Académique Documents
Professionnel Documents
Culture Documents
PAGE
This original method with compact discs, which covers both the diatonic and the chromatic harmonica, is
designed to be consulted in a variety of ways, depending on your tastes, your practice, your way of working..
Each piece is the subject of a study on its essential characteristics: sound, scales, phrasing, etc. The whole
constitutes a formidable data bank covering all the facets of the instrument.
Each subject (sound recording, playing technique, tuning, interpretation, history, discography . . ) as well as the
difficulty of each exercise or piece are indicated with icons (1, 2 or 3 harmonicas). Pictograms refer you to the
exercises recorded on the CD. The last tracks of the CD are dedicated to the original playbacks of the pieces so that
you can reproduce them or improvise.
'
Finally, there is a glossary of technical terms used in this method. It's up to you
....
LA TABLATURE HARMONICA
A A= Aspirer
@ = souffler dans plusieurs trous à la fois
s S = Souffler
@ = octave (le tiret représente la langue)
1, 2, 3 ... = numéro du trou
(D = Tongue Blocking
= altération d'un demi-ton
= altération d'un ton
= altération d'un ton et demi
G) = jouer << sale » (plusieurs trous à la fois)
,,.. , = note tenue
-�> = Glissando ou glisser d'une note à l'autre Aaa... = articulations, vibrato de gorge
J6 = attack the note from below < > = déplacement répété sur deux trous
8"\ = make the note cry on the way down 4 = overblow (soufflé) ou overdraw (aspiré)
IMPORTANT
• You will need three ten-hole diatonic harmonicas in the keys of A, C and D, and one 12-hole chromatic
harmonica in C. These are the most common models.
- The sound of the harmonica is produced by the vibration of metal strips riveted at one end to two
support plates.
- These slats are of different lengths, depending on the pitch of the note they are to produce, and are
activated by the musician's breath and vibrate in a rectangular hole.
- The support plates are attached to a wooden, plastic or metal comb.
- The base plate has variously sized chambers that channel the breath to the chosen slat.
- The slat reacts logically to the breath flowing from the riveted end to the vibrating end.
- On diatonic harmonicas the 'blow' plate is usually placed above the comb (bass left) and the 'draw'
plate below.
- On the chromatic, the holes of the comb are partitioned halfway up and each plate has both blown
and aspirated notes, corresponding in fact to two harmonicas tuned at a semitone interval. One
switches from one to the other by pressing a pull-tab which directs the breath to the upper or lower
plate.
- Both plates are covered by a cover which protects the slats and projects the sound towards the back
of the instrument.
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INCROWBILL -A
(jolklore traditionnel américain)
PLAGE 1 11 PLAGE 13
Marine Band ten hole single blade diatonic harmonica in the key of D: letter D on the cover and on the case. There
are diatonic harmonicas in all keys. These are indicated in international notation (A = La, B = Si, C = Do, D = Ré, E =
=Mi, F = Fa, G = Sol). Each hole has a blow note and a draw note.
OJ • • •
--------
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6
1. RAINCROW BILL
1.1 PRISE DE SON
- Micro sur pied (Neuman U87) pour laisser les mains libres de modifier le son.
1.2 INTERPRETATION
- Tenez l'harmonica les notes graves vers la gauche entre le pouce et l'index tendus.
- L'autre main vient former une coupe derrière l'instrument pour mieux contrôler la sonorité.
- L'harmonica doit reposer sur la face interne des lèvres, toujours humide, pour faciliter les
déplacements et assurer la meilleure étanchéité. Ne décollez pas les lèvres de l'embouchure.
1.6 HISTORIQUE
- L'harmonica est né au début du XIXe siècle aux confins de l'empire Austro-Hongrois.
- Perfectionné, il est exporté dès 1862 vers les U.S.A où il rencontre un énorme succès.
-<< Raincrow Bill>> est un morceau typique du style rural du sud-est des Etats-Unis au tournant
du siècle: reprise de<< fiddle tune>> ou imitation des sons de la vie quotidienne (trains, chasse...).
1.7 DISCOGRAPHIE
• THE GREAT HARP PLAYERS (Document DOCD 5100)
• HARMONICA MASTERS (Yazoo 2019)
• SONNY TERRY << The Folkways Years >> (SF 40023)
CC Les gens venaient voir Wtzlter et ouvraient ses mains : ils ne croyaient pas
qu'un son aussi extraordinaire sortait d'un aussi .modeste instrument. ,,
'
1.8 EXERCICES
- Deux exercices spécifiques pour travailler les altérations et le jeu en octaves.
j PLAGE 14 j
The particular sound of the blues or rock harmonica comes from the technique of alteration. More than an
expression it is the means to obtain notes and additional effects on the diatonic.
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1 PLAGE 15 j
Various forms of harmonization can be produced by playing several notes at once. The tongue is used to block
out unwanted notes. Here are some simple octave harmonization exercises.
Note: you can practice these exercises whenever you want, depending on your level. These first two exercises
introduce you to the basic techniques of the diatonic harmonica..
9
1. The Alterations: The Upside Down
Who hasn't heard the theme of the famous "Once upon a time in the West", the moans of a blues
harmonica, the note that vibrates and twists like the human voice?
