Re: [Harp-L] Original Reason for Tongue-Blocking

[philharpn@xxxxxxx]

The origin of tongue blocking arguably dates to the establishment of richter tuning layout provide a tonic chord (blow) with the notes that make up the  tonic chord (I chord) C E G in the key of G. And the Dominant chord (V)  G B D or dominant 7 (G B D F).


Before the richter layout, the harmonica was probably closer to a chromatic pitch pipe -- not really suited for playing anything but random notes.


But with the richter layout, two chords -- the I and V -- and a partial IV ( F & A= but no C) in the key of C -- it was now possible to play the  popular German folksongs of the mid-1800s. Since the history of the early harmonica is sparse (nobody cared enough to write it down because the harmonica was only a toy or gadget, the real history is lost.


The popular German music in the 1850s was similar to polka style music with a single note followed by two chords.


In America this layout made possible the playing songs like Oh Susanna with single note and chord accompaniment so that the performance sounded  like two harmonicas.


This would explain the little piece of paper that still is included in harmonica packages explain the tongue block  method but I don't thing any of them ever describes it as a" tongue block method," but rather a tonguing method.


The tongue block vamping method lends itself to the performance of American folk songs and early 19th century music. Thousands of harmonica players over the years have never been able to figure out why anyone with half a brain would come up with a harmonica layout with missing notes -- the F and A -- in the first octave. The reason is that this first octave was designed to play the blow chord C and the draw chord G under the tongue block method.


I spent several years trying to figure out how the tongue block method worked until it finally dawned on me that the term was misleading. It's really "corner playing" which is why when someone plays a note out of the left corner of his mouth and then goes to the right corner it is called "corner switching -- not "double reverse tongue blocking"  or some such.


Once I figured out that the solution playing out of the right corner of the mouth it all made sense and I was able to get it under control.


And why should anybody waste time learning "tongue blocking" or "corner playing"? I heard the best explanation at SPAH 2014.


"Playing harmonica without tongue blocking is like playing the piano with one hand." 


(Since I have been playing some piano for about 50 years, I can relate to that.)


The other reason to tongue block is for the tongue slap technique. The slap technique is produce by sounding chord briefly (like a grace note) before playing the single note. This provides a "crunch" when amplified and even acoustically adds depth.
I've been told that this is the key to the Chicago harp sound.


The reason tongue block ( or corner playing) works is because when three or four notes are sounded together, the highest pitched note rings the loudest because that is the main note the human ear hears.


The "fake tongue block" produced by pursing is produced by playing the main note first followed by widening the mouth to take in the notes on either side of the main note.This produces a chording sound but is not as effective as the tongue block because the main note is not longer the highest pitched note, the note to the right of it is. And that note is not the main note. With tongue blocking even when the chord (all the notes) is sounded, the main or melody note continues to sound as the lead note.


 So the fake tongue block can work, but just not as well as a real tongue block corner playing.


What about the lip pursing players?  Many players are confirmed lip pursers. 


This means that in some cases lip pursing works better and in other tongue blocking corner playing does. The best solution is to learn both so whatever the situation, it is covered.


Sorry this is so long, I haven't got time to write a short version.


Hope this helps,
Phil Lloyd










-----Original Message-----
From: Harmonicology [Neil Ashby] <harmonicology@xxxxxxxxxxxx>
To: harp-l <harp-l@xxxxxxxxxx>
Sent: Thu, Aug 14, 2014 12:43 pm
Subject: [Harp-L] Original Reason for Tongue-Blocking


There has been much long discussion pertaining to Tongue-Blocking versus 
Lip-Blocking (and Puckering) for the diatonic harmonica.

Tongue-Blocking on the diatonic harmonica is quite useful for Octaves and a few 
other combinations of separated notes BUT the original reason for 
Tongue-Blocking seems to be that the old Chromatic harmonica was too _thick_ for 
Lip-Blocking (or Puckering); that large block of wood simply inhibited any other 
method of operation.

Comments?

/Neil (" http://thebuskingproject.com/busker/2025/ ")