except for some really jazzy altered tunes it would be nonsense to play chords here!

roady43

[triggerfinger]

The augmented tuning allows for playing any two note major dyad. I think this is an advantage over solo tuning. I will explain.

Jazz guitar players usually play 2 or 3 note chords when accompanying the usual ensemble including bass and piano. They do so because they do not want to step on the toes (frequency range) of the piano and bass. Major, minor and augmented chords all contain a major dyad which contains the third of the chord - the third is the defining note of the chord. So except for the case of diminished chords when one uses a augmented tuning one always has available a dyad with which one can accompany the ensemble. This can not be said of solo tuning. This makes the instrument less idiosyncratic with respect to key or tonal center of a tune. You always know the palette of musical colors available to you regardless of the particular tune being played!

Another advantage is with respect to ear training and this is the advantage that is most important to me. As Roady pointed out there are far fewer basic patterns representing the different musical intervals and those patterns repeat identically on each hole. This simplifies the instrument greatly making the ability to map sound to motor activity far easier.

Another advantage is the physical compactness. Wider intervals can be transitioned more easily and a greater musical range is available.

[Grizzly]

TF, your description is very illuminating. I assume the dyads are all major thirds? That can be very handy, and (because of the small number of patterns) usable in several keys.

In solo tuning (can't seem to convince myself to break away), there are usable dyads also. So far, I've only explored keys of C (Am) and F (Dm), but I've found them useful. Of course, sixths as well as thirds are available too, in their inversions. There are minor thirds as well as major thirds.

Each tuning has its own unique properties. Sounds like you've explored augmented more thoroughly than I have solo. Keep it up.

Tom

[maxharp77]

Interested, very interesting but confused. Last time when i learn music, we use Do-Re-Mi instead of C-D-E to note the value of the key (for C major in this case). So Doh-Re-Mi can be use for any Keys (Eg. Major,minor,augmented,diminished). I must admit I'm being lazy here to search the forum, but can any kind soul lay-out the blow/draw layout of the mouth piece of the 12holes augmented harp?

1st hole blow=Doh
1st hole blow (slide in)=Doh#?
2nd hole draw=Ray?
2nd hole draw (slide in)=Ray#?
3rd hole blow=Mee?
3rd hole blow (slide in)=Mee#?
4th hole draw=Fah?
4th hole draw (slide in)=Fah#?

For me a 12 notes (including sharps and flats) need 6 holes at least. Can't imagine how 12 notes can be played wif jus so little number of holes. Amazing...

[triggerfinger]

Maxharp

With augmented you have 4 unique notes per hole. (12 notes per octave)/(4 notes per hole) = 3 holes per octave.

[maxharp77]

haha...thanks for the enlightenment!

Hmmm...i draw out the plan for a 12 holer to achieve 4 octave, the layout has to be something like this (Eg. C Maj):

1st four holes:

1st hole Blow               = C
1st hole Blow Slide In =C#
1st hole Draw              =D
1st hole Draw Slide In =D#
2nd hole Blow             =E
2nd hole Blow Slide In=F
2nd hole Draw              =F#
2nd hole Draw Slide In =G
3rd hole Blow               =G#
3rd hole Blow Slide In =A
3rd hole Draw                 =A#
3rd hole Draw Slide In =B
4th hole Blow               =C#
4th hole Blow Slide In =D
4th hole Draw              =D#
4th hole Draw Slide In =E

...and so on for the rest of the remaining 8 holes?

[triggerfinger]

Almost. You left out the C after the B. Fix that and that would be correct.

[Minima]

Check out the threads about this topic on SlideMeister, e.g. augmented/diminished Fan Club threads in this forum:

https://forums.SlideMeister.com/general/augmented-tuning-whole-tone-slide-2012.0.htm

Hi there,


what is the page supposed to be?  I only get an index up.


Thanks for the exposition on the augmented harp guys.

I still don't understand: is this a kind of 'custom DIY' tuning which you do yourself, by replacing the factory installed reeds?

