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

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It does not cite any references or sources. Please help improve it by adding citations to reliable sources. Tagged since September 2009. It needs additional citations for verification. Tagged since September 2009. It relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Tagged since September 2009.

Modern Blues
Studio album by Lapush
Released	May 30, 2007
Genre	Alternative rock, pop, indie
Length	21:57
Label	Lapush Recordings
Producer	Thom Donovan
Lapush chronology
Someplace Closer to Here (2005) Modern Blues (2007)

Modern Blues is the second studio album by American rock band Lapush, released in May 2007. The album features the singles, Closer and Run. Several songs from the album have appeared in "The Hill's" on MTV.

Paul Lambert

Paul Lambert at Carrow Road, August 2011
Personal information
Full name	Paul Lambert
Date of birth	(1969-08-07) 7 August 1969 (age 42)
Place of birth	Linwood, Renfrewshire, Scotland
Height	1.80 m (5 ft 11 in)
Playing position	Midfielder
Club information
Current club	Norwich City (Manager)
Senior career*
Years	Team	Apps†	(Gls)†
1986–1993	St. Mirren	227	(14)
1993–1996	Motherwell	103	(6)
1996–1997	Borussia Dortmund	44	(1)
1997–2005	Celtic	193	(14)
2005–2006	Livingston	7	(0)
Total		574	(35)
National team
1990	Scottish League XI	1	(0)
1995–2003	Scotland	40	(1)
Teams managed
2005–2006	Livingston
2006–2008	Wycombe Wanderers
2008–2009	Colchester United
2009–	Norwich City
* Senior club appearances and goals counted for the domestic league only. † Appearances (Goals).

Paul Christopher Lambert (born 7 August 1969) is a Scottish professional association football manager and former player who is the manager of Norwich City.

Lambert won numerous honours as a player, winning the Scottish Cup with St. Mirren as a 17-year-old, the UEFA Champions League with Borussia Dortmund, all the Scottish domestic honours with Celtic and 40 caps for Scotland.

He achieved success managing in England's lower divisions and guided Norwich into English football's Premier League.

Playing career[link]

St Mirren[link]

Lambert started his playing career at Linwood Rangers Boys' Club in 1980 in his hometown of Linwood, before entering the professional game with St. Mirren in 1985. With St Mirren the 17 year old Lambert won his first senior winner's medal courtesy of the 1987 Scottish Cup Final. Saints beat favourites and that season's UEFA Cup Finalists, Jim McLean's Dundee Utd, in what turned out to be the last time the Scottish Cup was won by a team composed entirely of Scottish players. Lambert played with St Mirren for eight years.

Motherwell[link]

Signed by Tommy McLean for Motherwell in 1993, the club finished third placed at the end of 1993/94 in the Scottish Premier League.

With Alex McLeish replacing McLean for the 1994-95 season, Lambert and Motherwell went one place better finishing league runners up, the club's highest finish since 1933/34. The club also had qualified for a place in the 1994–95 UEFA Cup. After eliminating Icelandic opponents, 'Well were drawn against Borussia Dortmund managed by Ottmar Hitzfeld. Drawn away in the first leg, Motherwell lost to a solitary goal by Andreas Möller in the 58th minute. In the second leg Motherwell were still in the contest until Karl-Heinz Riedle scored twice in 10 second half minutes.

Borussia Dortmund[link]

In 1996, Lambert was signed by a manager and club he had played against for Motherwell in the UEFA Cup, Ottmar Hitzfeld of German Bundesliga side Borussia Dortmund. Hitzfeld deployed Lambert as the team's defensive midfielder. In Borussia winning the 1997 UEFA Champions League Final against Juventus, he played in midfield to quell the influence of Juve's French playmaker Zinedine Zidane.^{[1][2][3][4][5]} Lambert's cross also set up Karl-Heinz Riedle's opening goal. Dortmund won 3–1. Lambert's contribution has since been suggested as a man of the match performance.^[6] He became the first British player to win the European Cup with a non-UK team, and the first British player to win the Champions League since its inception. Lambert had scored en route to the final with a 1996–97 UEFA Champions League group stage goal, the opener in a 2–2 draw at Widzew Łódź. Lambert's performance in the semi final elimination of Manchester United was praised in the autobiography of Roy Keane.

Lambert only scored one league goal with Borussia Dortmund, in a game against Werder Bremen.

Celtic[link]

In November 1997, after just over a year playing in the Bundesliga he was signed by Wim Jansen for Celtic for a fee in the region of £2,000,000. The Scottish championship in his first season halted the run of Rangers', consecutive titles at nine, which equalled the nine in a row achieved by Celtic in the Jock Stein era.

