DE202013007506U1 - Chromatic harmonious harmonica - Google Patents

Abstract

Harmonica each with blow and draw tones in each of two (preferably superimposed) rows of cells, the respective simultaneously usable blowing and drawing openings selectable by two or more slides, which cover the access to the respective unplayable reeds, characterized in that the Tonbelegung Thus, that in the same blow holes by blowing / pulling or slide operation resulting different chords are not continuously selected in one layer, so give a total similar pitch as possible, but compared to this shifted at least at a portion of the assignments down or up are, d. H. a higher or lower position of another chord is chosen relative to the most similar pitch to a chord.

Description

Introduction - Task

The invention relates to a suitable for mass production harmonica, with the tunes not only, as conventionally known, with the basic triad of the corresponding key or additionally some side triad lengths can be harmonically highlighted, but that is also simultaneously designed fully chromatic, d. H. Any chromatic intermediate that may be present in a melody can also play and harmonize.

So far, it has not been possible to construct a harmonica that meets the above requirements, and certainly not in a technically and economically feasible way.

State of the art

To clarify the approach, the existing prior art technical requirements are described.

The basis for all modern concert harmonica is the chromatic harmonica, which was decisively influenced by Larry Adler. In it, with a considerable renunciation of playable chords (only the tonic is available by blowing, only the ugly cluster of a seventh chord of the seventh chord forms), a full chromatic scale is offered, opening the playing of all melodies of all keys, but without accompaniment , The use of the instrument is purely solo-melodic designed, such as a flute or violin (fundamental to the construction concept of the chromatic harmonica: Weichefeldfeld, Manfred, With the harmonica from Filius to virtuoso, Bad Grönenbach 2006, p. 6ff. ).

Technically, this is possible because there are two reeds each for blowing and pulling on an opening, namely in an upper and a lower row of rows of cells, each with an associated reed plate. A hermetically constructed slider located between the blast ports and the chambers releases the selected half of the chambers and closes the other half. To reduce the loss of air valves are also mounted on the opposite side of the reeds, which prevent a respective reverse air flow (by the drawing tongues during blowing and by the Blaszungen when pulling).

Although this system requires a certain amount of effort: Ensuring the tightness of a moving element is a mechanical problem, but it can be solved by precise design and maintenance (oil). Therefore, the leading harmonica manufacturers such as the companies Hohner, Seydel, Suzuki or Hering have due to the demand for such instruments that are suitable only for classical solo concert use, z. B. in the well-known solo concertos for harmonica and orchestra by Michael Spivakovsky (published by Bosworth, London), Malcolm Arnold and Heitor Villa-Lobos, now technically mature solutions for mass production of such designs developed, the instruments well playable, affordable and relatively easy to maintain are.

The only practically relevant advance for a harmonica equipped with accompaniment harmonies was developed in 1965 by the Chinese soloist Cham-Ber Huang and is from the DE 1 255 465 (Harmonica - Hohner, 1965) known. Huang resorted to the technique of the chromatic harmonica, which had matured for everyday use, but did not occupy the second row of chancellors with chromatic tones, but with a tone arrangement in pure harmonies. For details, reference is made to the description of the cited patent.

The initial idea of Huang is to use a major key of four rows of tympani with the tonic (bubbles without displacement), the dominant septum (pulling without displacement), the subdominant (bladder with displacement) and the double diminished seventh chord of the I./VI. Level of the chosen key, mostly C major. The concept was and is successfully marketed by Hohner until today as "Chordomonica I". After patent protection expires, it is also available today as a "choir" from Seydel or as a custom instrument based on the Hohner Super 64 or CX-12 from other manufacturers (Harponline).

The actual invention in the aforementioned patent, however, went further and made possible by the installation of a second slide in addition to playing the secondary chords II and VI. Step. The system was offered by Hohner as "Chordomonica II" on the market for some years and is still structurally constructible from any chromatic harmonica or "Chordomonica I" by supplementing the auxiliary slide. However, the system with auxiliary slide of his time was too far ahead and in contrast to the "Chordomonica I" was not a real market success.

The costs and technical problems of the additional second slider with increased maintenance susceptibility could not be justified for the possibility of the rarely used in Durtonarten only secondary likelihood II and VI. Level to use. This auxiliary slide would only make sense, if with it a far greater flexibility, in particular the playing of all chromatic nuances would be possible. But that was not the case, and a suitable sound assignment was excluded in principle according to the concept of Huang.