This is undoubtedly what attracted many of us to this little instrument. The richness of expression and
the sound of the harmonica comes largely from the possibility of altering, of “twisting” the notes (to bend
in English).
To alter is to lower the pitch of a note by aspirating in a certain way (this makes it possible to obtain
almost all the missing notes on a diatonic harmonica).
The use of accidentals has upset the way of playing the harmonica, going against the initial idea of t he
builders of the instrument. Since its adoption in the blues and until today, the diatonic harmonica is
played essentially by aspirating! The "blue notes", - the notes that determine the blues sound - are
usually sucked in and altered.
No need to suck very hard. You can achieve the accidentals with minimal effort and at low volume.
Start with the aspirated 1, 4 and 6. These are the easiest.
10
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t----t--,--+----t- · - · -·t---+--+-·+---+--+--1---+--+-
1 TON 1/2
1 TON Fa La
1/2 TON
1 2 3 4 5 6 7 8 9 10
Ré Sol Si Ré Fa La Si Ré Fa La
-- --- ------ - - .. ..
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11
CARELESS LOVE
(folklore traditionnel américain)
PlAGE 2 1 1 PlAGE 69 ]
Diatonic harmonica ten holes with single blades, in the key of A: letter A on the cover and on the case.
The open cover of the Marine Band, combined with the pear wood body, gives a brilliant and powerful sound in
acoustic play.
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12
2. CARELESS LOVE
2.1 PRISE DE SON
- Micro sur pied (Neuman U87) ; les mains peuvent produire des effets de wah-wah, de tré
molo et d'étouffement des notes.
2.2 INTERPRETATION
- - Preferably play the lower jaw low to round out the sound.
- The harder you play, the more the note tends to descend: playing the lower jaw raises the
note slightly.
- To blow or suck in a single hole at a time, pronounce "Wou" by moving your lips forward.
2.3 TECHNIQUE DE JEU
- - The note pull (bend, alteration) on the diatonic with single blades works by drawing in until
the 6th hole and blowing beyond [c::> FOR MORE INFORMATION, SEE SHEET
{ALTERATIONS >> P. 1O].
- In the second chorus the technique of tongue blocking is used: take several holes in the
mouth and rhythmically close those on the left with the tongue.
2.4 UN PEU DE MUSIQUE
- - Blues harmonicists speak of "position" to designate the key in which they play on a diatonic
harmonica.
- There are three main positions that allow playing in six different keys. [ c:) FOR MORE
INFORMATION, SEE SHEET << POSITIONS >> P. 16 ].
-<< Careless Love >> is played in first position: in A Major on a harmonica in A (A); the tonic, that
is to say the first note of the scale (A) is found in 1, 4, 7 and 10 holes.
2.6 HISTORIQUE
- Les premiers enregistrements d'harmonica datent du début des années 1920. Le répertoire
va d'un blues extrêmement primitif, au jazz, en passant par des airs populaires.
- Les musiques des communautés noires et blanches du sud des U.S.A. se différencient de plus
en plus tout en conservant une forte interaction.
-<< Careless Love ►> est une ballade traditionnelle<< bluesifiée >> à la manière de l'époque.
2.7 DISCOGRAPHIE
• HARMONICA BLUES (Frémeaux FA 040)
• HARMONICA BLUES (Yazoo 1053)
• JAZZ GILLUM (Blues collection 158402 Auvidis)
PlAGE 16 ]
4
2.8 EXERCICES
-
A l 2 2 3 3 4 5 6 7 8 9 10
S l 2 4 5 6 7 8 9 10 l0
A
-
s 9 9 9 8 8
-
8 8 9 8
-
8 8 9 8 8 8 9
A
S 8 8 8 9 8 8 8 9 8 8 8 9 8 8 9 8 8 9 8 8 9 8 8 9 8 8 9
A
s -4 @Q) 2345 -6 �
• The diatonic harmonica is made in 12 keys [c:> FOR MORE INFORMATION, SEE SHEET
(( TWO FINGERS OF THEORY >> P. 22] which allows you to play in all keys by simply
changing the harmonica .
There is no solfège correspondence between the position numbers and the keys. The number of
positions and their representations vary. In general we use a table that has 3, 6 and in some cases up to
12 positions.
In order to facilitate your work, here is a table of correspondence of the positions on all the harmonicas..
, ,
TONALITE OBTENUE TONALITE OBTENUE TONALITÉ OBTENUE
TONALITE DE ENJOUANT EN ENJOUANT EN ENJOUANlf:.N
L'HARMONICA 1 re POSITION 2e POSITION 3e POSITION
lntemationale (française) Majeure / mineure Majeure / mineure mineure / Majeure
LA b / Fa m Ml bm /Fa#
Ml b / Do m SI b / Sol m FA m / La b
FA#/ Mi b m LA b m / Si
,
G (Sol) SOL/ Mi m RE/Si m LA m / Do
LA b / Fa m Ml b / Do m SI bm/Do#
--+-··· -·-+---+-+----+----+---+If--
-+---+--+-+--�--+-+----+--l--l--4--+--+--1--+--·-l----1--+---+---1---1---4--1---4--4---+---+---4-4----1--1---1----4---1---'-
'
PREMIERE POSITION
The 1st position, or straight harp, is used for traditional songs, folk and some blues. It is mainly based on the
blowing chord of the harmonica. In the blues, the 1st position essentially uses the high register with some
•
accidentals, from 7 to 10 puffs, and the low register, from I to 4. [ c:) EXAMPLES: << CARELESS LOVE >>, <<
POCKET ROCKET >> AND << YOUNG MOON >>].
