How to play on a lip harmonica. All about harmonic

Lifting harmonica is a small, universal tool on which most nations of the world plays almost any kind of music. Although at first glance it may seem to learn how to play harmonica is difficult, but the harmonica is actually a lightweight and cheerful tool to learn to play. Read the steps below to learn how to play on a lip harmonica.

Steps

Getting started

Choose a lift harmonic. There are many different types of gammones available for purchase that differ in use and price. To date, you can purchase a diathonic or chromatic harmonic. Any kind can be used to play the most popular music, such as blues or folk.

• Diatonic lip harmonics are the most common and affordable, and of course the cheapest. It is configured to a certain tonality that cannot be changed. Most of the diatonic gums are tuned to the tonality of C. Types of dictional harmonics include "blues harmonics", "Tremolo Harmonic" and "Oktawa Harmonic."
  • Garmonic Blues is common in the West, and in East Asia More often found tremolo harmonics.
• Chromatic harmonic is one of the types of lifting harmonica, which uses a mechanical apparatus that controls which holes are published. The main chromatic harmonics of 10 notes can play only one full sound (as well as a diatonic harmonic), but chromatic with 12-16 holes can be configured to any tonality. Chromatic cost much more expensive than most diatonic harmonics; High-quality chromatic harmony from a well-known brand can cost several hundred dollars.
  • Due to its customizability, a 12-ton chromatic harmonica is usually preferable for jazz music.
• The general abbreviated term for the harmonica is "harmonic". This name comes from other traditional names, including "French harmonics" and "blues harmonics". While the context is clear, the words "harmonica" and "harmonics" can be interchanged.

Learn about Garmoshka. Harmonica is a tongue musical instrument in which copper tongues are used. Tags are used to create a tone when you blow or blow air through the holes. The tongues are installed on a plate, called a tongue plate, which is usually made of brass. A part of the harmonic in which the tongue plate is installed is called a comb, and, as a rule, made of plastic or metal. Harmonic mouthpiece can be built into the comb, or as in chromatic harmonics, is applied separately. Protective panels of the rest of the apparatus can be made of wood, metal or plastics.

• The guide plate of chromatic harmonica is also made of metal.
• Depending on whether you breathe or exhale in harmonics, various notes are played with the tongues. The usual diatonic harp is configured to C (D Major) on the exhalation, and on G (Sol - Major) on the breath. They perfectly complement each other, and there is no need to add additional holes.
• The tongues inside the lifting harmonica are thin and weathered with time. Easy game And regular care will retain a good sound as long as possible.

Learn to read the tabulation of harmonics. Like guitars, on harmonics you can play on tabulature, which simplifies notes on a tight sheet to an easily observed template system of holes and inhales / exhale. The tabulature is also suitable for large chromatic harmonics, but it is somewhat different from the diatonic tabulation and is usually less common.

• Breathing marked with arrows. The up arrow indicates exhalation; Arrow down - on the breath.
  • Most of the holes on the diatonic harmonic produce two "adjacent" notes at a given range, thus playing C, and then D in the same range, it is carried out by blowing into the appropriate hole, and then the air pulling from the same hole.
• Holes are marked by numbers, starting with the lowest (left) notes and moves up. Thus, the two lower notes (up) 1 and (down) 1. On a 10-hole harmonic, the most high nota Will (down) 10.
  • Some notes of the usual 10-hole harmonics are partially overlapping, especially (down) 2 and (up) 3. It is necessary to ensure the correct range for the game.
• More advanced methods are designated by oblique features or another small label. The diagonal oblique arrows indicate that the curvature of the notes is required (will be considered later) to get right sound. Chevrons or oblique features on chromatic tabulation can specify whether to hold the button or not.
  • There is no standardized tabular system that is used by all harmonists. However, as soon as you practice and learn the reading of one species, most of the other species you master quickly.

Basic Game Games Technology

Play notes on exhalation. The very first thing to be done is to practice with a new tool reproducing notes. Select a hole or several holes on the mouthpiece and gently blow them. Neighboring holes, as a rule, are designed to automatically harmonize the melody with each other, so try, blowing into three holes at the same time, reproduce a pleasant sound. Practice, blowing into one hole, then playing chords into several holes.

• This type of game is called "Direct Harmonic" or "First Position."
• As you can assume, the number of holes through which you blow, partially control the lips. Ultimately, you will learn how to use the front of the language to block the holes, to provide control over the notes that you play. This is described below.

Make a deep breath to change notes. Remembering that the air through the tongues should be inhaled gently, inhale, increasing the notes per step. Inhaling and exhausted through the mouthpiece, you can access all the notes configured for harmonics.

• This type of game is called "cross harmonic" or "Second position." Notes of cross harmonics are often suitable for blues riffs.
• If you have a chromatic harmonic, practice press and hold the button for additional monitoring of the notes that you play.

Try to play the entire range. On a diatonic harmonic, configured on C, C gamma begins with (up) 4 and rises to (before) 7. The standard out / in the template is repeated with the exception of the 7th hole, where it switches (inhale and then the output). This scale is the only full scale on with a configured harmonic, but sometimes you can play songs on other ranges, provided that they do not require the missing notes (s) of the range.

Practice. Continue to play the range and individual notes until you feel comfortable, playing only one note at a time. Once you can achieve the desired tool control, select simple songs And train them. Tabutura for songs, such as "Mary had lamb" and "oh, Susanna" easy to find on the Internet, if you do not.

• Try adding identifications, playing several notes at the same time. The next step in your practice is to weaken a little control and add two-note and three-note chords to the songs that you work out, playing two or three adjacent holes at once. This will help you more control your mouth and breathing, and play songs more sound.
  • Do not play everything in chords! Try adding chord at the end of the verse or phrase. It is important that you need to master the switch between single notes and several notes.

Advanced techniques

Pay for lessons. From this point on, if you are under the guidance of an experienced player, you will see quick and technically reasonable results, although you can, of course, continue to learn yourself. Harmonic lessons differ in price and frequency; Feel free to try a few lessons from one teacher, and then go to another that matches your requirements.

• Even if you take lessons, continue to rely on leadership and books to improve the game. There is no reason to throw other materials just because you complement them by professional activities.

Skip holes. It is easy to get used to the template, constantly forcing the air to enter and go through the harmonic, but as soon as you start playing more advanced songs, you should practice some holes in practice to achieve others. Play songs on notes that require jumping opening or two, for example, the American traditional melody, "Shenandoa", which jumps over from the 4th to the 6th hole, closer to the end of the second phrase (on standard C diatonic).

