Harmonica

A 16-hole chromatic (top) and 10-hole diatonic harmonica
Other instrument
Classification	Wind Free reed Aerophone
Hornbostel–Sachs classification	412.132 (Free-reed aerophone)
Developed	Early 19th century
Playing range
For 64-reeds (16-holes) chromatic harmonica: C below Middle C (C) to the D above C5; slightly over 4 octaves
Related instruments
melodeon, melodica, Yu
More articles
List of harmonicists

The harmonica, also called harp, French harp, blues harp, and mouth organ,^[1] 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 (reed chambers) or multiple holes. The pressure caused by blowing or drawing air into the reed chambers causes a reed or multiple reeds to vibrate creating sound. Each chamber has multiple, variable-tuned brass or bronze reeds, which are secured at one end only, leaving the other free to vibrate.

Reeds are pre-tuned to individual tones, and each tone is determined according to the size of reed. Longer reeds make deep, low sounds and short reeds make higher-pitched sounds. On certain types of harmonica the pre-tuned reed can be changed (bending a note) to another note by redirecting air flow into the chamber. There are many types of harmonicas, including diatonic, chromatic, tremolo, orchestral, and bass versions.

Parts[link]

Comb and two reedplates.

Reed plate.

Reedplate mounted on the comb of a diatonic harmonica.

The basic parts of the harmonica are the comb, reed-plates and cover-plates.

Comb[link]

The comb is the term for the main body of the instrument, which contains the air chambers that cover the reeds. The term comb originates from the similarities between simple harmonicas and a hair comb. Harmonica combs were traditionally made from wood, but now are usually made from plastic (ABS) or metal (including titanium for very high-end instruments).^[2] Some modern and experimental comb designs are complex in the way that they direct the air.

Comb material was assumed to have an effect on the tone of the harp. While the comb material does have a slight influence over the sound of the harmonica, the main advantage of a particular comb material over another one is its durability.^[3] In particular, a wooden comb can absorb moisture from the player's breath and contact with the tongue. This causes the comb to expand slightly, making the instrument uncomfortable to play. Various types of wood and treatments have been devised to reduce the degree of this problem.^[2]

An even more serious problem with wood combs, especially in chromatic harmonicas (with their thin dividers between chambers) is that the combs shrink over time. Comb shrinkage can lead to cracks in the combs due to the combs being held immobile by nails, resulting in disabling leakage. Much effort is devoted by serious players to restoring wood combs and sealing leaks. Some players used to soak wooden-combed harmonicas (diatonics, without windsavers) in water to cause a slight expansion, which they intended to make the seal between the comb, reed plates and covers more airtight. Modern wooden-combed harmonicas are less prone to swelling and contracting. Players still dip harmonicas in water for the way it affects tone and ease of bending notes.

Reed-plate[link]

Reed-plate is the term for a grouping of several reeds in a single housing. The reeds are usually made of brass, but steel, aluminium and plastic are occasionally used. Individual reeds are usually riveted to the reed-plate, but they may also be welded or screwed in place. Reeds fixed on the inside (within the comb's air chamber) of the reed-plate respond to blowing, while those on the outside respond to suction.

Most harmonicas are constructed with the reed-plates screwed or bolted to the comb or each other. A few brands still use the traditional method of nailing the reed-plates to the comb. Some experimental and rare harmonicas also have had the reed-plates held in place by tension, such as the WWII era all-American models. If the plates are bolted to the comb, the reed plates can be replaced individually. This is useful because the reeds eventually go out of tune through normal use, and certain notes of the scale can fail more quickly than others.

A notable exception to the traditional reed-plate design is the all-plastic harmonicas designed by Finn Magnus in the 1950s, where the reed and reed-plate were molded out of a single piece of plastic. The Magnus design had the reeds, reed-plates and comb made of plastic and either molded or permanently glued together.

Cover plates[link]

Cover plates cover the reed-plates and are usually made of metal, though wood and plastic have also been used. The choice of these is personal — because they project sound, they determine the tonal quality of the harmonica. There are two types of cover plates: traditional open designs of stamped metal or plastic, which are simply there to be held, and enclosed designs (such as the Hohner Meisterklasse and Super 64, Suzuki Promaster and SCX), which offer a louder tonal quality. From these two basic types, a few modern designs have been created, such as the Hohner CBH-2016 chromatic and the Suzuki Overdrive diatonic, which have complex covers that allow for specific functions not usually available in the traditional design. It was not unusual in the late 19th and early 20th centuries to see harmonicas with special features on the covers, such as bells, which could be rung by pushing a button.

Windsavers[link]

Windsavers are one-way valves made from thin strips of plastic, knit paper, leather or teflon glued onto the reed-plate. They are typically found in chromatic harmonicas, chord harmonicas and many octave-tuned harmonicas. Windsavers are used when two reeds share a cell and leakage through the non-playing reed would be significant. For example, when a draw note is played, the valve on the blow reed-slot is sucked shut, preventing air from leaking through the inactive blow reed. An exception to this is the recent Hohner XB-40 where valves are placed not to isolate single reeds but rather to isolate entire chambers from being active.

Mouthpiece[link]

The mouthpiece is placed between the air chambers of the instrument and the player's mouth. This can be integral with the comb (the diatonic harmonicas, the Hohner Chrometta), part of the cover (as in Hohner's CX-12), or may be a separate unit entirely, secured by screws, which is typical of chromatics. In many harmonicas, the mouthpiece is purely an ergonomic aid designed to make playing more comfortable. However, in the traditional slider-based chromatic harmonica it is essential to the functioning of the instrument because it provides a groove for the slide.

