The lowest pitch of a harmonica. All about the harmonica

Or the harmonica is an instrument that everyone has heard before. Today it is popular due to its compactness, affordability and the ability to teach the game independently. It would seem that a long-familiar piece, when performed masterfully on the harmonica, can sparkle with new colors. Today we will tell you everything about this tool.

History of the harmonica

Essentially, the harmonica is a Western-style wind organ. The first compact instrument appeared in 1821 thanks to the German watchmaker Christian Friedrich Ludwig Buschmann. His invention was called “aura” and was a metal plate with fifteen slots that were closed with steel tabs. This device was more like a tuning fork; the notes in it were arranged in chromatic order and were extracted solely by exhalation.

In 1826, a master named Richter made an accordion with 20 reeds and 10 holes (separate for exhalation and inhalation), mounted in a wooden cedar body. He also proposed a tuning option using the diatonic scale for all European instruments, called the “Mundharmonika”, or wind organ, which became standard.

IN North America The harmonica appeared in 1862 thanks to Matthias Honer, and by 1879 Honer was producing up to 700 thousand instruments a year.

During the Great Depression and World War II in the 30s and 40s. In the twentieth century, there was a massive migration of southerners to the northern states of the United States and the West Coast. It was they who brought the harmonica with them to these places.

In modern musical world The harmonica is experiencing its rebirth. The range of music styles that use its sound is expanding. Today this instrument can be heard in blues and jazz compositions, rock, ethnic and folk music, traditionally in country style and many other musical styles.

Harmonica very popular today

How does it work?

The harmonica is a reed musical instrument, that is, there are copper reeds inside that vibrate in an air stream, creating sound. The main difference between a harmonica and other reed harmonicas musical instruments– using the tongue and lips instead of the keyboard. The tongue and lips are used to select a special hole that corresponds to a specific note. A musician who plays the harmonica is called a harper.

Harmonic structure diagram

Types of harmonicas

If you decide to master this musical instrument, then you need to decide what kind of harmonica you need to purchase. There are several varieties that differ from each other. How? Let's figure it out.

The diatonic harmonica is the most popular variety of this instrument because it can play music in almost any musical style. Its sound is very rich and “thick”.

This type of harmonica has a diatonic scale without semitones. For comparison, you can imagine a piano whose keyboard has only white keys. Thus, you need to master certain techniques in order to play it well. Diatonic harmonicas have a range of 1 to 4 octaves. This is the instrument that is best suited for learning and is simply ideal for playing blues music.

Chromatic harmonic

Chromatic harmonicas, unlike diatonic harmonicas, allow you to play all 12 notes in an octave, including semitones. That is, again drawing an analogy with the piano, you play all the keys - both black and white.

It's more difficult to learn to play. For example, for playing complex musical works on the chromatic harmonica it is important to have good skill in playing the diatonic, musical education and be able to sight read music.

The chromatic harmonica allows only solo performance of all notes of the scale within three octaves (including semitones). It is the ability to accurately hit single notes that has made this type of harmonica one of the favorite instruments of jazz performers.

Chromatic harmonics combine two harmonics in one housing, switching between them is carried out using a special button located on one side of the instrument. By blowing air into the holes of the harmonica, you get clean, full notes. By pressing the button, you cut off the air supply to certain channels, including midtones.

A blues harmonica usually has ten holes, each of which can be played either inhaled or exhaled. Instruments of this type can be played chromatically using special techniques - blowing and bending.

Tremolo harmonica

A tremolo harmonica has two sound plates that sound simultaneously, slightly out of tune with each other, thereby creating a tremolo effect. There are two reeds for each note, resulting in a richer sound.

Tremolo harmonica

This harmonica is quite simple and very easy for almost anyone with even minimal musical ability to learn to play. But you need to remember that this type is quite limited in its capabilities, which is due to the missing notes. On the tremolo harmonica you can play simple children's melodies, Russian and Ukrainian folk songs, other compositions. Tremolo harmonica allows you to interpret melodies more emotionally, creating a full-bodied sound.

Octave harmonic

An octave harmonica is a type of diatonic harmonica and consists of two sound plates that sound simultaneously and are tuned exactly an octave relative to each other. This gives greater volume and a different timbre to the sound.

Octave harmonic

Bass harmonica

In a bass harmonica, each hole plays only on exhalation; for each note there are two sound plates, tuned to an octave.

Bass harmonica

Chord harmonica

The chord harmonica consists of two movably fixed plates, the double reeds of which are tuned to the octave. It has notes for both exhalation and inhalation, which allows you to use different chords.

Choosing a Harmonica

If you decide to learn to play the harmonica, then you need to approach the choice of instrument with the utmost seriousness. Let us outline several points that you should pay attention to when choosing.

Harmonica type. First of all, you need to decide what style you plan to play and how often you will play music. The type of instrument and its class (student or professional) depend on this.

Reed material. This criterion directly affects the durability of the tool. For example, the HOHNER and SUZUKI companies use copper reeds in their harmonicas, and the SEYDEL company was the first to use steel reeds in its instruments, which do not go out of tune longer and are more durable.

Key. Harmonicas come in different keys; beginning musicians should choose an instrument in the key of “C major” (marked “C”), when blowing air into the first three holes of the harmonica will give you a “C major” chord. It is in this key that it is easiest to master the basic techniques and skills, but then it will be easy to play on everyone else. It is also worth noting that almost all tutorials for playing the harmonica are written in the key of “C major”. For playing blues music, instruments with “E and A major” tunings (marked “E” and “A”, respectively) are preferable. Professional performers use several harmonicas, each of which has its own tonality and scale, because even the most advanced model is not capable of providing both major and minor sounds.

Checking the tool. In a musical instrument store you need to check the harmonica and “blow out” it. To do this, you can use special furs, if available in the store. Check each hole for inhalation and exhalation, making sure all notes are heard. At the same time, pay attention to possible additional sounds in the form of ringing and whistling. Also, at low tones, the reeds can hit the harmonica lid and produce a characteristic ringing sound.

