Getting started in the Harmonica Exercise for Lung Program
Below are some detailed, but basic, instructions that will help in getting started. As the player becomes more advanced, this website provides a number of resources that are provided free of charge (under the "program" tab, "advanced program"). These include Rhythm Exercises (link to Rhythm Exercises, 4 exercises in 8 different speeds) to strengthen the muscles of breathing and Chordal Jamming songs (link to Chordal Jamming, 12 are on-line at present). I am working on further material I hope to send via this online newsletter to help in utilizing these resources. Regarding the Rhythm Exercises, I recommend starting with the train rhythm. I will here provide the breathing pattern and the articulation for the train rhythm exercise. The breathing pattern is two short draws (inhales) followed by two short blows (exhales), while articulating Tikka on the draw and Tukka on the blow. This will be much easier to master if you listen and mimic the audio online train rhythm under Rhythm Exercises (start at slowest speed, 80 bpm) found under the "program" tab, "advanced program”, "advanced rhythm exercises”, then choose “train”. For the time being, only work on the train under the rhythm exercises, leaving the other three until such time that the train rhythm has been mastered.
The following instructions will help with Warm-Up Breathing Exercises:
• While sitting in a comfortable position, with as much relaxation in the whole body as is possible, concentrate on the neck, shoulders, and mouth region. In the attempt to cause this "total relaxation" it is often useful to initially cause "tension" in the neck, shoulders, and mouth region (achieved by contracting and tensing the muscles in this region), immediately followed by "deep relaxation". By immediately going from this feeling of tension to deep relaxation it is possible to cause a quite significant sensation of "release". This mechanism is very commonly used in many relaxation and meditation techniques.
• When this is achieved, I recommend taking the harmonica quite deeply into the mouth, such that it is embraced by the "inner lips", without the tongue or teeth actually touching the harmonica. In this way, you attempt to "cover" a larger number of holes (3 or 4) than if you touched the harmonica with only the "outer" portion of the lips (where you would cover only 1 or 2 holes). This is akin to a "more intimate, deeper kiss" as compared to a "peck on the cheek".
• The harmonica is best held in the left hand where the left side of the harmonica is touching the web space between the thumb and forefinger. The forefinger is on the top of the harmonica with the tip of the finger reaching almost across the top of the instrument (of course depending on the size of your finger), and the thumb being on the bottom of theharmonica. The end result has the harmonica essentially wedged between the straight forefinger and thumb, obviously with the holes of the harmonica facing you.
• It is important to have the harmonica "right side up". The top of the harmonica is the one with the numbers, 1 to 10, as well as the harmonicaMD logo embossed on the cover plate. In poor lighting it is sometimes difficult to see these embossings on the top cover plate and it can be useful to observe the white lettering on the back of the black comb of the harmonica, "SEYDEL-SCHAMAN". This lettering should be "right side up" when observed by someone looking at you while you are playing. Another way to confirm this is to observe that the lower pitched holes are to the left.
• When all of this is achieved, it is time to breathe into the instrument. I recommend starting with inhaling, also called "drawing". As outlined above it is recommended that you cover 3 or 4 holes (holes 1 – 3 or 1 -4). Inhale in a very relaxed fashion to a depth that is just slightly more than a normal relaxed in-breath. This is followed by a gentle, un-rushed reversal of the breath to exhaling, also called "blowing". This sequence (inhaling and exhaling, drawing and blowing) can be continued in a gentle relaxed fashion for several minutes.
• If dizziness or light-headedness is experienced, it is most likely caused by "hyperventilation", a condition resulting in excessive depletion of carbon dioxide. This is essentially "over-breathing" causing more carbon dioxide to be exhaled than is desirable, thereby resulting in a minor disruption in body chemistry. This is easily remedied by slowing down the breathing or briefly stopping the exercise.
• While "drawing" and "blowing", it is important to listen to the beautiful rich sound you are creating. The medical harmonica, with its relatively low pitch, is an extremely "overtone-rich" instrument. The combinations of notes inherent in the design of the medical harmonica harmonize beautifully, without any requirement for talent or musical knowledge. Even a beginner can achieve the most incredibly pleasing sound. The versatility of the harmonicaMD Diatonic Chord Medical Harmonica is unique in theharmonica world, in that it can achieve eight beautiful chords.