Accessories[link]

Mark Wenner cups his hands around a "bullet mic" as he plays amplified harmonica.

Amplification devices[link]

Since the 1950s, many blues harmonica players have amplified their instrument with microphones and tube amplifiers. One of the early innovators of this approach was Marion "Little Walter" Jacobs, who played the harmonica near a "Bullet" microphone marketed for use by radio taxi dispatchers. This gave his harmonica tone a "punchy" mid-range sound that could be heard above an electric guitar. As well, tube amplifiers produce a natural distortion when played at higher volumes, which adds body and fullness to the sound. Little Walter also cupped his hands around the instrument, tightening the air around the harp, giving it a powerful, distorted sound, somewhat reminiscent of a saxophone, hence the term "Mississippi saxophone".

Rack or holder[link]

Harmonica players who play the instrument while performing on another instrument with their hands (e.g., an acoustic guitar) often use an accessory called a "neck rack" or holder to position the instrument in front of their mouth. A harmonica holder clamps the harmonica between two metal brackets, which are attached to a curved loop of metal that rests on the shoulders. This device is used by folk musicians, "one man bands" and singer/songwriters such as Bob Dylan, Tom Harmon, Neil Young, Eddie Vedder, Bruce Springsteen and blues singers Jimmy Reed and John Hammond Jr..

Harmonica types[link]

Chromatic harmonica[link]

Hohner Super Chromonica, a typical 12-hole chromatic.

The chromatic harmonica uses a button-activated sliding bar to redirect air from the hole in the mouthpiece to the selected reed-plate, although there was one design, the "Machino-Tone," which controlled airflow by means of a lever-operated movable flap on the rear of the instrument. In addition, there is a "hands-free" modification of the Hohner 270 (12-hole) in which the player shifts the tones by moving the mouthpiece up and down with the lips, leaving the hands free to play another instrument. While the Richter-tuned 10-hole chromatic is intended to be played in only one key, the 12-, 14-, and 16-hole models (which are tuned to equal temperament) allow the musician to play in any key desired with only one harmonica. This harp can be used for any style, including Celtic, classical, jazz, or blues (commonly in third position).

Diatonic harmonicas[link]

Strictly speaking, "diatonic" denotes any harmonica that is designed for playing in only one key (though the standard "Richter-tuned" diatonic can be played in other keys by forcing its reeds to play tones that are not part of its basic scale; see Blues harp). Depending on the region of the world, "diatonic harmonica" may mean either the tremolo harmonica (in East Asia) or blues harp (In Europe and North America). Other diatonic harmonicas include octave harmonica.

Tremolo harmonica[link]

A tremolo harmonica.

The tremolo harmonica's distinguishing feature is that it has two reeds per note, with one slightly sharp and the other slightly flat. This provides a unique wavering or warbling sound created by the two reeds being slightly out of tune with each other and the difference in their subsequent waveforms interacting with each other (its beat). The Asian version, on which all 12 semitones can be played, is used in a large amount of East-Asian music, from rock to pop music.

Orchestral harmonicas[link]

These harmonicas are primarily designed for use in ensemble playing.

Orchestral melody harmonica[link]

There are eight kinds of orchestral melody harmonica: the most common are the Horn harmonicas that are most often found in East Asia. These consist of a single large comb with blow only reed-plates on the top and bottom. Each reed sits inside a single cell in the comb. One version mimics the layout of a piano or mallet instrument, with the natural notes of a C diatonic scale in the lower reed-plate and the sharps/flats in the upper reed-plate in groups of two and three holes with gaps in between like the black keys of a piano (thus there is no E#/Fb hole nor a B#/Cb hole on the upper reed-plate). Another version has one "sharp" reed directly above its "natural" on the lower plate, with the same number of reeds on both plates.

"Horn harmonicas" are available in several pitch ranges, with the lowest pitched starting two octaves below middle C and the highest beginning on middle C itself; they usually cover a two or three octave range. They are chromatic instruments and are usually played in an East Asian harmonica orchestra instead of the "push-button" chromatic harmonica that is more common in the European/American tradition. Their reeds are often larger, and the enclosing "horn" gives them a different timbre, so that they often function in place of a brass section. In the past, they were referred to as horn harmonicas.

The other type of orchestral melodic harmonica is the Polyphonia, (though some are marked "Chromatica"). These have all twelve chromatic notes laid out on the same row. In most cases, they have both blow and draw of the same tone, though the No. 7 is blow only, and the No. 261, also blow only, has two reeds per hole, tuned an octave apart (all these designations refer to products of M. Hohner).

Chord harmonica[link]

The chord harmonica has up to 48 chords: major, seventh, minor, augmented and diminished for ensemble playing. It is laid out in four-note clusters, each sounding a different chord on inhaling or exhaling. Typically each hole has two reeds for each note, tuned to one octave of each other. However, less expensive models often have only one reed per note. Quite a few orchestra harmonicas are also designed to serve as both bass and chord harmonica, with bass notes next to chord groupings. There are also other chord harmonicas, such as the Chordomonica (which operates similar to a chromatic harmonica), and the junior chord harmonicas (which typically provides 6 chords).

