Half-scale harmonica capable of pressing sound by double reeds

Abstract

The utility model provides a half-scale harmonica capable of pressing sound by double reeds, which comprises a shell, and frets are arranged on the inner side surface of the shell. According to the half-scale harmonica capable of pressing sound by the double reeds provided by the utility model, one reed is blown and sucked in the cavity corresponding to each sound hole, so that the'double-reed pressing sound skill 'can be realized by the structure of one cavity and two reeds', and the pitch of the reed with higher pitch in the same cavity is reduced, thereby obtaining abundant pressing sound and sliding sound expressive force; and different cavities corresponding to the air inlet and outlet holes are quickly switched by pressing down the inflexion plate, so that the reeds in the different cavities are switched to produce sound, twelve equal tones can be played in a unified tone, and playing can be performed by turning the tones, so that tone switching and tone switching playing can be performed in the unified tone, and playing can be performed by turning the tones in the unified tone. And a double-reed sound pressing skill can also be realized, so that the tone expressive force and the adaptive music style of the harmonica are improved.

Description

Technical Field

[0001] The utility model relates to the technical field of harmonicas, in particular to a chromatic harmonica capable of double reed bending. Background Art

[0002] A harmonica is a small, portable and uniquely charming musical instrument. It mainly consists of a comb, reeds, cover plates, etc. The comb is usually made of materials such as plastic, wood or metal, which provides the basic structural support for the harmonica. The reed is the key component for the harmonica to produce sound. When air flows through the reed, the reed vibrates to generate sound, and the cover plate serves to protect the reed and decorate the harmonica.

[0003] There are two main types of existing harmonicas. One is the traditional ten-hole harmonica (Blues harmonica). Its characteristics are: within the cavity of one sound hole, there is one blowing reed and one sucking reed each. When blowing, the blowing reed on the inner side of the reed plate emits sound, and when sucking, the sucking reed on the outer side of the reed plate emits sound. Since the blowing and sucking reeds are within the same sound hole cavity, this "one cavity with two reeds" structure can achieve the "double reed bending technique", reducing the pitch of the higher-pitched reed within the same sound hole (not lower than the lower-pitched reed within the same hole), thereby obtaining rich bending and gliding expressiveness. Its disadvantage is that the tone of the sound obtained after bending with the "double reed bending technique" is darker compared to the reed that normally emits sound, so this harmonica cannot play the twelve-tone equal temperament with a unified tone, thus affecting transposition performance. The other type of harmonica is the chromatic harmonica. Its advantages are: it can play the twelve-tone equal temperament with a unified tone, and thus can transpose to play in 12 keys. Its disadvantage is that due to structural reasons, when blowing or sucking, only one reed vibrates (the other reed is covered by a diaphragm and cannot participate in vibration), thus unable to perform the "double reed bending technique" on the ten-hole harmonica, thereby reducing the tone expressiveness and musical style adaptability of the harmonica.

[0004] Therefore, it is necessary to provide a chromatic harmonica capable of double reed bending to solve the above technical problems. Content of the Utility Model

[0005] The utility model provides a chromatic harmonica capable of double reed bending, which solves the problems that the traditional ten-hole harmonica with "one cavity with two reeds" can achieve the "double reed bending technique", but the bending tone is dull and affects transposition; the chromatic harmonica can transpose in 12 keys with a unified tone, but due to its structure, it cannot perform the "double reed bending technique", reducing the tone expressiveness and musical style adaptability of the harmonica.

[0006] To solve the above technical problems, a chromatic harmonica capable of double reed bending provided by the utility model includes:

[0007] A housing, on the inner side surface of the housing are provided fretboards, inside the fretboards are respectively provided with a plurality of first cavities and a plurality of second cavities, and the number of the first cavities and the second cavities is the same;

[0008] An air intake seat plate, the air intake seat plate is arranged on the front surface of the housing, on the front surface of the air intake seat plate are respectively provided with a plurality of first air intake reed pieces and a plurality of second air intake reed pieces, and the number of the first air intake reed pieces and the second air intake reed pieces is the same;

[0009] A blowing seat plate, the blowing seat plate is arranged on the back surface of the housing, on the front surface of the air intake seat plate are respectively provided with a plurality of first blowing reed pieces and a plurality of second blowing reed pieces, and the number of the first blowing reed pieces and the second blowing reed pieces is the same;

[0010] A tone-changing board, the tone-changing board is arranged on the top of the housing, on the top of the tone-changing board are respectively provided with a first sound hole and a second sound hole;

[0011] A mouthpiece, the mouthpiece is arranged on the top of the housing, on the top of the mouthpiece are provided with a plurality of air inlet and outlet holes.