It is often overlooked that the Huang double slide system does not allow for six freely selectable harmonies or tone compositions, but only four, while the other two necessarily result from their combination (the auxiliary slide automatically combines only half of the sound without the main slide half of the sound with the main slide, so a middle position, see column 5 below with 4 the patent specification). And since the "chordomonica" contains only two of the five chromatic intermediate steps (namely the increased second and fourth steps, for C major, ie, dis / es and f sharp / ges), apart from the seven notes of the tone, three intermediate chromatic steps are completely absent (for C dur cis / des, gis / as and ais / b), which the additional slider can not change - the reeds are the same in both systems.

problem

In the utility model DE 20 2009 012 020 (Vitt) is now an extension of the harmonies for use in minor keys described (brand name with the consent of the company Hohner "Chordomoll", German word mark DE 30 2009 053 218 ). For details, see the description there. The "Chordomonica", however, is designed and usable in both types exclusively for use in Durtonarten.

The harmonic variety necessary for playing in minor keys, which goes beyond the maximum of four chords (possibly with combinations) possible with the Chordomonica system, becomes a novel use of double assignments of a row of chancellors with intersecting triads, from which by tone blockade the respective desired parts are selectable, and of substituting chords (emulations) allows, so that even with only one slider seven harmonies become playable. Here, too, the chromaticism is dispensed with, only for the seventh step are there a reduced and an increased form (corresponding to the minor dominant in pure minor and the major dominant in harmonic minor). The other four intermediate chromatic steps are missing.

Again, this is not a completely chromatic style of play possible.

While for many folksy songs, hits and simple ways a harmonization of the tonal tones in major (and possibly in minor) is sufficient, but this is no longer possible with more demanding melodies. Art songs and works of great classical composers, especially modern sages or well-known film music regularly contain various intermediate chromatic steps, and it is then left to chance, whether exceptionally the two contained in the "Chordomonica" chromatic tones or not enough: The "Ave Maria "By Bach / Gounod contains z. For example, only the intermediate chromatic steps over the second and fourth stages (specifically: es and fis) make it a rare exception of art music, harmonized even on the "Chordomonica II". In the "Ave Maria" by Franz Schubert, D. 839, composed in 1825 as "Ellen's Vocals III"), however, one encounters already insurmountable obstacles: The piece in B-major first requires the increased fourth and second stage (e and cis) , which is still playable, but immediately thereafter, in many cases the increased first step (h) - so this piece is eliminated for the Chordomonica. The same applies to the vast majority of art music.

It is easy to show, however, that the Chord-Monica chord-monica chord-mono- chica system of Cham-Ber Huang does not simultaneously provide all the necessary fundamental harmonies of a key and all chromatic nuances. Three of the four assignments are reserved for the basic triad, and even if one waives completely in the fourth row on a harmony and there would provide only individually playable chromatic intermediate steps, there would only be four - there are more channels per octave not. Thus, despite this limitation of usability, at least one chromatic step would always be missing, apart from the fact that the harmonic would be very little varied.

Also a double assignment analogous to the "Chordomoll" from the DE 20 2009 012 020 (Vitt) can not solve the problem.

It is already in principle not, because the harmoniously necessary solutions of a double assignment can not be arranged so that the predetermined auxiliary slide then also reaches the "right" combination for the missing chords. To do this in detail would go beyond the scope of the description. However, it should be sufficient at this point already the indication that the insertion of chromatic tones or double assignments in the basic triad tonic and dominant is no longer technically useful: If in these frequent three- and four-note individual channels must be permanently blocked because otherwise a completely "oblique" sound arises, only slow pieces of master players can be recited. For the normal player or for faster passages is one such solution useless, and must therefore be rejected altogether.

Thus, according to the state of the art with a harmonica, which is equipped in the standard series technology with two rows of cells and sliders, not simultaneously a harmonic underpainting in all basic triadic (and possibly the main secondary triad lengths) of a key and also all possible chromatic intermediate steps be achieved. For pieces with chromatic intermediate steps, therefore, only the pure melodic playing on a conventional chromatic harmonica (Larry Adler System) is usually opened. A "self-accompaniment" with harmonies is eliminated.

solution

The inventive design has set itself the task of constructing a harmonica, which is equipped in the standard series technology with two rows of cells and sliders, but at the same time a harmonic underpainting in all basic triadic (and the main secondary triad lengths) of a key and also all of all makes possible possible chromatic intermediate steps.

