[Harp-L] TONE/tone

["John F. Potts" <hvyj@xxxxxxx>]

JR Ross sayeth:

"I actually don't think there are that many tones to be explored-- 
wind instrument players tend to have singular, recognizable tone no  
matter the style or genre they are playing in."

Jon,

Maybe it's a matter of semantics. But changing the size and shape of  
the oral resonance chamber can produce  fairly dramatic changes in   
tone/presentation (especially if simultaneously using a tight cup on  
the mic). Also, the relative depth or shallowness of air stream  
production, and the extent to which the throat and/or resonance  
chamber are relaxed or constricted will definitely produce  
differences in tone/presentation. Also, using the tongue instead of  
the diaphragm to articulate separation between notes, and how much of  
a "tail" one puts on tongue articulated separation, drastically  
changes the tone/presentation. Deliberately using a shallower  
embouchure will definitely affect tone.

Using mixed embouchure will affect tone when the holes of the harp  
are moved into the mouth past the top and bottom teeth as a passage  
is being played.

And, if, for some reason, a player wants to (or has been instructed  
to) sound like Bob Dylan, air pressure must be created more from the  
mouth and less from the diaphragm and throat, which creates a  
dramatic change in tone.  (Personally, as my playing has improved  
over the years, i find this increasingly difficult to do.)

Altering the embouchure so that air escapes from around the lips  
while playing, or closing the teeth so the air stream is partially  
blocked by the teeth, or narrowing the embouchure and resonance  
chamber as if if to "kiss" each note can all produce variations in  
tone/presentation that can be used for effect on certtain passages.  
Opening the pharynx to allow air to escape or be drawn in through the  
nose while playing--especially while playing chords or split interval  
double stops--will definitely change the tone being produced.

Now, if one is an electric player, simultaneously changing mic grip/ 
cup and the proximity and orientation of the harp relative to the  
grill of the mic interacts with these techniques to vary tone and  
presentation to an even greater extent.  But one does not even need  
to be using a mic to achieve the tonal variations i am attempting to  
describe.

One of  the coolest things about the harmonica is the ability to  
change the presentation of how a note, chord or double stop sounds  
when it is played.  The possible variations are almost limitless.

So, whether you call it "tone" or "presentation", the ability to vary  
or change how the instrument sounds in order to fit the particular  
material being played is extremely important.  And if a player has  
achieved sufficient control over the instrument to be able to do this  
consistently and in a musically tasteful manner, he will be welcome  
in a much wider variety of performance situations.  For an electric  
player, choice of microphone has a lot to do with this, too.   
Personally, i can't get a wide enough variation in response out of  
most bullet mics to be able to play up to my capabilities using one,  
but that's a different topic.

So, whether i have one tone that I vary to suit the material or  
whether i vary my tone to change the presentation of what i am  
playing may be a matter of semantics.  But although I like to think  
that i have personal and identifiable sound, I certainly do not  
always employ the same  tone/presentation for all material in every  
context.


FWIW,

JP