• Practice skipping, pulling a lip accordion a little to the side, and then returning to the right position (for further familiarization with the position of each hole) and, stopping the airflow, without removing the lip harmonic (in order to practice the breathing control).

Play with two hands folded cup. Let's start with the fact that you probably held a lip harmonica with index and thumbs left (or not dominant), and moving them during the game. Add the right (or dominant) hand to the game. Give your holiday to the heel of the right palm and the thumb left, and then put the right palm with the right hand with the left so that your fingers closed around the left maiden. This creates a "sounding hole" that can be used to affect the sound coming from harmonic.

• Add a quiet melody or screaming, clapping on the sounding hole, opening it and closing it. Use it at the end of the verse to add emotions, or just practicing.
• Create a steam beep effect, starting with an open sounding hole, then closing it and opening again.
• Play muffled, quiet sound, leaving a sounding hole almost closed.
• You probably find that this position makes you hold the harmonic at an angle, the left edge is directed down and inside. This position is actually ideal for other techniques, so use it.

Learn to block the language. Language blocking is great way Turn single notes into beautiful chords without disturbing the initial notes. Using the side (edge) of the language, you will block some notes of the chord, and then raise it partly as notes sound to add them. This technique requires practice, but the position of the opening should help naturally submit to the side of your mouthpiece.

• To begin with, open the mouth to cover the first four holes of the harp. Using language, block holes from 1 to 3 and play a straight note on the hole 4. If you are all done correctly, you should hear only the played (up) 4. After you do it easily, play a stable note, and then lift the language located in the middle to make complete harmony.
• The main technique for changing the notes is to make a lipper very and very small, and sharply pull the air through them into the hole you want to be changed. Pull the notes of cross harmonics and gradually compress the lips until you hear the change in the tone. Squeezing lips to a greater or lesser extent, you can additionally control the tone of the notes.
• Be very careful when practicing the change of notes. Because the air crosses the tongues as sharply that it can easily relax or bend them by destroying the tool. To find golden middle Between not changing the note and its too strong change, patience is necessary and caution.

• When people start playing on a gamut, the sound sounds bad, and many need more time to reproduce a good sound. Practice every day, and do not give up.
• When changing notes, inhale / exhale very deeply. Changing notes on harmonic requires solid preparation and strong lungs.

Which fluctuate in the air jet created by the musician. Unlike other bunch musical instruments, harmonics does not have keyboard. Instead of keyboard, tongue and lips are used to select the hole (as a rule, they are located linearly), corresponding to the desired note.

Harmonica most often used in such musical directionslike blues, folk, blues, blues rock, country, jazz, pop, various genres of folk music.

A musician playing a lip harmonica is called Harper (English. harper.).

History

Varieties of loving harmonics

Light harmonics are divided into:

• Diatonic lip harmonics
• Orchestral loving harmonics

Chromatic harmonica

Blues Light Harmonica

Blues harmonic - the most popular today. Usually it has 10 holes, each you can play on the breath (eng. draw.), and in exhalation (eng. blow.). With certain skills of the game, you can play chromatically with the help of special receptions - bend and inputs. Sold in different tones and settings, but the most common - C-DUR.

Tremolo Living harmonica

Structure of classes

Important regularity. Build a schedule. Do not deviate from it. Classes are recommended to start with a slow game by chords. It is important to adhere to "diaphragmal breathing". Then gradually go to the riff game, melodies. It is best to shoot faces and tunes for hearing from records of professionals. But still, it is recommended to learn no less than 10 riffs / melodies on not less; It will give you confidence in the game and will allow you to pick up more quickly. In addition, it is useful to play under the so-called minus, write your own game in the form sound Files. This will help you feel how the viewer will hear you (a lifting harmonic one perceives the sound published by its tool, since the vibrations are transmitted through the hands and muscles of the mouth), and will also make it possible to treat their game with greater criticism.

Artists in Russia

see also

Write a review about the article "Light Harmonica"

Notes

Links

	Harmonica in a wiki scientist

• (PS.)
• (eng.)

Manual Shoot Loving Other species see also

Wooden Copper Keyboards Details

Overs String Drums Language

Farm characterizing lip harmonic

Having received this report, the sovereign sent the following reskipte Kutuzov with Prince Volkonsky:
"Prince Mikhail Ilarionovich! From August 29 I have no reports from you. Meanwhile, from September 1, I received through Yaroslavl, from the Moscow commander-in-chief, the sad news that you decided to leave Moscow to the army. You yourself can imagine the action that it made me the news, and my silence exacerbates my surprise. I send with Sim General Adjutant Prince Volkonsky, in order to learn from you about the position of the army and about the reasons that prompted you to so much determination. "

