An entertaining performance that combines different... Third journey into musical theater

Double-reed tremolos and octave harmonicas are good for playing traditional dance tunes, including polkas, Scottish melodies, waltzes, and other types of melodies based on traditional styles such as Slavic, Celtic, French-Canadian, Scandinavian and American. Despite the fact that the world is dominated by diatonic and chromatic blues, historically and throughout the world the two reed harmonics(mostly tremolo) are the most widely used. When playing such harmonicas, they are used different techniques performing various melodies (blocking with the tongue and blocking with the lips), but the most suitable is blocking the sound holes (channels) with the tongue, a kind of accompaniment of chords was obtained. In this way, rhythmicity, completeness and harmony of melodies are achieved, and no other accompaniment is required. This is a completely suitable method for playing.

Tremolo and octave harmonicas are basically the same as standard diatonic harmonicas, but when each note is played, two reeds play in the hole (channel). On Octave Harmonics, these two reeds are tuned to the same note, but one octave apart, resulting in a fuller sound. On Tremolo, one of the reeds is tuned slightly higher than the other, resulting in a “tremolo” effect, the sound is fuller than on a standard diatonic harmonica. In appearance, most octave and tremolo harmonicas have some differences from diatonic ones. Instead of one row of 10 holes, they have 2 rows (1 row for inhaled notes and 1 row for exhaled notes) of 20 or more holes. In other words, two-reed harmonicas have 4 times more holes than single-reed harmonicas.

Because there are more holes, the notes are positioned farther outward than on a standard 10-hole harmonica, and playing requires more horizontal movement than a standard harmonica. This means that when you play chords you have to make do with fewer notes per chord. For example, on a diatonic harmonica in the key of C, you can play a 3-4-5 (B-D-F) chord while inhaling, this is a G7 chord, but on a two-reed harmonica you get only D-F, which can sound like Dm or F6. Therefore, many of the tunes played on a double-reed harmonica will sound slightly different (maybe more neutral) than those played on a single-reed harmonica, but this will be compensated by the fuller sound due to the additional reeds.

Setting up double reed harmonicas

The tuning system for the two reed harmonicas is based on the so-called Richter system, which is used to tune the standard Marine Band, a 10-hole diatonic harmonica. But there are also options. Octaves and tremolos with the key C often neglect the lower C - the lowest note is E, this is not a malfunction or defect because the lower octave is more often used for playing chords than for playing melody. Many tremolos produced in Asia (probably the most commonly found harmonicas in the world) use a slightly different tuning system. On these "Eastern tremolos" the bottom octave is very similar to the middle octave of the standard Richter system. As a result of this, in the upper octave, adjacent notes played while inhaling and exhaling begin to be distorted, which requires certain skills in playing. Another system is used in tools from Huang. The tuning is the same as the chromatic harmonica but with double C notes on the exhale in each octave.

Two-reed harmonicas differ in another aspect of tuning. Most Western manufacturers (Hohner, Hering) use the “euphony” system. The notes are adjusted so that they form good sounding chords. But sometimes individual notes may not coincide with similar notes played on another instrument.

Asian manufacturers (Suzuki, Huang) are leaning towards balance. As a result, single notes are more accurate, but the chords sound less pleasant and more clear and strong. One last aspect of harmonic tremolo tuning: - Western manufacturers place the double reeds far apart, which produces audible and fast vibrations (also called a “damp” tremolo). Asian manufacturers use a “dry” tremolo, the reeds are located close to each other, which gives slower vibrations.

Octave and tremolo harmonicas come in different keys, and each has its own sound and characteristics. Standard single-reed diatonics are available in all keys, from low G to high F. The note for C and D diatonic tunings is very high for Octave harmonicas, so when tuning, reeds are added an octave lower. On the other hand, for octave harmonicas with the key G, reeds are taken an octave higher. Also, C and D tremolo instruments are tuned an octave lower than standard single-reed harmonicas. Tremolo and Octave harmonica with C key are very suitable for beginners.

Which oscillate in the air stream created by the musician. Unlike other reed musical instruments The harmonica does not have a keyboard. Instead of a keyboard, the tongue and lips are used to select the hole (usually arranged linearly) that corresponds to the desired note.

The harmonica is most often used in such musical styles as blues, folk, bluegrass, blues rock, country, jazz, pop, and various genres of folk music.

A musician who plays the harmonica is called a harper. harper).

Story

Types of harmonicas

Harmonicas are divided into:

• Diatonic harmonicas
• Orchestral harmonicas

Chromatic harmonic

Blues harmonica

The blues harmonica is the most popular today. Usually it has 10 holes, each of which can be played by inhaling. draw), and exhale (eng. blow). With certain playing skills, you can play chromatically using special techniques - bends and over-blows. Sold in different keys and tunings, but the most common is C major.

Tremolo harmonica

Class structure

Regularity is important. Make yourself a schedule. Don't deviate from it. It is recommended to start your lessons by playing chords slowly. It is important to adhere to “diaphragmatic breathing”. Then gradually move on to playing riffs and melodies. It is best to take sounds and melodies by ear from professional recordings. But still, first, it is recommended to learn at least 10 riffs/melodies by notes; This will give you confidence in the game and allow you to quickly select by ear. In addition, it is useful to play with the so-called minuses, and record your own game in the form of sound files. This will help you get a feel for how the audience will hear you (a harmonica player perceives the sound produced by his instrument differently, since the vibrations are transmitted through the hands and muscles of the mouth), and will also allow you to be more critical of your playing.