It sounds attractive: I like the purity of clear notes (solo); chords seem to jarr with me, no matter how harmonically inclined.

What do I have to do to augment a harp then?  Is it possible to augment my 10 hole Hohner slide harp?   I guess it would be worth it, given the beautiful tones from it (despite the unfriendly Richter scale) but is it cost effective, compared to buying a new chromatic?

[triggerfinger]

Minima

I purchased my 10 holer chromatic as well as my CX12 Jazz from Harponline. Both harps were built in augmented tuning by Michael Timler of Harponline. If you go to the Harponline site you will see that Michael will do many different types of tunings.

My augmented tuned Seydel Deluxe (a 12 holer) was built by by Seydel. They offer only the Deluxe in alternate tunings.

Some of the SlideMeister members retune harps.

[Minima]

Minima

I purchased my 10 holer chromatic as well as my CX12 Jazz from Harponline. Both harps were built in augmented tuning by Michael Timler of Harponline. If you go to the Harponline site you will see that Michael will do many different types of tunings.

My augmented tuned Seydel Deluxe (a 12 holer) was built by by Seydel. They offer only the Deluxe in alternate tunings.

Some of the SlideMeister members retune harps.

Hi there,

may I ask how much that augmented tuning of the Seydel Deluxe cost?  Was that for the tuning only, or for the chrom too?

The website doesn't indicate the prices.  It makes me nervous.    When I had my flute tuned due to a leak, it cost about 1/4 the price of the flute.  I could've bought a cheap flute for the cost of the repair, just to practice with.


I like what I'm hearing about the Seydel Deluxe.

[triggerfinger]

Minima

The cost was 200 US. Which is 60 US more than a solo tuned harp ... and worth it.

See:  http://www.seydel1847.de/epages/Seydel.sf/secFZoLC3Mssd6/?ObjectID=604784

Note: I have had some problems with my Deluxe's slider. The problem appears to have diminished with time. This doesn't mean that I expect that you would have similar problems. Many owners of the Deluxe have written in this forum that their sliders work like a charm.

[maxharp77]

How i wish they do it THIS way right from the start...I'll try my way to get one after sorting out the diff between the Diminished and Augmented. The Diminished seems like a better choice i dunno...Jus stick to it for half a yr or so should get use to it...i hoped

[roady43]

Check out the threads about this topic on SlideMeister, e.g. augmented/diminished Fan Club threads in this forum:

https://forums.SlideMeister.com/general/augmented-tuning-whole-tone-slide-2012.0.htm

Hi there,


what is the page supposed to be?  I only get an index up.


Thanks for the exposition on the augmented harp guys.

I still don't understand: is this a kind of 'custom DIY' tuning which you do yourself, by replacing the factory installed reeds?

It sounds attractive: I like the purity of clear notes (solo); chords seem to jarr with me, no matter how harmonically inclined.

What do I have to do to augment a harp then?  Is it possible to augment my 10 hole Hohner slide harp?   I guess it would be worth it, given the beautiful tones from it (despite the unfriendly Richter scale) but is it cost effective, compared to buying a new chromatic?

Sorry, that link didn't work (anymore). Better use the forum search and go for augmented.

You could try to retune your Slide Harp into augmented by using solder to weighten the low reeds. Some upper reeds can be retuned but some will have to be replaced mostlikely. No guaranty that the sound of the "soldered" reeds will sound the same (response will probably not be as good as before). I prefer to replace all reeds or build new plates from scratch with the screw and nuts system.

Check the augmented tuning offers of harponline. You could just order augmented tuned reedplates for your slide harp and exchange them yourself (needs some handy craftsmanship but then it is absolutely possible). That would be the most economic solution, really not expensive (approx. 115 $).


roady43

[Minima]

I've got two left hands.

Me and a solder iron parted years ago when I melted the physics lab table.

I think I just need to consign my slide harp to history and start again from scratch with either a fully chromatic scale harmonica or
an augmented one. 