The solution according to the invention consists in a tone assignment, which differs from the conventional, ordered by the pitch structure and it allows that in the generally rising to the right tone sequence also in individual cases descending tones are classified. This has never been attempted for technical reasons. Technical experiments with the occupation simulator of the chromatic harmonica for customizing (Harponline, now also Hohner) by Vitt have shown that the retrograde mood, d. H. interposed tone sequences against the general mood direction, in the required for the inventive solution scope (regularly only one tone "backwards") with standard tuning plates and Kanzellenkörpern just suitable for use just what is not yet known.

In conjunction with a marginal double occupancy and technically easily controllable emulation in the side triplets can thus three pure basic triad and also provide three with all available chromatic intermediate tones provided secondary triad in the system, with the further advantage that such assignment simultaneously a Durtonart and quintrelwandte Minor key (in harmonic minor).

The solution according to the invention is therefore in the real sense universal harmonica ("uniharp", German trademark protection DE 30 2009 074 816 ), which combine all the features of the chromatic "Larry eagle", the dur chordal "chordomonica" and partly the minor chordal "chordomoll" (though chordally only for harmonic minor, melodic and substituted is also pure minor playable), but at the same time manageable with simple playing technique and in principle only the same components as a "Chordomonica II" needed (from this so with a relatively little effort is convertible).

In the prior art, all notes of a harmonica are arranged in the height from left to right. Correspondingly, reedplates and pulpit bodies are constructed to accommodate the reeds becoming shorter and shorter to the right. The insertion of individual lower notes as they progress to the right fails due to the inadequate sizes of the building structure. A milling out uses nothing, because then for the otherwise generally shorter reeds of the usual arranged other tones the room is too big, because it share so several reeds a channel and a pulpit.

All of the above instruments (chromatic harp according to Larry Adler, Chordomonica after Cham-Ber Huang, Chordomoll after Vitt) therefore contain only from left to right rising or maximum on the same tone remaining tone sequences for all assignments.

Own tests have shown, however, that - as described above - to a small but sufficient extent retrograde tone sequences in a standard Kanzellenkörper with standard tuning plates are possible, d. H. It is possible that in a pulpit to the right of a certain tone an assignment with a slightly lower tone can be realized.

This in turn makes it possible to leave the construction principle of the conventional harmonic harmonica in which all the chords used in the same pitch as possible in the assignment must be combined with each other, and provide a shifted pitch in the different assignments. In order to extend the number of occupation possibilities mathematically by a factor of two to three (two shifts - left and right - for three layers relative to a given base pitch in a situation) equal to eight additional occupancy options, d. H. There are now eight times more sound combinations imaginable, which greatly increases the likelihood of finding a combination that is practically selectable by the sliders for the needs defined by the user.

In the Chordomonica, for example, the four blow holes of an octave next to the four-tone combined tonic in Basis (for C major: cegc) when blowing without slide at the same pitch the subdominant in four-voice quint position (cfac) when blowing with slider and trapped the third position of the Dominatseptimakkordes (dfgh) when pulling without slide. All three chords will sound in the same pitch for the same tone holes. They are at most pitch-like. If, on the other hand, the assignments are shifted by one blowhole, then z. Example, the possibility (as in the preferred embodiment) that the same four taps with the tonic basis (cegc) in the bladder with auxiliary slide and next to the one-fifth deeper Dominantseptim basis (hdfg) when pulling without a slide are occupied. This causes in the preferred embodiment, in the blowhole to the right of the "g" of Dominantseptime, inter alia, the half a tone higher "as" is occupied (for the tonic quintrelated minor key), so a partial retrograde mood. But this is possible, as shown.

This novel, considerable gain in freedom of design by displaced in the pitch assignments depending on bladder / pull and row of chests instead of hitherto used as possible similar pitch allows in fact assignments in which the objects can be achieved with the conventional slide structure. A preferred embodiment as an example as described below.

• – Blasen ohne Schieber: e-g-b-des'
• – Ziehen ohne Schieber: d-f-g-h
• – Blasen mit Schieber: f-as-c'-c'
• – Blasen ohne Schieber: es-fis-a-c'

The blow holes are in four groups as in the Chordomonica and Chordomoll, with the occupancy repeats an octave higher in the next four blowholes, and so on. Typically, as in the Chordomonica II and the Chordomoll three octaves are provided (12 blowholes), but an assignment in a different range is easily conceivable. The four blow holes receive for the preferred embodiment z. For example, in C major and F minor the following sound assignment:

• - Bubbles without slider: egb-des'
• - Pull without slider: dfgh
• - bubbles with slider: f-as-c'-c '
• - bubbles without a slider: es-fis-a-c '

Retrogrades are about as-g in blowhole 2/3 and c'-h in blowhole 3/4.