Performers in Russia

see also

Write a review about the article "Harmonica"

Notes

Links

• (Spanish)
• (English)

Excerpt characterizing Harmonica

Nine days after leaving Moscow, a messenger from Kutuzov arrived in St. Petersburg with official news of the abandonment of Moscow. This sent was the Frenchman Michaud, who did not know Russian, but quoique etranger, Busse de c?ur et d'ame, [however, although a foreigner, but Russian at heart,] as he himself said to himself.
The Emperor immediately received the messenger in his office, in the palace of Kamenny Island. Michaud, who had never seen Moscow before the campaign and who did not speak Russian, still felt moved when he appeared before notre tres gracieux souverain [our most gracious sovereign] (as he wrote) with the news of the fire of Moscow, dont les flammes eclairaient sa route [whose flame illuminated his path].
Although the source of Mr. Michaud's chagrin [grief] should have been different from that from which the grief of the Russian people flowed, Michaud had such a sad face when he was brought into the Tsar's office that the Tsar immediately asked him:
- M"apportez vous de tristes nouvelles, colonel? [What news did you bring me? Bad, Colonel?]
“Bien tristes, sire,” answered Michaud, lowering his eyes with a sigh, “l"abandon de Moscou. [Very bad, Your Majesty, abandonment of Moscow.]
– Aurait on livre mon ancienne capitale sans se battre? [Have they really betrayed my ancient capital without a battle?] – suddenly flushing, the sovereign said quickly.
Michaud respectfully conveyed what he was ordered to convey from Kutuzov - namely, that it was not possible to fight near Moscow and that, since there was only one choice left - to lose the army and Moscow or Moscow alone, the field marshal had to choose the latter.
The Emperor listened in silence, without looking at Michaud.
“L"ennemi est il en ville? [Has the enemy entered the city?],” he asked.
– Oui, sire, et elle est en cendres a l"heure qu"il est. Je l "ai laissee toute en flammes, [Yes, Your Majesty, and he is turned into a conflagration at the present time. I left him in the flames.] - Michaud said decisively; but, looking at the sovereign, Michaud was horrified by what he had done. The Emperor began to breathe heavily and frequently, his lower lip trembled, and his beautiful Blue eyes instantly wetted with tears.
But this lasted only one minute. The Emperor suddenly frowned, as if condemning himself for his weakness. And, raising his head, he addressed Michaud in a firm voice.
“Je vois, colonel, par tout ce qui nous arrive,” he said, “que la providence exige de grands sacrifices de nous... Je suis pret a me soumettre a toutes ses volontes; mais dites moi, Michaud, comment avez vous laisse l"armee, en voyant ainsi, sans coup ferir abandonner mon ancienne capitale? N"avez vous pas apercu du decouragement?.. [I see, Colonel, in everything that is happening, that Providence requires great sacrifices from us... I am ready to submit to his will; but tell me, Michaud, how did you leave the army that was leaving my ancient capital without a battle? Have you noticed any loss of spirit in her?]
Seeing the calmness of his tres gracieux souverain, Michaud also calmed down, but to the sovereign’s direct, essential question, which also required a direct answer, he had not yet had time to prepare an answer.
– Sire, me permettrez vous de vous parler franchement en loyal militaire? [Sir, will you allow me to speak frankly, as befits a real warrior?] - he said to gain time.
“Colonel, je l"exige toujours,” said the sovereign. “Ne me cachez rien, je veux savoir absolument ce qu”il en est.” [Colonel, I always demand this... Don’t hide anything, I definitely want to know the whole truth.]
- Sire! - said Michaud with a thin, barely noticeable smile on his lips, having managed to prepare his answer in lung shape and the respectful jeu de mots [pun]. - Sire! j"ai laisse toute l"armee depuis les chefs jusqu"au dernier soldat, sans exception, dans une crinte epouvantable, effrayante... [Sire! I left the entire army, from the commanders to the last soldier, without exception, in great, desperate fear...]
– Comment ca? – the sovereign interrupted, frowning sternly. – Mes Russes se laisseront ils abattre par le malheur... Jamais!.. [How so? Can my Russians lose heart before failure... Never!..]
This was just what Michaud was waiting for to insert his play on words.
“Sire,” he said with a respectful playfulness of expression, “ils craignent seulement que Votre Majeste par bonte de céur ne se laisse persuader de faire la paix.” “Ils brulent de combattre,” said the representative of the Russian people, “et de prouver a Votre Majeste par le sacrifice de leur vie, combien ils lui sont devoues... [Sir, they are afraid only that your Majesty, out of the kindness of his soul, will not decide to make peace . They are eager to fight again and prove to Your Majesty by the sacrifice of their lives how devoted they are to you...]
- Ah! - the sovereign said calmly and with a gentle sparkle in his eyes, hitting Michaud on the shoulder. - Vous me tranquillisez, colonel. [A! You reassure me, Colonel.]
The Emperor, with his head down, was silent for some time.
“Eh bien, retournez a l"armee, [Well, then return to the army.],” he said, straightening up to his full height and turning to Michaud with a gentle and majestic gesture, “et dites a nos braves, dites a tous mes bons sujets partout ou vous passerez, que quand je n"aurais plus aucun soldat, je me mettrai moi meme, a la tete de ma chere noblesse, de mes bons paysans et j"userai ainsi jusqu"a la derniere ressource de mon empire. “Il m"en offre encore plus que mes ennemis ne pensent,” said the sovereign, becoming more and more inspired. “Mais si jamais il fut ecrit dans les decrets de la divine providence,” he said, raising his beautiful, gentle and brilliant feelings eyes to the sky, - que ma dinastie dut cesser de rogner sur le trone de mes ancetres, alors, apres avoir epuise tous les moyens qui sont en mon pouvoir, je me laisserai croitre la barbe jusqu"ici (the sovereign pointed his hand to half his chest) , et j"irai manger des pommes de terre avec le dernier de mes paysans plutot, que de signer la honte de ma patrie et de ma chere nation, dont je sais apprecier les sacrifices!.. [Tell our brave men, tell all my subjects , wherever you go, that when I no longer have a single soldier, I myself will become the head of my kind nobles and good men and thus exhaust the last funds of my state. They are more than my enemies think... But if It was destined by divine providence that our dynasty should cease to reign on the throne of my ancestors, then, having exhausted all the means in my hands, I will grow a beard until now and would rather go eat one potato with the last of my peasants than dare to sign the shame of my homeland and my dear people, whose sacrifices I know how to appreciate!..] Having said these words in an excited voice, the sovereign suddenly turned around, as if wanting to hide from Michaud the tears that had come to his eyes, and walked into the depths of his office. After standing there for a few moments, he returned with long steps to Michaud and with a strong gesture squeezed his hand below the elbow. The sovereign’s beautiful, meek face became flushed, and his eyes burned with a gleam of determination and anger.
“Colonel Michaud, n"oubliez pas ce que je vous dis ici; peut etre qu"un jour nous nous le rappellerons avec plaisir... Napoleon ou moi,” said the sovereign, touching his chest. – Nous ne pouvons plus regner ensemble. J "ai appris a le connaitre, il ne me trompera plus... [Colonel Michaud, don’t forget what I told you here; maybe someday we will remember this with pleasure... Napoleon or I... We can no longer reign together. I recognize him now, and he will not deceive me anymore...] - And the sovereign, frowning, fell silent. Hearing these words, seeing the expression of firm determination in the eyes of the sovereign, Michaud - quoique etranger, mais Russe de c?ur et d"ame - felt himself at this solemn moment - entousiasme par tout ce qu"il venait d"entendre [although a foreigner, but Russian at heart... admiring everything that he heard] (as he said later), and in the following expressions he portrayed himself as his feelings, as well as the feelings of the Russian people, whom he considered himself authorized.
- Sire! - he said. - Votre Majeste signe dans ce moment la gloire de la nation et le salut de l "Europe! [Sovereign! Your Majesty signs at this moment the glory of the people and the salvation of Europe!]
The Emperor bowed his head and released Michaud.