Since there are no off-the-shelf augmented ones, my guess is that I will have to settle *grumble* *grumble* with having more than one
harmonica in the future. 

I've had such a bad experience with the Hohner slide harp and tinkering with it is probably just going to stress me out or give up on the harmonica
altogether, so it will either be a Seydel or a Suzuki. Probably the Seydel Deluxe since these are configurable.

Do you play only augmented chroms?  That is - do you switch back and forth between augmented chroms and standard full chromatic scaled chroms?

[John Broecker]

Hello, Aug-Mentals.

Here are a few slide chromatic harmonica note charts for comparison, from Pat Missin's website. They may help you to determine the best note placement for your playing styles, or might help visually to explain the major (solo system), Richter (chord system), augmented and diminished note placements.

www.patmissin.com

For more information, or custom-made augmenteds and diminished harps, go to:

www.harponline.de

www.seydel1847.com

These charts are for a key of C solo system, C Richter, C augmented system or C diminished system harp, using a 12-hole model. There are more augmented and diminished variations at Pat Missin's website, but, for comparison, each of the following setups starts on hole 1 blow, slide out as a C note.

On the charts, large letters are blow notes, small letters are draw notes. The sign (|) represents hole divisions.

Some Hohner models have a D note replacing the B# note in hole 12, on the solo system harps.

SOLO SYSTEM (Major scale) key of C, horizontal reed placement, as Seydel Chromatic Deluxe.
Three complete chromatic octaves in 12 holes. Redundant C notes between octaves:

Hole:            1        2       3        4        5        6        7        8        9       10      11       12
Slide out:||C   d  |E   f  |G   a  |b   C  |C   d  |E   f  |G   a  |b   C  |C   d  |E   f  |G   a  |b   C  ||
Slide in:  ||C# d#|E# f#|G# a#|b# C#|C# d#|E# f#|G# a#|b# C#|C# d#|E# f#|G# a#|b# C#||
                                                                                                                                      
RICHTER SYSTEM (Major scale w/chords), Key of C, horizontal, as Seydel Chromatic Deluxe Richter.
One complete chromatic octave only, holes 4-7. No redundant C notes between octaves:

Hole:            1        2       3        4         5        6        7        8        9       10      11       12
Slide out:||C   d  |E   g  |G   b  |C   d  |E   f  |G   a  |b   C  |d   E   |f   G  |a   C  |d   E  |f   G  ||
Slide in:  ||C# d#|E# g#|G# b#|C# d#|E# f#|G# a#|b# C#|d# E# |f# G#|a# C#|d# E#|f# G#||

AUGMENTED SCALE, #12.4a, at Pat Missin's website (Pat lists a 10-hole, this is extended to 12). Four complete chromatic octaves in 12 holes. Augmented harmonicas are special order harps. Dr. Yeardon holds the United Kingdom patent for this note placement system. There are no redundant C notes between octaves. It's named the "C Augmented Slippy" at Harponline (Theirs is an 8-hole example):

Hole:            1       2        3        4        5        6         7         8        9       10      11       12
Slide out:||C  c# |E   f  |G# a  |C  c# |E   f  |G#  a |C   c# |E   f   |G#  a  |C  c# |E   f  |G#  a ||
Slide in:  ||D  d# |F# g  |A# b  |D  d# |F# g |A#  b |D   d# |F# G#|a#   b |D  d# |F# g  |A#  b ||

C DIMINISHED SEVENTH. I couldn't find the C diminished 7th scale at Pat Missin's website, but, since it's the same scale (in inversions)as the D# diminished 7th, F# diminished 7th and A diminished 7th scales (all of these contain the C note ), the C dimi 7 scale is created.

Here's the C dimi 7, starting with a C note at blow hole 1, slide out. With this note placement, duplicate d# (draw) and D# (blow), f# and F#, a and A, and c and C occur throughout the 3-octave range of the harp.

The diminished seventh slide harp is fully chromatic. It looks good for melodic playing, but the chords are not the normal major, minor or seventh chords used in most music. I have't seen this note setup anywhere else, but if you like it, you might have it custom-made at Seydel or Harponline, or by your favorite slide chromatic customizer.