DEUXIEME POSITION
The 2nd position, also called cross harp, is by far the most used. It is based on the chord aspirated in
the bass of the diatonic Richter. From blues to country, via rock, it's "The Sound" of the diatonic
harmonica.
[c:) EXAMPLES: << MEMPHIS NIGHT >>-, << POP OUT >> AND << MOUNTAIN BREAKDOWN >>].
'
TROISIEME POSITION
The third position, probably discovered by Little Walter on a chromatic harmonica, is based on the minor
second chord (or its relative Major). It's a position that suits the purest Chicago Blues as well as all kinds
of minor melodies. At first, avoid the 3rd and 7th holes drawn [c:) EXAMPLE: << CHICAGO CLUB >>].
4. Positions et gammes
,I
Each position corresponds to two twin scales: a Major pentatonic scale and its relative minor scale. Let's take the
example of the 1st position of a harmonica in C.
The C Major pentatonic scale: C, Re, E, G, A and the A minor pentatonic scale: A, C, D, E, G both have the same
notes but generate different chords. The A minor scale is the relative minor scale of the C scale.
For the 6 pentatonic scales that will allow you to improvise in 6 keys on a single harmonica: [c:) SEE <<
MOODY )) P. 72].
Note : there are many other scales, notably those derived from the different modes of the Major
... scale. You will find several examples of this throughout this method.
,,1
17
MEDLEY : MICKEY THE MOULDER
& TATTER JACK WELSH
(folklore traditionnel irlandais)
1 PlAGE 3
Diatonic harmonica with double blades (tremolo tuning), in the key of A: letter A on the cover and on the case. Each
note is produced by two very slightly detuned reeds to "widen" the sound.
Note pulling is more difficult if not impossible on a double-blade harmonica; this piece does not. << Mickey ... >> can be
played in the same way on a normal diatonic or on a chromatic: the location of the notes necessary for the execution of
the piece is practically identical on all these models
[TI ® ....................
A 3 4 4 4 4 4 4 3 4 4 6 7 6 4 3 4 4 4 4 4 6 7
s 6 5 5 6 5 6 55565 6 5 5 6
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A 3 4 4 4 4 4 6 7 76 7 8 7 6 8 7 8 8 7 8 8 76 7 8
s 6 5 5 6 7 6 5 5 5 6
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A 7 8 8 7 8 8 786 76 8 7 8 8 8 8 76 7 67 76 7 6 8
s 6 8 6 7 6555
@]
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s 6 6 8 6
3. MEDLEY
3.1 PRISE DE SON
- Micro sur pied (Neuman U87) ; se tenir à distance pour atténuer les bruits de respiration.
3.2 INTERPRÉTATION
- The nose generally serves as a valve to draw in the necessary air or release excess air. The
more you practice, the better you will "breathe" through the instrument. Irish music is an
excellent practice in this direction.
- Thoroughly moisten the lips and the mouthpiece of the instrument before each performance.
3.7 DISCOGRAPHIE
• PHIL, JOHN & PIP MURPHY (Claddagh CC55CD)
• KEVIN BURKE<< Open House >> avec Mark GRAHAM (Green Linnet GLCD 1122)
• BRENDAN POWER<< New Irish Harmonica >> (Green Linnet GLCD 3098)
��lENr1
1 PLAGE 19 1 RALENTI DE LA PARTIE A
)
4. CHICAGO CLUB
4.1 PRISE DE SON
- Micro ASTATIC JT 30 tenu entre les mains, branché sur un petit ampli dont on fait
légèrement saturer le gain d'entrée. Une dose de reverb où un écho discret sont les bienvenus.
[c::) POUR PLUS D'INFOS, VOIR FICHES << AMPLIFICATION >> P. 30 ET << EFFETS >> P. 62].
4.2 INTERPRÉTATION
- Even if the timbre is modified by the amplification, the quality of the sound
(roundness, attack, vibration, accuracy, etc.) depends of course on your personal
sound.
- Let yourself be carried away by these new sounds: use long drawn and vibrated
notes, growls on several notes, take advantage of the amplification to nuance and
enhance the low notes.
- You will start to improvise; seek to build melodic phrases using the scales
corresponding to the chords of the grid. •
A 1 1 l 2 2 2 1 2 1 1 1 2 2 2 l 2 2
s 1 1 l
A 2 2 2 3 1 1 l 2 2 2 l 2 2
s 4 4 1 1
-
A 3 3 3 4 2 2 2 3 3 1 1 l 2 2 2
s 4 4 4 1
Note: if this riff seems difficult to you, start with the following p. 28
27
2e riff blues en 3e position joué ternaire puis binaire
(harmonica en A)
/ PlAGE 31 j
This riff is played twice: the first time in ternary, the second time in binary. Work both -
formulas with the same assiduity..
