JP2021012346A - Scale order alternating blow suck harmonica - Google Patents

Abstract

To provide a harmonica in which an arrangement order does not change from a bass part to a treble part, sound crossing can be prevented, and chord characteristics are also improved in order to solve the problem that: conventionally, harmonica emphasizes always blowing the fundamental tone C (or A), and adjusts the blowing and sucking even if the arrangement order is broken; therefore, the arrangement of the bass part, the middle part, and the treble part is different from each other, and it often causes a trouble to play; in addition, a harmonica of 3 octaves or more is expected to be extremely difficult in actual performance.SOLUTION: By not always blowing C (or A) as a fundamental tone, and arranging in an order of CDEFGABCDEFGABCDEFGABC and blowing and sucking alternately, an arrangement order does not change from a bass part to a treble part, a sound crossing is prevented, and more chords can be played as shown in FIG. 22.SELECTED DRAWING: Figure 7

Description

In the present invention, harmonica reeds (a metal plate that vibrates and produces sound) are placed on the reed substrate of FIG. 1, and the reeds are arranged in the order of the scale according to the blow-sucking holes as shown in FIGS. I) and lead substrate (II) are made. Assemble the harmonica main body (top view of FIG. 4 and side view of FIG. 5) as shown in the schematic assembly diagram of FIG. The sound arrangement of the harmonica assembled by the invention is as shown in FIGS. 7 and 9. 8 and 10 are array diagrams of a conventional harmonica. The scale can be played by alternately blowing and sucking the (corner) holes in FIGS. 7 and 9, and the movement direction and the movement interval of the mouth are matched with the scale interval.
The harmonica assembly method is an existing structure that does not produce sound even if it blows, and does not produce sound even if it sucks. The single-note harmonica uses only one lead board of FIG. 2 or 3.
Similarly, in the one-hole, two-sound harmonica, the substrates of FIGS. 12 and 14 having predetermined leads attached to the substrates (III) and (IV) are assembled to the main body of FIGS. 15 and 16 as shown in FIG. The sound arrangement of the harmonica assembled by the invention is as shown in FIGS. 18 and 20. 19 and 21 are array diagrams of a conventional harmonica.

The present invention prevents sound crossing by repeating blowing and sucking in order regardless of the scale name. (In the case of a one-hole, two-tone type, there is no problem of crossing of sounds because it is used by a player who can play in a single hole.) Eliminate.

The harmonica is the only musical instrument that produces sound by blowing and sucking. Since the Western scale is a heptatonic scale, if you repeat blowing and sucking, the sound on the octave will be the opposite blowing and sucking. Since the basic structure of the conventional harmonica is to always blow the fundamental tone and to blow and suck the same tone in the same scale above and below the octave, the first (C), third (E), and fifth (G) from the fundamental tone are blown. Similarly, the second (D), fourth (F), sixth (A), and seventh (B) sounds from the fundamental tone are used as the sound. However, since the 6th and 7th sounds are also sucking sounds next to each other, the sounds are crossed. Therefore, in order to prevent sound crossing, C is arranged between A and B as shown in the hole numbers (13), (14), and (15) in FIG. 8, and the scale arrangement is exchanged. In the bass part, G is arranged between A and B, such as hole numbers (5), (6), and (7). While there are 3 blowing sounds, there are 4 sucking sounds, and when arranging them in the blowing and sucking order, the order of the order of the bass, middle, and treble is different as shown in Fig. 8. Some sounds are missing within the defined range, and at the same time, the movement direction and distance of the mouth according to the sound also differ.
The challenge is to keep the moving direction and distance in line with the sound constant.

Conventional harmonica is extremely difficult to play in terms of sound arrangement in 3 octaves or more. As an example, an example of the scale when a harmonica of 3 octaves or more is made is shown.
"... F, C, A, E, B, G, D, C, F, E, A, G, B , C, D, E, F, G, A, C, B , E, D, G , F, C, A , E, B, G, D, C, F, E, A, G, B ... ”In this way, the blowing and sucking are alternated, but the arrangement is in order. It disappears. Therefore, the scale of the bass and treble is shifted to the left and right, and the moving direction and distance according to the scale are different. The underlined part is a 21-hole harmonica sound sequence corresponding to FIG. 8 which is generally used, but if the range is expanded beyond this, it becomes even more difficult. The minor scale harmonica shown in FIG. 10 also has a different note name, but the principle remains the same. The same applies to the one-hole, two-tone harmonica.
Therefore, even if it is one octave or more, it is a problem that it can be blown and sucked without breaking the arrangement.