Nine days after leaving Moscow to Petersburg came to St. Petersburg sent from Kutuzov with the official news about leaving Moscow. The sent this Frenchman Misho, who did not know Russian, but Quoique Etranger, Busse de C? Ur et d "Ame, [however, although a foreigner, but Russian in the depths of the soul,] how he spoke to himself.
The sovereign immediately accepted the sent in his office, in the palace of the Stone Island. Misho, who never seen Moscow to campaign and who did not know in Russian, felt still touched when he appeared in front of Notre Tres Gracieux Souverain [our all-storeist lord] (as he wrote) with news about the fire of Moscow, Dont Les Flammes Eclairaient SA ROUTE [whose flame covered his way].
Although the source Chagrin [Grief] G on Misho and had to be another than the one from which the mountain of Russian people had flowed, Misho had such a sad face when he was introduced into the Cabinet of the Sovereign that the sovereign immediately asked him:
- M "Apportez Vous De Tristes Nouvelles, Colonel? [What news did you bring me? Dear, Colonel?]
"Bien Tristes, Sire," Misho answered, dropping her eyes, "L" Abandon de Moscou. [Very bad, Your Majesty, Leaving Moscow.]
- Aurait on LIVRE MON ANCIENNE CAPITALE SANS SE BATTRE? [Did you really betray my ancient capital without a battle?] - Suddenly, flashed, the sovereign spent quickly.
Misho respectfully gave the fact that he was ordered to transfer from Kutuzov - exactly the fact that there was no possibility to fight for Moscow and that, since one choice remained - to lose the army and Moscow or one Moscow, then Field Marshal was supposed to choose the latter.
The silence listened to silently, without looking at Misho.
- L "ENNEMI EST IL EN VILLE? [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 has been facing a fius at the moment. I left him in the flame.] - Miso resolutely said; but, looking at the sovereign, Misho was horrified by what he did. The sovereign is hard and often began to breathe, the lower lip of it trembled, and beautiful blue eyes were instantly overwhelmed with tears.
But it lasted only one minute. The sovereign suddenly frowned, as if condemning himself for his weakness. And, lifting the head, a hard voice appealed to Misho.
- Je Vois, Colonel, Par Tout Ce Qui Nous Arrive, - He said, - Que La Providence Exige De Grands Sacrifices de Nous ... Je Suis Pet a Me Soumettre a Toutes Ses Volonts; 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 a colonel, all over what happens that Providence requires big victims from us ... I am ready to submit his will; But tell me, Misho, how did you leave the army who left my ancient capital without the battle? Did you notice the decline of the Spirit?]
Having seen her tres Gracieux Souverain, Misho also calmed down, but on a direct essential question of the sovereign, demanding a direct response, he did not have time to prepare a response.
- SIRE, ME PERMETTREZ VOUS DE VOUS PARLER FRANCHEMENT EN LOYAL MILITAIRE? [Sovereign, will you allow me to speak frankly, how is it like this warrior?] - he said to win 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 it ... Do not hide anything, I certainly want to know all the truth.]
- SIRE! - Miso said with a thin, a little noticeable smile on his lips, having time to prepare his answer in the form of a lightweight and respectful Jeu De Mots [Word Games]. - SIRE! J "AI Laisse Toute L" Armee Depuis Les Chefs Jusqu "Au Dernier Soldat, Sans Exception, Dans Une Crainte Epouvantable, Effrayante ... [Sovereign! I left the whole army, starting with the bosses to the last soldier, without exception, in great, desperate Fear ...]
- Comment CA? - strictly frowning, interrupted the sovereign. - Mes Russes SE Laisseront Ils Abattre Par Le Malheur ... Jamais! .. [How so? My Russians can fall in spirit before failure ... Never! ..]
That was just waiting for Misho to insert his words to the game.
"Sire," he said with respectful playfulness of the expression, - Ils Craignent Seulement Que Votre Majeste Par Bonte De C? Ur Ne Se Laisse Persuader De Faire La Paix. ILS BRULENT DE COMBATTRE, - spoke of the authorized Russian people, - Et de Prouver a Votre Majeste Par Le Sacrifice de LEUR VIE, Combien Ils Lui Sont Devoues ... [Sovereign, they are afraid only that your Majesty for the kindness of the soul does not decide to conclude the world . They are impatient to fight again and prove to your majesty victim to your life, as far as they are committed ...]
- AH! - Soothed and with a gentle brilliance, the sovereign said, hitting Misho's shoulder. - Vous Me Tranquillisez, Colonel. [BUT! You calm me, colonel.]
Sovereign, dropping his head, was silent several times.
- Eh Bien, Retournez Al "Armee, [Well, so come back to the army.] - He said, straightening in full growth and with a gentle and magnificent gesture Turning to Misho, - 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, more and more encouraging. - Mais Si Jamais Il Fut Ecrit Dans Les Decrets De La Divine Providence, - He said, raising his beautiful, meek and shiny feeling Eyes to Sky, - Que Ma Dinastie Dut Cesser De Rogner Sur Le Trone de Mes Ancetres, Alors, APRES Avoir Epuise Touve Les Moyens Qui Sont EN Mon Pouvoir, Je Me Laisserai Croitre La Barbe Jusqu "ICI (Sovere showed hand on half of the chest) , Et J "Irai Manger des Pommes De Terre Avec Le Dernier de Mes Paysans Plutott, Que De Signer La Honte De Ma Patrie Et De Ma Chere Nation, Dont Je Sais AppRecier Les Sacrifices! .. [Tell the bravesties to our, tell me to all my subjects. , wherever you will pass that when I have no one soldier, I will be at the head of my kind nobility and good men and thus exhaust the last means of my state. They are more than thinking my enemies ... But if It was intended to be divine providence m so that our dynasty cease to reign on the throne of my ancestors, then, exhausting all the funds that in my hands, I will let the beard so far and rather I will go there there is one potato with the last of my peasants, rather than decide to sign my homeland's shame and my dear People, whose victims I can appreciate! ..] After saying these words with an agitated voice, the sovereign suddenly turned, as if wanting to hide the tears from Misho, and went deep into his office. After standing there for a few moments, he returned with big steps to Misho and a strong gesture squeezed his hand lowering the elbow. The beautiful, gentle face of the sovereign was painted, and the eyes burned with shine determination and anger.
- Colonel Michaud, N "Oubliez Pas Ce Que Je Vous DIS ICI; PEUT ETRE QU" UN JOUR NOUUS NOUUS LE RAPPELERONS AVEC Plaisir ... Napoleon Ou Moi, "said the sovereign, coming to the chest. - Nous Ne Pouvons Plus REGNER ENSEMBLE. J "Ai Appris a Le Connaitre, Il Ne Me Trompera Plus ... [Colonel Miso, do not forget that I told you here; Maybe we will ever remember this with pleasure ... Napoleon or I ... We can no longer reign together. I learned it now, and he will no longer deceive me ...] - And the sovereign, frowning, fell silent. Hearing these words, seeing the expression of a solid determination in the eyes of the sovereign, Miso - Quoique Etranger, Mais Russe de C? Ur et d "Ame - felt yourself in this solemn minute - Entouusiasme Par Tout CE QU "Il Venait D" Entendre [Although a foreigner, but Russian in the depths of the soul ... delighted with all what he heard] (as he said later), and he portrayed as his Feelings and 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 this minute the glory of the people and the salvation of Europe!]
The sovereign went to the head of the head Misho.