Hole:            1         2        3        4       5        6          7       8       9       10       11       12
Slide out:||C   d   |D# f  |F# g# |A   b |C   d  |D# f  |F#  g#|A   b|C   d  |D# f  |F#  g# |A   b ||
Slide in:  ||C# d# |E   f#|G   a   |A# c |C# d#|E   f# |G   a  |A# c|C# d#|E   f# |G   a   |A# c ||

John Broecker


                                                                                                                                      


 

[triggerfinger]

Here are a couple of documents (see attachment) that should be of use to those considering an alternate tuning and especially the immensely sensible augmented tuning.

[roady43]

...
I think I just need to consign my slide harp to history and start again from scratch with either a fully chromatic scale harmonica or
an augmented one. 

Since there are no off-the-shelf augmented ones, my guess is that I will have to settle *grumble* *grumble* with having more than one
harmonica in the future. 

---
Do you play only augmented chroms?  That is - do you switch back and forth between augmented chroms and standard full chromatic scaled chroms?

I only play augmented harmonicas (sharp layout = pressing the slide enhances the note by a semitone). Except once I had to play film music where some chords on solo tuned harmonicas were needed (one harmonica was in C the other in G).

The augmented system with its 4 patterns is not difficult to learn but in the beginning I recommend not to touch any other harmonica for about at least 4 weeks. You will have to concentrate more on the scale patterns than on "anything else than C Major = press the slide" in solotuning. Remember: on an augmented tuned harmonica for any major scale you have to press the slide only twice regardless which key you play in. Means, not using the slide produces a holetone scale. Augmented tuning is very comfortable and secure to play.

As an example you can study an augmented Chrometta 8 by harp online:

http://harponline.de/shop/pages/frame.php?lang_id=en_GB&origin=info&artikelgruppe=101%2F00101&

Here I play El Choclo on my AUGMENTED MEISTERKLASSE:



roady43

[Minima]

Here I play El Choclo on my AUGMENTED MEISTERKLASSE:

http://www.youtube.com/watch?v=tHFtClv95nc

roady43

Oh my goodness!!!!!


You are really really good with that chromatica!!!  I've never seen anything quite like a chrom in a chamber ensemble doing folk Klezmer.

There's no hope for me.  I might as well go and slit my wrists!!!

[triggerfinger]

Nice work Roady43. Makes want to dance.

[John Broecker]

[heck]-o, El-Choc-los.


If Roady43's "El Choclo" was written by Villoldo (music) and Castillo (lyrics), and published by Calumet Music Co., 201 East 26th Street, Chicago, Illinois, USA, in 1935, it isn't Klezmer music (Eastern European music).

El Choclo by Villoldo & Castillo is an Argentine Tango.

John Broecker

[roady43]

[heck]-o, El-Choc-los.


If Roady43's "El Choclo" was written by Villoldo (music) and Castillo (lyrics), and published by Calumet Music Co., 201 East 26th Street, Chicago, Illinois, USA, in 1935, it isn't Klezmer music (Eastern European music).

El Choclo by Villoldo & Castillo is an Argentine Tango.

John Broecker

This is absolutely correct. It is a very early tango from 1903. Played in upper class establishments it was to risky to call it tango because of the bad reputation of this dance music. So "El Choclo" originally was called "danza criolla" but later tango criolla.
http://www.planet-tango.com/lyrics/elchoclo.htm

I wrote the arrangement for our "Salonorchester" "Kaiserschmarrn". At the end of section B the accordion plays a 2nd melody which may remind the listener to some "klezmerian" sound. I was surprised about Minima's classification as "folk Klezmer" and checked "our" El Choclo for "foreign influences"...

roady43

PS: I was told that it has to be played rather staccato, so forget the ties in the pdf file...

[John Broecker]

Hello Roady43 and Minima.

This post isn't about augmented tuning systems.