Workmanship. Due to their enormous popularity and availability, harmonicas are often of poor quality; they can be found almost everywhere as a souvenir or children's toy. Therefore, it is better to choose a harmonica in musical instrument stores. For example, manufacturers such as HOHNER (Germany), STAGG (Belgium), SUZUKI (Japan) produce a wide range of high-quality harmonicas: from the simplest (student) to elite models made of noble wood and durable metal. At the same time, student models differ from professional ones mainly in the materials used.

Overlay shape. If you want a harmonica that will be comfortable for your playing style, then you should think about the shape of the pickguards. For example, the pickguards on the "LEE OSKAR" and "HERING BLUES" harmonicas are well suited for tongue blocking, while the "GOLDEN MELODY" and "SUZUKI" harmonicas " - lips.

Volume. The volume of the instrument is determined by the shape of the pads, response time and air permeability. Accordions with a plastic body have less air permeability. The characteristics of wood are constantly changing due to fluctuations in temperature and humidity.

Technique of playing the harmonica

To play the harmonica, you need to master three basic tongue and lip placement techniques: whistling, u-blocking, and tongue blocking.

Correct hand position when playing the harmonica

The simplest of them is the whistling technique, which is usually how one begins to learn, but it is limiting. With this playing technique, you need to purse your lips as you do when whistling, then hold your lips on one hole in the accordion and direct the air flow there.

The U-lock technique requires you to curl your tongue into a U shape when your left and right side the tongue blocks the outer openings.

When blocking with your tongue, you must use your tongue and lips. This is the most popular technique as it allows you to easily change from note to chord.

This is how a musician should hold a harmonica

For a beginner, it is better to start with playing chords slowly and stick to diaphragmatic breathing. Then you can move on to melodies, which are best “taken” by ear from professional recordings. It will be extremely useful to learn several melodies from notes, play to the backing track, record and listen to your own performance. Choose, learn, play, and you will definitely succeed!

In this article, we will tell you how to choose and buy a good harmonica that you can learn to play.

Unfortunately, more than 89% of all harmonicas from leading (including German) manufacturers are not suitable for professional playing, much less for training (and this figure does not take into account a single Chinese harmonica, of which there are a dime a dozen on our market).

Once you try to learn to play a low-quality instrument, a person forever discourages the desire to master this instrument. And the main manufacturers of harmonicas, unfortunately, with a silent conspiracy, continue to “stamp” low-quality goods, since it is this that brings them the greatest profit. This is why the harmonica remains such a rare instrument and needs to be popularized.

It is professional harmonica players, popularizers of this instrument and enthusiasts who have the main function of informing all beginning harmonica players how to choose and buy a harmonica, which harmonicas should be learned to play, and how not to make a mistake in choosing, because music stores offer such a huge number of harmonicas.

In fact, you can count the number of good harmonicas on your fingers. And we are immediately in this article Let's list all the good models of harmonicas, which are played by professional harmonica players and which anyone can learn to play.

List of good harmonicas:

By the way, we remind you that if you are just going to study, then you need to purchase one of these harmonics in the key of “C major” (this key is denoted by the Latin letter “C”).

• Easttop T008K
• Hohner Golden Melody
• Hohner Special 20
• Hohner Rocket
• Seydel 1847
• Seydel Session Steel
• Hohner Marine Band Crossover
• Hohner Marine Band Deluxe
• Suzuki Olive
• Suzuki Manji

Many people think that to begin with, you can choose and buy a cheap harmonica, a kind of “workhorse,” and then you can buy yourself a good quality harmonica. But, as a rule, it doesn’t come to the point of buying the latter, since people are completely disappointed in this instrument after playing on a low-quality harmonica.

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Firstly, we want to help you understand the types of harmonicas, since in music stores you might have seen harmonicas different sizes and types. Harmonicas are really different: diatonic (10-hole), chromatic harmonicas, tremolo, octave, bass, chord harmonicas, as well as hybrids of these harmonicas. How do you still choose and buy a harmonica? Octave, bass and chord harmonicas are the most commonly used harmonicas in harmonica orchestras, and you probably won't find them for sale in your country, so we won't go into them here. Let's talk about diatonic, chromatic and tremolo harmonicas, and how to choose a harmonica.

Tremolo harmonicas.
In such harmonicas, on each note, the two sound reeds are slightly detuned relative to each other, thereby achieving a tremolo effect. On such harmonicas there are sounds only of the “white piano keys” and not a single black key. This harmonica is quite primitive; it is very easy for anyone with even the slightest hearing to learn to play. And at the same time, it is very limited in capabilities due to the large shortage of missing notes. By choosing a tremolo harmonica, you can only play simple children's melodies; Russian and Ukrainian folk songs can work well, and perhaps even the anthems of some countries - and, unfortunately, that's all.

Chromatic harmonicas – on the contrary, they have all the sounds of the chromatic scale (all white and black piano keys). Chromatic harmonicas, as a rule, can play complex classical works, jazz music, but here it is important to have a good musical education, be able to sight read notes and have good training on the diatonic harmonica. Almost all harmonica players who play the chromatic harmonica start with the diatonic harmonica, since some techniques and skills, such as beautiful vibrato, or bends (which theoretically cannot be done on the chromatic harmonica, but in practice are used all the time) can be well honed on this diatonic harmonica without damaging the instrument's reeds.

Diatonic harmonica and how to choose it . The diatonic harmonica is the most popular harmonica in the world. An instrument on which you can play any music, in any style, and the sound of which is very rich and thick when compared with the harmonicas described above. All notes are present, but certain skills must be acquired to play this instrument. This harmonica is also called a blues harmonica, but this does not mean that only blues can be played on it. It just became very popular precisely in the era of active development of blues music, where it fits perfectly. It is diatonic (blues, or ten-hole) harmonicas that we popularize. For us, this is the most beautiful sounding musical instrument in the world!