While Russia was half conquered, and the inhabitants of Moscow fled to distant provinces, and militia after militia rose to defend the fatherland, it involuntarily seems to us, who did not live at that time, that all Russian people, young and old, were busy only with to sacrifice oneself, save the fatherland or cry over its destruction. Stories and descriptions of that time, without exception, speak only of self-sacrifice, love of the fatherland, despair, grief and heroism of the Russians. In reality this was not the case. It seems to us that this is so only because we see from the past one common historical interest of that time and do not see all those personal, human interests that the people of that time had. Meanwhile, in reality, those personal interests of the present are so much more significant than general interests that because of them the general interest is never felt (not even noticeable at all). Most of The people of that time did not pay any attention to the general course of affairs, but were guided only by the personal interests of the present. And these people were the most useful figures of that time.
Those who tried to understand the general course of affairs and wanted to participate in it with self-sacrifice and heroism were the most useless members of society; they saw everything inside out, and everything they did for the benefit turned out to be useless nonsense, like the regiments of Pierre, Mamonov, plundering Russian villages, like lint plucked by the ladies and never reaching the wounded, etc. Even those who, loving to be clever and express their feelings, they talked about the present situation in Russia, involuntarily bearing in their speeches the imprint of either pretense and lies, or useless condemnation and anger at people accused of something for which no one could be guilty. In historical events, the most obvious is the prohibition of eating the fruit of the tree of knowledge. Only unconscious activity bears fruit, and the person who plays a role in a historical event never understands its significance. If he tries to understand it, he is struck by its futility.
The significance of the event that was taking place in Russia at that time was all the more unnoticeable, the closer human participation was in it. In St. Petersburg and provincial cities, distant from Moscow, ladies and men in militia uniforms mourned Russia and the capital and talked about self-sacrifice, etc.; but in the army that was retreating beyond Moscow, they hardly spoke or thought about Moscow, and, looking at its conflagration, no one swore revenge on the French, but thought about the next third of their salary, about the next stop, about Matryoshka the sutler and the like...
Nikolai Rostov, without any goal of self-sacrifice, but by chance, since the war found him in the service, took a close and long-term part in the defense of the fatherland and therefore, without despair and gloomy conclusions, looked at what was happening in Russia at that time. If they had asked him what he thought about the current situation in Russia, he would have said that he had nothing to think about, that Kutuzov and others were there for that, and that he had heard that the regiments were being recruited, and that they would probably fight for a long time , and that under the current circumstances it would not be surprising for him to receive a regiment in two years.
Because he looked at the matter this way, he not only accepted the news of his appointment on a business trip for repairs for the division in Voronezh without regret that he would be deprived of participation in the last struggle, but also with the greatest pleasure, which he did not hide and which his comrades understood very well.
A few days before the Battle of Borodino, Nikolai received money and papers and, sending the hussars ahead, went to Voronezh by mail.
Only those who have experienced this, that is, have spent several months without ceasing in the atmosphere of military, combat life, can understand the pleasure that Nicholas experienced when he got out of the area that the troops reached with their forages, supplies, and hospitals; when he, without soldiers, wagons, dirty traces of the presence of the camp, saw villages with men and women, landowners' houses, fields with grazing cattle, station houses with fallen asleep caretakers. He felt such joy as if he had seen it all for the first time. In particular, what surprised and pleased him for a long time were women, young, healthy, each of whom had less than a dozen officers looking after her, and women who were glad and flattered that a passing officer was joking with them.
In the most cheerful mood, Nikolai arrived at the hotel in Voronezh at night, ordered himself everything that he had been deprived of for a long time in the army, and the next day, having shaved clean and putting on a dress uniform that had not been worn for a long time, he went to report to his superiors.
The head of the militia was a civil general, an old man, who apparently was amused by his military rank and rank. He angrily (thinking that this was a military quality) received Nicholas and significantly, as if having the right to do so and as if discussing the general course of the matter, approving and disapproving, questioned him. Nikolai was so cheerful that it was just funny to him.
From the chief of the militia he went to the governor. The governor was a small, lively man, very affectionate and simple. He pointed out to Nikolai those factories where he could get horses, recommended to him a horse dealer in the city and a landowner twenty miles from the city who had the best horses, and promised all assistance.
– Are you Count Ilya Andreevich’s son? My wife was very friendly with your mother. On Thursdays they gather at my place; “Today is Thursday, you are welcome to come to me easily,” said the governor, dismissing him.
Directly from the governor, Nikolai took the saddlebag and, taking the sergeant with him, rode twenty miles to the landowner’s factory. Everything during this first time of his stay in Voronezh was fun and easy for Nikolai, and everything, as happens when a person is well disposed, everything went well and went smoothly.
The landowner to whom Nikolai came was an old bachelor cavalryman, a horse expert, a hunter, the owner of a carpet, a hundred-year-old casserole, an old Hungarian and wonderful horses.
Nikolai, in two words, bought for six thousand and seventeen stallions for selection (as he said) for the horse-drawn end of his renovation. Having had lunch and drunk a little extra Hungarian, Rostov, having kissed the landowner, with whom he had already gotten on first name terms, along the disgusting road, in the most cheerful mood, galloped back, constantly chasing the coachman, in order to be in time for the evening with the governor.
Having changed clothes, perfumed himself and doused his head with cold milk, Nikolai, although somewhat late, but with a ready-made phrase: vaut mieux tard que jamais, [better late than never] came to the governor.
It was not a ball, and it was not said that there would be dancing; but everyone knew that Katerina Petrovna would play waltzes and ecosaises on the clavichord and that they would dance, and everyone, counting on this, gathered at the ballroom.
Provincial life in 1812 was exactly the same as always, with the only difference that the city was livelier on the occasion of the arrival of many wealthy families from Moscow and that, as in everything that happened at that time in Russia, it was noticeable some kind of special sweepingness - the sea is knee-deep, the grass is dry in life, and even in the fact that that vulgar conversation that is necessary between people and which was previously conducted about the weather and about mutual acquaintances, was now conducted about Moscow, about the army and Napoleon.

