Post by Rex on Jun 13, 2020 3:21:32 GMT
We are retiring our 20 year old computer. I was going through the old files and saving old pictures and such when I came across this article. I had copied it many years ago from the old Coast 2 Coast Music website. They sold harmonicas online but the owners retired years ago, sold the website, and the new owner shut it down a couple years later. A lot of good info on the tremolo and octave in this old article.
Playing the Double Reed Harmonicas
by
John E. Anderson
John's qualifications: 30 years of playing harmonicas of all types, including tremolo and octave tuned instruments. Playing contra dance and polka music on various instruments including clarinet and banjo
The double reed tremolo and octave-tuned harmonicas are great for playing traditional dance-type music, including jigs, reels, hornpipes, polkas, schottisches, waltzes, other forms that are played in a number of traditions such as Celtic, French-Canadian, Scandinavian and Tex-Mex, and American fiddle tunes. Although we live in a harmonica landscape dominated by blues-style diatonic and chromatic players, historically and throughout the world today, the double reeds (particular tremolo) have been the most widely played instrument. While double reed harmonicas are used in a very wide variety of music making use of many playing techniques, they are particularly well suited for the "vamping" style of play in which tongue block is used, and the melody is played with accompanying vamped chords. The vamping style works well for rhythmic dance tunes and, once mastered, constitutes a complete musical performance containing melody, rhythm and harmony. No other accompaniment is needed. This can be a very satisfying method of playing, although one has to adapt oneself to the inherent musical system, and the chords and melody notes available.
Tongue-blocking vamping technique. To play in this style one needs to use the so-called "tongue-blocking embouchure". This is achieved by placing the harmonica in the mouth mouth, and placing the tip of the tongue on harmonica mouthpiece, so that there is a gap on the right side of the mouth through which single notes can be played. Once one becomes adept at playing single notes using this method, accompanying chords can be obtained by simply lifting the tongue on the off-beats of any sustained notes. The tongue-blocking method makes possible other techniques as well such as octaves and other split harmonies. This method is how all diatonic harmonicas were designed to be played - that is why there are full chords on the left-hand end of the instrument, and complete scales in the middle and upper octaves. This method works particularly well with double reed instruments, however, making it possible to achieve a full-bodied accordion-like sound of melodies and accompanying chords.
Tremolo and Octave Harmonicas. The double reed harmonicas include both the tremolo and octave-tuned harmonicas. These are set up similarly to the standard 10-hole diatonic instruments, but have 2 reeds sounding for each note played (rather than one as on a standard instrument). On the octave-tuned models these reeds are tuned one octave apart, resulting in a fuller sound. Tremolo harmonicas have one of the two reeds tuned slightly sharp, which results in audible beats, giving a wavering or "tremolo" sound, which is also fuller or richer sounding than a standard single reed instrument. Viewed from the front, most octave and tremolo appear quite different from standard 10-hole single-reed instruments. In place of a single row of 10 holes, are 2 rows with possibly 20 or more holes in each row. The double reed models have a separate reed chamber for each reed - one for each of the paired reeds, and also separate chambers for the blow and draw reeds. In other words, for a given range of notes the double reed harmonicas actually have 4 times as many holes as single reed instruments.
Because of the greater number of reed chambers, the notes of the scale are spread further apart laterally on a double reed instrument compared to a standard 10 hole single reed instrument, so playing a double-reed instrument requires more lateral movement than playing a single reed instrument. This means also that when playing in chordal style one is likely to get fewer tones in a given chord - one actually gets partial chords that you might not hear if more tones were included as on a smaller instrument. For example, on a standard 10 hole instrument in C one might play draw on holes 3-4-5 or B-D-F which will sound like a G7 chord, while on a double reed you would get only the D-F which may sound like Dm or F6. In this way, much of the harmony you get on a double reed may seem different and (and possibly more neutral) than on a single reed harmonica, with fewer notes, but still full sounding because of the extra reeds. This lends itself well to the vamping style.
Tuning Systems on Double Reed Harmonicas. The tuning system used on double reed harmonicas tend to be based on the familiar "Richter" system used on the standard "Marine Band"-type 10 hole diatonic single reed instruments. There is some variability, however. Octave and tremolos in the key of C often omit the low C - the lowest note will be the E, part of the tonic C chord; this is not much of a problem since the lower octave is used mainly for chording, rather than melody work. Many Asian-made tremolo harmonicas (perhaps the most frequently played harmonicas in the world) use a somewhat different tuning. These "Oriental tremolos" have a lower octave very similar to the middle octave on the standard Richter system. This complete scale is given in the second and third octave as well. The result of this system is that in the upper octaves adjacent blow and draw notes of the scale become separated laterally - which requires some adjustment in playing technique. Another system is used in instruments manufactured by the Huang company. These are "solo-tuned," that is, tuned like a chromatic harmonica with 2 adjacent blow C notes in each octave, resulting in the same scale pattern in each octave. For more information on double reed tuning systems and charts, Click Here.