Secondly, you need to decide for yourself which reeds you want to choose a harmonica with.
The material of the harmonica reeds directly affects the durability of the instrument. While Hohner and Suzuki have traditionally used copper reeds in their harmonicas, Seydel has made an innovative breakthrough in this area and became the first company to make steel reeds for its harmonicas. As a result, they last longer and are difficult to break.

Thirdly, it is important to note that harmonicas come in different tones. and if you are just a beginner harmonica player, then you should choose a harmonica in the key of “C major”.
Simply put, it will be easiest for you to master the basic techniques and skills; besides, almost all existing tutorials, including our tutorial for the harmonica, are written for the harmonica in “C major”. Having started learning to play the harmonica in this key, it will then be easy for you to play all the others: both higher and lower keys.

The fourth and last point when choosing a harmonica should be checking the instrument. If you buy a harmonica from a musical instrument store, then ask for special bellows for harmonicas. You can “blow” each hole on them, both inhaling and exhaling, making sure that all notes are heard. Unfortunately, music stores rarely carry bellows, so most likely you will have to check the harmonica yourself, and if the store does not have bellows, you cannot be refused. It is important for you to “breathe” each hole individually, which can be very difficult if you have never played the harmonica before. When checking each hole for inhalation and exhalation, pay attention to additional sounds in the form of “ringing” that can be found on harmonicas, which may mean that the reed is clinging to the harmonica board. In this case, ask for another accordion. Also in low keys (A, G and lower), the reeds can hit the lid of the harmonica and also with a characteristic ringing. This happens very often on the Golden Melody harmonica, and in principle it is normal, but try several harmonicas of your chosen model, and you may come across one that does not ring. On harmonicas in the key of C major, there should be no ringing at all, so a clear sound at each hole is the best criterion for buying a harmonica in C major.

We wish you a successful choice and purchase of a harmonica!

Double-reed tremolos and octave harmonicas are good for playing traditional dance tunes, including polkas, Scottish tunes, waltzes, and other types of tunes based on traditional styles such as Slavic, Celtic, French-Canadian, Scandinavian and American. Although blues diatonics and chromatics dominate the world, historically and throughout the world, two-reed harmonicas (mostly tremolos) are the most widely used. When playing such harmonicas, they are used different techniques performing various melodies (blocking with the tongue and blocking with the lips), but the most suitable is blocking the sound holes (channels) with the tongue, a kind of accompaniment of chords was obtained. In this way, rhythmicity, completeness and harmony of melodies are achieved, and no other accompaniment is required. This is a completely suitable method for playing.

Tremolo and octave harmonicas are basically the same as standard diatonic harmonicas, but when each note is played, two reeds play in the hole (channel). On Octave Harmonics, these two reeds are tuned to the same note, but one octave apart, resulting in a fuller sound. On Tremolo, one of the reeds is tuned slightly higher than the other, resulting in a “tremolo” effect, the sound is fuller than on a standard diatonic harmonica. In appearance, most octave and tremolo harmonicas have some differences from diatonic ones. Instead of one row of 10 holes, they have 2 rows (1 row for inhaled notes and 1 row for exhaled notes) of 20 or more holes. In other words, two-reed harmonicas have 4 times more holes than single-reed harmonicas.

Because there are more holes, the notes are positioned farther outward than on a standard 10-hole harmonica, and playing requires more horizontal movement than a standard harmonica. This means that when you play chords you have to make do with fewer notes in the chord. For example, on a diatonic harmonica in the key of C, you can play a 3-4-5 (B-D-F) chord while inhaling, this is a G7 chord, but on a two-reed harmonica you get only D-F, which can sound like Dm or F6. Therefore, many of the tunes played on a double-reed harmonica will sound slightly different (maybe more neutral) than those played on a single-reed harmonica, but this will be compensated by the fuller sound due to the additional reeds.

Tuning two reed harmonicas

The tuning system for two reed harmonicas is based on the so-called Richter system, which is used to tune the standard "Marine Band" - a diatonic harmonica with 10 holes. But there are also options. Octaves and tremolos with the key C often neglect the lower C - the lowest note is E, this is not a malfunction or defect because the lower octave is more often used for playing chords than for playing melody. Many tremolos produced in Asia (probably the most commonly found harmonicas in the world) use a slightly different tuning system. On these "Eastern tremolos" the lower octave is very similar to the middle octave of the standard Richter system. As a result of this, in the upper octave, adjacent notes played while inhaling and exhaling begin to be distorted, which requires certain skills in playing. Another system is used in tools from Huang. The tuning is the same as the chromatic harmonica but with double C notes on the exhale in each octave.

Two-reed harmonicas differ in another aspect of tuning. Most Western manufacturers (Hohner, Hering) use the "euphony" system. The notes are adjusted so that they form good sounding chords. But sometimes individual notes may not coincide with similar notes played on another instrument.

Asian manufacturers (Suzuki, Huang) are leaning towards balance. As a result, single notes are more accurate, but the chords sound less clear and strong. One last aspect of harmonic tremolo tuning: - Western manufacturers place the double reeds far apart, which produces audible and fast vibrations (also called a "damp" tremolo). Asian manufacturers use a “dry” tremolo, the reeds are located close to each other, which gives slower vibrations.

Octave and tremolo harmonicas come in different keys, and each has its own sound and characteristics. Standard single-reed diatonics are available in all keys, from low G to high F. The note for C and D diatonic tunings is very high for Octave harmonicas, so when tuning, reeds are added an octave lower. On the other hand, for octave harmonicas with the key G, reeds are taken an octave higher. Also, C and D tremolo instruments are tuned an octave lower than standard single-reed harmonicas. Tremolo and Octave harmonica with C key are very suitable for beginners.

Story

Which oscillate in the air stream created by the musician. Unlike other reed musical instruments, the harmonica does not have a keyboard. Instead of a keyboard, the tongue and lips are used to select the hole (usually arranged linearly) that corresponds to the desired note.

