Sound rich in harmonics with the melodic

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This topic contains 8 replies, has 3 voices, and was last updated by  jazzman1945 3 years, 7 months ago.

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  • #1741

    albalex
    Participant

    Hello all
    I noticed that, using some of the techniques that are used to play wind instruments like the horn – cornet, are also fine for the melody.
    For example, if you play by inflating the cheeks and holding the base language, the risonaza that is created is low in harmonics.
    Instead, raising the tongue to the palate, pull the sides of the tongue to the upper teeth and thinking of suoanre forward, iol sound gets fatter and having more full harmonics.
    I do not know if I was clear and sorry for my translation Italian – English.
    As soon as I can I’ll post the evidence that I will do to explain better

    #1742

    albalex
    Participant

    Hello all
    I noticed that, using some of the techniques that are used to play wind instruments like the trumpet – cornet, are also fine for the melody.
    For example, if you play by inflating the cheeks and holding the base tongue, the resonance that is created is low in harmonics.
    Instead, raising the tongue to the palate, pull the sides of the tongue to the upper teeth and thinking of playing forward, iol sound gets fatter and having more full harmonics.
    I do not know if I was clear and sorry for my translation Italian – English.
    As soon as I can I’ll post the evidence that I will do to explain better …..

    #1763

    Lowboy
    Participant

    Hey Albalex and others,

    Just a general comment that could be helpful as people try various playing techniques and listen for the subtle differences: A couple of decades ago, I attended a two-day seminar with Jamey Aebersold, a saxophonist and music educator. (He sells jazz and blues play-along recordings by the way.) One of his tips to those who play a horn or other such acoustic instrument was to practice about two feet away from a wall, facing the wall. This way, the sound bounces off the wall and back towards you. You can hear your sound a lot better this way. I find it works well with melodica.

    Lowboy

    #1769

    albalex
    Participant

    Hello Lowboy
    is your advice to play to 2 feet from a wall is right but I meant how to change the sound already in the oral cavity even before it gets to vibrate the reeds of the melody.
    1) blow hot air (breathe ….) ….. This allows you to vibrate the reeds in the right height / intonation. The cold air instead is synonymous with velocity and so it might come out a sound forced.
    2) Create a “sounding board” in the mouth a bit as do the singers ….. we will have a darker sound and rich harmonics …….
    3) Think of singing the melody you are playing in order to facilitate our musical sensibility.

    #1776

    Lowboy
    Participant

    Hi Albalex,

    Yes I understand. I am just beginning to experiment with various ways of forming my mouth, lips, and tongue to see how it influences the tone. I have no first-hand perspective yet other than the conventional wisdom that blowing from the diaphragm provides a better overall sound.

    I was just suggesting that when experimenting–and doing this critical listening–you can hear the subtle differences in the tonality better when you let the sound bounce off a wall and reflect back to your ears.

    Your hear the full tonality of the instrument when you bounce the sound off of a wall rather than let it float away into space. The sound is fuller and richer, and hence you are more inspired to play well during practice.

    Lowboy

    #1779

    albalex
    Participant

    Hello Lowboy
    have to agree with you ….

    #2163

    jazzman1945
    Participant

    Hi everyone! I am very glad that finally there is a group that discusses various aspects of playing on melodica
    .I started playing the melodica 43 years ago when I was playing piano and violin parallel with the clarinet (Dixieland).From the first moment has had a tendency to turn melodica completely in the wind instrument, not blow keyboard .And immediately there was a problem of sound production.
    And immediately there was a problem of sound production. It is clear that the construction and materials for the manufacture do not allow melodica sound so beautiful and expressive as harp.

    #2165

    jazzman1945
    Participant

    #2167

    jazzman1945
    Participant

    Overall, I came to the conclusion that in addition to everything else, the main problem – the mouthpiece for melodica. Manufacturers of instrument do not take really this serious .Existing mouthpieces do not allow fully convey articulation, as it happens on harmonica. About this subject I have some idea of ​​creating a mouthpiece for melodica in shape taken from the aqualung.
    PS Information about me can be taken from here: http://jazzideas.com/biography.asp

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