A • 1 1 1- 1 1 • • 2 2 2 2- 2 2 2 •
1 1 ,- 1 1 1
• • • •
s 1 1 1 1
4.6 DISCOGRAPHIE
-
• Ll'I·1·LE WALTER (MCA)
• JUNIOR W ELLS << Hoodoo Man Blues >> (Delmark)
• GEORGE SMITH << Harmonica Ace ... >> (ACE)
4.7 EXERCICES
Finally, two scales that you will use to improvise..
Gamme de Si m (harmonica en A)
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29
.
MEMPHIS NIGHT
(J. J. Milteau & Manu Galvin)
PLAGE 5 1 1 PLAGE 71
Harmonica MARINE BAND 1896/20, in key of C: letter C on the cover and on the case.
Models with open hoods better diffuse a sound that is brighter and more balanced between bass and treble.
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© 1997 by j. J. Milteau & Manu Galvin. Publié avec l'aimable autorisation des auteurs.
S. MEMPHIS NIGHT
5.1 PRISE DE SON
- Micro sur pied (Neuman U87). Le jeu des mains est très important dans ce morceau afin
de profiter de la fantastique expressivité de l'harmonica, alternativement gémissant, feutré ou
virulent.
5.2 INTERPRETATION
- - The deepest vibrato comes from regular contractions of the throat: pronounce HA HA
HA ... while inhaling. Try to control the intensity and speed as much as possible. A lighter
vibrato is achieved by gently rocking the harmonica back and forth.
- The highest octave of the diatonic harmonica presents interesting particularities: notes
altered when blowing, strong dynamics... Train yourself to reproduce the same phrase at
different pitches then to chain them.
5.6 HISTORIQUE
- Memphis, grand port sur le Mississippi, est devenu un important carrefour du blues dans les
années 1930. De nombreux musiciens y on fait leurs armes, du très<< rural>> Doctor ROSS au
policé Junior PARKER.
- Avant de découvrir ELVIS, le producteur Sam PHILIPS y a enregistré, entre autres, le
rugueux Rowling WOLF et le très talentueux et trop méconnu Big Walter HORTON, le plus
beau son d'harmonica de l'histoire du blues !
- Aleck MILLER, plus connu sous le nom de Sonny Boy WILilAMSON (qu'il avait
<< emprunté >> à l'original !), a animé une émission de radio un peu plus bas sur le fleuve pen
dant quarante ans, a joué avec tout ce que le blues a compté de talents de Robert JOHNSON
à B.B. KING, a tourné en Europe avec tous les groupes anglais des années soixante. C'est le
plus sensible des chanteurs-harmonicistes jamais enregistré ; sa voix et son instrument sem
blent n'être qu'un, dans le même souflle rauque et vibrant de cet excentrique bon vivant et
bagarreur.
- James COTTON fut l'un de ses disciples avant d'accompagner Muddy WATERS et de
mener une longue carrière solo.
A little riff: tonic down, tonic up, seventh, on the three blues chords in G.
j ,,-...__
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LThe play of the hands like each of the other elements contributes to the expressiveness.
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HA HA HA A A A Woua ... Woua Woua... ou HA
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A 3 3- 4 3 2 ®® 32 ®@ 2
s
7.MELLOW MAN
7.1 PRISE DE SON
-Micro tenu dans les mains (Shure Beta 58).
7.2 INTERPRÉTATION
- It is very important to be able to blow in a single hole and to know the intervals between the
notes of the tune so as not to hit undesirable notes.
- The left hand, which holds the instrument, must at the same time hold the microphone
which will take place in the palm, 1 or 2 centimeters from the back of the harmonica (avoid
any contact, source of unwanted noise). Depending on the register in which you are playing,
remember to slightly move the left hand-microphone assembly to the left (low notes) or to the
right (high notes). The right hand must remain mobile to operate the slide with the index
finger. The "Mellow Tone" model makes it possible to obtain very full, very "round" notes
without having to blow or suck in hard, which is particularly suitable for this style of piece
where the softness, and even a certain languor, must take precedence.
- Note the rhythmic variants of the 2nd part of the theme and the evolution of the chorus in
intensity.
7.3 TECHNIQUE DE JEU
- Smooth attack and punctuation of notes, with the effect of the "crying note". This effect is
obtained by slightly tightening the lips and jaws at the start or end of the note. If this effect is
reproduced at relatively close intervals, it also gives a not without sensitivity vibrato. Be careful,
like any effect, it should be used sparingly!
- In the second part of the chorus, a descent of notes in the high register begins with an
accidental. It is obtained only in hole n° 11 (with or without slide). To obtain a beautiful
alteration, it is necessary to refer to the advice given for the diatonic harmonica.
- Note the drawbar appoggiaturas and glissandos in the theme, as well as a tremolo on the very
last note! This is obtained by passing the tongue quickly from left to right in front of the hole
where the note is played.
7.4 UN PEU DE MUSIQUE
- This piece is a jazz waltz in Bb Major. It is based on a sequence of chords which is referred to as
II-V-I and which is one of the most frequent cadences (= usual sequence of chords listed in music)
in jazz. The Roman numeral I designates the key of the piece and the other numbers represent
chords which are relative to it.
Example: if the I is Do (C), the II is Ré (D), the III is Mi (E), etc.
In the key of B b this gives us: II = C-7, V = F7, I = B b Maj7, the 4th chord of the piece being VI=
G7(b 9).
- In jazz, one of the keys to improvisation is the work of scales in relation to the chords of the piece.