ChengGong harmonica[link]

The ChengGong 程功 harmonica^[4] has a main body, and a sliding mouthpiece. The body is a 24-hole diatonic harmonica that starts from b2 to d6 (covering 3 octaves). Its 11-hole mouthpiece can slide along the front of the harmonica, which gives numerous chord choices and voicings (seven triads, three 6th chords, seven 7th chords, and seven 9th chords, for a total of 24 chords). As well, it is capable of playing single- note melodies and double stops over a range of three diatonic octaves. Unlike conventional harmonicas, blowing and drawing produce the same notes because its tuning is closer to the note layout of a typical Asian tremolo harmonica or the Polyphonias.^[5]

Pitch pipe[link]

The pitch pipe is a simple specialty harmonica that provides a reference pitch to singers and other instruments. The only difference between some early pitch-pipes and harmonicas is the name of the instrument, which reflected the maker's target audience. Chromatic pitch pipes, which are used by singers and choirs, give a full chromatic (12-note) octave. Pitch pipes are also sold for string players, such as violinists and guitarists; these pitch pipes usually provide the notes corresponding to the open strings.

Harmonica techniques[link]

'Vibrato' is a technique commonly used while playing the harmonica and many other instruments,to give the note a 'shaking' sound. This technique can be accomplished in a number of ways. The most common way is to change how the harmonica is held. For example, by opening and closing your hands around the harmonica very rapidly you achieve the vibrato effect. Another way is to use a 'head shaking' technique, frequently used in blues harmonica, in which the player moves the lips between two holes very quickly. This gives a quick shaking technique that is slightly more than vibrato and achieves the same aural effect on sustained notes. 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.

In addition to the 19 notes readily available on the diatonic harmonica, players can play other notes by adjusting their embouchure and forcing the reed to resonate at a different pitch. This technique is called bending, a term possibly borrowed from guitarists, who literally "bend" a string to subtly change the pitch. Bending also creates the glissandos characteristic of much blues harp and country harmonica playing. Bends are essential for most blues and rock harmonica due to the soulful sounds the instrument can bring out. The "wail" of the blues harp typically required bending. In the 1970s, Howard Levy developed the overbending technique (also known as "overblowing" and "overdrawing".) Overbending, combined with bending, allowed players to play the entire chromatic scale.

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. Harmonica players (especially blues players) have developed terminology around different "positions," which can be confusing to other musicians.

Another technique, seldom used to its full potential, is altering the size of the mouth cavity to emphasize certain natural overtones. When this technique is employed whilst playing chords, care must be taken in overtone selection as the overtones stemming from the non-root pitch can cause extreme dissonance.

Harmonica players who amplified their instrument with microphones and tube amplifiers, such as blues harp players, also have a range of techniques that exploit the properties of the microphone and the amplifier, such as changing the way the hands are cupped around the instrument and the microphone or rhythmically breathing or chanting into the microphone while playing. Blues and folk players refer to the instrument with a range of less-common names including: hand reed, Mississippi saxophone, licking stick, pocket sax, toe pickle, tin sandwich, ten-holed tin-can tongue twister, and French Harp.

History[link]

The harmonica was developed in Europe in the early part of the 19th century. Free reed instruments like the sheng were fairly common throughout East Asia for centuries and were relatively well known in Europe for some time. Around 1820, free reed designs began being created in Europe. While Christian Friedrich Ludwig Buschmann is often cited as the inventor of the harmonica in 1821, other inventors developed similar instruments at the same time.^[6] Mouth-blown free reed instruments appeared in the United States, South America, the United Kingdom and in Europe at roughly the same time.

Early instruments[link]

The harmonica first appeared in Vienna, where harmonicas with chambers were sold before 1824 (see also Anton Reinlein and Anton Haeckl). Richter tuning, invented by Joseph Richter (who also is credited with inventing the blow and draw mechanism), was created in 1826 and was adopted nearly universally in the subsequent years. In Germany, violin manufacturer Mr. Meisel from Klingenthal bought a harmonica with chambers (Kanzellen) at the Exhibition in Braunschweig in 1824. He and the ironworker Langhammer in the 3-mile-away Graslitz copied the instruments; by 1827 they had produced hundreds of harmonicas. Many others followed in Germany and also nearby in what would later become Czechoslovakia. In 1829, Johann Wilhelm Rudolph Glier also began making harmonicas.

In 1830, Christan Messner, a cloth maker and weaver from Trossingen, copied a harmonica his neighbour had brought from Vienna. He had such success that eventually his brother and some relatives also started to make harmonicas. From 1840 onwards, his nephew Christian Weiss was also involved in the business. By 1855, there were at least three harmonica-making businesses: C. A. Seydel Söhne, Christian Messner & Co., and Württ. Harmonikafabrik Ch. WEISS. Currently, only C.A. Seydel is still in business.

Owing to competition between the harmonica factories in Trossingen and Klingenthal, machines were invented to punch the covers for the reeds. In 1857, Matthias Hohner, a clockmaker from Trossingen, started producing harmonicas, eventually to become the first person to mass-produce them. He used a mass-produced wooden comb that he had made by machine-cutting firms. By 1868, he began supplying the United States. By the 1920s, the diatonic harmonica had largely reached its modern form. Other types followed soon thereafter, including the various tremolo and octave harmonicas.

