Seydel 1847 Classic Easy Third Tuning

More information from Seydel

• Many musical styles become intuitively playable: especially suited for Irish/Scottish folk, also perfect for funk, reggae, folk music, pop, jazz, minor blues and much more.
• Ideal for fast,melody-oriented playing, in major or minor keys, without difficult bending notes that would restrict the playing flow.
• Quick adaption due to strong relationship to Solo and Richter tuning.
• Very expressive overall sound: a full-sounding minor draw chord and great-sounding double notes (fifths/octaves) open upnew worlds of sound for every harmonica player.
• “Chromatic Blues” in pocket-size (ideal for West Coast Swing and Minor Blues): TheEASY THIRD combines the direct tone response of the blues harmonica with the full big band sound of the chromatic.

Just two notes difference create a whole new world of sound!

Features & available keys:

• full sound thanks to 20 tuning-stable stainless steel reeds with a long service life
• nickel silver reed plates (1 mm), extremely tight tolerances of the air slot for the best tone response
• tuned inEASY THIRD tuning (equal temperament, on 443Hz base frequency, no retuned notes of a Richter, butbuilt as EASY THIRD from scratch)
• ergonomic stainless steel lid with 1847/EASY THIRD embossing
• fully sealed wooden comb made of 6 mm thick walnut (swell-free thanks to food-safe varnish)
• Weight: 76 g, 2.7 oz ; dimensions: 102 x 29 x 19 mm
• black folding box and cleaning cloth

Why is the tuning called EASY THIRD?

TheEASY THIRD makes it possible toplay in the 3rd playing position (for pieces in minor or Dorian mode) in a much more easy  way.

What is the difference to the Richter tuning?

Compared to the Richter tuning the EASY THIRDhas only two notes altered (2 and 3 draw), each a whole tone lower. These allow easy access to suitable melody notes that would otherwise only be accessible through targeted bending. The result is a very full-sounding minor chord in channels 1-6. Due to the proximity to the successful Richter tuning, the familiarization period is very short.

Why EASY THIRD?

Playing in minor is only possible on the Richter tuning if a player has an elaborated bending technique already - these difficult to control bendings prevent many players from playing atmospheric minor pieces.On the EASY THIRD they manage playing in minor without these bendings.

Why does the EASY THIRD sound so expressive?

The full minor chord allows you to play horn-section-licks and intervals (octaves and fifths). Emotional minor pieces can be played just as intuitively as otherwise cheerful pieces in major on the Richter tuning.

A great expansion of the musical repertoire for every player:

With theEASY THIRD, genres such as Irish/Scottish, folk and reggae become child's play. Even minor-key blues, pop, funk, and jazz are given a completely new expressiveness. Fast Celtic melodies in major or minor and expressive minor blues (including chromatic blues!) are suddenly easy to play and open up new worlds of sound for the player.

Suitable for every type of player:

The EASY THIRD is the synthesis of the solo tuning known from chromatic instruments and the Richter tuning of the blues harmonica.

Beginners get a very intuitive approach to minor keysand learn - as if by the way - for the well-known Richter tuning (playing in 3rd position "made easy"). Advanced players follow changes from major to minor quite intuitively with theEASY THIRD. You can also play percussive horn section licks, which often form the rhythmic foundation of a piece. This gives the harmonica a whole new role within the band.

TheEASY THIRD is also excellent for playing in major keys and in first position. A lot of Irish music—and many other folk styles—is commonly played in first position, andEASY THIRD really shines here as well, as it provides many of the notes that are typically missing in the lower octave.

The musical theory behind the EASY THIRD:

Chords on the EASY THIRD in C:

C major --> blow D minor --> draw (D minor6 (D F A B) in the middle register)

Playable scales on the EASY THIRD in C:

C major (Ionian: C, D, E, F, G, A, B, C) for many melodies from Irish folk, folk music, Scottish reels, etc. D minor (Dorian, D, E, F, G, A, B, C, D) for: Irish folk (Dorian mode), funk, pop, minor blues, etc. (EASY THIRD position)

Less frequently used scales:

A-natural minor (Aeolian): Uses the same notes as the C major scale, (also called 4th position) F major (Lydian) for all major-based melodies that should not sound too 'bluesy' (also called 12th position, very good for jazz)

Position table for the seven available keys:

What other options are there for playing in minor keys

Playing in Minor Keys – The "EASY THIRD" way

Before the introduction of theEASY THIRD tuning, players looking to explore minor keys had two main options:

1. Use special-tuned harmonicas (Natural Minor or Harmonic Minor).

2. Play in third position on a standard Richter-tuned harmonica—where the root note shifts to hole 1 draw (as opposed to hole 2 draw in second position).

However, third position on Richter presents a major challenge: to access key scale tones in the lower octave, you need to bend holes 2 and 3 draw down a full tone. This level of bending is difficult for many players and often disrupts the flow and feel of the music.

The idea behind EASY THIRD tuning is simple and powerful:

By retuning holes 2 and 3 draw one whole step lower, the layout of holes 2–3–4 now mirrors the familiar draw/blow pattern of holes 4–5–6 on a Richter harp. This change gives you:

• full access to the Dorian mode (third position)
• natural playability in first position (Major)
• easy access to blues scales in the lower octave - without the need for deep or advanced bending

Better still, this note pattern already exists in the mid-octave on standard Richter tuning, so it’s intuitive and familiar to most players.

What about the Major Seventh in the lower register?

Due to the retuning, the major seventh note of the scale is not present in the lower register. In most keys and musical contexts, this is typically a passing note, not a key melody tone - so its absence rarely affects performance.

For most players and styles, this is a small trade-off for the significant gain in playability, flexibility, and expressive potential. In the tips-section of this page, you will find a workaround for the missing note.