Double-reed tremolos and octave harmonicas are good for playing traditional dance tunes, including polkas, Scottish tunes, waltzes, and other types of tunes based on traditional styles such as Celtic, French-Canadian, Scandinavian and American. Although blues diatonics and chromatics dominate the world, historically and throughout the world, two-reed harmonicas (mostly tremolos) are the most widely used. When playing such harmonicas, different techniques were used to perform various melodies, but the most suitable was blocking the sound holes with the tongue, which resulted in a kind of accompaniment from chords. In this way, rhythmicity, completeness and harmony of the melodies were achieved, and no other accompaniment was required. This is a completely suitable method for playing.

Tongue lock

To do this, you need to take the harmonica into your lips and close the sound holes with the tip of your tongue so that one note is played through the hole on the right side of the tongue. Once you get used to playing single notes in this way, chords for accompaniment will be created by releasing the holes blocked by the tongue in time with the music. Tongue locking makes certain effects available, such as octave and other intervals. This method is also used on all diatonic harmonicas. The sound when played with tongue locking is reminiscent of playing an accordion, with the melody on the right and the accompanying chords on the left.

Tremolo and octave harmonics

In principle, these are the same as standard diatonic harmonicas, but when each note is played, two reeds play in the hole. On octave harmonicas, these two reeds are tuned to the same note, but one octave apart, resulting in a fuller sound. On tremolos, one of the reeds is tuned slightly higher than the other, resulting in a “tremolo” effect, the sound is fuller than on a standard diatonic harmonica. In appearance, most octave and tremolo harmonics have some differences from diatonic ones. Instead of one row of 10 holes, they have 2 rows (1 row for inhaled notes and 1 row for exhaled notes) of 20 or more holes. In other words, two-reed harmonicas have 4 times more holes than single-reed harmonicas.

Because there are more holes, the notes are positioned farther outward than on a standard 10-hole harmonica, and playing requires more horizontal movement than a standard harmonica. This means that when you play chords you have to make do with fewer notes per chord. For example, on a diatonic harmonica in the key of C, you can play a 3-4-5 (B-D-F) chord while inhaling, this is a G7 chord, but on a two-reed harmonica you get only D-F, which can sound like Dm or F6. Therefore, many of the tunes played on a double-reed harmonica will sound slightly different (maybe more neutral) than those played on a single-reed harmonica, but this will be compensated by the fuller sound due to the additional reeds.