By the late 19th century, harmonica production was a big business, having evolved into mass-production. New designs were still developed in the 20th century, including the chromatic harmonica, first made by Hohner in 1924, the bass harmonica, and the chord harmonica. In the 21st century, radical new designs have been developed, and are still being introduced into the market, such as the Suzuki Overdrive, Hohner XB-40, and the ill-fated Harrison B-Radical.

Diatonic harmonicas were designed primarily for the playing of German and other European folk music and have succeeded well in those styles. Over time the basic design and tuning proved adaptable to other types of music such as the blues, country, old-time and more. The harmonica was a success almost from the very start of production, and while the centre of the harmonica business has shifted from Germany, the output of the various harmonica manufacturers is still very high. Major companies are now found in Germany (Seydel, Bushman, Hohner - the dominant manufacturer in the world), Japan (Suzuki, Tombo - the manufacturer of the popular Lee Oskar harmonica, and Yamaha also made harmonicas until the 1970's), China (Huang, Johnson, Leo Shi, Suzuki, Hohner, Swan, AXL), and Brazil (Hering, Bends). The United States had two significant harmonica manufacturers, and both were based in Union, New Jersey. One was Finn Magnus, who is credited with the development of plastic harmonica reeds. The other was Wm. Kratt Company, who originally started out making pitch pipes, and later secured the patent for combs made of plastic in 1952. Both companies ceased harmonica production. The only recent American contender in the harmonica market was Harrison Harmonicas, however the company folded in July 2011 due to production issues. It was announced soon thereafter that the rights to the Harrison design were sold to another company to finish production of orders already placed. As of September 2011, it is unknown what company purchased the rights to the B-Radical, or if they intend to continue production after previous demands are met. Recently, responding to increasingly demanding performance techniques, the market for high quality instruments has grown.

Europe and North America[link]

Early use[link]

Shortly after Hohner began manufacturing harmonicas in 1857, he shipped some to relatives who had emigrated to the United States. Its music rapidly became popular, and the country became an enormous market for Hohner's goods. President Abraham Lincoln carried a harmonica in his pocket,^[7] and harmonicas provided solace to soldiers on both the Union and Confederate sides of the American Civil War. Frontiersmen Wyatt Earp and Billy the Kid played the instrument, and it became a fixture of the American musical landscape.

The first recordings of harmonicas were made in the U.S. in the 1920s. These recordings are 'race-records', intended for the black market of the southern states with solo recordings by DeFord Bailey, duo recordings with a guitarist Hammie Nixon, Walter Horton, Sonny Terry, as well as hillbilly styles recorded for white audiences, by Frank Hutchison, Gwen Foster and several other musicians. There are also recordings featuring the harmonica in jug bands, of which the Memphis Jug Band is the most famous. But the harmonica still represented a toy instrument in those years and was associated with the poor. It is also during those years that musicians started experimenting with new techniques such as tongue-blocking, hand effects and the most important innovation of all, the 2nd position, or cross-harp.

The harmonica's versatility brought it to the attention of classical music during the 1930s. American Larry Adler was one of the first harmonica players to perform major works written for the instrument by the composers Ralph Vaughan Williams, Malcolm Arnold, Darius Milhaud and Arthur Benjamin.

The United States experienced a shortage of harmonicas during World War II. Wood and metal materials that were used for harmonicas were in short supply due to military demand. Furthermore, the primary manufacturers of harmonicas were based in Germany and Japan, who happened to be the Axis powers opposed to the United States and the allied forces in the war. It was during this time that Finn Harkon Magnus, a Dutch-American factory worker and entrepreneur, developed and perfected the molded-plastic harmonica. The plastic harmonica used molded plastic combs and far fewer pieces than traditional metal or wood harmonicas, which as a result made the harmonica more sanitary and far more economical to mass produce. Though these harmonicas produced a less distinctive (and, to many ears, inferior) sound than their metallic counterparts due to their plastic reeds, Magnus harmonicas, as well as several imitators, soon became commonplace, particularly among children.^[8] The patent for the plastic comb, however, was awarded to William Kratt of Wm. Kratt Company in 1952. During World War II, the War Department allotted a rationed supply of brass to Kratt's factory to continue production of their harmonicas to be passed out by the Red Cross among the GI's serving overseas to boost morale.

1950s blues players[link]

The harmonica then made its way with the blues and the black migrants to the north, mainly to Chicago but also to Detroit, St. Louis and New York. The music played by African Americans increasingly began to use electric amplification for the guitar, harp, double bass, and a crude PA system for the vocals. Alec Rice Miller, better known as Sonny Boy Williamson II, is one of the important harmonicists of this era. Using a full blues band, he became a popular act in the South with his daily broadcasts on the 'King Biscuit Time', originating live from Helena, Arkansas. He also helped to popularize the cross-harp technique, which became an important blues harmonica technique.

A young harmonicist named Marion "Little Walter" Jacobs revolutionized the instrument by playing the harmonica with a microphone (typically a "Bullet" microphone marketed for use by radio taxi dispatchers cupped in his hands with the harmonica, giving it a "punchy" mid-range sound that can be heard above radio static, or an electric guitar). He cupped his hands around the instrument, tightening the air around the harp, giving it a powerful, distorted sound, somewhat reminiscent of a saxophone.

