Enhanced Harmonica

Abstract

Harmonica structures designed for enhancing harmonica play are disclosed. In one aspect, a reed comb is provided with a common bridge having reeds formed integrally therewith. The reed plate has a plurality of reed slots formed therein and is adapted to receive the reeds of the reed comb into corresponding slots formed in the reed plate. A stepped portion formed in the reed plate is adapted to receive a reed of the reed comb therein to permit substantial encasement of the reed within the reed slot. A key benefit of this arrangement is to resist leakage of air between the reed plate and the flanks of the reed during harmonica play. The reed plate can also include a first stepped portion upon which the roots of the reeds are positioned and a second stepped portion positioned adjacent to the tips of the reeds. Other structures are disclosed that include a radiused surface formed on a portion of the reed or on the surface of the reed slot in which the reed is positioned. A substantially wedge-shaped comb having angled top and bottom surfaces can also be provided. The height of the comb and the thickness and structure of the reed plates can also be adjusted to achieve a variety of acoustical objectives. The width of the cells in the comb can also be adjusted to vary cell volume. In addition, substantial axial alignment of the roots of a given pair of reeds can be made to provide different acoustical results for the harmonica. The walls of the cells in the comb can also be tapered to alter acoustical effects. A flexible structural member can also be used in conjunction with the reed plate to enhance harmonica play.

Description

[0001] 1. Field of the Invention[0002] The present invention generally relates to improvements in the structure and function of a musical instrument. The present invention more particularly relates to improvements in the structure and function of a harmonica.[0003] 2. Background Information[0004] Harmonicas are among the world's oldest and most popular musical instruments. Harmonicas produce musical tones by a player blowing or drawing air into the harmonica to vibrate one or more of the reeds of the harmonica. One form of the harmonica is the ten-hole diatonic harmonica. In a diatonic harmonica, twenty reeds produce nineteen natural tones, with one tone being duplicated. The ten-hole diatonic harmonica typically has ten blow reeds, which sound in response to air blown into the harmonica by positive oral pressure; and ten draw reeds, which sound in response to air drawn in through the harmonica by negative oral pressure. The nineteen tones allow the player to play all the diatonic t...

AI Technical Summary

Problems solved by technology

A problem with any musical instrument, including the diatonic harmonica, is that not all players are highly skilled or even moderately advanced at playing the instrument, and a majority of instrument players are at skill levels far below the advanced level and cannot significantly improve their skills even with much practice.

The technique of "overblowing" is extremely difficult and diatonic harmonica players, even those of great skill, have been known to practice the technique for years before feeling comfortable enough to use the technique in a live performance.

However, the chromatic harmonica is not as adaptable as the diatonic harmonica to musical expression such as the type of expression experienced in blues, country, soul, and jazz harmonica music.

Although the chromatic scale is easier to play on the chromatic harmonica than on the diatonic, its more limited expression makes it less enjoyable for many, including both listeners and players.

There are, however, limitations associated with this construction.

However, when vibration is initiated, these gaps can also result in one or more unsatisfactory air leaks that can cause the player to blow more forcefully, alter his embouchure, and possibly stop reed vibration from occurring.

This problem is especially acute when attempting to play notes arising from a "bent," "overblown" and / or "overdrawn" procedure.

As previously discussed, the gap formed between the blow reed and its corresponding slot can create an air leak during this procedure.

Consequently, there may be insufficient air pressure to induce vibration in the opening reed.

An additional problem associated with conventional harmonica play is the occurrence of aberrant and discordant whistling or squeaking sounds while attempting to play a note.

These aberrant sounds can be particularly problematic while attempting an overblow or overdraw procedure.

Another problem associated with conventional harmonicas is the difficulty in aligning the reeds within the reed slots of the reed plate during assembly.

Furthermore, irregularities or burrs introduced during fabrication of the reed or reed plate can adversely affect the free vibration of the reed.

An additional problem associated with conventional harmonica construction is that roughened surfaces can be present on the edges and other internal surfaces of a reed slot.

These irregularities introduce non-uniformity into the reed slot of the harmonica and can interrupt the smooth flow of air through the reed passage.

A further problem with conventional harmonicas is that the material properties of the reed usually alter during the life cycle of the instrument thereby affecting the pitch and alignment of the reed.

To readjust the reed position, the reed is manually or mechanically deflected in a exaggerated fashion in the direction opposite of the dislocation, perhaps resulting in a weakening of the attachment of the reed to the reed plate.

A still further problem associated with conventional harmonica play is that the player must modify his or her oral cavity to achieve certain bends, overblows, or overdraws.

Low draw bends typically require excessively large embouchure, necessitating that the jaw be lowered, and the tongue positioned low in the oral cavity.

This mechanism appears to be relatively complicated and expensive to implement.

Still another problem that needs to be addressed is that of achieving sufficient loudness from the harmonica.

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