The particularity of the II-V-I is that a fairly restricted repertoire of notes (in fact, that of the
diatonic scale of the tone of the piece) allows you to "pass" over these three chords. By using only
these notes, one can constitute different scales by taking as starting point the note which designates
the corresponding chord; these ranges will have a very specific construction and color which will
determine a mode for each one.
CC Pour qu'un morceau « sonne », le secret consiste à privilégier l'émotion plutôt '
que la performance. ,,
Accords Modes
- Dans notre thème<< Mellow Man>>., si on utilise uni II = C-7 Q Do dorien
quement les notes de la gamme Majeure de B � ., on
obtient., en suivant la procédure décrite ci-dessus :
V =F7 b Fa mixolydien
I = BbM7b Si� ionien (= majeur)
Pour le 4e accord du morceau (G7), il devient difficile de se contenter d'utiliser seulement des
notes de la gamme de B b en partant de Sol., la note Si b elle-même devenant dissonante sur
cet accord. Dans l'exercice qui se rapporte à cette section, je donne une gamme dérivée du
Sol éolien obtenue en suivant la même démarche que précédemment.
La modification se situe au niveau de la note Si b à laquelle on substitue le Si bécarre
( = << normal >> ou naturel). En prenant quelque liberté par rapport aux règles académiques., je
la nommerai Sol éolien (9 3), la modification concernant le 3c degré de la gamme.
Note : certains termes non expliqués ici sont quand même utilisés par souci d'exactitude.
En cas de lacunes, je vous recommandé un bon ouvrage sur l'improvisation et l'harmonie en
général où vous trouverez un développement complet de toutes ces notions.
7.5 REGLAGE, MAINTENANCE, ACCORDAGE
- Laisser sécher hors étui l'instrument après usage.
7.6 HISTORIQUE
- Quand j'ai découvert Toots T HIELEMANS, rien n'a plus jamais été comme avant et c'est
difficile pour moi d'en parler sobrement! Toots, né en 1922 à Bruxelles., est devenu une réfé
rence mondiale pour l'harmonica, et plus généralement pour le jazz. Parti à la conquête de
l'Amérique juste après la guerre de 39/45, il s'y est installé et imposé comme un musicien de
tout premier plan. S'il est avant tout un interprète sublime, plus qu'un compositeur., il me plaît
de mentionner qu'il a créé un standard universel : Bluesette, à ... la guitare ! (Et en sifflant à
l'unisson avec celle-ci!)
- En jazz, il a imposé l'harmonica comme personne avant lui et a côtoyé quelques-uns des plus
grands noms du genre : Benny GOODMAN, George SHEARING, Bill EVANS, Ella
FITZGERALD, Oscar PETERSON, Jaco PASTORIUS, Quincy JONES ... Bien sûr, il n'y a
pas que les musiciens de jazz qui ont été séduits par l'homme et sa musique : Paul SIMON,
Billy JOËL, pour ne citer qu'eux ont fait appel à lui. Sa collaboration récente avec Claude
NOUGARO a permis de le faire mieux connaître du grand public français.
- Il est aussi l'interprète de nombreuses musiques de films. De << Midnight Cowboy >> à << Jean de
Florette>> en passant par la B.O. de<< Salut !'Artiste>> pour laquelle j'ai une tendresse particulière.
- Sa sonorité très sobre le distingue de ses prédécesseurs comme Larry ADLER mais c'est un
dépouillement du style qui met justement en valeur toute sa musicalité, son inspiration., en un mot
l'âme de la musique. Quel que soit le niveau auquel on se situe dans l'apprentissage du chroma
tique, j'en recommande l'écoute sans modération, tant pour l'interprétation des thèmes, tout en
nuances et d'un goût sans faille, que pour la richesse et l'inventivité des ses impros. Constantes
dans les deux cas : une sonorité superbe et une technique de haut vol. Merci, Toots!
7.7 DISCOGRAPHIE
• Une excellente occasion de découvrir Toots vous est donnée avec la compilation sortie récem
ment chez BMG à l'occasion de ses 75 ans (BMG Classics).
47
7.8 EXERCICES
A mnemonic to remember this scale; it is the beginning of Christophe's song << Sefiorita >>. Minor scale
800---------------------------------------------------- - - - - - - ---------,
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Exercise in II - V - I
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5 5 2 3 3 5 3 4
s 5 3 5 3
c-1 p7 G7
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-
s 5 7 3 4 5 3 5
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E. Différences chromatique/diatonique
1 - The format. The chromatic has 12 holes instead of 10 for 3 octaves. The holes are slightly larger
so pay attention to the intervals!
2 - Arrangement of notes. From one octave to another, the arrangement is identical and the range of
C is complete in the 3 octaves (solo tuning and not Richter).
3 - Presence of the slide. Pushing it raises any note in the released slide position (initial position) by a
semitone. Exception: at the last hole, note aspirated, the action of the slide changes from B to D.
4 - Presence of valves. On all notes, except those of the last three holes. These valves make
traditional alterations impossible. Exception: when drawing on the 11th hole (with or without slide), the
absence of valves combined with the interval of a tone between the blown note and the drawn note
allows for alteration.
These valves give a particular tone and allow a more homogeneous modulation between blown notes
and aspirated notes.