Roady-Vas is dat, "Kaiserschmarrm?" Ich bin nicht verschten.

Please forgive my Milwaukee-German. What is that, "Kaiserschmarrm? I don't understand.

Thanks for your arrangement of "El Choclo." Yours starts in E minor? I have the Calumet Music Co. 1935 piano chart in F minor, with Hawaiian Guitar solo in F# minor.

I'd rather play it in your E minor than the piano score F minor.

Also, your arrangement adds ornamentation that the piano score doesn't have. The piano score stays in one clef throughout (4b = F minor). Your arrangement changes key signatures.

John Broecker

[roady43]

Hello Roady43 and Minima.

This post isn't about augmented tuning systems.

Roady-Vas is dat, "Kaiserschmarrm?" Ich bin nicht verschten.

Please forgive my Milwaukee-German. What is that, "Kaiserschmarrm? I don't understand.

Thanks for your arrangement of "El Choclo." Yours starts in E minor? I have the Calumet Music Co. 1935 piano chart in F minor, with Hawaiian Guitar solo in F# minor.

I'd rather play it in your E minor than the piano score F minor.

Also, your arrangement adds ornamentation that the piano score doesn't have. The piano score stays in one clef throughout (4b = F minor). Your arrangement changes key signatures.

John Broecker

Hello John

"Kaiserschmarrn" is the name of a sweet Austrian dessert made of flour and eggs:
http://en.wikipedia.org/wiki/Kaiserschmarrn

As we play a lot of Vienna "Salonmusik" (waltzes, polkas etc.) we gave us the name "Kaiserschmarrn".

El Choclo was filmed in a museum of mechanical music maschines (in the backround you can see the Welte organ once provided for the Britannic which did not make its way into the ocean liner because the ship became a hospital ship in WW I).
http://en.wikipedia.org/wiki/HMHS_Britannic

In the same museum is a "Violina", a music automat consisting of a piano and 3 violins which is programmed to play El Choclo in E minor (listen to the attached mp3). For a musical demonstration the piece was played by the violina and afterwords by us. So I wanted to keep the tonalities. Having fun doing the arrangement and looking for some alternation I composed a short introduction and a side melody for the cello... My playing is, as always of course, on an augmented tuned harmonica (MK, range B2 to F#7)

roady43

[Minima]

Oops....I've never ever heard any tango till this piece - nor much klezmer either.    That's how it sounds to my unexperienced ears - kind of folky with a dance rhythm.   

Whilst I've been 'practising' with my virtual harmonica, I get the impression I would be happy with any system ... solo, augmented, diminished ..anything except the Richter system.   I'll be fine settling with the solo chromatica for the meantime.  Maybe if I improve substantially then I think about learning another system later on. 

Thanks for your input guys. 

[Gnarly He Man]

Richter is cool for blues (especially short harp) but solo tuning on a chrom can be improved by "bebopping" the tuning--
Instead of the blow being C E G C, make it C E G Bb.
That eliminates the redundant C note (holes 4 and 5 are both C blow) and also makes the breath direction the same on all holes.
Otherwise, you have the draw note lower than the blow note on hole 4.
Do it to the slide note too, and do every hole except the top one.
You won't be sorry, it makes a lot of sense.
Of course, Aug and dimi make a lot of sense too, but the only chords in those systems are minor or major third dyads.
With bebop, the blow chord is C7 and the draw is Dm6 (which is also G9, with no root).
I like it--can you tell?
G

[Minima]

Thanks Gnarly,

I like the bebop notation -particularly coming from the Bb (flat) flute tradition with the separate thumb or trill levers.

When you went down this route, did you have to match the make/thickness/material of the reeds to your original harmonica? 

I presume you either learnt on a solo system before learning bebop notation too?

Well I took my Richter tuned Hohner slide harp out today.  It really cracks me up.  Every time I look for that frigging A hole, it isn't there.    As its the only harmonica I have (until my Seydel masterpiece arrives), I can see why, over 10 years ago, I just consigned the harmonica to the proverbial dustbin, frustrated to pieces by the Richter scale and unable to a bender on the notes that mattered.

