Blues-harp
Encyclopedia
There are numerous techniques available for harmonica
. A few are described here. For details of how to do such techniques, visit the Harmonica wikibook.
and forcing the reed to resonate at a different pitch. Although it is notoriously difficult and can be frustrating for beginners, one does this by relaxing and coordinating muscles in the throat, mouth, and lips. This technique is called "bending", a term borrowed from guitarists, who literally "bend" a string in order to create subtle changes in pitch. Using bending, a player can reach all the notes on the chromatic scale. "Bending" also creates the glissando characteristic of much blues harp and country harmonica playing. Bending on a guitar bends the pitch upward. However, typically "bending" on a harmonica means the pitch falls downward. Bends are essential for most blues and rock harmonica due to the soulful sounds the instrument can bring out. The famous "wail" of the blues harp typically required bending.
|D |F |A#|
|B |D#|F#|B |
hole: 1 2 3 4 5 6 7 8 9 10
-----------------------------
blow: |C |E |G |C |E |G |C |E |G |C |
draw: |D |G |B |D |F |A |B |D |F |A |
-----------------------------
|C#|F#|A#|C#|E |G#|
|F |A |
|G#|
The physics of bending are quite complex, but amount to this: a player can bend the pitch of the higher-tuned reed down toward the pitch of the lower-tuned reed in any given hole. In other words, on holes 1 through 6, the draw notes can be bent and on holes 7 through 10 the blow notes can be bent. Hole 3 allows for the most dramatic bending: in C, it is possible to bend 3 draw from a B down to a G, or anywhere in between.
developed the "overbending" technique (also known as "overblowing" and "overdrawing".) Overbending, combined with bending, allowed players like Chris Michalek
, Carlos del Junco
, Otavio Castro and George Brooks to play the entire chromatic scale. When bending, the player forces the lower of the two reeds in a chamber to vibrate faster, while the higher pitched reed vibrates slower. When overbending, the player isolates the higher of the two reeds and by so doing can play higher pitched notes. By using both bending and overbending techniques a player can play the entire chromatic scale using a diatonic harmonica. This has allowed diatonic harmonica players to expand into areas traditionally viewed as inhospitable to the instrument such as Jazz
.
The overbend is a difficult technique to master. To facilitate overbending, many players use specially modified or customised harmonicas. Any harmonica can be set up for better overbending. The primary needs are tight tolerances between the reed and reed-plate and a general level of air-tightness between the reed-plate and comb. The former often necessitates lowering the "gap", the space between the tip of the reed and the reed-plate. Another often used technique called embossing is to make the space between the sides of the slots in the reed-plate and the reed itself as small as possible by drawing in the metal on the sides of the reed-plate slots towards the reed. While these modifications make the harmonica overbend more easily, overbending is often possible on stock diatonic harmonica, especially on an airtight design.
Overblows Blow-Bends
Bb
Eb Eb F# Bb Eb F# B
C E G C E G C E G C <= Blow
(1)(2)(3)(4)(5)(6) (7)(8)(9)(10)
D G B D F A B D F A <= Draw
C# F# Bb C# Ab C# Ab C#
F A
Ab
Draw-bends Overdraws
Although there are players who use precise overbends and bends to play the diatonic harmonica as a fully chromatic instrument, this is still very rare, not simply because the technique is very difficult, but also because it requires an extreme level of skill, as well as a perfectly setup instrument, to match the tone of an overbend to the sound of other normally played notes. Thus, even though a player could play any melody in any key (within a three octave range) on a C diatonic harmonica, most harmonica players (especially those who focus on blues and/or diatonic harmonicas) prefer to match the possibilities of glissandos, register and dynamics of a given melody to a harmonica. Thus, the common practice is still to use different keys of diatonic harmonicas; recently some also use valved diatonics or XB-40 for different songs. As for harmonica players who play mostly classical or jazz music, most would rather use chromatics, as those styles call for a more fully chromatic style.
However, more and more people are attempting to overblow, or at least trying to bend on all notes (using valves or the XB-40), on diatonics, since overbend and bending allow wailing, which is a desired aspect of many styles such as blues — something that is hard to simulate with chromatic harmonicas.