While Russia was up to half of the conquest, and the residents of Moscow fled to the distant provinces, and the militia for harsh climbed to defend the Fatherland, involuntarily seems to us who did not live at the time that all Russian people from Mala have been taken to great To sacrifice themselves, save fatherland or cry over his destruction. Stories, descriptions of that time, all without exception speak only about self-sacrifice, love for the Fatherland, despair, Mountain and Russian heroism. In fact, it was not so. It seems to us 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 were in people of that time. Meanwhile, in fact, those personal interests of the present to such an extent are more common interests that they never feel about them (even noticeable is not at all). Most of the people of that time did not pay any attention to the general course of affairs, and only the personal interests of this. And these people were the most useful figures of that time.
The same who tried to understand the general course of affairs and with self-sacrifice and heroism wanted to participate in it, were the most useless members of society; They saw all the overall, and all that they did for good, turned out to be useless nonsense, like Pierre's shelves, Mamonov, who robbed Russian villages, like a korpio, pinched with ladies and never reach the wounded, etc. Even those who, Loving to wisely and express his feelings, interpreted about the present position of Russia, unwittingly worn in the speeches of their imprint or pretendation and lies, or useless condemnation and malice on people accused of what no one could be to blame. In historical events, it is obvious to the prohibition of tasking of the fetus of the Tree of knowledge. Only one unconscious activity brings fruit, and a person playing a role in historical event, never understands his meanings. If he is trying to understand him, he is amazed in infertility.
The events accounted for in Russia, the events of the time was, the closer the person's participation was. In St. Petersburg I. provincial citiesremote from Moscow, ladies and men in the militia uniforms mourned Russia and the capital and spoke about self-sacrifice, etc.; But in the army, which retired for Moscow, almost did not speak and did not think about Moscow, and, looking at her fielly, no one swear to take revenge on the French, but thought about the next third of the salary, about the next parking lot, about the Markantish Makeup and the like ...
Nikolai Rostov without any purpose of self-sacrifice, and by chance, since the war found him in the service, took a close and more prolonged participation in the defense of the Fatherland and therefore, without despair and gloomy conclusions, looked at what was performed then in Russia. If he would have asked what he thinks about the current situation of Russia, he would say that he had nothing to think that there was Kutuzov and others, and what he heard that shelves were completed, and what should be fighting for a long time , and that in the current circumstances he is not wise of the year after two get the regiment.
According to the fact that he looked at it, he was not only without a crushing that he was deprived of participation in the last struggle, took the news about the appointment of him on a business trip for the repair for the division in Voronezh, but also with the greatest pleasure he did not hide and Which very well understood his comrades.
A few days before the Borodino battle, Nikolai received money, paper and, sent forward hussar, went to Voronezh on the postal.
Only one who experienced this, that is, he stayed for several months without ceasing in the atmosphere of military, combat life, can understand that the pleasure that Nikolai experienced, when he got out of the area to which the troops reached the troops, the provisions of the province, Goshpatami; When he, without soldiers, Four, dirty traces of the presence of the camp, saw villages with men and women, landlords, fields with grazing cattle, station houses with swept aside. He felt such joy as if she saw all this for the first time. In particular, the fact that he was surprised and pleased - it was women, young, healthy, for each of which did not have a dozen caring officers, and women who were glad and flattered were the fact that the passage officer was joking with them.
In the very cheerful arrangement of the Spirit Nicholas at night came to Voronezh to the hotel, ordered everything that he had been deprived long in the army for a long time, and on another day, purely having fallen and put on the long-standing major form, went to the authorities.
The head of the militia was Stat General, an old man who, apparently, was amused by his military rank and rank. He is angry (thinking that in this military property) accepted Nicholas and significantly, as if having the right to be right and, as it were, thereby considering the general course of business, approving and not approving, asked him. Nikolai was so fun that he was only funny.
From the head of the militia, he drove to the governor. The governor was a little living man, very affectionate and simple. He pointed out to Nicholas to those plants in which he could get horses, recommended his ladies in the city and landowner for twenty versts from the city, who had the best horses, and promised any assistance.
- Do you count Ilya Andreevich son? My wife was very friendly with your mother. On Thursdays I have collected; Today Thursday, mercy I ask for something easily, "said the governor, giving him.
Right from the governor Nikolai took the overstars and, putting with his Wahmistra, rocked for twenty miles to the plant to the landowner. Everything in this first time of his stay in Voronezh was fun for Nikolai and easily, and everything that happens when a person himself is well located, everything was transported and aroused.
The landowner, to whom Nikolai came, was the old cavalier of the bachelor, a horsepower, a hunter, the ruler of the Corval, centenary casserole, old Hungarian and wonderful horses.
Nikolai in two words bought for six thousand seventeen stallions on the selection (as he said) for a sousing end of his repair. After having lunch and drinking a little bit of Hungarian, Rostov, kissed with the landowner, with whom he had already agreed on "You", on the disgusting road, in the very cheerful arrangement of the Spirit, picked back, indifferent to the daisher, in order to sleep for the evening to the governor.
Changed up, swaying and the obtules of the head of the cold subway, Nikolai, although somewhat late, but with the finished phrase: Vaut Mieux Tard Que Jamais, [Better Late than ever,] came to the governor.
It was not a ball, and it was not said that they would dance; But everyone knew that Katerina Petrovna would play on the keycorder waltzes and ecosesa and what would be dancing, and everything, counting on it, came across Balno.
The provincial life in 1812 was exactly the same as always, only with the difference that in the city was lively on the occasion of the arrival of many rich families from Moscow and what, as in everything that happened at the time in Russia, was noticeable Some kind of special sweeping is the sea by knee, Tryn grass in life, and even that the vulgar conversation that is needed between people and who were previously faced about the weather and about common acquaintances, now he was conducted about Moscow, about the army and Napoleon.

Diatonic and chromatic harmonica differ fundamentally from each other. Diatonic have a dictional system (for example: C D E F and so on) without halftone intervals between notes (C # D # and so on). The game on the diatonic harmonica resembles the game on the white piano keys. Halftone (black keys) in its strict is missing.

Three ways of setting up the tongues are used in diatonic harmonics: single, tremolo and octave. In the first case, each hole is located one tongue, working on inhale or exhale. Each tongue is configured to their height of sound. In the catalog of the company "Hohner" exists a large number of Models of this design. It happens that the model is represented only in the tons of C and G. In such a design, four holes overlap the range into one octave. Other models can be produced in major audibles A, B, BB C, DB, E, EB, F, F #, G and AB. On such a tool with ten holes, you can play in 3 octaves.

There are harmonic windows with minor system C or G. They also have ten holes and overlap 3 octaves.

There is a model for blues musicianswhich is produced in various tonalities and works in 3 octaves.

Holes 1-3 and 8-10 are used to extract chords. And through the holes 4-7, you can fully perform a diatonic gamut. Notes of the gamma are played as a sequence of exhalations and breaths. The natural pre-major includes the following notes: C (to) D (PE) E (MI) F (Fa) G (salt) A (la) in (s) with (up). To fulfill this ascending range up, you need to do the following sequence of actions: Exhaust (C), breathing (D), exhale (E), breathing (F), exhale (G), breathing (a), breathing (B) and exhale (a) C). With a downward movement, follow the same actions, but already in reverse order.