The harmonica is most often used in such musical styles as blues, folk, bluegrass, blues rock, country, jazz, pop, and various genres of folk music.

A musician who plays the harmonica is called a harper. harper).

Story

Types of harmonicas

Harmonicas are divided into:

• Diatonic harmonicas
• Orchestral harmonicas

Chromatic harmonic

Blues harmonica

The blues harmonica is the most popular today. Usually it has 10 holes, each of which can be played by inhaling. draw), and exhale (eng. blow). With certain playing skills, you can play chromatically using special techniques - bends and over-blows. Sold in different keys and tunings, but the most common is C major.

Tremolo harmonica

Class structure

Regularity is important. Make yourself a schedule. Don't deviate from it. It is recommended to start your lessons by playing chords slowly. It is important to adhere to “diaphragmatic breathing”. Then gradually move on to playing riffs and melodies. It is best to take sounds and melodies by ear from professional recordings. But still, first, it is recommended to learn at least 10 riffs/melodies by notes; This will give you confidence in the game and allow you to quickly select by ear. In addition, it is useful to play with the so-called minuses, and record your own game in the form of sound files. This will help you get a feel for how the audience will hear you (a harmonica player perceives the sound produced by his instrument differently, since the vibrations are transmitted through the hands and muscles of the mouth), and will also allow you to be more critical of your playing.

Performers in Russia

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Excerpt characterizing Harmonica

Nine days after leaving Moscow, a messenger from Kutuzov arrived in St. Petersburg with official news of the abandonment of Moscow. This sent was the Frenchman Michaud, who did not know Russian, but quoique etranger, Busse de c?ur et d'ame, [however, although a foreigner, but Russian at heart,] as he himself said to himself.
The Emperor immediately received the messenger in his office, in the palace of Kamenny Island. Michaud, who had never seen Moscow before the campaign and who did not speak Russian, still felt moved when he appeared before notre tres gracieux souverain [our most gracious sovereign] (as he wrote) with the news of the fire of Moscow, dont les flammes eclairaient sa route [whose flame illuminated his path].
Although the source of Mr. Michaud's chagrin [grief] should have been different from the one from which the grief of the Russian people flowed, Michaud had such a sad face when he was brought into the Tsar's office that the Tsar immediately asked him:
- M"apportez vous de tristes nouvelles, colonel? [What news did you bring me? Bad, Colonel?]
“Bien tristes, sire,” answered Michaud, lowering his eyes with a sigh, “l"abandon de Moscou. [Very bad, Your Majesty, abandonment of Moscow.]
– Aurait on livre mon ancienne capitale sans se battre? [Have they really betrayed my ancient capital without a battle?] - the sovereign suddenly flushed and said quickly.
Michaud respectfully conveyed what he was ordered to convey from Kutuzov - namely, that it was not possible to fight near Moscow and that, since there was only one choice left - to lose the army and Moscow or Moscow alone, the field marshal had to choose the latter.
The Emperor listened in silence, without looking at Michaud.
“L"ennemi est il en ville? [Has the enemy entered the city?],” he asked.
– Oui, sire, et elle est en cendres a l"heure qu"il est. Je l "ai laissee toute en flammes, [Yes, Your Majesty, and he is turned into a conflagration at the present time. I left him in the flames.] - Michaud said decisively; but, looking at the sovereign, Michaud was horrified by what he had done. The Emperor began to breathe heavily and quickly, his lower lip trembled, and his beautiful blue eyes instantly became wet with tears.
But this lasted only one minute. The Emperor suddenly frowned, as if condemning himself for his weakness. And, raising his head, he addressed Michaud in a firm voice.
“Je vois, colonel, par tout ce qui nous arrive,” he said, “que la providence exige de grands sacrifices de nous... Je suis pret a me soumettre a toutes ses volontes; mais dites moi, Michaud, comment avez vous laisse l"armee, en voyant ainsi, sans coup ferir abandonner mon ancienne capitale? N"avez vous pas apercu du decouragement?.. [I see, Colonel, in everything that is happening, that Providence requires great sacrifices from us... I am ready to submit to his will; but tell me, Michaud, how did you abandon the army that was leaving my ancient capital without a battle? Have you noticed any loss of spirit in her?]
Seeing the calmness of his tres gracieux souverain, Michaud also calmed down, but to the sovereign’s direct, essential question, which also required a direct answer, he had not yet had time to prepare an answer.
– Sire, me permettrez vous de vous parler franchement en loyal militaire? [Sir, will you allow me to speak frankly, as befits a real warrior?] - he said to gain time.
“Colonel, je l"exige toujours,” said the sovereign. “Ne me cachez rien, je veux savoir absolument ce qu”il en est.” [Colonel, I always demand this... Don’t hide anything, I definitely want to know the whole truth.]
- Sire! - said Michaud with a thin, barely noticeable smile on his lips, having managed to prepare his answer in the form of a light and respectful jeu de mots [play on words]. - Sire! j"ai laisse toute l"armee depuis les chefs jusqu"au dernier soldat, sans exception, dans une crinte epouvantable, effrayante... [Sire! I left the entire army, from the commanders to the last soldier, without exception, in great, desperate fear...]
– Comment ca? – the sovereign interrupted, frowning sternly. – Mes Russes se laisseront ils abattre par le malheur... Jamais!.. [How so? Can my Russians lose heart before failure... Never!..]
This was just what Michaud was waiting for to insert his play on words.
“Sire,” he said with a respectful playfulness of expression, “ils craignent seulement que Votre Majeste par bonte de céur ne se laisse persuader de faire la paix.” “Ils brulent de combattre,” said the representative of the Russian people, “et de prouver a Votre Majeste par le sacrifice de leur vie, combien ils lui sont devoues... [Sir, they are afraid only that your Majesty, out of the kindness of his soul, will not decide to make peace . They are eager to fight again and prove to Your Majesty by the sacrifice of their lives how devoted they are to you...]
- Ah! - the sovereign said calmly and with a gentle sparkle in his eyes, hitting Michaud on the shoulder. - Vous me tranquillisez, colonel. [A! You reassure me, Colonel.]
The Emperor, with his head down, was silent for some time.
“Eh bien, retournez a l"armee, [Well, then return to the army.],” he said, straightening up to his full height and turning to Michaud with a gentle and majestic gesture, “et dites a nos braves, dites a tous mes bons sujets partout ou vous passerez, que quand je n"aurais plus aucun soldat, je me mettrai moi meme, a la tete de ma chere noblesse, de mes bons paysans et j"userai ainsi jusqu"a la derniere ressource de mon empire. “Il m"en offre encore plus que mes ennemis ne pensent,” said the sovereign, becoming more and more inspired. “Mais si jamais il fut ecrit dans les decrets de la divine providence,” he said, raising his beautiful, gentle and brilliant feelings eyes to the sky, - que ma dinastie dut cesser de rogner sur le trone de mes ancetres, alors, apres avoir epuise tous les moyens qui sont en mon pouvoir, je me laisserai croitre la barbe jusqu"ici (the sovereign pointed his hand to half his chest) , et j"irai manger des pommes de terre avec le dernier de mes paysans plutot, que de signer la honte de ma patrie et de ma chere nation, dont je sais apprecier les sacrifices!.. [Tell our brave men, tell all my subjects , wherever you go, that when I no longer have a single soldier, I myself will become the head of my kind nobles and good men and thus exhaust the last funds of my state. They are more than my enemies think... But if only. It was destined by divine providence that our dynasty should cease to reign on the throne of my ancestors, then, having exhausted all the means in my hands, I will grow a beard until now and would rather go eat one potato with the last of my peasants than dare to sign the shame of my homeland and my dear people, whose sacrifices I know how to appreciate!..] Having said these words in an excited voice, the sovereign suddenly turned around, as if wanting to hide from Michaud the tears that had come to his eyes, and walked into the depths of his office. After standing there for a few moments, he returned with long steps to Michaud and with a strong gesture squeezed his hand below the elbow. The sovereign’s beautiful, meek face became flushed, and his eyes burned with a gleam of determination and anger.
“Colonel Michaud, n"oubliez pas ce que je vous dis ici; peut etre qu"un jour nous nous le rappellerons avec plaisir... Napoleon ou moi,” said the sovereign, touching his chest. – Nous ne pouvons plus regner ensemble. J "ai appris a le connaitre, il ne me trompera plus... [Colonel Michaud, don’t forget what I told you here; maybe someday we will remember this with pleasure... Napoleon or I... We can no longer reign together. I recognize him now, and he will not deceive me anymore...] - And the sovereign, frowning, fell silent. Hearing these words, seeing the expression of firm determination in the eyes of the sovereign, Michaud - quoique etranger, mais Russe de c?ur et d"ame - felt. himself at this solemn moment - entousiasme par tout ce qu"il venait d"entendre [although a foreigner, but Russian at heart... admiring everything he heard] (as he said later), and in the following expressions he portrayed himself as his feelings, as well as the feelings of the Russian people, whom he considered himself authorized.
- Sire! - he said. - Votre Majeste signe dans ce moment la gloire de la nation et le salut de l "Europe! [Sovereign! Your Majesty signs at this moment the glory of the people and the salvation of Europe!]
The Emperor bowed his head and released Michaud.