In addition to the pattern of notes, double-reed harmonicas differ in another aspect of tuning. Most Western-manufactured instruments (Hohner, Hering) use the "just" intonation system. This method tunes the notes of the scale to form the most harmonious sounding chords. These instruments sound in tune with themselves, but sometimes certain single notes can sound out of tune when played with other instruments, the note F on C instruments, for example. This note is tuned to be in tune with the G7 chord, of which it is part on the harmonica. Played against an F chord played on a guitar or piano, however, it may seem noticeably flat. Within the harmonic system of the harmonica, on the other hand, it is in tune. On the harmonica all notes of the diatonic scale harmonize with either the tonic C chord (all of the blow notes) or the G, G7 or G9 chord (all of the draw notes). This is a legitimate method of harmonizing the notes of the scale that works very well, but it may mean using different chords than one might select otherwise.
Asian instruments (Suzuki, Huang) tend to use a tuning closer to equal temperament. This results in single notes sounding more in tune, but chords not sounding quite as clear or strong. A final aspect of tuning concerns tremolo instruments. The Western instruments use double reeds that are tuned relatively far apart, resulting in an audible, rapid beating (a so-called "wet" tremolo). Asian instruments use a "dry" tuning with the two reeds tuned close together, and much slower beating apparent.
Octave and tremolo instruments are available in a variety of keys, all of which have their own sound and playing characteristics. Standard single-reed diatonics are available in all keys, ranging from the lowest standard instrument in G upward to F-sharp. Note that standard C and D diatonics are relatively high-pitched instruments. Octave-tuned harmonicas in C take a standard C instrument and add a set of reeds one octave lower. A G octave on the other hand adds a set of reeds one octave higher than a standard instrument. So a C octave has added depth compared to a single reed, whereas a G octave has added brilliance. Also, C and D tremolo instruments tend to be one octave lower than their standard single-reed counterparts. For players starting out, a C octave instrument and a G tremolo would be a good choice.
Playing the Double Reed Harmonicas
by
John E. Anderson
John's qualifications: 30 years of playing harmonicas of all types, including tremolo and octave tuned instruments. Playing contra dance and polka music on various instruments including clarinet and banjo
The double reed tremolo and octave-tuned harmonicas are great for playing traditional dance-type music, including jigs, reels, hornpipes, polkas, schottisches, waltzes, other forms that are played in a number of traditions such as Celtic, French-Canadian, Scandinavian and Tex-Mex, and American fiddle tunes. Although we live in a harmonica landscape dominated by blues-style diatonic and chromatic players, historically and throughout the world today, the double reeds (particular tremolo) have been the most widely played instrument. While double reed harmonicas are used in a very wide variety of music making use of many playing techniques, they are particularly well suited for the "vamping" style of play in which tongue block is used, and the melody is played with accompanying vamped chords. The vamping style works well for rhythmic dance tunes and, once mastered, constitutes a complete musical performance containing melody, rhythm and harmony. No other accompaniment is needed. This can be a very satisfying method of playing, although one has to adapt oneself to the inherent musical system, and the chords and melody notes available.
Tongue-blocking vamping technique. To play in this style one needs to use the so-called "tongue-blocking embouchure". This is achieved by placing the harmonica in the mouth mouth, and placing the tip of the tongue on harmonica mouthpiece, so that there is a gap on the right side of the mouth through which single notes can be played. Once one becomes adept at playing single notes using this method, accompanying chords can be obtained by simply lifting the tongue on the off-beats of any sustained notes. The tongue-blocking method makes possible other techniques as well such as octaves and other split harmonies. This method is how all diatonic harmonicas were designed to be played - that is why there are full chords on the left-hand end of the instrument, and complete scales in the middle and upper octaves. This method works particularly well with double reed instruments, however, making it possible to achieve a full-bodied accordion-like sound of melodies and accompanying chords.