The second method of setting is tremolo. Such harmonica have a number of double holes. Each hole is equipped with two tongues configured by one note. However, while one of the tongues is configured slightly higher. When recording, this barely noticeable difference in the setting creates a vibration resembling the tremolo effect. There are single, double-sided, quartet and sextal models of similar accordions, with a range of two to four octaves. Each of the models is produced in several tonsillia. A single model is a harmonic with one near the double holes. Two-sided has two rows of holes with different builds, located from the opposite sides of the case. Other models are from 4 to 6 harmones in different tonsillia, fixed on a single holder.

The third type of configuration of luminous harmonica - octave. It does not differ constructively from the previous one. The only difference is that the tongues located in double holes are configured into an octave interval. Such models have a powerful sound without any vibration. Harmoshki with this option building exist only in a single or two-sided version.

Chromatic harmonica

The type of harmonica, which allows the performer to extract and halftone is called chromatic lip-harmonica. Such a tool was offered by Hohner in 1920. There are two types of chromatic accordions: for solo games and for accompaniment. The first variety, as can be seen from the name, is intended for the game of solo or in the ensemble. On such a tool, the halftone is retrieved using a slider, that is, the buttons located on one of the side of the tool housing.

The range of chromatic harmoshek can be from 2 to 4 octaves. There are models for beginners and for professionals. 2 octave chromatics has a range from the 1st octave to the # 3rd octave. On a professional model at 2 1/2 octaves, you can play from the 1st octave to F # 3rd octave. 3 octave models are also produced both for beginners and professionals. Their range also starts from from the 1st octave. 4 octave, professional models have a range from small octave to D 4 octaves. When the slider on the chromatic harmonica is pressed, the performer has access to dictional notes (white keys F - BUT), and when the slider is pressed - to halftons (black keys).

Another type of chromatics is a bass harmonic, which is used in the orchestral accompaniment. These tools work in the bass register, ranging from the notch e, located in the counterpatch. Another accompanying tool is the 48-chord harmonica. This tool is used in ensemble accompaniment. Model "Hohner The 48 Chord" is a two-connected harmonica with 12 chords on a breath or exhale in each, which gives 48 chords in the amount. Moreover, it may be major, minor, dominant, reduced and enlarged chords. This tool has 96 double holes and 384 tongues. With a length of 58.4 cm, it is the longest lifting harmonica in the world.

Two-tongue tremolo and octave accordions are good for the game of traditional dance melodies, including polka, Scottish melodies, waltzes, other tunes based on traditional styles, such as Slotan, Celtic, Franco-Canadian, Scandinavian and American. Despite the fact that the world is dominated by blues diatonics and chromatics, historically and everywhere in the world of two tongue harmonics (mostly tremolo) are most widespread. When playing such accordions are used different techniques The execution of various melodies (lock language and lip blocking), but the most suitable is to block the tongue of sound holes (channels), a kind of accompaniment of chords was obtained. Thus, the rhythm, completeness and harmony of the melodies are achieved, and no other accompaniment is required. This is a completely appropriate method for the game.

Tremolo and octave accordions in principle, these are the same standard diatonic harmonics, but when the game of each note in the hole (channel) plays two tongues. At octave harmonics, these two tongues are configured to one and the tight note, but with an interval in one octave, the result is a more complete sound. On Tremolo, one of the tongues is configured slightly above the second, resulting in the effect of "tremolo", the sound is obtained fully than on standard diatonic harmonic. The most of the octave and tremolo accordions have some differences from diatonic. Instead of one row of 10 holes, they have 2 rows (1 row for notes played on inhale and 1 row for notes played for exhalation) by 20 or more holes. In other words, two branching accordions have 4 times more holes than one-tongue harmonics.

Due to the larger number of holes, notes are located on to the sides than a standard harmonic with 10 holes, when the game requires more horizontal movements than when playing with standard harmonics. This means that when you play chords you have to go smaller notes in the chord. For example, on a diatonic harmonic in a tonality C can be played on the breath of chord 3-4-5 (B-D-F), it is a G7 chord, and only D-F is obtained on two tongue harmonica. It may sound like DM or F6. Therefore, many of the melodies performed on the two tongue accordion will seem slightly different (may be more neutral) than executed on one-tongue harmonic, but it is compensated by a more complete sound due to additional languages.

Setting two tongue harmonic

A tuning system for two branching horples is based on the so-called Richter system (Richter) that is used to configure the standard "Marine Band" - a dictional harmonic with 10 holes. But there are options. Octave and tremols with a key with often neglect the bottom C - the lowest note e, it is not a malfunction or marriage because the lower octave is more often used to play chords than to perform the melody. Many tremolo released in Asia (probably the most frequently encountered accordions in the world) use a slightly excellent setup system. On these "eastern tremols", the lower octave is very similar to the average octave of the standard Richter system. As a result of this, in the upper octave, adjacent notes played to inhale and exhale begin to be distorted, which requires certain skills in the game. Another system is used in the instruments of the company "Huang". The setting is the same as in the chromatic harmonic, but with double notes with exhale in each octave.

Two branching accordions are different and another aspect of the setting. Most Western manufacturers (Hohner, Hering) use the "Prozuvuya" system. Notes are adjusted so that they formed well-sounding chords. But sometimes separate, notes may not coincide with similar notes filled on another tool.

Asian manufacturers (Suzuki, Huang) tend to equilibrium. As a result, single notes are more accurate, but chords sound not so much pleasant how much is pure and strong. And the last aspect of the setting of Tremolo Harmonic: - Western manufacturers have double tongues far from each other, which gives audible and rapid vibrations (also called "raw" tremolo). Asian manufacturers use "dry" tremolo, the tongues are located close to each other, which gives slower vibrations.

Octave and tremolo accordion are produced with different keys, and everyone has their own sound and characteristics. Standard one-tongue diatonics are available with all keys, from the bottom G to F-high. The note for the C and D settings of the diatonik is very high for octave blacks, so when tuning, the octava tongues are added below. On the other hand, for octave harmones with the key G, the octave tongues are taken above. Also, C and D Tremolo tools are adjusted for octava lower than the standard one-bit harmonics. For beginners, tremolo and octave harmonica with the key S.

