I had spent many years researching new and innovating Blues Harp designs, specifically focussing on alternate tunings or reed configurations, which allow an otherwise regular harp to be played chromatically off the bat.
There are many.
Most notably the Suzuki Sub30 which actually incorporates an extra ten reeds into the same 20 reed infrastructure, acting as silent “sympathetics”, only sounding when the player instructs them through embouchure.
Yet whilst it was my frustration with an instrument’s limitations that led me to this decade long investigation, it would soon come to pass that this very disposition of the Blues Harp’s design would be the very thing that solves my paradox.
All my life I have taught people a blessed miracle of music, that whence the passion of creativity resides within one, an orchestra can be painted from a pallette of only three colours.
That is to say, music is not the art of playing as many notes as possible as quickly and as loudly as possible… it is the art of creating masterpieces out of only the air, or thus from a flute without even any holes.
Enter… The Big Six.