A slight “pinch” of the note lowers the pitch, which can give note attacks, or on the contrary
characteristic “weepy” note ends. We obtain a very typical vibrato if we reproduce this plucking at
regular intervals, more or less quickly.
5 - Double notes and enharmonics. To preserve from one octave to another the same correspondence
blown notes / aspirated notes, and thus avoid a shift such as one finds it in the high register of the
diatonic, the note C is doubled with each change of octave (in 4-5 and 8-9).
Also, E# sounds like F and F b sounds like E (holes 2-6-10), B# sounds like C and C- sounds like B
(holes 4-8). These peculiarities bear a name in harmony.
The presence of a Do note doubled by disposition and even tripled by enharmonic and the other
enharmonics are very important characteristics to keep in mind at each phase of the work:
- in the scales and exercises, it is necessary to be able to practice all the possible combinations offered
by these doubled notes, to know all the scenarios well;
- in the themes, we will choose between two possibilities the one that meets criteria of musicality.
Example: choose to play C/hole 4 aspirated slide pushed to benefit from the appoggiatura with the
slide (theme of "Mellow Man"). In a sequence that requires speed and fluidity, choose a sequence
where the slide changes the note between two others of the same direction rather than inverting the
breath.
A A 6
Play rather than:
s 6 6 7 s 6 7
+-1
If you can't find one option more artistic than the other, just choose... the easier one!
) t---3....,_--,.--,-----,..-�--.----.-----.---,----,--,----,-----.--,-----,..-�--.----.-----.---,-----,---,-----,-----,,--,-----,..-..----,-----,---t--FI
F. Les effets typiques du chromatique
- The use of the slide allows appoggiaturas and glissandos by semitones impossible on the
diatonic harmonica.
PLAGE 46
0 +-t
1 8
8
Appoggiature montante (G. - Dr.) Appoggiature montante (tirette) Appoggiature montante (glissando)
0
1
8 8 7
7 7 7 7
''
Appoggiature descendante (Dr. - G.) Appoggiature descendante (tirette) Appoggiature descendante (glissando)
- The presence of valves allows "weeping" note effects, both blown and aspirated (see
previous chapter).
1� 1
T ui ui ui ... Vibrato 2
+-t
l�,l�I
6�
Twuwuwu
Vibrato 1
1 PLAGE 48 1
n -
0- 0-
n
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51
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- Le trémolo :
Type 1 : comme dans<< Yes she is >> [� CF. PARAGRAPHE 10.3 P. 67].
Type Il : comme dans << Mellow man >> [� CF. PARAGRAPHE 7.3 P. 46].
1 PLAGE 49
-- Trémolo 1 Trémolo Il
1; 7-
TwuwuwuT
(6) 1
If there is something tedious in music, it is the study and the systematic work of the scales, but it is
still the best way to evolve in the mastery of the chromatic.
Compared to the diatonic, the difficulty is that to transpose a melody (play it in another key) or
simply a phrase, "a plan", one does not have the possibility of changing instruments and reproducing
the same tablature in the new chosen key. And so everything changes: the order of the blown-drawn
sequences, the location of the use of the slide. In fact, it's the whole phrasing that changes. This can
be an enrichment and therefore a transposition can be the subject of a choice, just like the search
for other positions in the diatonic.
The best motivation to find is to limit yourself to working pieces that you like in the original key,
rather than working everything in C Maj or A m as we can tend to do by ear.
< It's because I worked<< on 'Jsn't she love/y>' with the record, in E Maj that this tonality became familiar to me,
and it's because I had worked beforehand the key- of Mi Moj that I was able to decipher this piece without
too much difficulty. >>
2 t---t---t---r--t---t--t--+--t----+---+--t---t-----t--t--+--t----+---+-+---+--l--+---+--+----+---+-+----t---1'---+---+-�I--
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Gradually, in order to extend one's repertoire, one will approach keys which will contain more and
more sharps or flats in their range, and which will lead to a more and more intensive use of the
drawbar.
The two chromatic pieces in this method are played in keys other than C, but very common in their
respective styles: 8 b Maj for << Mellow Man >> and G Maj/Em for << Yes she is >>. This is therefore a good
opportunity to tackle these keys first, following the general principles set out below.
• Play the scales and arpeggios in the widest possible range (3 octaves for C, C# and D, 2 octaves for
the others).
• Profiter de certaines facilités propres à l'instrument pour alléger son travail.
The systematic work of a scale for itself will seem less tedious if you can relate it to a piece you want to
learn.
One last piece of advice: the goal being to play long before playing fast, you should always start by
playing any new etude very slowly: scale, exercise, theme, and only allow yourself to accelerate very
gradually, once you have reached total mastery in the initial time.
8�----------------------------- ,
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0 0
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A 1 2 3 4 5 6 7 8 9 10 11 12
s 1 2 3 5 6 7 9 10 11 12
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A 12 11 10 9 8 7 6 5 4 3 2 1
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PLAGE 50
Exercice n ° 1
Consiste à monter (et descendre) par groupes de 3 notes, décalés chaque fois d'un degré. On peut
varier les plaisirs en progressant par groupes de 4 notes, en y imprimant un rythme de son choix ...