History

Lifting harmonica can be described as a compact pocket musical instrument, which delivers the joy to millions of people around the world. In essence, the harmonica is a brass organ of the western sample. From the moment of its invention, Christian Friedrich Ludwig Bushmann in 1821 the popularity of this tool has consistently grew. And after the appearance of the chromatic harmonica of the company "Hohner" the repertoire, which could be performed on such tools, expanded significantly. True, not all fans of the Garmoshki know that the immediate ancestor of their favorite tool, as, however, and all other European language tools, is the Easternary Eastern Spiritian body fell into Europe from China in the middle of the 18th century. This tool was 17 bamboo tubes of various sizes with copper tongues inside, which was attached in a circle to the metal body with mouthpiece. After studying it, the idea of \u200b\u200busing tongues in the design of traditional organs were aroused. In 1790, using this invention, in St. Petersburg, Frantishek Kirchik invents metal strips with "fluctuating tongues" in 1820, artels were organized on the manufacture of metal slats and hand harmonics with Tula gunsmiths by brothers Shunayev and Timofey Vorontsov. The first lip harmonica was created by the German watchmaking of Christian Christian Fritrich Ludwig Bushman in 1821. At the idea of \u200b\u200bthe author, his brainchild was rather a tune, and not a musical instrument. The notes in it were located in a chromatic order and was removed only with the help of exhalation. But the author of the most important time for the period of the design decision was the master of Bohemia by the name Richter. Around 1826, he made a sample of harmonica with ten holes and twenty tongues (separate for inhalation and exhalation) installed in a wooden cedar case. The setting option proposed by Richter using a dictional sound hand became standard for European tools, which were called "Mundharmonika" or the Spiritian body. 1857, the largest mass producer of the accordion became the company from Trossingen. At that time, she was led by the famous Mattias Honer. In 1857, with the help of members of his family and one hired worker, he managed to release 650 instruments. In 1862, the Honer brought the lump harmonic North America. It was a step that later led his company to world leadership in the production of these instruments. By 1879, Honer made 700 thousand tools per year. At the turn of centuries, the annual release was already 5 million units of products. Now the company produces more than 90 different models of luminous harmonica, which allow the Contractor to self-effect freely in any musical form, be it classic, jazz, blues, rock or ethnic music. There are statistics that 40 million people play in the United States, and another 5 million in Canada. Even global wars could not interfere with the spread of the harmonica around the world. German producers produced special export models for different countries. During the 1st and 2nd World War, various organizations have provided accordions of German and English soldiers. For Russia: it is known that the lifting harmonica in Russia was distributed in the 18th century and at the beginning of the 19th. "Public tutorial for spiritual harmonics "In Russian, M. Belsky was released in 1903 (on the 11 pages on the digital system" Taba "). The gramophone record was recorded by G. Domansky in 1913 ("Seven Forty", March, Intermezzo, Waltz). It is known that Soviet ideologues, after the civilian favorably reacted to the Lamp Harmoshka: - in 1929, K. Blagoveshchensky and A. Novoselsky released "Kitka tutorial for G.G." - 7 pages (to the first All-Union Pioneer Sleet). In 1940, during the period of relative warming in relations with Germany, the Ministry of Defense of the USSR decided, following the verm vehoche, also put in a backpack with a Soviet soldier Lifting harmonica To raise the combat spirit. In this regard, on the recommendation of the Ministry of Defense, the production of lifts harmonica was established into Arteel "Tula Harmonic" and in the factory. Soviet Army in Moscow. It is next warming in ideological struggle In 1957, in front of the World Festival of Youth and Students of Moscow, in the USSR, in a massive order, the trading network was delivered by LVL-Garmoshki tremolo and chromatic. At the same time, Tremolo had a lot of channel two third-party venic systems with Russians, and 32-channel chromatics made by Weltmeister. The richter systems manufactured by Hohner were delivered to Russia in 1990.

Tutorial of the Garmoshka.

Unfortunately, until recently, learn to play on the Garmoshka (speaking more "by scientific" harmonics) was not an easy business. After all, this convenient, compact, pocket tool, although it is not rare, but it is extremely rare, and even then in certain circles of musical music lovers. Lifting harmonica for beginners and not only. Source: http://www.harpis.ru Having an interesting and never aging sound, which is perfectly combined with the sound of the guitar and other tools + small size And the ability to take it where you want, whether it is a speech on an acoustic evening or rest in the forest - it gives a lip-harmonica more and more popularity. Moreover, it is available for both musicians and people far from talked grammar and musical education. Of course, those who already understand something and friendly with notes are much easier to master this tool, but as I said this is not a hindrance for beginners who really wanted to master the loving harmonica. I repeat, they wanted to master the lip harmonica, because it is even so at first glance is not a complex tool requires effort and training, of course less smaller in comparison with the guitar, piano, not to mention other tools. If you seriously decided to conquer a luminous harmonica or just learn about it as much as possible, then, perhaps, this site is optimal for this solution. Here you can find answers to the questions you are interested in and learn from scratch on this tool. It all depends on you… Lesson 1. The first sounds. Beginning is difficult at first extract the net single note. Therefore, it is better to start with the extraction of chords. So, bring a lifting harmonic to the mouth so that your lip is blocked, 4th, 5th and 6 holes (see cris1.). Make exhale. Thus, your first chord sounded from the 3rd notes. Denote it: No. 1 Let's do a similar one with the 5th, 6th, 7th holes (see cris 2). 3 notes sounded again. This is your second chord. Perform exercises in Figure No. 3. So:

INVESTMENTS

first chord

Second chord

Exercise ... Figures in the circles designation chords.

to come back to the beginning

Now the task is a little more complicated, add the third chord. Perform exercises. Bring these simple exercises to automatism, but only then proceed to the second lesson.