While Russia was half conquered, and the inhabitants of Moscow fled to distant provinces, and militia after militia rose to defend the fatherland, it involuntarily seems to us, who did not live at that time, that all Russian people, young and old, were busy only with to sacrifice oneself, save the fatherland or cry over its destruction. Stories and descriptions of that time, without exception, speak only of self-sacrifice, love of the fatherland, despair, grief and heroism of the Russians. In reality this was not the case. It seems to us that this is so only because we see from the past one common historical interest of that time and do not see all those personal, human interests that the people of that time had. Meanwhile, in reality, those personal interests of the present are so much more significant than general interests that because of them the general interest is never felt (not even noticeable at all). Most people of that time did not pay any attention to the general course of affairs, but were guided only by the personal interests of the present. And these people were the most useful figures of that time.
Those who tried to understand the general course of affairs and wanted to participate in it with self-sacrifice and heroism were the most useless members of society; they saw everything inside out, and everything they did for the benefit turned out to be useless nonsense, like the regiments of Pierre, Mamonov, plundering Russian villages, like lint plucked by the ladies and never reaching the wounded, etc. Even those who, loving to be clever and express their feelings, they talked about the present situation in Russia, involuntarily bearing in their speeches the imprint of either pretense and lies, or useless condemnation and anger at people accused of something for which no one could be guilty. In historical events, the most obvious is the prohibition of eating the fruit of the tree of knowledge. Only unconscious activity bears fruit, and the person who plays a role in a historical event never understands its significance. If he tries to understand it, he is struck by its futility.
The significance of the event that was taking place in Russia at that time was the more unnoticeable, the closer human participation was in it. In St. Petersburg and provincial cities distant from Moscow, ladies and men in militia uniforms mourned Russia and the capital and talked about self-sacrifice, etc.; but in the army that was retreating beyond Moscow, they hardly spoke or thought about Moscow, and, looking at its conflagration, no one swore revenge on the French, but thought about the next third of their salary, about the next stop, about Matryoshka the sutler and the like...
Nikolai Rostov, without any goal of self-sacrifice, but by chance, since the war found him in the service, took a close and long-term part in the defense of the fatherland and therefore, without despair and gloomy conclusions, looked at what was happening in Russia at that time. If they had asked him what he thought about the current situation in Russia, he would have said that he had nothing to think about, that Kutuzov and others were there for that, and that he had heard that the regiments were being recruited, and that they would probably fight for a long time , and that under the current circumstances it would not be surprising for him to receive a regiment in two years.
Because he looked at the matter this way, he not only accepted the news of his appointment on a business trip for repairs for the division in Voronezh without regret that he would be deprived of participation in the last struggle, but also with the greatest pleasure, which he did not hide and which his comrades understood very well.
A few days before the Battle of Borodino, Nikolai received money and papers and, sending the hussars ahead, went to Voronezh by mail.
Only those who have experienced this, that is, have spent several months without ceasing in the atmosphere of military, combat life, can understand the pleasure that Nicholas experienced when he got out of the area that the troops reached with their forages, supplies, and hospitals; when he, without soldiers, wagons, dirty traces of the presence of the camp, saw villages with men and women, landowners' houses, fields with grazing cattle, station houses with fallen asleep caretakers. He felt such joy as if he had seen it all for the first time. In particular, what surprised and pleased him for a long time were women, young, healthy, each of whom had less than a dozen officers looking after her, and women who were glad and flattered that a passing officer was joking with them.
In the most cheerful mood, Nikolai arrived at the hotel in Voronezh at night, ordered himself everything that he had been deprived of for a long time in the army, and the next day, having shaved clean and putting on a dress uniform that had not been worn for a long time, he went to report to his superiors.
The head of the militia was a civil general, an old man who, apparently, was amused by his military rank and rank. He angrily (thinking that this was a military quality) received Nicholas and significantly, as if having the right to do so and as if discussing the general course of the matter, approving and disapproving, questioned him. Nikolai was so cheerful that it was just funny to him.
From the chief of the militia he went to the governor. The governor was a small, lively man, very affectionate and simple. He pointed out to Nikolai those factories where he could get horses, recommended to him a horse dealer in the city and a landowner twenty miles from the city who had best horses, and promised all assistance.
– Are you Count Ilya Andreevich’s son? My wife was very friendly with your mother. On Thursdays they gather at my place; “Today is Thursday, you are welcome to come to me easily,” said the governor, releasing him.
Directly from the governor, Nikolai took the saddlebag and, taking the sergeant with him, rode twenty miles to the landowner's factory. Everything during this first time of his stay in Voronezh was fun and easy for Nikolai, and everything, as happens when a person is well disposed, everything went well and went smoothly.
The landowner to whom Nikolai came was an old bachelor cavalryman, a horse expert, a hunter, the owner of a carpet, a hundred-year-old casserole, an old Hungarian and wonderful horses.
Nikolai, in two words, bought for six thousand and seventeen stallions to select (as he said) for the horse-drawn end of his renovation. Having had lunch and drunk a little extra Hungarian, Rostov, having kissed the landowner, with whom he had already gotten on first name terms, along the disgusting road, in the most cheerful mood, galloped back, constantly chasing the coachman, in order to be in time for the evening with the governor.
Having changed clothes, perfumed himself and doused his head with cold milk, Nikolai, although somewhat late, but with a ready-made phrase: vaut mieux tard que jamais, [better late than never] came to the governor.
It was not a ball, and it was not said that there would be dancing; but everyone knew that Katerina Petrovna would play waltzes and ecosaises on the clavichord and that they would dance, and everyone, counting on this, gathered at the ballroom.
Provincial life in 1812 was exactly the same as always, with the only difference that the city was livelier on the occasion of the arrival of many wealthy families from Moscow and that, as in everything that was happening in Russia at that time, it was noticeable some kind of special sweepingness - the sea is knee-deep, the grass is dry in life, and even in the fact that that vulgar conversation that is necessary between people and which was previously conducted about the weather and about mutual acquaintances, was now conducted about Moscow, about the army and Napoleon.