In the conventional harmonica, the blowing sound is limited to the 1st (C), 3rd (E), and 5th (G), and the sucking sound is the 2nd, 4th, 6th, and 7th. 2. As shown in Table 4, the only major triads played at the same time are the main chords (C, E, G or A, C, E). The reason is that when multiple sounds are selected and the sounds are produced at the same time, either blowing or sucking cannot be performed at the same time.
In order to play chords, the variety of blowing and sucking is an issue.

In the case of a one-hole, two-tone harmonica (called a blues harmonica, etc.), chords of G, B, and D are required, so a sucking G and a blowing G are arranged. Therefore, more sounds are missing.

As a standard model, as shown in Fig. 7, arrange 3 octaves (22 sounds) in order from the fundamental tone, assemble, start sucking from the fundamental tone of the bass, and repeat blowing and sucking in order (the middle tone that is frequently used is the conventional one. It will be almost the same as the harmonica blow-sucking). As a result, the movement direction and movement distance become constant because the scale arrangement order is not changed. Solving the problem [0003].
Also, as long as the sound can be blown and sucked by a person, it can be arranged and played in any number of octaves. Solving the problem [0004].
Since the blowing and sucking are reversed in the low range, midrange, and high range, various sounds can be selected, and the chords can be varied by adjusting the position of the blowing and sucking. Solving the problem [0005]. At the same time, the problem [0006] is solved.

The bass, middle, and treble parts all have the same arrangement order, and the movement direction and distance according to the sound are constant.

As long as a person blows and sucks a sound, it can be arranged in any number of octaves and can be played.

The sounds that are adjacent to each other and the sounds that are adjacent to each other are in a major third and minor third relationship, and are suitable for forming chords. Therefore, as shown in Tables 1 and 3, the effect on the chord is obtained, and the main three chords and the surrounding chords frequently used in the key are obtained.
For comparison of the obtained chords with the conventional products, refer to Table 2 for Table 1, Table 4 for Table 3, Table 6 for Table 5, and Table 8 for Table 7. , You can see that more chords can be obtained.

Currently, in harmonica ensembles, he plays by combining special harmonica such as bass harmonica and chord harmonica. These special harmonica are expensive and large in shape, and chord harmonica and the like must be played with a large number of chords that are not actually used. By using the harmonica of the invention, you can substitute the bass and cord harmonica. An ensemble is also possible with the same harmonica.

Harmonica reed mounting schematic diagram (mounted on the side of the harmonica body) Make groove holes of different lengths in the board, and attach the blow-sucking reeds there. With the lead attached to the board The lead is attached to the front and back of the board by changing the direction due to the difference in blowing and sucking. The sound of blowing should come to the inside of the main body, and it should be attached to the board from above to below. The sound to be sucked should come to the outside of the main body, and it should be attached to the board from the bottom to the top. (The vertical direction of the reeds attached to the board may be reversed, but the above-mentioned direction is preferable in terms of air flow.) Facing base In the case of a compound harmonica, two bases (I) in FIG. 2 and a base (II) in FIG. 3 in which the front and back of the blow-sucker are reversed are required. Harmonica body (top schematic) Harmonica body (schematic side view) Schematic diagram of the assembly structure to be attached to the harmonica main body (Figs. 4 and 5) with the two boards facing each other When assembled, the absorption sound is upward on the outside of the main body, and the blowing sound is downward on the inside of the main body. A diagram schematically representing the note names in the square holes when the compound harmonica created by using the invention is viewed from above (example: C major harmonica) C, D, E, F, G, A, in order from the left side. They are arranged like B, and have the same arrangement on the octave and further on the octave. This is repeated in order from the left. The letters "blow and suck" in the upper part of the figure represent the blow and suck of the harmonica, and the numbers in the circle below are numbered hole positions for explanation, and the actual harmonica does not have a number. The same applies below. A diagram schematically representing the note names in the square holes when the conventional compound harmonica is viewed from above (example: C-tone harmonica). A diagram schematically representing the note names in the square holes when the conventional compound harmonica is viewed from above (example: Am-tone harmonica). 1-hole 2-sound harmonica lead mounting board (III) For blowing leads only 1-hole 2-sound harmonica lead mounting board (III) with the blown lead attached 1-hole 2-sound harmonica lead mounting board (IV) For sucking leads only 1-hole 2-sound harmonica lead mounting board (IV) with a suction lead attached 1-hole 2-sound harmonica body (schematic top view) 1-hole 2-sound harmonica body (schematic side view) Schematic diagram of the assembly structure to be attached to the harmonica main body (Figs. 15 and 16) with the two boards facing each other When assembled, the sound absorption is upward on the outside of the main body, and the blowing sound is downward on the inside of the main body. ing A diagram schematically representing the note names in the square holes when the 1-hole, 2-sound harmonica created using the invention is viewed from above (example: C-tone harmonica). A diagram schematically representing the note names in the square holes when the conventional one-hole, two-tone harmonica is viewed from above (example: C-tone harmonica). A diagram schematically representing the note names in the square holes when the 1-hole, 2-sound harmonica created using the invention is viewed from above (example: Am-tone harmonica). A diagram schematically representing the note names in the square holes when the conventional one-hole, two-tone harmonica is viewed from above (example: Am-like harmonica). Harmonicas, such as the triads that can be produced by the harmonica invented in FIG. 7, are musical instruments that produce sounds by blowing and sucking, but they can hold several sounds at once and blow or suck. However, it is not possible to blow and suck at the same time. It is also difficult to select only the necessary sounds and blow and suck them at the same time. Therefore, the composition of the chord is determined by the arrangement of the harmonica. FIG. 22 presents the chords obtained when a plurality of holes (3 to 4 sounds) continuous with the blowing sound or the sucking sound of FIG. 7 are held and blown and sucked. (Same below) Triads that can be produced with the conventional harmonica shown in Fig. 8 Triads that can be produced by the minor scale harmonica invented in Fig. 9. Triads that can be produced with the conventional minor scale harmonica shown in Fig. 10. Three chords that can be produced by the one-hole, two-tone harmonica invented in FIG. Three chords that can be produced with the conventional one-hole, two-tone harmonica shown in Fig. 19. Three chords that can be produced by the one-hole, two-tone minor scale harmonica invented in FIG. Triads that can be produced by the conventional one-hole, two-tone minor scale harmonica shown in FIG. 21