INVESTMENTS

third chord

three Chord Exercise

to come back to the beginning

Lesson 2. Learning to extract one note. On the 1st lesson, we looked at the principles of the chord game on the Garmoshka. Chords are certainly good. But now the task is more complicated, you need to extract one note. Yes, yes - one note! What did you think? My task is to make a good musician from you, and not an inhabitant. Which you will become and what will reach in the future, depends only on you and your perseverance. So. In total, there are 3 methods for extracting one (separate) notes: 1. The whistle method (I will explain easier - the "lube tube"). 2. Method called "Linking Language" (when removing the chord, one of the holes is closed by the language). 3. The "Tongue Tongue" method (you need to roll the tongue with the tube and arrange it opposite the single hole from which the sound is planned). Let's start with the most simple and accessible method. First focus on the 1st method. The 2nd method is also needed to master, but it will touch it a little later. As for the method for number 3, it is not available to everyone, because It is necessary to have certain physiological features of the organism, which occur about 50-70% of people. Transferring to a simpler language - despite any effort, not everyone can physically return the tongue into the shape of the tube. Summarizing the 2nd and 3rd method, it is worth paying attention to the fact that these methods are based on the use of the language and the beginning is more difficult to master with such a sound removal by the reception "Band". To get an idea of \u200b\u200bsingle sound, proceed as follows: Choose any hole, for example, the 4th, and the 3rd and 5th, close the hands and dunge stable fingers. If your fingers close the holes of the lifting harmonica, then you have a clean single note, sounding on the exhalation of the 4th hole. In case the fingers do not listen, then something (for example, scotch), creeps the desired holes. Having done the above procedures, you clearly understand how single notes should sound all right, but you will have to remove them without the help of your fingers and scotch. The extraction of a single note is complicated by the form of human lips (horizontal closure). Lips do not allow simply and without any problems to extract single notes. Therefore, it is necessary to lower the lower jaw, pull the cheeks and fold the lips so that they began to resemble a small oval or a circle. If it does not work out right away, you can help yourself, squeezing your mouth corners. It is this form that you must achieve (see photo №1). This exercise is advisable to perform at first before the mirror and without a harmonica - it will help you to see the results of your efforts. Having accepted the right position of the lips, bring a lip harmonic. Watch that the gap between the lips does not increase. The harmonica should be located between the lips, and not before them, in any way. Try to make a slow exhalation and inhale through the 4th hole. (See Foto No. 2). If in this case you do not get a single note, thry to press the corners of the lips with your fingers (see photo # 3). Try to lock and save this position without the help of your fingers. As a rule, the exercise among the usual average person takes more than a couple of weeks. So I think you will get everything. When you already begin to get extraction of a single note, then repeat it until your lips will weaken. Try to save the right position. This exercise must be repeated multiple times and at a slow pace until the necessary proper muscle memory is generated.

INVESTMENTS

photo #1.

Photo №2.

photo number 3.

to come back to the beginning

Lesson 2. Learning to extract one note.

Having achieved positive results, you can try to play a major gamut. Know that when moving from one hole to another, there should be a lifting harmonica, and not your head. To achieve the "smooth" transition from the hole to the hole, if something does not work, stop and work out the nuances until it turns to get everything. In case of sticking lips when moving between holes, lick the lips and the part of the instrument you play at the moment. During the game, the head should be raised. Do not forget to periodically shake remove the concentrated saliva and moisture from the tool. In the first weeks of classes, you can be concerned that the lips quickly get tired and cease to obey you. Do not be afraid - it always happens with newcomers. During the time and permanent training, this inconvenience will be overcome. No need to give up ahead of time. Try to make the harmonica in your mouth as much as possible, but the ability to extract single notes was not lost. Remember it constantly. Single extraction is the basics with whom you have to constantly face to one degree or another, so in your same interest it is thorough to learn this. And now it's time to start exercises. The up arrow means exhale, the down arrow is inhale. The digit standing above the arrow indicates which hole it is necessary to work.

INVESTMENTS

to come back to the beginning

Lesson 3. The simplest melodies for the lifting harmonica.

Lesson 3. The simplest melodies for the lifting harmonica. Well, now I will proceed to the third lesson. He will be from the category - practical classes. I hope you carefully and responsibly reacted to the 2nd lesson and achieved a positive result in the extraction of a single note. After all, without it. Now you can play the simplest famous melodies on the Garmoshka (Aunt Rhody, Goin Down The Road Feelin Bad, Jingle Bells, Oh When The Saints, Railtoad Bill, LightyrW). Which, strictly speaking, provided to you in the 3rd lesson. Chords are granted to melodies. So you and some of your buddy can freely play in a duet.

INVESTMENTS

to come back to the beginning

Re: Tutorial of the Garmoshka.

INVESTMENTS

to come back to the beginning

Lesson 4. Receiving sound effects with palms.

Lesson 4. Receiving sound effects with palms. Tremolo on the lip harmonica. Sound effects are an integral part of the game of real "Harpers" (I hope you know who "Harpers"). In order to learn how to use sound effects, the first thing that needs to be done is to understand the nature of the sound and the situations in which it will be appropriate. The whole "secret" of the effective and proper position of the Garmoshki in the palms is that it is necessary to create impenetrable and the most important chamber with palms, which is a "trap" for the recoverable sound. The camera formed by palms should adjust the back of the harmonic. The more it is better, it is sealed, the richery will be the sound of recoverable effects. Everything is very simple - when the palms are open, the sound is stronger, compared to the one that is obtained during closed palms. If you have already understood this, then the provisions provided in the 4th lesson will not be meaningless. Massage. It is necessary to keep a lip harmonica so that the opening and closure of the palms affects the change of the sound of a chord or notes. This effect is referred to as "tremolo". It is built on vibrations of notes and chords with a large duration that can be found in the end of the melodies. In this case, the height of the note produced is not changed, namely its volume. Expressing simple language, how do you keep your palms the resulting sound, and then, blur them, let's break free to him. Closed palms give the extractable notes a quieter, muted sound, and open the volume increases. But here is not so simple. In order for tremolo to be saturated and complete, one right position of the palms will not be enough. It is necessary to extract notes or chords as louder as possible so that the difference in the dynamics (quiet-loud) was tangible. If the power of the sound is insufficient, then the closure and opening of the palms will not be given any significant effect. To get optimal sound effects, it is necessary that the lifting harmonica is located in your left hands (there is no difference right-hander you or left-hander). The fact is that the main factor here is the close location of the chamber, which is formed by palms, in relation to the holes of the lower notes of the lip harmonica. Hence, most of The camera formed palms should be near the bottom. Over time, as you need your professional growth, you will notice that they play more in this part of the harmonica range. It turns out that it is thus the lifting harmonica. The location of the notes is obtained as on the piano, i.e. Bottom notes are located on the left side.

to come back to the beginning

How to keep a lip harmonica?