Tuning two reed harmonics

The tuning system for the two reed harmonicas is based on the so-called Richter system, which is used to tune the standard “Marine Band,” a 10-hole diatonic harmonica. But there are also options. Octaves and tremolos with the key C often neglect the lower C - the lowest note is E, this is not a malfunction or defect because the lower octave is more often used for playing chords than for playing melody.

Many tremolos released in Asia (probably the most commonly found harmonicas in the world) use a slightly different tuning system. On these “Eastern tremolos” the lower octave is very similar to the middle octave of the standard Richter system. As a result of this, in the upper octave, adjacent notes played while inhaling and exhaling begin to be distorted, which requires certain skills in playing. Another system is used in instruments from Huang. The tuning is the same as the chromatic harmonica but with double C notes on the exhale in each octave.

Huang Musette 16, key C

Huang Musette 24 and Chthedral Concert, key C

In addition to the note grid, two-reed harmonicas differ in another aspect of tuning. Most Western manufacturers (Hohner, Hering) use the “euphony” system. The notes are adjusted so that they form good sounding chords. But sometimes individual notes may not match similar notes played on another instrument, for example the note F on a C harmonica. This note is tuned to the G7 chord for harmonica. An F chord played on a guitar or piano, in this case it doesn’t matter, will sound inexpressive and blurry. On the harmonica, all notes in the diatonic series are in harmony with either a C chord (all notes played on the exhale) or a G, G7 or G9 chord (all notes played on the breath).

Asian manufacturers (Suzuki, Huang) are leaning towards balance. As a result, single notes are more accurate, but the chords sound less pleasant and more clear and strong. One last aspect of tuning the harmonic tremolo. Western manufacturers place the double reeds far apart, which produces audible and fast vibrations (also called a “damp” tremolo). Asian manufacturers use a “dry” tremolo, the reeds are located close to each other, which gives slower vibrations.

Octave and tremolo harmonicas come in different keys, and each has its own sound and characteristics. Standard single-reed diatonics are available in all keys, from low G to high F. The note for C and D diatonic tunings is very high for Octave harmonics, so when tuning, reeds are added an octave lower. On the other hand, for octave harmonics with key G, reeds an octave higher are taken. Also, C and D tremolo instruments are tuned an octave lower than standard single-reed harmonicas. Therefore, an octave harmonica with a C key and a tremolo with a G key are very suitable for beginners.

Tables of the location of notes on some harmonics

Hohner Tremolo – Echo 2209, 2309, 2409, 2509, 54, 55, 56, 57, 8362,

Goliath 453, Weekender 98.115, 98.114

Huang Tremolo (slightly different from Hohner) – Frontier Harp 24, Frontier Harp 16, Musette 4, Musette 6

Hohner Octave models – Echo 1493, 1494, 1495, 1496. Comet 2503, 2504, 3427.

Model with 30 holes, key C (Hohner 57)

Models with 24 holes, key C (Hohner 453, 56, 2509, 53, 53-6, 1496)

Huang 24 Hole Models, Key C – Frontier 24, Musette 4, and Musette 6

Models with 2O holes, key C (Hohner 1495, 3427, 2504)

Models with 2O holes, key C (Hohner 2409, 55, 98.115)

Models with 16 holes, key C (Hohner 1493, 2309, 2503, 8362, 54, 98.114)

Huang Model 16 Hole, Key C – Frontier Harp 16

Models with 14 holes, key C (Hohner 1494, 2209)

Arrangement of notes on Suzuki tremolo harmonicas

(the first note on 21-hole harmonicas is played on the inhale) Two Timers are available with C and A keys.

Humming Tremolos are available in C, C#, A, G, D, Am, Gm, and Dm keys.

Suzuki Two Timer (SU-21) and Humming Tremolo (SU-21H) – Key C

Suzuki Humming Tremolo (SU-21) key A minor

Suzuki Two Timer SU-24 – key C

Note placement for HERING octaves and tremolos

In Russia it is also called a harmonica, harmonica (which is incorrect, because an accordion is a different instrument). It is also called a harp (harp - that’s what it was called in America), but this name is not entirely correct, since a harp is a harp.

Inside the harmonica there are copper plates (reeds), which vibrate in the air stream created by the musician. Unlike other reed musical instruments, the harmonica does not have a keyboard. Instead of a keyboard, the tongue and lips are used to select the hole (usually arranged linearly) that corresponds to the desired note.

Most often used in such musical styles as blues, folk, bluegrass, blues-rock, country, jazz.

Types of harmonicas

Harmonicas are divided into:

• Chromatic harmonics
• Diatonic harmonics
• Blues harmonicas
• Tremolo harmonica
• Octave harmonics
• Orchestral harmonicas
• Melodic harmonics
• Bass Harmonics
• Chord harmonics

Chromatic harmonics allow you to play all 12 notes in an octave (including semitones). Learning to play them is more difficult than diatonic ones, but you can play any melody on them without mastering such complex techniques games like band. Harmonicas of this type actually consist of 2 harmonics in one housing. Switching between them and extracting halftones is achieved using a special switch button - a slider, on one of the sides of the instrument.

IN diatonic harmonicas The diatonic scale is used (for example: C, D, E, F) without half-tone intervals between notes (C#, D# and so on). Playing a diatonic harmonica is reminiscent of playing a piano only on white keys, without black ones (some missing sounds can be extracted using a special technique - bending). In most cases, diatonic harmonicas have 10 holes and come in the keys of C or G. Diatonic harmonicas have a range of 1-4 octaves.