Self-instruction manual for harmonica.

Unfortunately, until recently, learning to play the harmonica (to put it more “scientifically” like a harmonica) was not an easy task. After all, this convenient, compact, pocket instrument, although not a rarity, is extremely rare, and only in certain circles of music lovers. Harmonica for beginners and more. source: http://www.harpis.ru Possessing an interesting and never-aging sound that goes perfectly with the sound of a guitar and other instruments + small size and the ability to take it wherever you want, be it performing at an acoustic evening or relaxing in the forest - This is what makes the harmonica increasingly popular. Moreover, it is accessible both to musicians and to people who are far from notation grammar and musical education. Of course, for those who already understand something and are familiar with notes, it is much easier to master this instrument, but as I said, this is not an obstacle for beginners who really want to master the harmonica. I repeat, WE WANTED to master the harmonica, because even this seemingly uncomplicated instrument requires effort and training, of course much less in comparison with a guitar, piano, not to mention other instruments. If you have seriously decided to conquer the harmonica or simply learn as much as possible about it, then perhaps this site is the optimal solution for this. Here you can find answers to your questions and learn to play this instrument from scratch. Everything depends on you… Lesson 1. First sounds. It is difficult for a beginner to extract a clean single note at first. Therefore, it is better to start by extracting chords. So, bring the harmonica to your mouth so that your lip covers the 4th, 5th and 6th holes (see Fig. 1.). Exhale. Thus, your first chord consisting of 3 notes sounded. Let's designate it: No. 1 Let's do the same with the 5th, 6th, 7th holes (see Fig. 2). 3 notes sounded again. This is your second chord. Let's do the exercises in Figure 3. So:

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first chord

Second chord

Exercise... numbers in circles indicate chords.

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Now let's complicate the task a little, add a third chord. Let's do the exercises. Bring these simple exercises to automaticity, and only then proceed to the second lesson.