Coming back to the Richter tuning - does anyone have an easy guide for overblowing for numpties?

This is the reference I've been using:

http://www.angelfire.com/tx/myquill/Overblows.html

I guess there is no short cuts: it really is down to experience. 

My Seydel can't come soon enough.  I am tired of being confined to one octave tunes like Greensleeves on my slide harp

[Gnarly He Man]

When you went down this route, did you have to match the make/thickness/material of the reeds to your original harmonica?  

I originally modified the reeds by filing off material near the rivet end--but have started using silver solder to lower reeds, it is a better way to go.

I presume you either learnt on a solo system before learning bebop notation too?

I played diatonic for many years before realizing that I was going to have to learn chromatic in order to play a simple chromatic scale. You may scoff, but many advanced diatonic players are doing this--it just seems like too much work for some styles of music!

Well I took my Richter tuned Hohner slide harp out today.  It really cracks me up.  Every time I look for that frigging A hole, it isn't there.    As its the only harmonica I have (until my Seydel masterpiece arrives), I can see why, over 10 years ago, I just consigned the harmonica to the proverbial dustbin, frustrated to pieces by the Richter scale and unable to a bender on the notes that mattered.

I custom tune diatonics to enable melody playing--you are still stuck in certain tonal centers, but there is more chromaticism.

Coming back to the Richter tuning - does anyone have an easy guide for overblowing for numpties?
This is the reference I've been using:
http://www.angelfire.com/tx/myquill/Overblows.html
I guess there is no short cuts: it really is down to experience.  

Try taking the coverplates off, and holding your thumb or finger over the slot for blow hole 6--then blow . . .
The blow reed can't sound, so it's easier to get the draw reed to play the overblow.
The shape of the mouth also has something to do with it . . .

My Seydel can't come soon enough.  I am tired of being confined to one octave tunes like Greensleeves on my slide harp

Right, you only have one octave of solo tuning on that harp?
But there is another octave above it, and that octave is complete except for ti, the major 7th of the scale.
However, the breath pattern is backward on holes 7-10.
They do that to keep the tonic chord the same on all blow holes.
And that, by the way, is the one draw back of bebop tuning--the tonic chord will be I7, due to the Bb.
But being an American who grew up with blues and rock and roll, that doesn't bother me (until I play Moon River ).
Gary

[Minima]

Thanks for the insights Gary.

Now if I start filing off material from my Hohner slide harp...it's going to be hit and miss..!!

How do you know how much solder to use btw?

Well I played diatonic for years in college - I really enjoyed it (much more fun than the piano or the flute back then, and being a kid, it seem to give me some kudos, but I liked its reedier sound).   Thing is - I abandoned diatonic for that slide harp ...thinking this was 'progress'!
I could churn out better songs on a diatonic, than my current virtuoso efforts which I play before an audience of one (the cat) on a highly skilled and complex tune comprised of three notes, a tone below one another in the form of B,A,G; B, A, A, G.   My cat thinks I play a mean "Three Blind Mice".

I'll try without the cover plates then.  My embouchure is assymetrical: it's always been that way. I blow through the left median axis of my lips.  As a kid, I learnt that I literally could not form a central embouchure because of my top lip shape/overhang.   Even Goofy has a better chance of making a central embouchure than I can.

Yes - I have a full octave from hole 4 of my 10 holer. The A note (on the treble clef stave) is absent above.

I didn't grow up with blues or rock and roll although I quite like hearing others play the harmonica in the latter.  I just don't know enough harmonica music.

[banjo-guy]

 I am starting to see the advantage of augmented tuning. I  noticed that the lowest note is different for some of the members on this board. Trigger's started on E . Roady's was a G . What G and E are we talking about.  I play a 12 whole Saxony at the moment. The low note is middle C.
 Is the G a fourth below middle C and is the E a minor 6th below middle C? What are your suggestions for the starting note?