Examples / Procedures of the Invention

In the explanation, the theme is a 3-octave harmonica for comparison, but in reality, 4 octaves are arranged to make it a standard type.
The ensemble can be divided into a mid-high range part and a low mid range part. Furthermore, in the bass part, the bass sound is used as the basis for playing. For chords, select the chord to be used and the pitch to play.

Explanation of symbols and terms

* Single-note harmonica: A harmonica in which leads are arranged in the blow hole of the harmonica in the order of the specified sound sequence and sucked. It was mainly used for elementary school music education.
* Double-tone harmonica: A harmonica that combines single-note harmonica in two stages. The upper and lower two-stage sounds are basically the same, but the pitch is slightly shifted to give the sound a bulge.
* Octave means 8th; C, D, E, F, G, A, B, C, D, E, F, G, A, B, C, D, E, F, G, A, B and scale are composed. It means the 8th note on the scale. The octave of E is the next E.
* The letters "blow" and "suck" used in the figure indicate blow-suck in the square hole. (Same below)
* The numbers in the circle used in the figure indicate the harmonica square hole numbers (the same applies below).
* The letters "buki" and "suck" and the numbers in the circle are not written on the harmonica. It is written from the bass side for the sake of explanation.
* The alphabet used in the figure represents the note name (the pitch display (dots) are omitted because it is complicated).
* Alphabet used in the chord name fields in FIGS. 22 to 29 represents the chord name (chord name).
* Chords; multiple notes played at the same time * 3 chords; three notes played at the same time * Main three chords; main chords, subordinate chords, and genus chords. Harmony chords that play an important role in that key.
* Major third, minor third; The pitch interval between two consecutive notes is a whole or semitone. When two arbitrary sounds are in the interval relationship between whole notes, it is called a major third, and when there is an interval between whole notes and semitones (in any order), it is called a minor third.
* There are Am, Dm, Em, etc. in the key name and chord name, but m (minor) means minor, and in the case of major (M; major), it is usually omitted.
* The dims in FIGS. 22-29 are all interpreted as the same chord, even if they have different names. A dim is a 4 chord with a minor third in all pitch intervals (there are 3 types).
* The pseudo-dim in FIGS. 22 to 29 is not a dim, but since it has a similar atmosphere, it is intentionally expressed as a pseudo-dim.
Aug (augment) refers to three chords with major third intervals (there are four types).
* In the Western scale, Doremi Fasolaside is expressed in Italian as Hanihohetoiro in Japanese and CDEFGAB in English (see the table below). In this application, it will be complicated to use each language, so we will use the English CDEFGAB as the note name, scale name, key name, and chord name.

Claims (2)

A single-note harmonica or compound harmonica of each key, characterized in that they are arranged in order and blown and sucked alternately in order. A one-hole, two-tone harmonica of each key, which is characterized by being arranged in order and being blown and sucked alternately in order.