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third chord

three chord exercise

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Lesson 2. Learning to play one note. In the 1st lesson we looked at the principles of chord playing on the harmonica. The chords are certainly good. But now the task becomes more complicated, you need to extract one note. Yes, yes - one note! What did you think? My task is to make you a good musician, and not a half-educated amateur. Who you become and what you achieve in the future depends only on you and your perseverance. So. In total, there are 3 ways to extract one (individual) note: 1. Whistle method (I’ll explain it more simply - “lip with a tube”). 2. A method called “tongue blocking” (when playing a chord, one of the holes is closed with the tongue). 3. The “tongue tube” method (you need to roll the tongue into a tube and place it opposite the single hole from which you plan to extract sound). Let's start with the simplest and most accessible method. Let's focus on method 1 first. The 2nd method also needs to be mastered, but we will touch on it a little later. As for method number 3, it is not available to everyone, because... it is necessary to have certain physiological characteristics of the body, which are found in approximately 50-70% of people. Translating into simpler language - despite any efforts, not everyone will be able to physically return the tongue to the shape of a tube. Summarizing the 2nd and 3rd methods, it is worth paying attention to the fact that these methods are based on the use of the tongue and it is more difficult for a beginner to master the “bend” technique with such sound production. To get an idea of ​​a single sound, let's do the following: select any hole, for example the 4th, and close the 3rd and 5th with your index fingers and blow strongly. If your fingers close the holes of the harmonica tightly, you will get a clear single note sounding as you exhale from the 4th hole. If your fingers do not obey, then cover the necessary holes with something (for example, tape). Having completed the procedures described above, you will clearly understand how single notes should sound. Everything is fine, of course, but you will have to extract them without the help of your fingers and tape. Extracting a single note is complicated by the shape of a person’s lips (horizontal closedness). Lips do not allow you to easily and without problems extract single notes. Therefore, you need to lower your lower jaw, pull in your cheeks and fold your lips so that their shape begins to resemble a small oval or circle. If you don’t succeed right away, you can help yourself by squeezing the corners of your mouth with your fingers. This is exactly the shape you should achieve (see photo No. 1). It is advisable to perform this exercise at first in front of a mirror and without an accordion - this will help you see the results of your efforts. Having taken the desired position of your lips, bring the harmonica. Make sure that the gap between your lips does not increase. The accordion should be located between the lips, and not in front of them, there is no other way. Try to exhale and inhale slowly through the 4th hole. (see photo No. 2). If in this case you do not get a single note, then try pressing the corners of your lips with your fingers (see photo No. 3). Try to fix and maintain this position without using your fingers. As a rule, this exercise takes at least a couple of weeks for the average person. So I think you will succeed. When you begin to be able to extract a single note, repeat it until your lips become weak. Try to maintain the correct position. This exercise must be repeated many times and at a slow pace until the necessary correct muscle memory is developed.

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photo#1

Photo No. 2

photo No. 3

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Lesson 2. Learning to play one note.

Once you have achieved positive results, you can try playing the major scale. Know that when moving from one hole to another, it is the harmonica that must move, not your head. Achieve a “smooth” transition from hole to hole; if something doesn’t work out, stop and work out the nuances until everything works out. If your lips stick when moving between holes, lick your lips and the part of the instrument you are currently playing. During the game, the head should be raised. Do not forget to periodically shake to remove concentrated saliva and moisture from the instrument. In the first weeks of classes, you may be concerned that your lips quickly become tired and stop responding to you. Don't be alarmed - this always happens to beginners. With time and constant training, this inconvenience will be overcome. There is no need to give up prematurely. Try to keep the harmonica as deep in your mouth as possible without losing the ability to produce single notes. Remember this constantly. Single retrieval is a basic skill that you will have to deal with all the time to one degree or another, so it is in your best interest to learn it thoroughly. Now it's time to start the exercises. The up arrow means exhale, the down arrow means inhale. The number above the arrow indicates which hole needs to be worked on.

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Lesson 3. The simplest melodies for the Harmonica.

Lesson 3. The simplest melodies for the Harmonica. Well, now let's move on to the third lesson. It will be one of the practical classes. I hope you took the 2nd lesson carefully and responsibly and achieved a positive result in extracting a single note. After all, it’s impossible without this. Now you can play the simplest known tunes on the harmonica (Aunt Rhody, Goin Down The Road Feelin Bad, Jingle Bells, Oh When The Saints, Railtoad Bill, LightyRow). Which, in fact, are provided to you in the 3rd lesson. Chords are provided for the melodies. So you and some friend of yours can freely play in a duet.

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Re: Self-instruction manual for harmonica.

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Lesson 4. Making sound effects using your palms.

Lesson 4. Making sound effects using your palms. Tremolo on a harmonica. Sound effects are an integral part of the game of real "harpers" (I hope you know who the "harpers" are).

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How should you hold a harmonica?

Now let's look at how to hold a harmonica correctly. We take the accordion between the index and thumb of the left hand as close to the back edge as possible. As a result, it turns out that the left edge of the harmonica will rest against the gap formed between the base of the index and thumb. (see Fig. No. 1) At first, this may cause you discomfort and inconvenience, don’t worry, after a week everything will fall into place. Many people will wonder why it is necessary to hold the harmonica this way? The answer is simple - it is this position of the fingers that frees up more space for the lips to move along the accordion, thereby making the playing process easier (remember lesson No. 1). Here you go. We've already dealt with the left hand - let's move on to the right. You need to close the fingers of your right hand and straighten your palm, but the thumb should be at right angles to the other fingers. Then, close the base of your palms without changing the accepted shape of your right palm. Now you can remove the protruding thumb so that it does not touch your face and lips (see Fig. 2). Having taken the correct position of the hands, to get the sound effect, tilt your right palm back slightly, but at the same time leaving the wrists of both hands closed. It is advisable to perform this exercise first in front of a mirror, analyzing yourself. This will help eliminate gaps that arise between the palms, which should be tightly squeezed on the back of the harmonica. Play a loud, single, clear note as you exhale. While still holding the sounding note, tilt the palm of your right hand back (remember, do not open your wrists). You should hear a change in sound, the first prerequisites for the tremolo. Thus, without interrupting the sound of the note, alternately open and close your right palm (at a certain speed). You've got a tremolo effect. It should vibrate equally on both inhalation and exhalation. Maybe someone didn't get the tremolo? There may be two reasons. The first is that there are gaps between the closed palms that allow air to pass through. The second is that the sound production is not strong enough. The reasons are easily removable, so there is no need to be upset if something is wrong - just analyze yourself, read the lesson again and you will succeed. The above may seem at first glance so complex and insurmountable. But, I assure you, after working out for a week you will look at it all differently. Yes, it's not easy, but you have to overcome yourself. It must be remembered that the tremolo effect is usually applied to long notes that occur at the end of melodies and songs. There is no need to use the tremolo too often, because then the whole effect is lost. With time and practice, you will understand when and how much to use the tremolo. So go for it! All in your hands!