During his time with Celtic, he won four Scottish Premier League titles, two Scottish Cups, two Scottish League Cups and was Scottish Football Writer's Player of the Year in 2002. Lambert captained the side that reached the 2003 UEFA Cup Final in Seville. Lambert's team were drawing 2–2 after 90 minutes but lost 3–2 after extra time to Jose Mourinho's F.C. Porto.

International career[link]

Lambert represented Scotland at age group level. Perhaps the best known of the contests was against the country who played a significant part in his career, Germany. The young Scots drew 1–1 in Bochum in 1992 UEFA European Under-21 Football Championship quarter finals. In the return leg at Pittodrie, Germany were two up after 40 minutes before Duncan Ferguson set up Ray McKinnon to pull one back before half time. Germany scored a third on the hour mark to seemingly put the tie out of reach. However in 68 minutes Gerry Creaney headed past Stefan Klos before Lambert himself equalised 10 minutes later. Alex Rae scored two minutes from time to clinch the game 4–3.^[7]

As a full Scotland international, Lambert won 40 caps, scoring one goal and in the latter part of his international career, captaining the side 15 times. His international debut was when at Motherwell and awarded by Craig Brown in the 1995 Kirin Cup against host country, Japan. Lambert played in a second game there three days later against Columbia.

It was when at Dortmund and in the 1998 FIFA World Cup qualification campaign when Lambert started to appear as a regular. After missing the open game of the campaign away against Austria, Lambert appeared in October 1996 in the 2–0 win in Latvia when he appeared as a 46th minute substitute. He was again a 46th minute substitute in the next qualifier, a 1–0 home win against Sweden. For his next cap he was promoted to the starting line up for a 2–0 home victory in the qualifier against Austria in which Lambert contended for man of the match. Lambert's only defeat of the campaign was the 2–1 reversal in Gothenburg against Sweden before grinding out a 1–0 June in Minsk against Belarus, a 4–1 win in Aberdeen against the Belarussians and a second 2–0 win against Latvia, this time at home.

He played in the 1998 FIFA World Cup, turning in an impressive performance as the Scots lost 2–1 to Brazil at the Stade de France in the tournament's opening match and also in the 1–1 draw against Norway in Bordeaux.^{[citation needed]}

Lambert was part of the Scotland side to win a challenge game away against Germany in April 1999 with the goal scored by Don Hutchison.

Lambert and Scotland qualified for a play-off place in the UEFA 2000 European Championship qualification campaign. However Lambert played in neither game due to being kneed in the face in the Celtic game the weekend before against Rangers. Craig Brown cited Lambert's absence as crucial to England's progression at Scotland's expense since he intended to deploy Lambert directly against Paul Scholes, scorer of both England goals. As Brown said, “The SPL went ahead with an Old Firm game a week before. I was furious because they did not legislate for a play-off, especially not for one against England. Predictably, we get a major injury and my holding midfielder, who performed with such distinction in the Champions League final for Borussia Dortmund, cannot play. Barry Ferguson played brilliantly but he was not a holding midfielder. Scholes scored two goals and that was the guy Paul Lambert was going to pick up …”^[8]

His final cap with some irony was in an away game against Germany played in Dortmund (a 2–1 defeat). Lambert had been awarded man of the match in the home encounter three months earlier at Hampden Park (a 1–1 draw).

On 15 November 2009 he was inducted into the Scottish Football Hall of Fame.^[9]

Managerial career[link]

Livingston[link]

After studying for football coaching qualifications in 2005, Lambert landed his first managerial job with Livingston on 1 June 2005, assisted by Norrie McWhirter.^[10] Although he had not intended to play for his new club Lambert registered as a player in late August 2005 to cover for any injury shortages.^[11] His tenure ended the following February when he resigned after only winning two league games since starting the job.^[12]

Wycombe Wanderers[link]

Lambert was appointed manager of English team Wycombe Wanderers on 30 June 2006.^[13] He led Wycombe to the League Cup semi-finals after defeating Premier League sides Fulham and Charlton Athletic. The semi-final tie, against Premier League champions Chelsea, saw Wycombe hold Chelsea to a 1–1 draw at Adams Park before losing the away leg. This was the first time in over 30 years a fourth tier team had reached that stage of the League Cup.^{[citation needed]} Lambert resigned as Wycombe manager on 20 May 2008 following the club's elimination from the League Two play-offs by Stockport County.^[14]

Colchester United[link]

On 9 October 2008, he was appointed as manager of League One team Colchester United to succeed Geraint Williams,^[15] before winning his first game 2–1 at Stockport County. Despite occasionally threatening to flirt with the League One play-offs, the U's eventually finished mid-table in Lambert's first season.