Big Walter Horton was the favored harmonicist of many Chicago blues bandleaders, including Willie Dixon. His colorful solos used the full register of his instrument and some chromatic harmonicas. Howlin' Wolf's early recordings demonstrate great skill, particularly at blowing powerful riffs with the instrument. Sonny Boy Williamson II used the possibilities of hand effects to give a talkative feel to his harp playing. Williamson extended his influence on the young British blues rockers in the 1960s, recording with Eric Clapton and The Yardbirds and appearing on live British television. Stevie Wonder learned harmonica at age 5 and plays the instrument on many of his recordings. Jimmy Reed played harmonica on most of his blues shuffle recordings.

1960s and 1970s blues players[link]

The 1960s and 1970s saw the harmonica become less prominent, as the overdriven electric lead guitar became the dominant instrument for solos in blues rock. Paul Butterfield is a well known harp player of the era in the blues and blues-rock arena. Heavily influenced by Little Walter, he pushed further the virtuosity on the harp. Chicago harmonica player James Cotton specialized in slow, magnificent note-bends.

Blues harmonica players who are primarily or mainly associated with the instrument include Norton Buffalo, Jerry Portnoy, Lazy Lester, Bob Dylan, Rabini Zami, Sugar Blue, Billy Branch, Charlie Musselwhite, Corky Siegel, Junior Wells, Ron "Pigpen" McKernan, Kim Wilson, Slim Harpo, Al "Blind Owl" Wilson of Canned Heat, Jack Bruce of Cream and John Sebastian of The Lovin' Spoonful.

Musicians who are primarily known as singers or performers on another instrument who also have recorded and performed harmonica solos include Bob Dylan, Bruce Springsteen, Donovan, Taj Mahal, Mick Jagger and Brian Jones of The Rolling Stones, Huey Lewis of Huey Lewis and the News, John Mayall, Peter Green (musician) of Fleetwood Mac, Roger Daltrey of The Who, Steven Tyler of Aerosmith, Robert Plant of Led Zeppelin, Bono of U2, Rick Davies of Supertramp, and Richard "Magic Dick" Salwitz of The J. Geils Band. Billy Joel famously plays the harmonica, in addition to his piano, on his signature song, "Piano Man". includes the harmonica throughout the piece. John Lennon played harmonica on early Beatles' hits as "Love Me Do", "Please Please Me", "I'll Get You" and "I Should Have Known Better", in the later songs such as "Rocky Raccoon" and in his solo career on songs such as "Oh Yoko!".

2000s blues players[link]

Contemporary harmonicists Howard Levy, Jason Ricci, Carlos del Junco and the late Chris "Buddha" Michalek have pushed the envelope of the instrument. Levy explored and pioneered the over blow technique in the early seventies, which enables the diatonic harmonica to play full chromatic scales across three octaves, while retaining the particular sound of the harp. Overblowing is used by Howard Levy, Frédéric Yonnet, Adam Gussow, Chris Michalek, Paul Nebenzahl, and Jason Ricci and Carlos del Junco are starting to integrate it in a more blues or rock oriented music. Richard "Magic Dick" Salwitz, Billy Branch, John Popper, Tom Ball, "Dirty" Patrick Walsh, Big Dave Perea, Joe Filisko, Miles Ryan and others are keeping the harmonica tradition alive. Peter Doherty of The Libertines and Babyshambles has also been known to use a harmonica especially during songs such as Albion and Killamangiro. Australian player Brian Cain otherwise known as Indiana Phoenix mixes a range of playing techniques with modern equipment developed by playing with traditional acoustic guitar players to heavy rock and metal bands.

Other styles and regions[link]

European harmonica player Philip Achille, who performs Irish, Classical, Jazz, Qawali and sufi music, has won jazz competitions and his classical performances have led to appearances on the BBC as well as ITV and Channel 4. Performers include French harmonicist Nikki Gadout, Germans Steve Baker and the late Johnny Müller (who played the title melody of the Winnetou-movies) and German-Italian Willi Burger. The Brazilian Flávio Guimarães performs a variety of styles. From France Yvonnick Prene plays jazz on chromatic harmonica. Belgian player Jean "Toots" Thielemans is a well-known master of jazz chromatic harmonica, as well as a champion whistler, who has been recorded on many notable songs in film and television, such as the theme from Sesame Street, and the score from the Academy Award winning film Midnight Cowboy.

In Nashville, P. T. Gazell has an influential style, as does Charlie McCoy, an American music harmonicist.

Irish traditional music stylists include John and Pip Murphy, Noel Battle, Austin Berry, James Conway, Andy Irvine, Mick Kinsella, Brendan Power, Joel Bernstein, Don Meade, Paul Moran, Tom Byrne and Rick Epping.

Peter "Madcat" Ruth maintains a website that links to the sites of contemporary players around the world. Wade Schuman, founder of the group Hazmat Modine, has fused overblowing with older traditional styles and middle European harmonies.

East Asia[link]

In 1898, the harmonica was brought to Japan, where the Tremolo harmonica was the most popular instrument. After about 30 years, the Japanese developed scale tuning and semitone harmonicas to be able to perform Japanese folk songs.

Harmonica music started to develop in Hong Kong in the 1930s. Individual tremolo harmonica players from China moved to Hong Kong to set up different harmonica organizations such as The Chinese Y.M.C.A. Harmonica Orchestra, the China Harmonica Society,^[9] and the Heart String Harmonica Society. In the 1950s, chromatic harmonica became popular in Hong Kong, and players such as Larry Adler and John Sebastian were invited to perform.