[0012] Preferably, there are a plurality of the first cavities and the second cavities, and the number of the first cavities and the second cavities is the same, and the sum of the number of the first cavities and the second cavities is twice the number of the air inlet and outlet holes.

[0013] Preferably, there are a plurality of the first sound holes and the second sound holes, and the sum of the number of the first sound holes and the second sound holes is the number of the air inlet and outlet holes plus one.

[0014] Preferably, the sum of the number of the first air intake reed pieces and the second air intake reed pieces is the same as the sum of the number of the first cavities and the second cavities.

[0015] Preferably, the sum of the number of the first blowing reed pieces and the second blowing reed pieces is the same as the sum of the number of the first cavities and the second cavities.

[0016] Preferably, inside one end of the tone-changing board is provided with a clamping groove, on the outer side surface of the clamping groove is clamped a hanging ring, one end of the hanging ring is fixedly installed with a spring, one end of the spring is fixedly installed with a positioning ring, and on the inner side surface of the positioning ring is provided with a positioning post.

[0017] Preferably, the bottom of the positioning post is fixedly installed on the top of the housing.

[0018] Compared with the related art, a chromatic harmonica capable of double-reed bending provided by the present utility model has the following beneficial effects:

[0019] The utility model provides a chromatic harmonica capable of double reed bending. Inside the cavity corresponding to each sound hole, there is one blowing reed and one sucking reed respectively. This "one cavity with two reeds" structure can realize the "double reed bending technique", lower the pitch of the higher-pitched reed in the same cavity, so as to obtain rich bending and gliding sound expressiveness. And by pressing the tone-changing board, the corresponding different cavities of the air inlet and outlet holes can be quickly switched, so as to switch the reeds in different cavities to sound, thus enabling the performance of the twelve-tone equal temperament with a unified timbre, and enabling playing in different keys. In this way, it can not only switch tones and play in different keys with a unified timbre, but also realize the "double reed bending technique", thereby improving the timbre expressiveness of the harmonica and the adaptable music styles. Description of the Drawings

[0020] Figure 1 Schematic structural diagram of the first embodiment of a chromatic harmonica capable of double reed bending provided by the utility model;

[0021] Figure 2 For Figure 1 Schematic structural diagram after pressing the tone-changing board as shown;

[0022] Figure 3 Schematic structural diagram of the second embodiment of a chromatic harmonica capable of double reed bending provided by the utility model

[0023] Figure 4 Position arrangement diagram of the reeds of each note of the third embodiment of a chromatic harmonica capable of double reed bending provided by the utility model.

[0024] Figure 5 Position arrangement diagram of the reeds of each note of the fourth embodiment of a chromatic harmonica capable of double reed bending provided by the utility model.

[0025] Figure 6 Position arrangement diagram of the reeds of each note of the fifth embodiment of a chromatic harmonica capable of double reed bending provided by the utility model.

[0026] Figure 7 Position arrangement diagram of the reeds of each note of the sixth embodiment of a chromatic harmonica capable of double reed bending provided by the utility model.

[0027] Figure 8 Position arrangement diagram of the reeds of each note of the seventh embodiment of a chromatic harmonica capable of double reed bending provided by the utility model.

[0028] Figure 9 Position arrangement diagram of the reeds of each note of the eighth embodiment of a chromatic harmonica capable of double reed bending provided by the utility model.

[0029] Figure 10 The position arrangement diagram of the tones of each reed in the ninth embodiment of a chromatic harmonica that can perform draw bending with double reeds provided by the present utility model.

[0030] Reference numerals in the figure: 1. Housing, 11. Reed slots, 12. First cavity, 13. Second cavity, 2. Inhaling seat plate, 21. First inhaling reed, 22. Second inhaling reed, 3. Blowing seat plate, 31. First blowing reed, 32. Second blowing reed, 4. Tone-changing plate, 41. First sound hole, 42. Second sound hole, 5. Mouthpiece, 51. Air inlet and outlet holes, 6. Card slot, 61. Hanging ring, 62. Spring, 63. Positioning ring, 64. Positioning post. Specific embodiments

[0031] The present utility model will be further described below in conjunction with the accompanying drawings and embodiments.