On 18 August 2009, he began the 2009–10 season with an opening day 7–1 win over Norwich City before leaving the Essex club less than a year after taking over.

Norwich City[link]

Lambert became the new Norwich City manager, replacing Bryan Gunn, who was sacked by the club shortly after the 7–1 defeat to Colchester.^[16] He led Norwich to the League 1 title and promotion to the Championship in April 2010.^[17]

On 1 June 2010, he signed an improved contract with Norwich City after it was confirmed Colchester United were entitled to £425,000 in compensation, in addition to Norwich City being fined £75,000, with a further sum of £125,000 suspended for two years which will only be activated if Norwich breach Regulation 20^[18] again during that timeframe.^[19]

Norwich's fine form from their 2009–10 promotion campaign continued into the 2010–11 season, and saw them gain a second successive promotion – becoming the first team to achieve a second successive promotion at this level since Manchester City 11 years earlier. During Lambert's first two seasons in charge, Norwich City did not suffer two successive defeats in the league, in the same season. They did, however, lose their final game in League One in 2009–10 at home to Carlisle and the opening game of their 2010–11 Championship season at home to Watford.^[20] Their 1–1 draw at Middlesbrough on 3 January 2011 saw them enter the automatic promotion places on goal difference.^[21]

In January 2011, Norwich refused to allow Burnley permission to try to secure Lambert as their new manager, following the dismissal of Brian Laws.^[22] The Norwich statement read, in part, "The club will fight tooth and nail to retain the services of Paul Lambert and his team during this critical period of the season and whilst they remain employed under a long-term contract".^[22] On 2 May Lambert and Norwich secured promotion to the Premier League after a win over Portsmouth, taking the second automatic spot with one game to spare. Lambert signed a new contract keeping him at the club during the summer. He was inducted into the Norwich City Hall of Fame on 20 March 2012, along with players Wes Hoolahan, Grant Holt and Adam Drury.^{[citation needed]}

Lambert offered Norwich his resignation on 31 May 2012 but the club declined it.^[23][24]

Managerial statistics[link]

As of 13 May 2012

Player honours[link]

St. Mirren

• Scottish Cup
  • Winner: 1986–87

Motherwell

• Scottish Premier Division
  • Runner-up: 1994–95

Borussia Dortmund

• UEFA Champions League
  • Winner: 1996–97

Celtic

• Scottish Premier League
  • Winner: 1997–98, 2000–01, 2001–02, 2003–04
  • Runner-up: 1998–99, 1999–00, 2002–03, 2004–05
• Scottish Cup
  • Winner: 2000–01, 2003–04, 2004–05
  • Runner-up: 2001–02
• Scottish League Cup
  • Winner: 1997–98, 2000–01
  • Runner-up: 2002–03
• UEFA Cup
  • Runner-up: 2002–03

Managerial honours[link]

Norwich City

• Football League One
  • Winners: 2009–10
• Football League Championship
  • Runner-up: 2010–11

Individual honours[link]

• Scottish Football Writer's Player of the Year: 2002
• Inducted to the Scottish Football Hall of Fame: 2009
• Football League One Manager of the Month: (3) January 2009, December 2009, January 2010
• Football League One Manager of the Year: 2009–10
• Football League Championship Manager of the Year: 2010–11

References[link]

External links[link]

• Paul Lambert career stats at Soccerbase
• Paul Lambert management career stats at Soccerbase
• Paul Lambert at Scottish FA