All twelve chromatic notes of the octave from c to c 'are playable with it. In a tempered mood, of course, the enharmonic confusions are included (ais, cis, gis, dis and ges). When using the pushers chordomonica II, ie the auxiliary pusher combines in the two lower blowholes the sounds without pusher and in the two upper blowholes the notes with main pusher:
C major Tonic: Bubbles with auxiliary slide (eg-c'-c ')
C major durum septime in: pull without slider (dfgh)
C major subdominant in combination with harmonic substitutable II7 or as S6: pulling with auxiliary slide (dfa-c ')
C major verm. Septimakkord III. Level (Vorhalt): bubbles without slider (egb-des')
C major minor subdominant: bladder with main pusher (f-as-c'-c ')
C major verm. Septimakkord I. Level (Vorhalt): Pulling with main slider (es-fis-a-c ')

Thus, all three basic triads, of which tonic and dominant pure, and three harmoniously rich, often used as a precursor secondary triad length available, and also as required, all five chromatic nuances.

At the same time, for the quint-related minor key of F minor, the tonic (by blowing with a main slider), a reduced dominant episode (which can well substitute the dominant episode and at the same time the subdominant, by blowing without a pusher), the harmonic pure dominant (blowing with auxiliary pusher), the Dursexttonika (pulling with auxiliary slide), the diminished fifth-step seventh chord (pulling with main slide) and the dominant dominant (pulling without slide) available, harmonizing a harmonic minor completely and richly. Pure minor can be played, but the dominant is only two-part (drag with main slide, c-es) and not fully chordally available, but this is technically completely sufficient, since the ear the missing Quintton (g) in the flow regularly physiological overtone " listening in ".

For the fundamentals of the theory of harmony according to the above explanations, reference is made to: Michels, Ulrich, dtv-Atlas Music Volume 1, Munich 1977/2005, p. 96ff. ; Holst, Imogen, The ABC of Music, Stuttgart 1963/1992, p. 87ff. ; Wolf, Erich, The Music Education Volume II - Harmony, Wiesbaden 1972/1992, passim ; de la Motte, Diether, Harmonielehre, Munich / Kassel 1976/2009, passim ; Bölsche, Franz, exercises and tasks for the study of harmony, Wiesbaden 1917/1983, passim ; Haunschild, Frank, The new harmony, 2 volumes, Brühl 1988/1998 and 1992, passim ,

application

The application of the harmonica according to the invention are virtually unlimited. It can play both major and minor pieces fully harmonized, as far as the root key is not left, and all chromatic tints as well, which also includes transient modulations in any case melodic or usually even two-part harmonic substituted playable in other keys. Thus, the vast majority of the song-like art music is harmonized accessible with a single instrument, which is also buildable with common mass production technology.

Never before in the history of the harmonica has an instrument of almost equal variety been developed. The harmonica according to the invention combines in principle completely the capabilities of two to this day fundamentally different harmonica types, namely the chromatic melody harp (Larry Adler) and the harmonic-diatonic harmonica (Chordomonica, Chordomoll). She also combines the playability of major and minor pieces on one instrument at the same time.

(Note: The "Chordomoll" is not superfluous because it is firstly structurally simpler - it only needs a slider - and also not only harmonic, but also melodic / pure minor completely harmonized, so in minority has a greater richness of sound. uniharp "according to the embodiment of the invention harmonizes minor for all applications sufficient, but sometimes only in a simpler form.)

extension

The idea according to the invention can be generalized. It relates to a harmonica in principle on the design of a chromatic harmonica with main and auxiliary shifter, with pitch-shifted occupancy further, desired by the player harmony combinations are buildable, the unavailable by Abwandlugnen the system of Cham-Ber Huang (Chordomonica) and Vitt 2009 (Chordomoll) are.

• – eine komplette Kombination von Chordomonica und Chordomoll,
• – eine Mundharmonika mit kompletten Akkorden für mehrere (z. B. quintverwandte) Tonarten, oder
• – eine Mundharmonika mit den vollständigen Nebendreiklängen aller Stufen für eine Tonart.