Local players such as Lau Mok (劉牧) and Fung On (馮安) promoted the chromatic harmonica. In the Chinese Y.M.C.A. Harmonica Orchestra, the chromatic harmonica gradually became the main instrument. The Chinese YMCA Harmonica Orchestra started in the 1960s, with 100 members, most of whom played harmonicas.^[10] Non-harmonica instruments were also used, such as double bass, accordion, piano, and percussion such as timpani and xylophone.

In the 1970s, the Haletone Harmonica Orchestra (曉彤口琴隊)^[11] was set up at Wong Tai Sin Community Centre. Fung On and others continued to teach harmonica and also set up harmonica orchestras. In the 1980s, the number of harmonica learners decreased steadily. In the 1990s, harmonica players in Hong Kong began to participate in international harmonica competitions, including the World Harmonica Festival in Germany and the Asia Pacific Harmonica Festival. In the 2000s, the Hong Kong Harmonica Association (H.K.H.A.) (香港口琴協會)^[12] was established.

The history of the harmonica in Taiwan began around 1945. By the 1980s, though, as living standards increased, many instruments that were once too expensive to buy could be bought by the Taiwanese in preference to the harmonica.

Medical use[link]

Playing the harmonica requires inhaling and exhaling strongly against resistance. This action helps develop a strong diaphragm and deep breathing using the entire lung volume. Pulmonary specialists have noted that playing the harmonica resembles the kind of exercise used to rehabilitate COPD patients such as using a PFLEX inspiratory muscle trainer or the inspiratory spirometer. Learning to play a musical instrument also offers motivation in addition to the exercise component. Many pulmonary rehabilitation programs therefore have begun to incorporate the harmonica.^{[13][14][15][16]} Harmonicist Frédéric Yonnet suffered from childhood asthma and credits the harmonica for helping him manage his asthma through adulthood.^{[citation needed]}

Competitions[link]

The World Harmonica Festival is held in the autumn every four years in Trossingen, Germany, home of the Hohner harmonica company. The last World Harmonica Festival was in 2009, and a harmonica workshop is held every year.^[17] The Asia Pacific Harmonica Festival is held regularly; in 2008 it was hosted by China.

In Hong Kong, Schools Music Festival is held every year for school students to compete in different music classes. Harmonica classes include band for primary and secondary schools, ensemble for secondary school, duet for secondary school, solo (junior, intermediate, and senior), and concert work (open).

Every August there is a harmonica contest in Idaho. The contest has been running since 1989. The contest is held in Yellow Pine about 150 miles outside of Boise, Idaho and is called the Yellow Pine Harmonica Contest.^[18]

Related instruments[link]

The concertina, diatonic and chromatic accordions and the melodica are all free-reed instruments that developed alongside the harmonica. Indeed, the similarities between harmonicas and so-called "diatonic" accordions or melodeons is such that in German the name for the former is "Mundharmonika" and the later "Handharmonika," which translate as "mouth harmonica" and "hand harmonica." In Scandinavian languages, an accordion is simply called "harmonika," whereas a harmonica is a "mundharmonika" (mouth harmonica). The names for the two instruments in the Slavic languages are also either similar or identical. The harmonica shares similarities to all other free-reed instruments by virtue of the method of sound production.

The glass harmonica has the word "harmonica" in its name, but it is not related to free-reed instruments. The glass harmonica is a musical instrument formed from a nested set of graduated glass cups mounted sideways on an axle. Each of the glass cups is tuned to a different note, and they are arranged in a scalar order. It is played by touching the rotating cups with wetted fingers, causing them to vibrate and produce a sustained "singing" tone.

Notation[link]

Tabulature[link]

Tabulature notation (often abbreviated as "tab") is a method of writing melodies by indicating where the notes are played on the instrument, rather than by indicating the pitches with circles and note heads printed on a staff, as with standard notation. One of the advantages of tab is that it can be easier for performers without formal training to learn, because the notation directly indicates where to play the note.

While tab is most often associated with fretted stringed instruments such as the guitar, tab is also used with other instruments such as the organ and harmonica.

There are many harmonica tab systems in use. A simple tab system appears as follows:

Diatonic Harmonica tab:

 2  = blow the 2 hole < Also: +2 >
-2  = draw the 2 hole
-2' = draw the 2 hole with a half bend < Also -2b >
-2" = draw the 2 hole with a full bend < Also -2bb>

Chords are shown by grouping notes with parentheses

(2 3) = blow the 2 hole and the 3 hole at the same time

Chromatic Harmonica tab:

  2 = blow the 2 hole
 -2 = draw the 2 hole
 <2 = blow the 2 hole with the button in
<-2 = draw the 2 hole with the button in

Text Tab^[19] is another common type of harmonica tablature. It indicates when a player should "blow" or "draw" on a note by appending a letter suffix (B for blow or D for draw) to the appropriate harmonica hole number. Text Tab is used by harmonica instructors such as Dave Gage and Jon Gindick. It can be found on their websites and books and web forums.

Harmonica tab is usually aligned with lyrics to show the tune and the timing, and usually states the key of the harmonica required for the song.