The vibrato might also be achieved via rapid glottal (vocal fold) opening and closing, especially on draws (inhalation) simultaneous to bending, or without bending. This obviates the need for cupping and waving the hands around the instrument during play.
F, C, G, D, A) are based on notes only available by bending or overblowing. The terminology of
positions is also applicable to chromatic harmonicas.
The first three positions cover the vast majority of harmonica playing, and these positions have names as well as numbers. They are:
The terminology for other positions is slightly more varied. It is possible, of course, to play in any of the modes and, using overblows and bends, it is possible to play in all 12 keys on a single diatonic harmonica, though this is very rarely done on a diatonic. Even if a player is capable of playing multiple keys on a single harmonica, they will usually switch harmonicas for different songs, choosing the right "position" for the right song so as to achieve the best sound. Even when the same notes can be achieved on different harmonicas, choosing the different harmonicas will offer a variety of options as to slides, bends, and breathing patterns which will allow the player to create a different sound overall.
music culture, and refers to the diatonic harmonica itself, since this is the kind that is most commonly used to play blues. The "classical" harmonica for blues playing was the Hohner
Marine Band, which was affordable and easily obtainable in various keys even in the rural American South, and since its reeds could be "bent" (see below) without deteriorating at too rapid a rate.
A diatonic harmonica is designed to ease playing in one diatonic scale
. Here is a standard diatonic harmonica's layout in the key of C (1 blow is middle C):
This layout easily allows the playing of notes most important in C major, that of the C major triad: C, E, and G. The tonic chord is played by blowing and the dominant chord is played by inhaling.
Blues harp subverts the intention of this design with what is "perhaps the most striking example in all music of a thoroughly idiomatic technique that flatly contradicts everything that the instrument was designed for"
(van der Merwe p66), by making the drawn notes the primary ones . Since these "draw" notes are more easily bent (for holes 1-6) and consist of (relative to the key of the hamonica) II, V, VII, IV, VI. In the case of a major-C harmonica, this will be D, G, B, F, A. This allows two things:
The player can play slurs or bends around the minor/major third of the scale and around the tritone/fifth of the scale, both of which are vital to many blues compositions. For a further discussion of "bending" on the harmonica, see the harmonica article
.
The key played in this style is one fifth
above the nominal tuning of the harmonica, e.g. a C harmonica is played in the key of G. Therefore, to be in tune with a normal guitar tuning of E, an A harmonica is often used. This is because by playing the C harmonica in G, or A harmonica in E, the dominant or seventh chord
is produced in place of the tonic chord, and in the blues, all chords are typically played as dominant (seventh or ninth) chords.
This is playing in second position, called "cross harp."
If one used solo-tuned harmonica instead of richter tune, it will be in the 3rd position, a ii-minor key. So in the case of C harmonica, it will be in the key of D minor. This is called "slant harp." Minor keys can also be easily played in 4th and 5th positions.
Although not generally recommended nowadays by either players or manufacturers, some past players have felt soaking their harmonicas in warm water, and even beer, whiskey, or vodka helped break them in, believing that this facilitates bending of the notes. This is done only with aged wood combed harmonicas; as the wood ages, it can shrink, and in the case of the Hohner Marine Band harmonica (or any harmonica with wooden parts) soaking causes the wood to swell and makes the instrument more airtight.
Harmonica
The harmonica, also called harp, French harp, blues harp, and mouth organ, is a free reed wind instrument used primarily in blues and American folk music, jazz, country, and rock and roll. It is played by blowing air into it or drawing air out by placing lips over individual holes or multiple holes...
. A few are described here. For details of how to do such techniques, visit the Harmonica wikibook.
Bending and other techniques
In addition to the 20 notes readily available on the diatonic harmonica, players can play other notes by adjusting their embouchureEmbouchure
The embouchure is the use of facial muscles and the shaping of the lips to the mouthpiece of woodwind instruments or the mouthpiece of the brass instruments.The word is of French origin and is related to the root bouche , 'mouth'....
and forcing the reed to resonate at a different pitch. Although it is notoriously difficult and can be frustrating for beginners, one does this by relaxing and coordinating muscles in the throat, mouth, and lips. This technique is called "bending", a term borrowed from guitarists, who literally "bend" a string in order to create subtle changes in pitch. Using bending, a player can reach all the notes on the chromatic scale. "Bending" also creates the glissando characteristic of much blues harp and country harmonica playing. Bending on a guitar bends the pitch upward. However, typically "bending" on a harmonica means the pitch falls downward. Bends are essential for most blues and rock harmonica due to the soulful sounds the instrument can bring out. The famous "wail" of the blues harp typically required bending.