Blues harmonica usually has 10 holes, with a draw plate and a blow plate in each hole.

IN tremolo harmonica two sound plates sounding simultaneously are slightly out of tune with each other, creating a tremolo effect. Thus, there are 2 reeds for each note, and the sound is more saturated. The presence of the A note in the lower octave allows you to fully play Russian melodies.

Octave harmonic- another type of diatonic. In it, two sound plates sounding simultaneously are tuned exactly an octave relative to each other. This gives greater volume and a different timbre to the sound.

Bass harmonica- actually two separate tools, one above the other, connected by hinges on both sides. Each hole plays only on exhalation, and for each note there are two sound plates tuned to an octave.

Chord harmonica, like a bass harmonica, also consists of two movably fixed plates, the double reeds of which are tuned to an octave. But unlike bass harmonicas, it has both exhale and inhale notes, which allows you to use different chords.

• Don't buy an expensive harmonica right away. In the process of mastering various playing techniques (such as bending) there is big chance break the tabs;
• some popular types of accordions are difficult for beginners and need to be “brought” to working condition;
• buying a cheap accordion can also complicate the learning process;
• when buying a diatonic harmonica, it is better to buy harmonicas in the key of C major, since it is in the middle of the musical range and most teaching schools are written specifically for this key;
• Directly when purchasing in a store, check all the holes for inhalation and exhalation. If you have mastered bends, check them out too;
• If the accordion suits you, but doesn’t build a little, it’s not a big deal. It can be adjusted.

History of the harmonica

Harmonica can be described as a compact, pocket-sized musical instrument that brings joy to millions of people around the world. At its core, the harmonica is a Western-style wind organ. Since its invention by Christian Friedrich Ludwig Buschmann in 1821, the instrument has grown in popularity. And after the advent of the Hohner chromatic harmonica, the repertoire that could be performed on such instruments expanded significantly. True, not all harmonica fans know that the direct ancestor of their favorite instrument, as well as all other European reed instruments, is the oriental wind organ.

Western and eastern wind organs are classified as reed instruments. However, if we open the “World Encyclopedia of Musical Instruments”, we learn that reed instruments are only one of the branches of a large family that are united under the general name “aerophones”.

The main feature that determines belonging to this group is the vibration of the air stream inside the body, as a result of which the musical sound. This group includes instruments with holes (recorders), with whistle-type mouthpieces (recorders), with a single reed (clarinets, saxophones), with a double reed (oboe, bassoon), with bowl-shaped mouthpieces (trumpets), as well as manual reed (eastern and western wind organs, concertinas, accordions and harmonicas).

For the first time, the eastern wind organ came to Europe from China in mid-18th century century. This instrument consisted of 17 bamboo tubes of various sizes with copper reeds inside, which were attached in a circle to a metal body with a mouthpiece. After studying it, the idea arose to use reeds in the construction of traditional organs. Unfortunately, such experiments did not receive the approval of the general public, and most organ builders abandoned such design solutions in relation to keyboard instruments.

One way or another, reeds were used in the manufacture of Western pipe organs only in the 19th century. The first harmonica was created by the German watchmaker Christian Friedrich Ludwig Buschmann in 1821. The invention, called “aura,” was a metal plate with 15 slots, which were closed with corresponding steel tabs. According to the author's idea, his brainchild was more of a tuning fork than a musical instrument. The notes in it were arranged in chromatic order and were extracted only by exhaling.

In 1825, another German, F. Hotz, began producing wind organs at his factory in Knittlingen. Another native of Germany, Christian Messner, acquired several “auras” made by Bushman and in 1827 began making instruments similar to them. He called his products with the strange word “mundeolins” (from German mund “mouth”, “lips”). Two years later, Englishman Sir Charles Wheatstone patented his model of a pipe organ. In his design, the reeds were controlled by a small push-button keyboard, which the author himself called a “symfonium”.

But the author of the most important design solution for that period of time was a master from Bohemia named Richter. Around 1826, he made a sample harmonica with ten holes and twenty reeds (separate for inhalation and exhalation) mounted in a wooden cedar body. The tuning option proposed by Richter using the diatonic scale became standard for European instruments, which were called "Mundharmonika" or wind organ.

In 1829, I. V. Glier organized the production of wind organs at his factory in the German city of Klingenthal. In 1855, another German, Christian Weisse, did the same. However, by 1857, the largest mass manufacturer of harmonicas became a company from Trossingen. At that time it was led by the famous Matthias Hohner. In 1857 alone, with the help of his family members and one hired worker, he managed to produce 650 instruments. Honer was an outstanding businessman. One of his marketing finds was an overlay with the name of the manufacturer. In 1862, Honer brought the harmonica to North America. It was a step that would later lead his company to become a world leader in the production of these instruments. By 1879, Honer was producing 700,000 instruments a year. At the turn of the century, annual output was already 5 million units. Now the company produces more than 90 different models of harmonicas, which allow the performer to freely express himself in any musical form, be it classical, jazz, blues, rock or ethnic music. There are statistics that 40 million people play this instrument in the USA, and another 5 million in Canada.

Harmonica, or wind organ, on different languages has names of similar origin - they all contain “mouth” or “mouth” and/or “harmonica”. In German it is called “Mundharmonika”, in French - “harmonica a bouche”, in Italian - “armonica a bocca”, in Spanish “armonica”, in English - “harmonica”, “mouth organ”, “ French harp" or "harp".