[0032] The first embodiment

[0033] Please refer to Figure 1 and Figure 2 , wherein Figure 1 is a schematic structural diagram of the first embodiment of a chromatic harmonica that can perform draw bending with double reeds provided by the present utility model;

[0034] Figure 2 is Figure 1 the schematic structural diagram after pressing the tone-changing plate shown in. A chromatic harmonica that can perform draw bending with double reeds includes: a housing 1, on the inner side surface of the housing 1, reed slots 11 are provided, inside the reed slots 11, a plurality of first cavities 12 and a plurality of second cavities 13 are respectively formed, and the number of the first cavities 12 is the same as that of the second cavities 13;

[0035] An inhaling seat plate 2, the inhaling seat plate 2 is arranged on the front surface of the housing 1, on the front surface of the inhaling seat plate 2, a plurality of first inhaling reeds 21 and a plurality of second inhaling reeds 22 are respectively provided, and the number of the first inhaling reeds 21 is the same as that of the second inhaling reeds 22;

[0036] A blowing seat plate 3, the blowing seat plate 3 is arranged on the back surface of the housing 1, on the front surface of the inhaling seat plate 3, a plurality of first blowing reeds 31 and a plurality of second blowing reeds 32 are respectively provided, and the number of the first blowing reeds 31 is the same as that of the second blowing reeds 32;

[0037] A tone-changing plate 4, the tone-changing plate 4 is arranged on the top of the housing 1, on the top of the tone-changing plate 4, a first sound hole 41 and a second sound hole 42 are respectively formed;

[0038] A mouthpiece 5, the mouthpiece 5 is arranged on the top of the housing 1, on the top of the mouthpiece 5, a plurality of air inlet and outlet holes 51 are formed.

[0039] A plurality of the first cavities 12 and the second cavities 13 are provided, and the number of the first cavities 12 is the same as that of the second cavities 13. The sum of the number of the first cavities 12 and the second cavities 13 is twice the number of the air inlet and outlet holes 51.

[0040] A plurality of the first sound holes 41 and the second sound holes 42 are provided, and the sum of the number of the first sound holes 41 and the second sound holes 42 is the number of the air inlet and outlet holes 51 plus one.

[0041] The sum of the number of the first inhalation reeds 21 and the second inhalation reeds 22 is the same as the sum of the number of the first cavities 12 and the second cavities 13.

[0042] The sum of the number of the first blowing reeds 31 and the second blowing reeds 32 is the same as the sum of the number of the first cavities 12 and the second cavities 13.

[0043] A plurality of the first blowing reeds 31 and a plurality of the second blowing reeds 32 are bound to the inner side of the blowing seat plate 3, and the fixed ends are at the upper ends;

[0044] A plurality of the first inhalation reeds 21 and a plurality of the second inhalation reeds 22 are bound to the outer side of the inhalation seat plate 2, and the fixed ends are at the lower ends;

[0045] The mouthpiece 5 has 12 air inlet and outlet holes 51. Each air inlet and outlet hole 51 corresponds to the adjacent first cavity 12 and the second cavity 13 on the fret 11. The number of the air inlet and outlet holes 51 can be customized, and common numbers are 10, 12, 14, 16;

[0046] The fret 11 has twenty-four independent cavities. Every two adjacent cavities form a group, such as the first cavity 12 and the second cavity 13, and they correspond to the air inlet and outlet holes 51 on the mouthpiece 5;

[0047] When the blowing seat plate 3, the inhalation seat plate 2 and the fret 11 are assembled together, each cavity is independently enclosed, and the part in contact with the mouthpiece 5 is open. They correspond to the air inlet and outlet holes 51 on the mouthpiece 5. At this time, the first blowing reed 31 and the first inhalation reed 21 are in the first cavity 12; the second blowing reed 21 and the second inhalation reed 22 are in the second cavity 13. The number of the cavities is twice the number of the air inlet and outlet holes 51 on the mouthpiece 5;

[0048] The tone-changing board 4 has a number of the first sound holes 41 and the second sound holes 42, which are evenly distributed. The total number is the number of the air inlet and outlet holes 51 plus one, and Figure 1 there are 13 in total; the operation principle is as follows:

[0049] Figure 1In it, before the tone-changing board 4 is pressed leftward, after the air flow passes through the air inlet / outlet hole 51, it enters and exits the first sound hole 41 to the first cavity 12, thereby driving the first blowing reed 31 and the first sucking reed 21 to vibrate and produce sound; and because these two reeds are in the same cavity, the "double-reed bending technique" can be realized; as Figure 1 shown, due to the shielding of the tone-changing board 4, the air flow cannot enter and exit the second cavity 13, so the second blowing reed 32 and the second sucking reed 22 cannot be driven to vibrate and produce sound;