|D |F |A#|
|B |D#|F#|B |
hole: 1 2 3 4 5 6 7 8 9 10
-----------------------------
blow: |C |E |G |C |E |G |C |E |G |C |
draw: |D |G |B |D |F |A |B |D |F |A |
-----------------------------
|C#|F#|A#|C#|E |G#|
|F |A |
|G#|
The physics of bending are quite complex, but amount to this: a player can bend the pitch of the higher-tuned reed down toward the pitch of the lower-tuned reed in any given hole. In other words, on holes 1 through 6, the draw notes can be bent and on holes 7 through 10 the blow notes can be bent. Hole 3 allows for the most dramatic bending: in C, it is possible to bend 3 draw from a B down to a G, or anywhere in between.
Overbending
In the 1970s, Howard LevyHoward Levy
Howard Levy is a Grammy Award–winning, American harmonicist, pianist, composer, and producer....
developed the "overbending" technique (also known as "overblowing" and "overdrawing".) Overbending, combined with bending, allowed players like Chris Michalek
Chris Michalek
Chris Michalek was an American harmonica player.Born in Minneapolis, Minnesota, he was an accomplished modern diatonic harmonica player in many styles including Jazz, Funk, Blues and World Music. Michalek was also the organizer of the Global Harmonica Summit in 2000...
, Carlos del Junco
Carlos del Junco
Carlos del Junco is a renowned Cuban-Canadian harmonica musician.Mr. del Junco immigrated with his family when he was one year old. He started to play the harmonica at 14 years old. He graduated from college with honors at the Ontario College of Art majoring in sculpture.He specializes in...
, Otavio Castro and George Brooks to play the entire chromatic scale. When bending, the player forces the lower of the two reeds in a chamber to vibrate faster, while the higher pitched reed vibrates slower. When overbending, the player isolates the higher of the two reeds and by so doing can play higher pitched notes. By using both bending and overbending techniques a player can play the entire chromatic scale using a diatonic harmonica. This has allowed diatonic harmonica players to expand into areas traditionally viewed as inhospitable to the instrument such as Jazz
Jazz
Jazz is a musical style that originated at the beginning of the 20th century in African American communities in the Southern United States. It was born out of a mix of African and European music traditions. From its early development until the present, jazz has incorporated music from 19th and 20th...
.
The overbend is a difficult technique to master. To facilitate overbending, many players use specially modified or customised harmonicas. Any harmonica can be set up for better overbending. The primary needs are tight tolerances between the reed and reed-plate and a general level of air-tightness between the reed-plate and comb. The former often necessitates lowering the "gap", the space between the tip of the reed and the reed-plate. Another often used technique called embossing is to make the space between the sides of the slots in the reed-plate and the reed itself as small as possible by drawing in the metal on the sides of the reed-plate slots towards the reed. While these modifications make the harmonica overbend more easily, overbending is often possible on stock diatonic harmonica, especially on an airtight design.
Overblows Blow-Bends
Bb
Eb Eb F# Bb Eb F# B
C E G C E G C E G C <= Blow
(1)(2)(3)(4)(5)(6) (7)(8)(9)(10)
D G B D F A B D F A <= Draw
C# F# Bb C# Ab C# Ab C#
F A
Ab
Draw-bends Overdraws
Although there are players who use precise overbends and bends to play the diatonic harmonica as a fully chromatic instrument, this is still very rare, not simply because the technique is very difficult, but also because it requires an extreme level of skill, as well as a perfectly setup instrument, to match the tone of an overbend to the sound of other normally played notes. Thus, even though a player could play any melody in any key (within a three octave range) on a C diatonic harmonica, most harmonica players (especially those who focus on blues and/or diatonic harmonicas) prefer to match the possibilities of glissandos, register and dynamics of a given melody to a harmonica. Thus, the common practice is still to use different keys of diatonic harmonicas; recently some also use valved diatonics or XB-40 for different songs. As for harmonica players who play mostly classical or jazz music, most would rather use chromatics, as those styles call for a more fully chromatic style.
