Is Transposing on a Diatonic Harmonica Possible?

By Overblowing, Howard Levy Plays in 12 Keys on His Standard C Harp

Aug 9, 2009 Marcy Paulson

In his DVD Outside the Box, Howard Levy uses overblowing and bending notes to demonstrate the possibilities of transposing into 12 keys on one diatonic harmonica.

When Howard Levy closes his eyes and plays the harmonica, he sees the piano keyboard. Years ago, it was this vision of a keyboard without limitations that enabled him to discover six missing notes and transform the diatonic harmonica into a chromatic instrument. Today, harmonica players all over the world use the technique Levy termed overblowing to gain new mastery of the instrument and transpose tunes into any key they choose.

Out of the Box, Learn to Play Diatonic Harmonica in 12 Keys

In his DVD, Out of the Box, Howard Levy showcases twelve original compositions. The tunes demonstrate everything on the harmonica from blues, jazz, tango, funk, swing, Klezmer, East Indian Classical, and flamenco.

To a musician unfamiliar with harmonica, Levy’s rapid-fire notes, range of expression, and depth of emotion would be enough to impress. But most astounding of all, Levy plays the tunes in twelve different keys using only a C diatonic harmonica. One by one, he helps musicians join in on a Rumba in Eb minor, a tango in F# minor, and a bossa nova in A on a standard C harp.

When taking on the project, Levy’s aim was to write tunes in twelve keys that all harmonica players could attempt. His goal in playing these tunes on a C harp is to show musicians that transposing is not only possible but can sound astoundingly good. Harmonica enthusiasts watch Levy’s performances and then go to the menu to hear his explanations and tips for each song.

Why Learn to Play a Diatonic Harmonica in Different Keys?

Now that the technique of overblowing is common knowledge among harmonica players, anyone can pick up a diatonic instrument and learn to play a chromatic scale over three full octaves. With practice, they can use this scale to transpose a tune into any key. “For example,” Levy explains, “I practice, as most jazz musicians do, by transposing jazz tunes into all twelve keys on the piano, so I’m comfortable playing a tune no matter what key it’s in. I do the same thing on the harmonica. It creates a true command, where your ear and your desire to play things are what drive you and not the structural limitations of the instrument.”

Being able to transpose for a key change has distinct advantages. “If you’re playing a tune that goes into different keys, it’s kind of nice not to be a juggler,” Howard quips.

Another drawback musicians encounter when switching harmonicas midsong is a subtle but noticeable alteration in sound. This change is due to how notes interact differently with the structure of each instrument. Jazz harmonica players may also be called upon to play a complicated tune that modulates into several keys. The only way to do this smoothly is with a good command of transposition.

Musicians playing the blues in F, are still going to reach for their B flat harmonica to get that traditional sound and the chords that go with it. But no matter what style of music a harmonica player favors, learning the techniques for transposing will expand his technical ability and open a world of new sounds and possibilities.

What About Chromatic Harmonicas?

It’s clear the ability to transpose a tune offers enticing advantages for harmonica players. But some may wonder why Levy searched so hard to develop a technique for playing the missing notes of the diatonic harmonica’s scale when chromatic harmonicas had been on the market for years.

To Levy, chromatic harmonicas are completely different instruments. They are designed to offer easy access to all 12 notes of the Western scale, and are basically two harmonicas tuned a half step apart inside one body. To access notes a half step up, musicians need only press a slide mechanism for the right hand.

But this change in design doesn’t come without a price. The reeds of a chromatic harmonica behave differently because they are prevented from interacting with each other. Those bends that bring diatonic harmonicas their distinctive voice just aren’t possible on a chromatic instrument.

“I’m not interested in the sound of the chromatic instruments,” Levy remarks. “The diatonic harp has a sound that’s far more bluesy and personal. That’s why I have this mission. I want to take this bluesy, soulful sound that I feel so great about and bring it to styles of music that heretofore were not seen as possible to play on a diatonic harmonica.”

To this end, Levy has developed extensive online exercises for harmonica players of every skill level at artistworks.com. The interactive lessons are designed to help musicians grow in their ability to transpose and improvise on the diatonic harmonica. And musicians are sure to be inspired by the possibilities transposing offers as they watch Levy’s performances on Outside the Box.

In related articles, musicians can read more on Howard Levy’s start as a musician, how he developed the technique known as overblowing, his current projects, as well as pointers for improvising on a diatonic harmonica.

Quotes taken in conversation with Howard Levy on August 6, 2009.

The copyright of the article Is Transposing on a Diatonic Harmonica Possible? in Musical Instruments is owned by Marcy Paulson. Permission to republish Is Transposing on a Diatonic Harmonica Possible? in print or online must be granted by the author in writing.

Howard Levy, Harmonica Innovator