[Harp-L] Tongue blocking and tone



John,

There are some things that can only be played TBing and other things that can only be played LPing. That being said, IMHO, it is definitely possible to get "that" tone LPing.

TBing, by its nature FORCES the player to do certain things that are essential to good tone, Because of physiology, it's simply not possible to TB without doing those things. A player who is LPing can also do these things, but must make a conscious effort to do so.

DEEP embouchure, dropped and relaxed jaw, large and open oral resonance chamber, LARGE AIR APERTURE (as large as possible consistent with getting a single note which is MUCH LARGER than sipping through a straw), using the throat (or root of the tongue) to bend, deep diaphragmatic air production, open and relaxed airway, articulating separation between notes by stopping and starting air movement with the diaphragm, etc. One cannot TB without doing most of these. But if one makes a conscious effort to do these things while LPing, it is my experience that substantially equivalent tone can be achieved.

One clear advantage of TBing is that it allows the player to get the holes of the harmonica deep into the mouth PAST THE TOP AND BOTTOM TEETH which makes for a larger, less obstructed resonance chamber. BUT, if one is LPing, using a DEEP embouchure and TILTING the holes of the harp down towards the throat puts the holes of the harp in the mouth past the top teeth. Now, if one is LPing and using the throat to bend, a player can actually keep the tongue lower (on the floor of the mouth) than when TBing which requires the tongue tongue to be on the harp and therefore higher in the mouth. So, keeping the tongue low on the floor of the mouth when LPing and tilting the harp (while using a deep embouchure) make for as large and unobstructed resonance chamber as can be achieved when TBing. But LARGE AIR APERTURE is an essential part of the equation along with the rest of techniques summarized above.

By "ddep emboucure" I mean that the harp should be derp in the lips, with the face of the comb pressing against the corners of the mouth (if you tilt, it becomes the edge of the top cover plate that contacts the corners of the mouth). The harp is deep in the mouth so that it is the inside of the mouth just past the lip line that contacts the harp and the only place where the lips themselves actually contact the harp is at the corners of the mouth.

All air production must be from the diaphragm, NOT the mouth or lips. Throat and jaw should be open like when you yawn, and the jaw and airway should be relaxed. If you do it right, it feels like there is a direct connection between the diaphragm and the reeds linked by the air column being produced from the diaphragm.

Anyway, this is my take on it. Personally, I am a mixed embouchure player, and use both TBing and LPing regularly when i play. But i generally LP for single notes.

Hope this is of some help to you.

JP







This archive was generated by a fusion of Pipermail 0.09 (Mailman edition) and MHonArc 2.6.8.