They say that the harmonica owes its name to a completely different instrument. In 1829, the Viennese master Demian received exclusive rights to produce accordions. Naturally, other masters also produced similar instruments, but under a different name, namely “handharmonika” (hand harmonica). Due to a similar principle of operation, the wind organ began to be called “mundharmonika” (harmonica).

Even world wars could not prevent the rapid spread of harmonica throughout the world. German manufacturers produced special export models for various countries: "l'Epatant" and "La Marseillaise" for France, "King George" and "Alliance Harp" for England, "El Centenario" for Mexico and even chain harmonicas for those ethnic groups , whose clothes did not have pockets. During World War I, various organizations supplied German and British soldiers with harmonicas. There was even a Kaiser Wilhelm model.

The first recordings of the harmonica were made in the USA in the early 1920s, although this instrument was recorded on film in silent films as early as 1894. In the 30s the Great Depression, and in the 40s - the 2nd World War contributed to the resettlement of southerners to the northern states and to West Coast. This process stimulated the spread of the small instrument throughout the vast United States. At that time, Jazz Gillum and John Lee “Sonny Boy” Williamson were very popular among the black inhabitants of Chicago. At the same time, on the other side of the world, in Nuremberg, Larry Adler played for soldiers of the allied armies of the anti-Hitler coalition. To find the Hohner factory, he flew in a small plane, with only a picture of the building on it as a guide!

Everywhere soldiers returned to their homes. There was an upsurge in the black ghettos, which, naturally, was reflected in the music. Young Southern musicians (Little Walter, Junior Wells, Snooki Pryor) now played harmonica through a microphone and amplifier. This was something new - the “Mississippi saxophone” (as the harmonica was called in American slang) could now perform solo to the accompaniment of an orchestra. In the 50s, rock and roll exploded the patriarchal silence of the then music scene. Harmonica was at the forefront of this youth rebellion, which drew inspiration from the black American blues.

This instrument has experienced another birth in a new musical style, and to this day retains its popularity among performers of different ages and musical genres.

Video: Harmonica on video + sound

Thanks to these videos you can familiarize yourself with the tool, watch real game on it, listen to its sound, feel the specifics of the technique:

Selling tools: where to buy/order?

The encyclopedia does not yet contain information about where you can buy or order this instrument. You can change this!

In English, the name of a harmonica can sound like harmonica, or harp. The latter option also gave rise to the nickname of the musician playing this instrument - harper.

Where did it come from, who invented it? To answer these questions, you will have to delve a little into history.

Where did it come from...

The harmonica became famous not so long ago. Its history, of course, cannot be compared with the stories of a more ancient flute or the same guitar. Nevertheless, the harmonica has something in common with the flute: they both belong to the same family of wind reed instruments.

Unlike most musical instruments, the harmonica has an almost exact date of creation. It was patented in 1821 by 16-year-old German H.F.L. Bushman, "watchmaker." Of course, then it had a look that was clearly different from the modern appearance of this instrument: a metal plate with fifteen holes covered with steel reeds. The sound was produced only on exhalation, and, as in our times, its volume and purity depended solely on the skill of the master.

This is what the first accordion looked like

The design of the first accordion was not ideal. Many understood this and tried to make changes. The furthest went again to a German, a certain Richter from Bohemia. Already in 1826, he offered musicians his own version of the instrument. There were already 10 holes, and 20 reeds, that is, two for each: one of the reeds was responsible for producing sound when inhaling, the other - when exhaling. The scheme proposed by Richter with a diatonic scale turned out to be so good and convenient that it exists to this day.

Already in mid-19th century, mass production of harmonicas began, and the first among its manufacturers was M. Honer. The company he founded in 1857, named after its creator, quickly conquered the market. Including due to the fact that Honer relied not only on Europe. In the early 60s of the same century, he brought his harmonicas to America, and this was the right step. Since then, the German company Hohner has been a world leader in the production of these particular musical instruments. However, their range does not end there; it includes accordions, recorders, and guitars. But it all started with an ordinary harmonica!

Now you can even find something like this: an accordion and a flash drive - two in one

Harmonica device

Inside the instrument there are two plates with reeds, one of which works on inhalation, and the other on exhalation. That is, the sound actually occurs when the tongue, located opposite the hole into which you inhale (or, conversely, from which you “take” air), breaks the air stream.

Since the harmonica is a very small instrument in itself, no acoustic resonator, such as, for example, in a guitar, simply would not fit there. Therefore, the strength of sound depends primarily (and only) on the musician himself, on the position of his hands, the development of his lungs and the degree of skill.

Accordions are made from wood, plastic or metal. A tree, as it should be, requires more careful care, is more sensitive to the weather and is more capricious about other everyday troubles.

Harmonicas, among other things, also differ in tonality. The most common type of instrument is in the key of C major. Among the "Chinese" there are a majority of such accordions. Companies from Japan and Germany introduce more variety: harps in G major are often found, and also, less frequently, in other keys.

Varieties

What types of harmonics are there? Quite simply, without rare professional instruments, they are divided into diatonic and chromatic.

Diatonic (bottom) and chromatic harmonicas

Diatonic ones allow the musician to “by default” extract only the basic notes from the instrument - C, D, E, etc. Chromatic ones make it possible to play the entire chromatic scale, using halftones (C-sharp, D-sharp, etc.). If we draw an analogy with the piano, then diatonic means playing only with white keys, and chromatic means playing with black keys too.