Tremolo and Octave Harmonicas. The double reed harmonicas include both the tremolo and octave-tuned harmonicas. These are set up similarly to the standard 10-hole diatonic instruments, but have 2 reeds sounding for each note played (rather than one as on a standard instrument). On the octave-tuned models these reeds are tuned one octave apart, resulting in a fuller sound. Tremolo harmonicas have one of the two reeds tuned slightly sharp, which results in audible beats, giving a wavering or "tremolo" sound, which is also fuller or richer sounding than a standard single reed instrument. Viewed from the front, most octave and tremolo appear quite different from standard 10-hole single-reed instruments. In place of a single row of 10 holes, are 2 rows with possibly 20 or more holes in each row. The double reed models have a separate reed chamber for each reed - one for each of the paired reeds, and also separate chambers for the blow and draw reeds. In other words, for a given range of notes the double reed harmonicas actually have 4 times as many holes as single reed instruments.
Because of the greater number of reed chambers, the notes of the scale are spread further apart laterally on a double reed instrument compared to a standard 10 hole single reed instrument, so playing a double-reed instrument requires more lateral movement than playing a single reed instrument. This means also that when playing in chordal style one is likely to get fewer tones in a given chord - one actually gets partial chords that you might not hear if more tones were included as on a smaller instrument. For example, on a standard 10 hole instrument in C one might play draw on holes 3-4-5 or B-D-F which will sound like a G7 chord, while on a double reed you would get only the D-F which may sound like Dm or F6. In this way, much of the harmony you get on a double reed may seem different and (and possibly more neutral) than on a single reed harmonica, with fewer notes, but still full sounding because of the extra reeds. This lends itself well to the vamping style.
Tuning Systems on Double Reed Harmonicas. The tuning system used on double reed harmonicas tend to be based on the familiar "Richter" system used on the standard "Marine Band"-type 10 hole diatonic single reed instruments. There is some variability, however. Octave and tremolos in the key of C often omit the low C - the lowest note will be the E, part of the tonic C chord; this is not much of a problem since the lower octave is used mainly for chording, rather than melody work. Many Asian-made tremolo harmonicas (perhaps the most frequently played harmonicas in the world) use a somewhat different tuning. These "Oriental tremolos" have a lower octave very similar to the middle octave on the standard Richter system. This complete scale is given in the second and third octave as well. The result of this system is that in the upper octaves adjacent blow and draw notes of the scale become separated laterally - which requires some adjustment in playing technique. Another system is used in instruments manufactured by the Huang company. These are "solo-tuned," that is, tuned like a chromatic harmonica with 2 adjacent blow C notes in each octave, resulting in the same scale pattern in each octave. For more information on double reed tuning systems and charts, Click Here.
In addition to the pattern of notes, double-reed harmonicas differ in another aspect of tuning. Most Western-manufactured instruments (Hohner, Hering) use the "just" intonation system. This method tunes the notes of the scale to form the most harmonious sounding chords. These instruments sound in tune with themselves, but sometimes certain single notes can sound out of tune when played with other instruments, the note F on C instruments, for example. This note is tuned to be in tune with the G7 chord, of which it is part on the harmonica. Played against an F chord played on a guitar or piano, however, it may seem noticeably flat. Within the harmonic system of the harmonica, on the other hand, it is in tune. On the harmonica all notes of the diatonic scale harmonize with either the tonic C chord (all of the blow notes) or the G, G7 or G9 chord (all of the draw notes). This is a legitimate method of harmonizing the notes of the scale that works very well, but it may mean using different chords than one might select otherwise.
Asian instruments (Suzuki, Huang) tend to use a tuning closer to equal temperament. This results in single notes sounding more in tune, but chords not sounding quite as clear or strong. A final aspect of tuning concerns tremolo instruments. The Western instruments use double reeds that are tuned relatively far apart, resulting in an audible, rapid beating (a so-called "wet" tremolo). Asian instruments use a "dry" tuning with the two reeds tuned close together, and much slower beating apparent.
Octave and tremolo instruments are available in a variety of keys, all of which have their own sound and playing characteristics. Standard single-reed diatonics are available in all keys, ranging from the lowest standard instrument in G upward to F-sharp. Note that standard C and D diatonics are relatively high-pitched instruments. Octave-tuned harmonicas in C take a standard C instrument and add a set of reeds one octave lower. A G octave on the other hand adds a set of reeds one octave higher than a standard instrument. So a C octave has added depth compared to a single reed, whereas a G octave has added brilliance. Also, C and D tremolo instruments tend to be one octave lower than their standard single-reed counterparts. For players starting out, a C octave instrument and a G tremolo would be a good choice.