Paul Lambert – Navigation boxes and awards v t e SFWA Footballer of the Year 1965: McNeill 1966: Greig 1967: Simpson 1968: Wallace 1969: Murdoch 1970: Stanton 1971: Buchan 1972: Smith 1973: Connelly 1974: Scotland 1975: Jardine 1976: Greig 1977: McGrain 1978: Johnstone 1979: Ritchie 1980: Strachan 1981: Rough 1982: Sturrock 1983: Nicholas 1984: Miller 1985: McAlpine 1986: Jardine 1987: McClair 1988: McStay 1989: Gough 1990: McLeish 1991: Malpas 1992: McCoist 1993: Goram 1994: Hateley 1995: Laudrup 1996: Gascoigne 1997: Laudrup 1998: Burley 1999: Larsson 2000: Ferguson 2001: Larsson 2002: Lambert 2003: Ferguson 2004: McNamara 2005: Hartson 2006: Gordon 2007: Nakamura 2008: Cuéllar 2009: Caldwell 2010: Weir 2011: Izaguirre 2012: Mulgrew v t e Scotland squad – 1998 FIFA World Cup 1 Leighton 2 McNamara 3 Boyd 4 Calderwood 5 Hendry (c) 6 T. McKinlay 7 Gallacher 8 Burley 9 Durie 10 Jackson 11 Collins 12 Sullivan 13 Donnelly 14 Lambert 15 Gemmill 16 Weir 17 B. McKinlay 18 Elliott 19 Whyte 20 Booth 21 Gould 22 Dailly Coach: Brown v t e Livingston F.C. – managers Bain (1974–76) Ness (1976–78) MacFarlane (1978–80) Christie (1980–92) Park (1992–93) Brownlie (1993–94) Lawson (1994–95) Leishman (1995–97) Stewart (1997–2000) Leishman (2000–03) Máximo (2003) Hay (2003–04) Preston (2004) Gough (2004–05) Lambert (2005–06) Cleland (2006) Robertson (2006–07) Proctor (2007–08) Landi (2008) Hegarty (2008–09) Murphy (2009) Bollan (2009–12) Hughes (2012–) v t e Wycombe Wanderers F.C. – managers McCormick (1951–52) Cann (1952–61) McDonald (1961) G. Adams (1961–62) Welsh (1962–64) Darvill (1964–68) Lee (1968–76) Powell (1976–77) Reardon (1977–78) Williams (1978–80) Keen (1980–84) Bence (1984–86) Gane (1986–87) Suddaby (1987–88) Kelman (1988–90) O'Neill (1990–95) Smith (1995–96) Gregory (1996–98) Smillie (1998–99) Sanchez (1999–2003) T. Adams (2003–04) Gorman (2004–06) Lambert (2006–08) Taylor (2008–09) Waddock (2009–) v t e Colchester United F.C. – managers T. Fenton (1946–48) Allen (1948–53) Butler (1953–55) B. Fenton (1955–63) Franklin (1963–68) Graham (1968–72) Mochan (1972) Smith (1972–75) Roberts (1975–82) Hunter (1982–83) Lea (1983–86) Walker (1986–87) Brown (1987–88) Foley (1988–89) Wallace (1989–89) Foley (1989–90) Mills (1990) Atkins (1990–91) McDonough (1991–94) Burley (1994) Roberts (1994–1995) Wignall (1995–99) Cook (1999) Whitton (1999) Wadsworth (1999) Whitton (1999–2003) Williams (2003) Parkinson (2003–06) Williams (2006–08) Symons (2008) Lambert (2008–09) Dunne (2009) Boothroyd (2009–10) Ward (2010–) v t e Norwich City F.C. – managers Bowman (1905–07) McEwen (1907–08) Turner (1909–10) Stansfield (1910–15) Buckley (1919–20) O'Hagan (1920–21) Gosnell (1921–26) Stansfield (1926) Potter (1926–29) Kerr (1929–33) Parker (1933–37) Young (1937–38) Jewell (1939) Young (1939–45) Lochhead (1945–46) Spiers (1946–47) Lochhead (1947–50) Low (1950–55) Parker (1955–57) Macaulay (1957–61) Reid (1961–62) Swindin (1962) Ashman (1962–1966) Morgan (1966–69) Saunders (1969–73) Bond (1973–80) Brown (1980–87) Stringer (1987–92) Williams (1992) Walker (1992–94) Deehan (1994–95) O'Neill (1995) Franklin (1995) Megson (1995–96) Walker (1996–98) Rioch (1998–2000) Hamilton (2000) Worthington (2000–06) Hunter (2006) Grant (2006–07) Duffy (2007) Roeder (2007–09) Gunn (2009) Butterworth (2009) Lambert (2009–)

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (October 2011)

Annie Raines playing with Paul Rishell in 2008

Annie Raines (born July 3, 1969, near Boston, Massachusetts) is an American musician, best known as a harmonicist.

Raines took up the harmonica at the age of 17. As a freshman, she left Antioch College to pursue a musical career. Fascinated by the sounds of Muddy Waters, Little Walter Jacobs, and Sonny Boy Williamson^{[disambiguation needed ]}, she spent time absorbing the music of the Chicago blues masters. She began to busk locally and played gigs at local Boston clubs, and later traveled to Chicago where she met and played with Pinetop Perkins, and James Cotton. While working regularly on the regional blues circuit, Raines taught harmonica and began developing her own style within the blues tradition.

She met and began working with Paul Rishell, who lent musical support to her harmonica, piano, singing and songwriting skills. This gave her the opportunity to study country blues innovators such as Noah Lewis and Sonny Terry, and, more recently, to take up the mandolin.^[1]

References[link]

External links[link]

• Paul Rishell and Annie Raines' website
• Annie Raines bio and sound sample on Hohner website