Now let's look at how to properly keep the lip harmonic. Take the harmonica between the index and thumbs of the left hand as close to the rear edge. As a result, it turns out that the left edge of the harmonica will rest in the interval formed between the base of the index and big fingers. (See Fig .№1) at first - it can cause discomfort and inconvenience, do not worry, after the week everything will be in place. Many will become a question, why exactly need to keep a lip accordion? The answer is simple - this is exactly the position of the fingers frees more space for the movement of the lips on the harmonica, thereby making a major game process (remember Lesson # 1). Here you go. We have already figured out with your left hand - we turn to the right. You need to close the fingers of the right hand and straighten your palm, but the thumb should be at a right angle towards the rest of the fingers. Then, subject the base of the palms, without changing the right palm form accepted. Now you can remove the sticking thumb, so that he did not touch the face and lips (see Fig. 2). Taking the correct position of the hands, to get a sound effect, reject a little right palm back, But leaving the wrist of both hands closed. It is desirable, this exercise is not the first to perform in front of the mirror, analyzing yourself. This will help to eliminate the emerging slots between the palms that should be tightly compressed from the back of the lip of the harmonica. Remove some loud single, clean note on exhalation. Continuing to keep the sound notes, reject back the palm of the right hand (remember, you can not blur the wrists). You must hear a change in sound, the first backgrounds for tremolo. Thus, without interrupting the sounds of notes, alternately open and close the right palm (at a certain speed). You got the effect of tremolo. It should equally vibrate both inhale and exhale. Maybe someone did not get tremolo? The reasons may be two. The first - between the closed palms there are slots that pass the air. The second is insufficiently strong sound intake. The reasons are easily removable, so you do not need to be upset if something is wrong - just analyze yourself, read the lesson again and everything will turn out. The above may seem at first glance as complex and inaccurable. But, I assure you, after looking for a week, you look at it all differently. Yes, it is not easy, but you must overcome yourself. It must be remembered that the effect of tremolo is usually applied to long-term notes that are found in the ending melodies, songs. It is not necessary to use tremolo too often, because then the whole effect is lost. Over time and practice, you will understand when and in what quantities to use tremolo. So dare! All in your hands!

INVESTMENTS

to come back to the beginning

Lesson 5. Respiratory formulation for the game on a lip accordion. This lesson is perhaps one of the most important After all, the ability to properly build your breathing is very important.And in respiration, the muscles of the front of the mouth and lips are not involved. The easiest way to learn how to breathe correctly when playing on a lip harmonicker is to extract one note at the lowest possible location of the harmonica in the mouth. The deeper you can put a lip harmonic, the better. This will allow you to focus on the breath with the help of a diaphragm and eliminate the actions of the lips and muscles of the front of the mouth. The power and power of the sound, its timbre and painting when playing in many ways depend on proper breathing. Proper breathing cannot be confused with endurance. Endurance appears in the process of your lessons. As the rules, such a problem accompanies newcomers, but as it exercises and experience it is permitted. The right breathing is based on the movement of the diaphragm. It creates an airflow, which drives the tool. When playing harmonica, the correct breathing resembles a similar discipline that the musicians of hot spirits are studying, vocalists, athletes. But they use only exhale. And when playing on a lip harmonica, in addition to the exhalation, no less important is to inhale. Naturally, the exemption control is a rather unusual and specific lesson, because when talking or singing, we use solely inhale. Therefore, for many people, the right breathing when playing harmonica is difficult to learn. It should not scare you. It will take time, and you will learn to this difficult, but an important component when playing on a lip accordion. If you follow these recommendations, you will understand how to get a full-fledged tool, clean sound, but it will take the days of strengthened efforts. In circles of musicians, athletes, such a reception is called "Breathing with aperture", "Breathing of Yogis", "Deep Breathing", etc. Break up to exercises. The first is to study and play if possible standing. When breathing exercises are being worked out, try the heads to be a little raised, the back straight, and the body is relaxed - it will help better circulate air from the diphragm. By the way, I want to draw your attention to one rather interesting fact.. When you sleep, breathe correctly, and the body is most relaxed. But, perhaps, units can repeat a similar awakening from sleep. Deep breathing comes from the diaphragm, and not from air filling the chest, as it is considered. Try to do the following exercise (it is desirable to perform it in front of the mirror). Stand straight, slightly raising your head, and put your palm of any of the hands on the belly. Open your mouth so that the lower jaw is as low as possible, try to "frozen" in this position. This exercise contributes to strengthening the muscles. At the beginning, it will be difficult, you will be quickly tired, but in the process of the muscles they will fix it and it will be easily. Now you need to "stick" the belly, and then "absorb it" back, but at the same time the breath should not participate in it. At the same time, make sure that the belly goes perpendicular to the spine - "back-forward", and not "up-down". We now do the following not a simple exercise. Try to do exhale, while simultaneously pronouncing "Ha", see if your stomach has twisted. He must be moved towards the spine. And now, with the help of your hand, return the stomach into the usual position (through the mouth there should be a jet of air). Thus, affecting the diaphragm, you squeeze the air from the lungs, which passes through the throat and mouth (ultimately through the holes of the harmonica). I think that this (described above) exercise will not cause you essential complications. Now try to do the same, but already use a lip harmonic. To control the breath, one palm can put on the stomach. The tool should be placed as deep in the mouth. Now remove the hand to keep the lip harmonic, such images you will lock it only with the help of teeth. It is in such provisions that you have to extract chord (3-5notes). So, the position is made - you can try to extract airflow from the diaphragm. Watching in the mirror you will see that the belly will start moving (in any of the parties) for a moment before the first sound sounds. This exercise is easier to exhale, but you should learn how to breathe and inhale. Still a couple of tips for proper breathing. To get a more powerful, high-quality sound from the Garmoshka - focus on the air jet of air pass through the holes of the lifting harmonica, and not just got into them. After all, the air goes from the back side of the harmonica, and then another 7-9 cm. Moving parallel to the tongue. If the air flow moves at an angle, then you yourself do not want to change the height of the notes, and some notes (upper) with this position may sound bad or not to sound at all. This is the reason that many newcomers have a problem in sound recovery on exhale through the 2nd and 3rd holes. Also try not to overdo it in the extraction of a single note. Such a problem often occurs in the musicians of the past first stage Games on the lip harmonica. You will ask why? Just beginners have a bad habit of closing and strain lips when removing a single note. In turn, this prevents the free passage of air, as a result, not the maximum possible amount of air passes. Try to keep track of the optimal lip configuration. In order to achieve good, high-quality sound at the least costs of effort. During the game on a lip harmonica, the air from you should go out only through the harmonica. Simply, many beginners are also involved in the nose, but it is reflected on the sound, so it should be avoided. If your nose is still involved, you can practice at the next exercise. Hold the nostril with your fingers (or some other way close the nostrils). Start slowly playing a major range up-down, as far as the game, periodically tighten any of the notes as much as required for your breathing. Such an exercise at first it is advisable to perform regularly, in several approaches for 1-3 minutes. This will teach you to use the notes to fill with air your lungs. Having mastered this exercise, you can use the nose in short intervals if it is necessary to free yourself from excess air. But this will be an informed action that does not affect the game. The main rule when breathing during the game on a lip accordion. This is comfort. You must feel well in order to focus only on the game. If in the lungs too much air then try to free yourself or vice versa, if not enough, then type it. Everything should be on the "automatic". If it is thorough to study this lesson, then I think, in the future you will say more than once thanks. After all, if you really aim to become a decent musician "Harper", then without it.