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Lesson 5. Breathing for playing the harmonica. This lesson is perhaps one of the most important After all, the ability to correctly structure your breathing is very important. Moreover, the muscles of the front of the mouth and lips are not involved in breathing. The easiest way to learn how to breathe correctly when playing the harmonica is to play one note with the harmonica as deep as possible in your mouth. The deeper you can place the harmonica, the better. This will allow you to focus on breathing from the diaphragm and eliminate the action of the lip and muscles at the front of the mouth. The strength and power of sound, its timbre and color when playing largely depend on proper breathing. Proper breathing should not be confused with endurance. Endurance comes as you practice. As a rule, this problem accompanies beginners, but with practice and experience it is resolved. The basis of proper breathing is the movement of the diaphragm. It creates an air flow that powers the tool. When playing the harmonica, proper breathing is reminiscent of a similar discipline studied by brass musicians, vocalists, and athletes. But they only use exhalation. And when playing the harmonica, in addition to exhalation, inhalation is no less important. Naturally, controlling exhalation is a rather unusual and specific activity, because when talking or singing, we exclusively use inhalation. Therefore, for many people, proper breathing when playing the harmonica is difficult to master. This shouldn't scare you. Time will pass, and you will learn this difficult, but important component when playing the harmonica. If you follow these recommendations, you will understand how to get a full, clear sound from the instrument, but it will take days of intense effort. In the circles of musicians and athletes, this technique is called “breathing using the diaphragm,” “yogi breathing,” “deep breathing,” etc. Let's move on to the exercises. The first thing is to practice and play while standing, if possible. When practicing breathing exercises, try to keep your head slightly elevated, your back straight, and your body relaxed - this will help the air circulate better from the diaphragm. By the way, I want to draw your attention to one rather interesting fact. When you sleep, you breathe correctly and your body is as relaxed as possible. But, perhaps, only a few can repeat a similar thing after waking up from sleep. Deep breathing comes from the diaphragm, and not from filling the chest with air, as is commonly believed. Try the following exercise (preferably in front of a mirror). Stand up straight, raising your head slightly, and place the palm of either hand on your stomach. Open your mouth so that the lower jaw drops as much as possible, try to “freeze” in this position. This exercise helps strengthen your jaw muscles. At first, this will be difficult, you will get tired quickly, but in the process the muscles will get stronger and this will be done without difficulty. Now you need to “stick out” your stomach, and then “draw it in” back, but breathing should not be involved in this. At the same time, make sure that the stomach moves perpendicular to the spine - “back and forth”, and not “up and down”. Now let's do the following difficult exercise. Try exhaling while saying “ha” and see if your stomach sticks out. It should move towards the spine. Now, using your hand, return your stomach to its normal position (a stream of air should come out through your mouth). Thus, by acting on the diaphragm, you squeeze air out of the lungs, which passes through the throat and mouth (ultimately through the holes of the harmonica). I think that this (described above) exercise will not cause you any significant complications. Now try the same thing, but use a harmonica. To control your breathing, you can place one palm on your stomach. The instrument should be placed as deep in the mouth as possible. Now remove the hand with which you are holding the harmonica, this way you will fix it only with the help of your teeth. It is in this position that you will have to play a chord (3-5 notes). So, the situation is accepted - you can try to extract air flow from the diaphragm. Watching yourself in the mirror, you will see that your stomach will begin to move (in either direction) a moment before the first sound is heard. This exercise is easier to perform while exhaling, but you should master both exhalation and inhalation. A couple more tips on proper breathing. To get a more powerful, high-quality sound from your harmonica, focus on getting the air flowing through the harmonica's holes rather than just hitting them. After all, the air comes out from the back of the accordion, and then another 7-9 cm moves parallel to the tongue. If the air flow moves at an angle, then you yourself unwittingly change the pitch of the notes, and some notes (upper) in this position may sound bad or not sound at all. This is the reason that many beginners have problems making sound when exhaling through the 2nd and 3rd holes. Also try not to overdo it when playing a single note. This problem often arises among musicians who have passed First stage playing the harmonica. You will ask why? It’s just that beginners have a bad habit of tightly closing and straining their lips when extracting a single note. In turn, this prevents the free passage of air, resulting in not the maximum possible amount of air passing through. Try to maintain optimal lip configuration. In order to achieve good, high-quality sound with the least amount of effort. When playing the harmonica, air should only come out of you through the harmonica. It’s just that many beginners also use their nose, but this affects the sound, so this should be avoided. If your nose is still involved, you can practice the next exercise. Pinch your nostrils with your fingers (or otherwise close your nostrils). Begin to slowly play the major scale up and down, and as you play, periodically stretch any of the notes as far as your breathing requires. At first, it is advisable to perform this exercise regularly, in several approaches of 1-3 minutes. This will teach you to use the notes to fill your lungs with air. Once you have mastered this exercise, you can use your nose in short intervals if you need to get rid of excess air. But this will already be a conscious action that will not affect the game. The main rule when breathing while playing the harmonica. This is comfort. You must feel good in order to focus only on the game. If there is too much air in your lungs, then try to get rid of it, or vice versa, if there is not enough air, then take it in. Everything should be “automatic”. If you take a thorough approach to studying this lesson, then I think you will thank you more than once in the future. After all, if you really aim to become a decent “harper” musician, then you can’t do without it.