[0050] Figure 2 In it, after the tone-changing board 4 is pressed leftward, after the air flow passes through the air inlet / outlet hole 51, it enters and exits the second sound hole 42 to the second cavity 13, thereby driving the second blowing reed 32 and the second sucking reed 22 to vibrate and produce sound; and because these two reeds are in the same cavity, the "double-reed bending technique" can be realized; due to the shielding of the tone-changing board 5, the air flow cannot enter and exit the first cavity 12, so the first blowing reed 31 and the first sucking reed 21 cannot be driven to vibrate and produce sound.

[0051] The working principle of a chromatic harmonica capable of double-reed bending provided by the present utility model is as follows:

[0052] When blowing, multiple first blowing reeds 31 and multiple second blowing reeds 32 inside the blowing seat plate 3 vibrate and produce sound; when sucking, multiple first sucking reeds 21 and multiple second sucking reeds 22 outside the sucking seat plate 2 vibrate and produce sound. Since the blowing and sucking reeds are both within multiple first cavities 12 and multiple second cavities 13, this "one cavity with two reeds" structure can realize the "double-reed bending technique", reducing the pitch of the reed with a higher pitch within the same cavity (not lower than the reed with a lower pitch within the same hole), thereby obtaining rich bending and gliding sound expressiveness; and by pressing the tone-changing board 4 to quickly switch the different cavities corresponding to the air inlet / outlet hole 51, different reeds within the cavities are switched to produce sound, so that the chromatic scale can be played with a unified timbre, and thus it can be played in 12 keys.

[0053] Compared with the related art, a chromatic harmonica capable of double-reed bending provided by the present utility model has the following beneficial effects:

[0054] Inside the cavity corresponding to each sound hole, there is one reed for blowing and one reed for sucking respectively. This "one cavity with two reeds" structure can achieve the "double reed bending technique", lower the pitch of the higher-pitched reed within the same cavity, thereby obtaining rich bending and gliding expressiveness; and by pressing the tone-changing board 4, quickly switch the different cavities corresponding to the air inlet and outlet holes 51, so as to switch the reeds in different cavities to sound, thus enabling the performance of the twelve-tone equal temperament with a unified timbre, and enabling the performance in 12 keys. In this way, not only can the sound be switched and the key be changed with a unified timbre, but also the "double reed bending technique" can be achieved, thereby improving the timbre expressiveness of the harmonica and the adaptable music styles.

[0055] Second Embodiment

[0056] Please refer to Figure 3 , based on a chromatic harmonica capable of double reed bending provided in the first embodiment of the present application, the second embodiment of the present application proposes another chromatic harmonica capable of double reed bending. The second embodiment is only a preferred manner of the first embodiment, and the implementation of the second embodiment will not affect the independent implementation of the first embodiment.

[0057] Specifically, the difference of a chromatic harmonica capable of double reed bending provided in the second embodiment of the present application is that, for a chromatic harmonica capable of double reed bending, a clamping groove 6 is formed inside one end of the tone-changing board 4, a hanging ring 61 is clamped on the outer side of the clamping groove 6, one end of the hanging ring 61 is fixedly installed with a spring 62, one end of the spring 62 is fixedly installed with a positioning ring 63, and a positioning post 64 is arranged on the inner side of the positioning ring 63.

[0058] The bottom of the positioning post 64 is fixedly installed on the top of the housing 1.

[0059] The working principle of a chromatic harmonica capable of double reed bending provided by the present utility model is as follows:

[0060] When in use, the user pushes the tone-changing board 4, so that the tone-changing board 4 squeezes the spring 62. In this way, after the tone change is completed, when the user releases the tone-changing board 4, the spring 62 can push the tone-changing board 4 to reset.

[0061] Compared with the related art, a chromatic harmonica capable of double reed bending provided by the present utility model has the following beneficial effects:

[0062] Through the cooperation of structures such as the clamping groove 6, the hanging ring 61, the spring 62, the positioning ring 63 and the positioning post 64, when changing the tone, the tone-changing board 4 squeezes the spring 62 to deform and store energy. After the tone change is completed, when the tone-changing board 4 is released, the tone-changing board 4 can be automatically reset, thus facilitating the use by the user.

[0063] Third Embodiment

[0064] There are a total of 12 air inlet and outlet holes 51 on the mouthpiece 5; on the blowing seat plate 3, there are a total of 24 blowing reeds; on the suction seat plate 2, there are a total of 24 suction reeds.