Of course, when you have thoroughly mastered playing the diatonic harmonica, all the special techniques - bend, overblow, overdro and others, it will not be difficult for you to extract the sounds of “black keys” from the instrument. But all this takes time.

You can distinguish accordions by sight. The main difference is that chromatics have a slider on the side, a special button that allows you to raise the note by a semitone.

True, there are exceptions here too! For example, Tombo Chromatic Single S50. No slider, but chromatic. Halftones are extracted from the second row of holes.

As for the holes, the number of holes for a diatonic harmonica remains constant - 10. But for a chromatic instrument, this position can change. Of course, basically there are from 12 to 16 holes, but there can be more and less - 8, and 22. And even 10, as on a diatonic. The more there are, the wider the range of notes that you can use when playing.

And, of course, a chromatic harmonica will be larger in size than a diatonic one. The number of holes does the trick.

I’ll warn you right away: learning to play chromatically is more difficult. Maybe that's why it's less common. On store shelves there is often a decent selection of diatonic instruments and a much smaller selection of chromatic instruments. And by the way, the price also varies quite a bit, but more on that below.

In addition to the main division, there is also a smaller division into subspecies.

Thus, a diatonic harmonica can be blues, octave and tremolo.

Blues is the most famous. 10 holes, sound produced by inhalation and exhalation. It can also become chromatic for you if, as mentioned above, you master all the techniques of playing it perfectly.

Hohner Blues Harp, blues (price approximately 1000 rubles)

Tremolo is great for playing folk songs. If you look inside such an accordion, you can find two sound plates at once. They are a little upset towards each other, but they sound at the same time. This combination produces the tremolo effect, which in fact gives the instrument its name.

Hohner Tremolo Soloist CG (price about 2300 rub.)

An octave harmonica differs from a tremolo only in that its two sound plates are not detuned in relation to each other, but, on the contrary, are tuned “to the octave”. They also produce sound together, and because of these structural features, the music is louder and somewhat more specific compared to others.

There are also, of course, orchestral harmonicas (bass, chord), but they are so rare and highly specialized that they are purchased only for playing in ensembles, when this is the main job. I think that in this case the person himself, without this article, knows what he needs.

What are you going to play

The choice of harmonica largely depends on what kind of music you are going to primarily perform on it. For different works you need a certain arrangement of notes that is most convenient for your chosen style.

For example, if you want to play jazz pieces or classical music in general, choose a chromatic harmonica. Blues is already a diatonic, and, accordingly, blues. For simpler melodies, with a unique sound in the style of Russian folk and dance-round dances, a tremolo is suitable. The octave and other orchestral ones are very much for an amateur or for an actively performing professional.

What should you buy?

The first question for a beginner who is about to take up playing the harmonica seriously is: “Which instrument should I buy?”

If you are going to study with a teacher, then it all depends on the preferences of the teacher.

By the way, for a professional the question is “what should I take - chromatic or diatonic?” sounds the same as for any other musician - someone's problem of choosing between a guitar and a saxophone. It’s just that both chromatic and diatonic harmonicas, despite all the external similarities, are still different instruments in terms of difficulty of mastering, sound production techniques, etc.

But let's return to specific models. If you look towards diatonics, the most popular choice is Hohner Blues Harp (cost about 1000 rubles), Hohner Special 20 (about 930 rubles), Suzuki ProMaster (price around 2000 rubles), Lee Oscar Major Diatonic (you can find for 1200 rubles), Seydel 1847 (already somewhere around 3000 rubles).

Suzuki ProMaster

With chromaticity it's not so simple. Firstly, you should immediately decide which tool with how many holes you need. As mentioned above, the more there are, the richer the scale (that is, more notes can be extracted from the instrument).

Nevertheless, among them you can find the most popular models among beginners. Perhaps, first of all, these are Hohner Chromonika 40 (about 3,700 rubles), Tombo Uni Chromatic (cost about 3,800 rubles), Hohner Super 64 X (already about 10,000 rubles).

Buying tips

A fairly decent instrument (from the diatonic range) can be purchased for around $20. In stores, of course, they offer harmonicas starting from 300 rubles, but it’s still better to focus on the average price threshold.

However, keep in mind that a chromatic harmonica will cost several times more. Just good tool starts from 3-4 thousand rubles, a very good one can cost about 35,000 rubles.

Hohner Amadeus Chromatik Harmonika (cost about $1500)

It is better to buy in the company of a person who understands harmonics. And if you still come to the store alone, don’t be shy from the salespeople - try for yourself how the model you like sounds like.

In most Russian cities you can hardly get anything other than Hohner. If your soul has been yearning for something else, then welcome to the world of the Internet. Still, it will most likely be cheaper than going to another city yourself.

In the end, no one is stopping you from later buying a couple more representatives of your favorite instrument and then playing the harmonica whose sound you like best. Most models are not prohibitively expensive; this instrument is still easier to manufacture than, for example, a synthesizer.

In general, it all depends on skill. A beginner on an expensive harmonica is unlikely to be able to beat a pro on a cheap harmonica, right? Another thing is that in the right hands, a good tool can work wonders.

By the way, a harmonica is an excellent gift for a child. Nowadays they produce a great variety of them specifically for children - colored, with some kind of drawings, popular characters from cartoons.

This is an interesting, exciting, and at the same time educational activity. Maybe in this way your son or daughter will become familiar with music, maybe later it will become their profession. Moreover, it is not at all necessary that the further choice will fall on the accordion.

But who knows - what if a new Stevie Wonder is growing up next to you?