However, more and more people are attempting to overblow, or at least trying to bend on all notes (using valves or the XB-40), on diatonics, since overbend and bending allow wailing, which is a desired aspect of many styles such as blues — something that is hard to simulate with chromatic harmonicas.
The vibrato might also be achieved via rapid glottal (vocal fold) opening and closing, especially on draws (inhalation) simultaneous to bending, or without bending. This obviates the need for cupping and waving the hands around the instrument during play.
Positions
In addition to playing the diatonic harmonica in its original key, it is also possible to play it in other keys by playing in other "positions", using different keynotes. Using just the basic notes on the instrument would mean playing in a specific mode for each position (e.g. playing in D Dorian or G mixolydian on a C Major harmonica), but techniques such as bending enable different modes to be used at each position (e.g. playing in E mixolydian on a C Major harmonica). Harmonica players (especially blues players) have developed a set of terminology around different "positions" which can be somewhat confusing to other musicians. There are twelve "natural positions" (one for each semitone), numbered from 1st position as given (on a standard 10-hole diatonic) by the note on the 1 blow and going up round the cycle of 5ths - so on a C harp, 1st position gives C, 2nd position G, 3rd D, 4th A etc. With this numbering system, positions 7-11 (on a C instrument, those having keynotesF, C, G, D, A) are based on notes only available by bending or overblowing. The terminology of
positions is also applicable to chromatic harmonicas.
The first three positions cover the vast majority of harmonica playing, and these positions have names as well as numbers. They are:
- 1st position (or "straight harp"): Ionian mode. Playing the harmonica as it was intended, in its main major key. On a diatonic, starting note is hole 1 blow. On a C-chromatic, starting hole is the same, resulting in C major scale. This is the main position used for playing folk music on the harmonica.
- 2nd position (or "cross harp"): Mixolydian mode. Playing the harmonica in a key a fifth above its intended key. Playing just the unbended notes, this position gives the mixolydian scaleMixolydian modeMixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; a modern musical mode or diatonic scale, related to the medieval mode.-Greek Mixolydian:The idea of a...
between 2 draw and 6 blow. However, bending the 3 draw allows the player to play a minor third (or a blue third), allowing a player to use a C harmonica to play in G mixolydian or G minor. Blues players can also play a tritone in this position by bending the 4 draw. See a more extensive discussion of this position at the article on blues harpBlues harpThe Richter-tuned harmonica, or 10-hole harmonica or blues harp , is the most widely known type of harmonica...
. On a diatonic, starting note is hole 2 draw or hole 3 blow. On a C-chromatic, starting hole is hole 3 blow, resulting in G major with a flatted 7th. - 3rd position (or "double cross harp" or "slant harp"): Dorian mode. Playing the harmonica a full tone above its intended key. This gives a dorian scaleDorian modeDue to historical confusion, Dorian mode or Doric mode can refer to three very different musical modes or diatonic scales, the Greek, the medieval, and the modern.- Greek Dorian mode :...
between 4 draw and 8 draw, though once again bends and overblows give players a variety of options. Blues players can achieve a tritone by bending the 6 draw. On a diatonic, starting hole is hole 1 draw. On a C-chromatic, starting hole is hole 1 draw, resulting in D-minor with a raised 6th. This is the traditional way of playing Blues on Chromatic.
The terminology for other positions is slightly more varied. It is possible, of course, to play in any of the modes and, using overblows and bends, it is possible to play in all 12 keys on a single diatonic harmonica, though this is very rarely done on a diatonic. Even if a player is capable of playing multiple keys on a single harmonica, they will usually switch harmonicas for different songs, choosing the right "position" for the right song so as to achieve the best sound. Even when the same notes can be achieved on different harmonicas, choosing the different harmonicas will offer a variety of options as to slides, bends, and breathing patterns which will allow the player to create a different sound overall.
Blues harp (2nd position)
Blues harp or cross harp denotes a playing technique that originated in the bluesBlues
Blues is the name given to both a musical form and a music genre that originated in African-American communities of primarily the "Deep South" of the United States at the end of the 19th century from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads...
music culture, and refers to the diatonic harmonica itself, since this is the kind that is most commonly used to play blues. The "classical" harmonica for blues playing was the Hohner
Hohner
Hohner Musikinstrumente GmbH & Co. KG is a company specialising in the manufacture of musical instruments. Founded in 1857 by Matthias Hohner , Hohner is identified especially with harmonicas and accordions. The Hohner company has invented and produced many different styles, and most of the...