Complete example of harmonica tab:

Cockles And Mussels (Molly Malone):
6  7  7     7    7 8   7     -8    -8  -8 -8  -9
In Dublin's fair city, where girls are so pretty,
-8 9    9   9  9     9  7     -8 8  7 -8
I first set my sight on sweet Molly Malone.
6   7   7 7   7  8    7   -8    -8     -8 -9
She was a fishmonger, and she'd stroll along,
8   8    9  8    7   9  8     7 -8   8 -8   7
Singing "Cockles And Mussels, Alive, Alive, Oh."
6 7   7 7   -8 8  7 -8  -8 -8 -8 8
Alive alive oh-oh Alive alive oh-oh
7   7   9   8   7   9  8    7 -8  8 -8  7
Singing Cockles and Mussels alive alive oh

Regular notation[link]

Below the sheet music manuscript, there will be the number (sometimes inside a circle) with an arrow beneath that number. An upwards arrow means to blow, and a downwards arrow means to draw. Bend notes will have a curved arrow, slightly to the left for a flat half tone, and a long one for a full bend. (For a sharp bend, the arrows will point to the right).

Notable performers[link]

	Irish harmonica tune Recording from the Library of Congress' California Gold: Northern California Folk Music from the Thirties Collection; performed by Aaron Morgan (harmonica) on July 17, 1939 in Columbia, California
Problems listening to this file? See media help.

See also[link]

• List of Famous Harmonica Solos
• Harmonica concerto
• Richter tuned harmonica
• The Society for the Preservation and Advancement of the Harmonica
• Asia Pacific Harmonica Festival

References[link]

Notes[link]

Sources[link]

• http://www.prweb.com/releases/World/Record/prweb574418.htm
• http://www.guinnessworldrecords.com/records/arts_and_media/music_feats_and_facts/fastest_harmonica_player.aspx

External links[link]

Wikimedia Commons has media related to: harmonica

Wikibooks has a book on the topic of Harmonica

• Layout of 12 Keys of Richter-tuned Diatonic Harmonica
• 12 Keys of Pentatonic Scales on one Richter-tuned Diatonic Harmonica in C
• HarmoPoint Diatonic harmonica initiation using a multi-media concept that allows you to visualize the playing
• Riccardo's Harmonica Tutorial Free lessons on harmonica theory, positions, scales and chord structures.
• SPAH The Society for the Preservation and Advancement of the Harmonica
• "Free shared harmonica links" International harmonica weblinks grouped by theme
• Frequently Asked Question about harmonica playing [1] Questions about how to play harmonica
• "Mark Purintun's Harmonica Tutorial"
• The Tremolo: Learning to Play

Buddy Greene is an American singer, songwriter, guitarist and harmonica player. Most of his recordings consist of gospel music, with a distinctly Southern flavor. Much of his music is influenced by country music and bluegrass music. Greene grew up in Macon, Georgia. He has written the music for many songs and also co-wrote the Christmas song "Mary, Did You Know?" with Mark Lowry; Greene also wrote "Recovering Pharisee" recorded by Del McCoury, and "He Is" recorded by Ashley Cleveland. He is considered a harmonica legend by many, and once played a classical harmonica medley at Carnegie Hall.

External links[link]

• Answers.com bio of Buddy Greene
• Buddy Greene website
• "Classical Medley" By Buddy Greene (HARMONICA)
• Buddy Greene harmonica performance at Carnegie Hall, standing ovation

This article about an American musician is a stub. You can help Wikipedia by expanding it. v t e

Willie Clancy may refer to:

• Willie Clancy (musician) (1918–1973), Irish uilleann piper
• Willie Clancy (hurler) (born 1907), Irish hurler

See also[link]

• William Clancy (disambiguation)

This disambiguation page lists articles about people with the same name. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Expression error: Unexpected > operator Expression error: Unexpected <= operator Expression error: Unexpected <= operator

Rick Epping is a California-born musician who has immersed himself in American old-time and Irish traditional music since the 1960s. He is an accomplished player of the harmonica, concertina, banjo and jaw harp.

During the 1970s he lived in Ireland where he studied traditional Irish music. He was the 1975 All-Ireland Harmonica champion and a member of the successful folk group Pumpkinhead. He has recorded with many other Irish and American musicians and groups over the years, including Christy Moore, Mick Hanly, Bob Zentz, George Winston, Mary Staunton, Priscilla Herdman and Robbin Thompson.^[1]

Epping worked for the Hohner company for many years and during that time patented the "Extreme Bending" harmonica, which includes additional reeds that allow players to "bend" notes that cannot be so altered on traditional diatonic instruments. He currently conducts workshops internationally for Hohner harmonicas.^[2]

Epping has recently involved himself with a number of musicians and projects, including the trio "The Unwanted", which features himself, Dervish singer Cathy Jordan and fiddler Seamus O'Dowd.^[3] Their 2009 CD Music Of The Atlantic Fringe was picked in Irish music publication Hot Press as one of their top ten albums of the year.

Discography[link]

• Pumpkinhead – Pumpkinhead (Mulligan LUN 001; 1978)
• Jiggin’ the Blues (G2CD7011) with Frankie Gavin and Tim Edey
• Music Of The Atlantic Fringe with the Unwanted (2009)

References[link]

External links[link]

This article on an individual musician is a stub. You can help Wikipedia by expanding it. v t e

Jason Ricci at the Borderline (Belgium), 2009

Jason Ricci (February 3, 1974)^[1] is an American harmonica player and singer.