• As progress is made, there are a number of techniques that can further enhance the quality and beauty of the sound. This quality and beauty of sound is called "tone". It must be remembered that unlike other instruments like the piano and the guitar, the harmonicais really only a part of the instrument. The other part of the instrument is the "sound chamber" provided by the player. In the piano and guitar, there are specially constructed sound chambers to enhance and amplify the vibration of the strings. The instrument builders use special construction, materials, and designs in order to achieve the best tone and volume. In the harmonica world, it is not the instrument builders that design and improve the sound chamber, but rather the player provides the sound chamber (the body, particularly the chest cavity, neck and mouth), which is improved through prolonged and extensive ongoing training and practice.
• Even beginners can very noticeably improve their tone by making changes to and improving their "embouchure". The embouchure, relating to harmonica players, involves the interaction of the mouth, and surrounding structures, with the harmonica. Changes in the position and use of the mouth, lips, tongue, teeth, throat, and even posture, can cause considerable change in the tone and ease of playing. Even for beginners, small changes can have a significant impact on the tone and the sound achieved. The ultimate attempt is to increase the size of the sound chamber, which involves the oral cavity, the throat, and the chest cavity.
• One way to increase the size of the sound chamber that can be worked on from the beginning, is to increase the volume of the oral cavity and throat while playing. If one plays with a tight, thin embouchure, with little space to enhance the vibration of the reeds, a thin and tight sound is achieved. As previously mentioned, it is desirable to position theharmonica such that it embraces the inner, deeper portion of the lips, thus allowing a larger sound chamber in the mouth. When playing with the outer part of the lips, the lips become naturally puckered, similar to the mouth and lip shape that one might achieve while trying to "whistle". This immediately causes a smaller mouth "space" and hence a smaller sound chamber. When bringing the harmonica deeper into the inner lips, and playing more holes, you move away from a "pucker" and this immediately increases the mouth "space" and provides a larger sound chamber. A deeper richer tone results.
• When practicing relaxed breathing exercises with the harmonica, it is advantageous to experiment with the embouchure to see how the overall sound and tone are affected.
• Remember, relaxation is key! The player should become very comfortable with what he/she is working on before moving on to a new challenge.
Below are some detailed, but basic, instructions that will help in getting started. As the player becomes more advanced, this website provides a number of resources that are provided free of charge (under the "program" tab, "advanced program"). These include Rhythm Exercises (link to Rhythm Exercises, 4 exercises in 8 different speeds) to strengthen the muscles of breathing and Chordal Jamming songs (link to Chordal Jamming, 12 are on-line at present). I am working on further material I hope to send via this online newsletter to help in utilizing these resources. Regarding the Rhythm Exercises, I recommend starting with the train rhythm. I will here provide the breathing pattern and the articulation for the train rhythm exercise. The breathing pattern is two short draws (inhales) followed by two short blows (exhales), while articulating Tikka on the draw and Tukka on the blow. This will be much easier to master if you listen and mimic the audio online train rhythm under Rhythm Exercises (start at slowest speed, 80 bpm) found under the "program" tab, "advanced program”, "advanced rhythm exercises”, then choose “train”. For the time being, only work on the train under the rhythm exercises, leaving the other three until such time that the train rhythm has been mastered.
The following instructions will help with Warm-Up Breathing Exercises:
• While sitting in a comfortable position, with as much relaxation in the whole body as is possible, concentrate on the neck, shoulders, and mouth region. In the attempt to cause this "total relaxation" it is often useful to initially cause "tension" in the neck, shoulders, and mouth region (achieved by contracting and tensing the muscles in this region), immediately followed by "deep relaxation". By immediately going from this feeling of tension to deep relaxation it is possible to cause a quite significant sensation of "release". This mechanism is very commonly used in many relaxation and meditation techniques.
• When this is achieved, I recommend taking the harmonica quite deeply into the mouth, such that it is embraced by the "inner lips", without the tongue or teeth actually touching the harmonica. In this way, you attempt to "cover" a larger number of holes (3 or 4) than if you touched the harmonica with only the "outer" portion of the lips (where you would cover only 1 or 2 holes). This is akin to a "more intimate, deeper kiss" as compared to a "peck on the cheek".