Marine Band, which was affordable and easily obtainable in various keys even in the rural American South, and since its reeds could be "bent" (see below) without deteriorating at too rapid a rate.
A diatonic harmonica is designed to ease playing in one diatonic scale
Diatonic scale
In music theory, a diatonic scale is a seven note, octave-repeating musical scale comprising five whole steps and two half steps for each octave, in which the two half steps are separated from each other by either two or three whole steps...
. Here is a standard diatonic harmonica's layout in the key of C (1 blow is middle C):
This layout easily allows the playing of notes most important in C major, that of the C major triad: C, E, and G. The tonic chord is played by blowing and the dominant chord is played by inhaling.
Blues harp subverts the intention of this design with what is "perhaps the most striking example in all music of a thoroughly idiomatic technique that flatly contradicts everything that the instrument was designed for"
(van der Merwe p66), by making the drawn notes the primary ones . Since these "draw" notes are more easily bent (for holes 1-6) and consist of (relative to the key of the hamonica) II, V, VII, IV, VI. In the case of a major-C harmonica, this will be D, G, B, F, A. This allows two things:
- Bending on the draw notes; in the case of C-keyed harp, this will let with B and D bending down and F up (G down); These basically created a blues notes.
- An approximation of the blues scaleBlues scaleThe term blues scale is used to describe a few scales with differing numbers of pitches and related characteristics. See: blues.The hexatonic, or six note, blues scale consists of the minor pentatonic scale plus the 4th or 5th degree...
, which consist of I, III, IV, V, V, VII. If played on a C-keyed harp, this produces a blue scale in G: G, B, C, D, D, F. (This resembles the tuning of the bottleneck guitar).
The player can play slurs or bends around the minor/major third of the scale and around the tritone/fifth of the scale, both of which are vital to many blues compositions. For a further discussion of "bending" on the harmonica, see the harmonica article
Harmonica
The harmonica, also called harp, French harp, blues harp, and mouth organ, is a free reed wind instrument used primarily in blues and American folk music, jazz, country, and rock and roll. It is played by blowing air into it or drawing air out by placing lips over individual holes or multiple holes...
.
The key played in this style is one fifth
Perfect fifth
In classical music from Western culture, a fifth is a musical interval encompassing five staff positions , and the perfect fifth is a fifth spanning seven semitones, or in meantone, four diatonic semitones and three chromatic semitones...
above the nominal tuning of the harmonica, e.g. a C harmonica is played in the key of G. Therefore, to be in tune with a normal guitar tuning of E, an A harmonica is often used. This is because by playing the C harmonica in G, or A harmonica in E, the dominant or seventh chord
Seventh chord
A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a major triad with an added minor seventh...
is produced in place of the tonic chord, and in the blues, all chords are typically played as dominant (seventh or ninth) chords.
This is playing in second position, called "cross harp."
If one used solo-tuned harmonica instead of richter tune, it will be in the 3rd position, a ii-minor key. So in the case of C harmonica, it will be in the key of D minor. This is called "slant harp." Minor keys can also be easily played in 4th and 5th positions.
Breaking in a harmonica
Harmonica players disagree on the need to break in the reeds of a new harmonica, and on break in technique. Even among those that favor a break in period, numerous techniques appear: some may prefer to play a new harmonica for several hours without bending notes; others prefer to play for many short periods of time with reasonable breaks in between, as recommended by acclaimed chromatic harmonica technician and player Douglas Tate. Some diatonic players use a 12 volt car vacuum to work the reeds which is claimed to avoid premature stress cracks.Although not generally recommended nowadays by either players or manufacturers, some past players have felt soaking their harmonicas in warm water, and even beer, whiskey, or vodka helped break them in, believing that this facilitates bending of the notes. This is done only with aged wood combed harmonicas; as the wood ages, it can shrink, and in the case of the Hohner Marine Band harmonica (or any harmonica with wooden parts) soaking causes the wood to swell and makes the instrument more airtight.