Montée•···························-········ .. ·····································-----·············································-·······-·····················�
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S 5 6 6 6 7 7 7 8 9 9
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A 8 7 8 7 7 6 6 6 5 5 5 4
S 8 7 7 7 6 6 6 5 5 5
Exercice n ° 2
Cet exercice constitue un excellent entraînement pour bien << sentir >> sur l'instrument les écarts
correspondant aux différents intervalles de notes.
Montée • -• • • -- • • • -- -.... •.. - •.. • •........ •.. • •. -- -. -... -........................• : :·. Descente .................................................................... .
.. ''
-
. • •
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A 5 6 7 8 8 7 6 5
S 5 5 6 5 5 7 5 5 5 8 8 8 8 7 8 8 6 8 8 5
Note : sur le CD, seule la montée est enregistrée mais ces deux exercices sont à travailler dans leur
intégralité (montée et descente).
55
8. YOUNG MOON
8.1 PRISE DE SON
- Micro sur pied (Neuman U87).
The advantage of this technique is to have a free tongue, which will allow you to articulate
better. It seems more natural than the tongue blocking technique.
Some tongue effects, like those used in <<Pocket Rocket>>, are only playable using <<o>> play.
TONGUE BLOCKING
Cover 3 or 4 holes with your mouth. For
example, from 1 to 4. Then, press your tongue
against the mouthpiece of the harmonica so as
to close the 3 holes on the left and blow into the 1 2 --===::::......--====-=-- 7 8 1 o�=-
9 =;,;
4th to obtain rhythmic or harmonization effects
(Raincrow Bill, Careless Love, etc.).
8.4 UN PEU DE MUSIQUE [c::> POUR PLUS D'INFOS, VOIR FICHE<< DEUX DOIGTS DE THÉORIE)) P. 22].
8.6 DISCOGRAPHIE
• BOB DYLAN (son tout premier album chez CBS)
• BRUCE SPRINGSTEEN << T he Ballad Of Tom Joad >> (Sony)
• DOC WATSON << T he Essential >> (Vanguard)
10.2 INTERPRETATION
- This kind of melody, very simple, requires a lot of precision and dynamics so as not to sound
"flat".
- The choice of a CX 12 or a "Hard Bopper" Toots is recommended for this very "tight" style.
- When your sound is picked up by a hyper-sensitive microphone in the studio, all the
extraneous noises become annoying: nose noise, drawbar noise, handling noise. It is
important throughout the learning process to monitor these elements in order to master them
as best as possible.
- Note, in the chorus, the short phrases and the rhythmic cut where we feel the presence of the
theme.
PLAGE 58
A 3 3 4 5 A 4 5 7 7 7
s 2 3 6 7
3 -� 1
A 5 4 3 3 3 3 4 5 4
6
·• •
+-1 .....
A 5 7 7 7 7 7 8 9 11 11 11 9 8
s 6 7 7 6 6 7 10·11 11: 10
1,
.....
5 4 3 3 3 5 3 3 5
s 7 6 3 2 3 3 7_ 6 3 7_ 6
3 3 3
3
..... ....... ...... r "'
3 3 3 3 4 5 5 4 3 3 3 3 4
s 3 2 3 6 7 7 6 3
CC Diversifier ce qu'on écoute permet d'éviter de retomber toujours dans les mêmes
plans. lly a toujours à apprendre d'un bon instrumentiste, même si le style qu'il défend
ne vous attire pas a priori, même s'il joue d'un autre instrument que le vôtre. ,,
•
1 O. 7 EXERCICES
In addition to the traditional Major and Minor scales, I recommend the practice of the
blues scales, which are so named because they contain the blue notes, notes typical of
blues style and phrasing.
These scales contain 6 notes; the blue notes are the 2nd, 4th and 6th degrees. These
scales are very useful when improvising on a large number of blues, rock, funk or pop
grids. The exercise below illustrates that a single blues scale can be enough to cover the
needs in terms of improvisation for an entire song.
Note: the example of the application of the blues scale located on page 69 (track 58 on
the CD), is played in part on a shortened grid of Yes she is.
-
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A 3 5 6 7 9 10 10 9 7 6 5 3
S 3 5 5 7 9 9 . 1l 11 9 9 7 5 5 3
+-1 +-1 +-1 +i
1. Gamme chromatique
If we count all the different notes (not counting doublings and enharmonies) starting from a note C
and going up to the next note C (one octave higher), we obtain 12 notes which constitute the
chromatic scale.
Gamme chromatique
- - .- e
-- ·-
_o_
- - - n &
.- - 0
- -
- ... ...
�
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-.. "
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S 1 1 2 3 3 5 5 6. 7 7
+-1 +-f +-1 +-1
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..o.
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s 9 9
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10 11 11
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12 12 11 1 1
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+--1
9
Larry Adler ( 1914). Outre Toots T HIELEMANS et Stevie WONDER, il faut avoir entendu ce brillant
soliste pour découvrir ce qu'on peut obtenir comme variété de timbres au chromatique, avec de nom
breux effets de main ou de bouche. Sa version de << Touchez pas au grisbi >> est très célèbre et exem
plaire à ce titre. Ayant brillamment repris certains grands airs classiques, il a inspiré plusieurs compo
siteurs contemporains à la création d'œuvres spécifiquement écrites pour l'harmonica et a même
touché au jazz aux côtés de Django REINHARDT. Techniquement, personne ne l'a encore égalé. •
Récemment, il fut à l'initiative d'un très beau CD concept en hommage au compositeur George
GERSHWIN, invitant pour l'occasion ST ING, Kate BUSH, Peter GABRIEL et quelques autres...