• The harmonica is best held in the left hand where the left side of the harmonica is touching the web space between the thumb and forefinger. The forefinger is on the top of the harmonica with the tip of the finger reaching almost across the top of the instrument (of course depending on the size of your finger), and the thumb being on the bottom of theharmonica. The end result has the harmonica essentially wedged between the straight forefinger and thumb, obviously with the holes of the harmonica facing you.
• It is important to have the harmonica "right side up". The top of the harmonica is the one with the numbers, 1 to 10, as well as the harmonicaMD logo embossed on the cover plate. In poor lighting it is sometimes difficult to see these embossings on the top cover plate and it can be useful to observe the white lettering on the back of the black comb of the harmonica, "SEYDEL-SCHAMAN". This lettering should be "right side up" when observed by someone looking at you while you are playing. Another way to confirm this is to observe that the lower pitched holes are to the left.
• When all of this is achieved, it is time to breathe into the instrument. I recommend starting with inhaling, also called "drawing". As outlined above it is recommended that you cover 3 or 4 holes (holes 1 – 3 or 1 -4). Inhale in a very relaxed fashion to a depth that is just slightly more than a normal relaxed in-breath. This is followed by a gentle, un-rushed reversal of the breath to exhaling, also called "blowing". This sequence (inhaling and exhaling, drawing and blowing) can be continued in a gentle relaxed fashion for several minutes.
• If dizziness or light-headedness is experienced, it is most likely caused by "hyperventilation", a condition resulting in excessive depletion of carbon dioxide. This is essentially "over-breathing" causing more carbon dioxide to be exhaled than is desirable, thereby resulting in a minor disruption in body chemistry. This is easily remedied by slowing down the breathing or briefly stopping the exercise.
• While "drawing" and "blowing", it is important to listen to the beautiful rich sound you are creating. The medical harmonica, with its relatively low pitch, is an extremely "overtone-rich" instrument. The combinations of notes inherent in the design of the medical harmonica harmonize beautifully, without any requirement for talent or musical knowledge. Even a beginner can achieve the most incredibly pleasing sound. The versatility of the harmonicaMD Diatonic Chord Medical Harmonica is unique in theharmonica world, in that it can achieve eight beautiful chords.
• As progress is made, there are a number of techniques that can further enhance the quality and beauty of the sound. This quality and beauty of sound is called "tone". It must be remembered that unlike other instruments like the piano and the guitar, the harmonicais really only a part of the instrument. The other part of the instrument is the "sound chamber" provided by the player. In the piano and guitar, there are specially constructed sound chambers to enhance and amplify the vibration of the strings. The instrument builders use special construction, materials, and designs in order to achieve the best tone and volume. In the harmonica world, it is not the instrument builders that design and improve the sound chamber, but rather the player provides the sound chamber (the body, particularly the chest cavity, neck and mouth), which is improved through prolonged and extensive ongoing training and practice.
• Even beginners can very noticeably improve their tone by making changes to and improving their "embouchure". The embouchure, relating to harmonica players, involves the interaction of the mouth, and surrounding structures, with the harmonica. Changes in the position and use of the mouth, lips, tongue, teeth, throat, and even posture, can cause considerable change in the tone and ease of playing. Even for beginners, small changes can have a significant impact on the tone and the sound achieved. The ultimate attempt is to increase the size of the sound chamber, which involves the oral cavity, the throat, and the chest cavity.
• One way to increase the size of the sound chamber that can be worked on from the beginning, is to increase the volume of the oral cavity and throat while playing. If one plays with a tight, thin embouchure, with little space to enhance the vibration of the reeds, a thin and tight sound is achieved. As previously mentioned, it is desirable to position theharmonica such that it embraces the inner, deeper portion of the lips, thus allowing a larger sound chamber in the mouth. When playing with the outer part of the lips, the lips become naturally puckered, similar to the mouth and lip shape that one might achieve while trying to "whistle". This immediately causes a smaller mouth "space" and hence a smaller sound chamber. When bringing the harmonica deeper into the inner lips, and playing more holes, you move away from a "pucker" and this immediately increases the mouth "space" and provides a larger sound chamber. A deeper richer tone results.
• When practicing relaxed breathing exercises with the harmonica, it is advantageous to experiment with the embouchure to see how the overall sound and tone are affected.
• Remember, relaxation is key! The player should become very comfortable with what he/she is working on before moving on to a new challenge.