Biography[link]

Raised in Portland, Maine, Jason Ricci is the son of the controversial businessman/politician/activist Joe Ricci, founder of Elan School. Ricci started playing music in punk bands at the age of 14.^[2] After discovering a love of the harmonica and Blues music, he turned his attention in that direction. In 1995, Ricci moved from Portland to Memphis, TN, where shortly thereafter he placed first in the Sonny Boy Blues Society contest at 21 years of age.^[3] Later that same year Ricci recorded his first album, Jason Ricci.

In Memphis, Ricci began playing with David Malone Kimbrough, son of blues great Junior Kimbrough, and soon was a part of the bands of both Kimbroughs and was sitting in with R. L. Burnside.^[4] This also marked a dark period for Ricci, as drug addiction led to a one-year stint in jail.^[4]

In 1999, Ricci won the Mars National Harmonica Contest, and began playing with Keith Brown, later recording with him as well. In 2000, he received a two-page write up in Blues Access magazine by Adam Gussow (harmonica player for Satan and Adam) saying:

"I am convinced he along with New Jersey's Dennis Gruenling is one of the best harmonica players of his generation."

After 15 months with Big Al and the Heavyweights, Ricci started his own band, Jason Ricci & New Blood, in 2002. This band features Shawn Starski, who, in June 2008, was named by Guitar Player Magazine as one of the "Top Ten Hottest New Guitarists." In 2005, Ricci was honored with the Muddy Waters Most Promising New Blues Artist award.

In 2007^[5] Ricci and New Blood were signed to Eclecto Groove, a new subdivision of Delta Groove Productions. His first album with the label, titled Rocket Number Nine, was released October 23, 2007. Later in 2009 the band recorded "Done With The Devil" for the same Label. The band as a whole has been nominated for Blues Band of the Year three times by Blues Wax magazine. Ricci won the Blues Critic Award for Harmonica Player of the Year (2008) and was nominated for a Blues Music Award for Harmonica Player of the Year in 2009 and 2010.^[6]

By January 2011, Jason had relocated to New Orleans, and assembled a new band, Approved By Snakes, with guitarist John Lisi.^[7]

Jason received "Best Harmonica Player" at the May 6, 2010 Blues Music Awards.^[8]

Controversy[link]

Ricci is one of the only openly gay male performers touring on the blues circuit today.^[9] This has been a professional obstacle as well as an opportunity for Ricci to challenge both gay stereotypes and traditional Blues expectations:

"The [gay] community doesn't like drum sets and guitars and actual live music. They're used to lip-synching, and dudes in dresses, and Madonna, and Cher, and techno beats. Those are the things that kept me from coming out earlier. I felt like I had nothing in common with the gay community, and I still don't feel like I have a lot in common with the community. I'm hoping that changes, but the majority of their icons are press-friendly little Mickey Mouse-doll figureheads that you're more likely to see on a show redecorating somebody's house than onstage at a blues festival...When I came out of the closet as a gay white male from an upper-middle-class suburban home, I came out as not just gay, but as a white guy, and as a guy who likes punk, and as a guy who didn't come from total poverty, and all those things that we associate with being 'blues' things. And when I did that, I wanted to sing about that. I wanted to write songs about what my life was like, and I wanted to use terminology that was modern."^[10]

Though Ricci does not generally wear his sexuality on his sleeve on stage, his openness with being gay has occasionally been a difficult issue in the traditionally conservative Blues world, as he's been "disinvited" from a number of venues and events.^[11]

"Done With The Devil" signaled a new direction in Ricci's musical inspiration, as his study of the occult strongly influenced the writing on the album.^[12] Ricci has become a student of Thelema and the writings of Aleister Crowley, and Ricci has gone so far as to call him "a great holy man." ^[13] This has prompted more controversy for an already controversial artist, prompting an extended online mea culpa from Ricci himself, in which he fervently denied accusations of Satanic worship.^[14]

Legal Troubles[link]

Ricci was arrested in Bloomington, Indiana on July 25, 2011 and charged with Public Intoxication, Public Nudity, and Battery Resulting in Bodily Injury, for allegedly assaulting a police officer during the arrest. Ricci was released on his own recognizance on August 2, 2011.^[15] The next day, a woman of Ricci's acquaintance called police to report that her musical studio had been broken into and several items stolen. She also reported to officers that she suspected Jason Ricci. The items taken included music equipment, a computer, and the woman's purse (which contained her bank cards). Police apprehended Ricci, who was submitting to a drug and alcohol test as a result of his previous arrest, and found the woman's bank cards in his possession. He was arrested again in connection with the theft on the preliminary charge of "possession of stolen property."^[16]

Jason Ricci has requested a hearing to change his plea to guilty in both cases. The hearing is scheduled for October 24, 2011.^[17][18]

Discography[link]

1. 1995 Jason Ricci (self titled debut) North Magnolia Music
2. 1997 Down At The Juke North Magnolia Music
3. 2001 Feel Good Funk Self Produced
4. 2004 Live At Checkers Tavern Blue Sunday Records
5. 2005 Her Satanic Majesty Requests Harmonica Music (Compilation) –Self Produced
6. 2006 Blood on the Road Rah Fox Records
7. 2007 Rocket Number 9 EclectoGroove Records
8. 2009 Done with the Devil EclectoGroove Records^[10]
9. 2010 Down That Road..., compilation of live tracks

Note: This discography does not include appearances by Jason Ricci or other members of New Blood on other artist’s albums, or various compilations.

References[link]

External links[link]

• Live Music Archive