)
Gamme chromatique : deux exercices
,,
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1
,u - - - - •• - 1... •• - ·-
--. --,...
1 "-"' -
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■ "' •• - 0-lt= -
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.
Ex. 2 L'intervalle d'octave étant fréquent, cet exercice aide à le maî- ,
triser en toute situation. Rappel : sur le CD, seule la montée
est enregistrée mais ces exercices sont à travailler dans leur
intégralité (montée et descente).
PLAGE 60
Montée -- •.. • -. • --• • • -• • --• • --- • ---.. ---.---. ---.. --. - -- • • -- . • --- • . -- - --- - -- - - -- - .. -- - ---- ---• • --- • --• .. -. -- - . -- --.- - - - - -- . - -- - . -• -- -. -- -- -- -- -- - - -- - - -- - --- - -- ----
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3 7 3 3 7 3 4 8 4 • •
8 4 8 7 3 7 7 3 7
.. ..
S 3 4 8 4::8 4 8 7
.....
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11.2 INTERPRETATION
- Moody is a jazz ballad in which the theme evolves gently with long and flowing notes
which require a worked sound and good precision.
- - The accidental control makes it possible to obtain a "muted trumpet" sound which lends
itself well to this type of piece.
- Some effects and techniques used
THE VIBRATO<< JAZZY >>: oscillate between the note a little higher and the note a
little lower than the desired note. This vibrato is lighter than the throat vibrato but it works
only on the alterable notes. For breathy notes, control your breath by saying "ffff".
ATTACK play an altered note directly, several times, by pronouncing 'k' or 't'
THE "BELOW" ATTACK: instead of playing a note directly, play a note a semitone
below, then go up to the desired note.
THE "CRYING NOTE" EFFECT: Play a note, then alter it slightly, like
the first 4 aspirated from the track.
74
1 1.8 EXERCICES
- - -
A 2 3 4 2 3 3 1 2 3
s 6 2 5 4 5 6 4
G Em Am7
Em Am7 D7 G
•
A 3 3 3 3 l 2 2 3 3 4 6-
s 6 5 5 4 2 4 56 5 6
PLAGE 62
�'--+---+---ir- - -
1----r-·--r-
1
1. Rodage
Il est préférable, pour qu'ils durent, de roder vos harmonicas. Jouez doucement sur un instrument
neuf pendant quelques jours voire quelques semaines. Remarquez également qu'il répond mieux
quand il est chaud, c'est-à-dire quand il a été joué quelques minutes. Cela tient probablement moins
à la température qu'à l'humidité . En effet, celle-ci se fixe tout autour des lames rendant l'instrument
plus étanche, donc l'action plus rapide. C'est la raison pour laquelle certains harmonicistes trempent
leurs instruments dans l'eau (ou autre liquide !) avant de jouer. L'effet reste passager et peut nuire à
la longévité de l'instrument ; sans parler des sommiers en bois qui se déforment douloureusement !
2. Débloque note
Si une lamelle ne répond pas, ou mal, démontez les capots de l'harmonica avec un couteau s'il est riveté
ou clouté, ou avec un tournevis (cruciforme AZD x75 pour les modèles MS HOHNER). Repérez la
lamelle incriminée. Sur les chromatiques, détachez précautionneusement la valve blanche à l'aide d'une
lame de rasoir, vous la recollerez après l'intervention. Actionnez doucement la lamelle avec une allu
mette taillée en pointe si elle est soufflée ou un bout de plastique fin, genre baleine de col de chemise
si elle est aspirée. Conservez ces outils, ils vous seront utiles. Vérifiez qu'aucun corps étranger n'en
trave la vibration. Si la lamelle produit un son métallique c'est que l'un de ses bords heurte la plaque :
il se peut qu'elle aie légèrement pivoté sur le rivet. Remettez-la doucement dans l'axe à l'aide d'une lame
de rasoir ; si c'est nécessaire, ébarbez l'extrémité de la lamelle avec une petite lime. Une lamelle peut
aussi ne pas répondre parce qu'elle n'est pas correctement positionnée.
4. Accordage
Les harmonicas sont, en théorie, accordés relativement à un diapason (La = 440 hz) ; parfois un peu
plus haut parce qu'un instrument soliste sonne plus brillant lorsqu'il est accordé un peu au-dessus
des autres et qu'une lamelle jouée fort a tendance à descendre.
- Lorsqu'on joue plusieurs notes simultanément, un étrange phénomène acoustique fait qu'elles
vibrent désagréablement si elles sont trop parfaitement accordées ! C'est pourquoi il existe de légers
écarts d'accordage entre les notes sur certains modèles Richter (Marine Band, Special 20 ...) souvent
joués en accords. D'autres sont accordés justes (Golden Melody).
t tion. Si, à l'aide d'une petite lime on l'allège vers le rivet, elle
vibre moins vite, donc elle descend. La même opération vers
l'extrémité vibrante la fait monter. Calez les lames aspirées
avec votre baleine de col et les lames soufflées avec l'allumette.
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