Are conceivable, for example, by abandoning complete chromaticism

• - a complete combination of Chordomonica and Chordomoll,
• - a harmonica with complete chords for several (eg Quint related) keys, or
• - a harmonica with the complete side triad lengths of all levels for a key.

However, applications also result in deviant harmony systems that require additional, especially chromatic sound combinations beyond the chords that can be achieved for the chordomonas or the chord minor. In modern music, blues ("blue notes") and jazz. These styles, too, will not play on the harmonica, as they were until now only melodic, but also harmonious.

drawing

In addition: A sheet of drawings: Sample assignment for a preferred embodiment of the harmonica according to the invention with twelve blowholes, tuned in full chromatic C major and F minor

QUOTES INCLUDE IN THE DESCRIPTION

This list of the documents listed by the applicant has been generated automatically and is included solely for the better information of the reader. The list is not part of the German patent or utility model application. The DPMA assumes no liability for any errors or omissions.

Cited patent literature

• DE 1255465 [0007]
• DE 202009012020 [0012, 0017]
• DE 302009053218 [0012]
• DE 302009074816 [0023]

Cited non-patent literature

• Weichefeldfeld, Manfred, With the harmonica from Filius to virtuoso, Bad Grönenbach 2006, p. 6ff. [0004]
• Michels, Ulrich, dtv-Atlas Music Volume 1, Munich 1977/2005, p. 96ff. [0035]
• Holst, Imogen, The ABC of Music, Stuttgart 1963/1992, p. 87ff. [0035]
• Wolf, Erich, The Music Education Volume II - Harmony, Wiesbaden 1972/1992, passim [0035]
• de la Motte, Diether, Harmonielehre, Munich / Kassel 1976/2009, passim [0035]
• Bölsche, Franz, exercises and tasks for the study of harmony, Wiesbaden 1917/1983, passim [0035]
• Haunschild, Frank, The New Harmony, 2 volumes, Brühl 1988/1998 and 1992, passim [0035]

Claims (4)

Harmonica each with blow and draw tones in each of two (preferably superimposed) rows of cells, the respective simultaneously usable blowing and drawing openings selectable by two or more slides, which cover the access to the respective unplayable reeds, characterized in that the Tonbelegung Thus, that in the same blow holes by blowing / pulling or slide operation resulting different chords are not continuously selected in one layer, so give a total similar pitch as possible, but compared to this shifted at least at a portion of the assignments down or up are, ie, one is compared to the most similar pitch to a chord, a higher or lower position of another chord selected. Harmonica each with blow and draw tones in each of two (preferably superimposed) rows of cells, the respective simultaneously usable blowing and drawing openings selectable by two or more slides, which cover the access to the respective unannounced reeds, characterized in that when progressing The blow holes to the right not only tones of the same or higher pitch, but in some cases, lower pitched tones can sound. Harmonica each with blow and draw tones in each of two (preferably superimposed) rows of chests, the respective simultaneously usable blow and draw openings selectable by two or more slides, which cover the access to each unplayable reeds, characterized, that the following assignment of groups of four of blow holes, repeated in further octaves, is chosen from a chosen fundamental (including cyclic commutation, mirroring or any kind of transposition): Opening 1: Upper Blaszunge 3rd step (all steps are measured according to the corresponding major scale of the basic tone), upper second level drawing tongue; lower bladder 4th step, lower pull tongue reduced 3rd step. Opening 2: upper blowing tongue 5th step, upper pulling tongue 4th step; Lower Blaszunge diminished 6th step, lower pull tab increased 4th step, Opening 3: Upper Blaszunge diminished 7th step, upper pull tab 5th step; Lower Blaszunge 1st step one octave higher (8th step), lower pull tongue 6th step, Aperture 4: upper bladder reduced 2nd step one octave higher, upper pull tab 7th step; Lower Blaszunge 1st step one octave higher (8th step), lower pull tongue also 1st step one octave higher (8th step), and that it can be achieved by means of the slides that, at the option of the player, one of the following three combinations of the rows of cells is released for play: - firstly: opening 1-4 upper row of rows, or - secondly: opening 1-4 lower row of chests, or - third: opening 1-2 upper and opening 3-4 lower row of cells, (alternatively a reversal up / down with simultaneous analog reversal of the sound assignment). Harmonica according to one of the preceding claims 1-3, characterized in that an ergonomically shaped mouthpiece is used for facilitating the blockage of an unused blow or draw hole for the unused needles or reeds.

Images