[0065] The definition of the reed pitch is as Figure 4 shown. From left to right, the pitches of the blowing reeds are: C, C#, E, E#(F), G, G#, C, C#, C, C#, E, E#(F), G, G#, C, C#, C, C#, E, E#(F), G, G#, C, C#; from left to right, the pitches of the suction reeds (5) are: D, D#, F, F#, A, A#, B, B#(C), D, D#, F, F#, A, A#, B, B#(C), D, D#, F, F#, A, A#, B, D.

[0066] Before the tone-changing board 4 is pressed, the blowing tones are in sequence: C, E, G, C, C, E, G, C, C, E, G, C; the suction tones are in sequence: D, F, A, B, D, F, A, B, D, F, A, B.

[0067] After the tone-changing board 4 is pressed, the blowing tones are in sequence: C#, E#(F), G#, C#, C#, E#(F), G#, C#, C#, E#(F), G#, C#; the suction tones are in sequence: D#, F#, A#, B#(C), D#, F#, A#, B#(C), D#, F#, A#, D.

[0068] By switching whether to press the tone-changing board 4, a complete chromatic scale can be played, achieving playing in 12 keys.

[0069] The above is the implementation method of the C-key harmonica based on C. Harmonicas in the other eleven keys can all adopt this implementation method according to the corresponding interval relationship. This embodiment covers harmonicas in twelve keys including the C key.

[0070] Fourth Embodiment

[0071] As Figure 5 shown, in this embodiment, on the basis of the first embodiment, the blowing tones of the 4th and 8th holes are changed to A, and the blowing tones of the 4th and 8th holes after pressing the tone-changing board 4 are changed to A#. The rest are the same as the third embodiment.

[0072] By switching whether to press the tone-changing board 4, a complete chromatic scale can be played, achieving playing in 12 keys.

[0073] The above is the implementation of a C - key harmonica based on C. Harmonicas in the other eleven keys can adopt this implementation according to the corresponding interval relationships. This embodiment covers harmonicas in twelve keys including the C - key.

[0074] The Fifth Embodiment

[0075] There are a total of 12 air inlet and outlet holes 51 on the mouthpiece 5; there are 24 blowing reeds on the blowing seat plate 3; and there are 24 suction reeds on the suction seat plate 2.

[0076] The definition of the reed pitch is as Figure 6 shown. From left to right, the pitches of the blowing reeds are: G, G#, C, C#, C, C#, E, E#(F), G, G#, C, C#, C, C#, E, E#(F), G, G#, C, C#, C, C#, E, E#(F); from left to right, the pitches of the suction reeds (5) are: A, A#, B, B#(C), D, D#, F, F#, A, A#, B, B#(C), D, D#, F, F#, A, A#, B, B#(C), D, D#, F, F#.

[0077] Before the pitch - changing plate 5 is pressed, the blowing sounds are in sequence: G, C, C, E, G, C, C, E, G, C, C, E; the suction sounds are in sequence: A, B, D, F, A, B, D, F, A, B, D, F.

[0078] After the pitch - changing plate 5 is pressed, the blowing sounds are in sequence: G#, C#, C#, E#(F), G#, C#, C#, E#(F), G#, C#, C#, E#(F); the suction sounds are in sequence: A#, B#(C), D#, F#, A#, B#(C), D#, F#, A#, B#(C), D#, F#.

[0079] By switching whether to press the pitch - changing plate 4, a complete chromatic scale can be played, enabling playing in 12 keys. And compared with the Third Embodiment and the Fourth Embodiment, the pitch range of the Fifth Embodiment is different to meet the requirements of different musical pieces.

[0080] The above is the implementation of a C - key harmonica based on C. Harmonicas in the other eleven keys can adopt this implementation according to the corresponding interval relationships. This embodiment covers harmonicas in twelve keys including the C - key.

[0081] The Sixth Embodiment

[0082] There are a total of 10 air inlet and outlet holes 51 on the mouthpiece 5; there are 20 blowing reeds on the blowing seat plate 3; and there are 20 suction reeds on the suction seat plate 2.

[0083] As Figure 7As shown in the figure, in this embodiment, on the basis of the third embodiment, the two air inlet and outlet holes 51 on the rightmost side are removed, as well as the corresponding four blowing reeds and four sucking reeds.

[0084] By switching whether the tone-changing board 4 is pressed, a complete chromatic scale can be played, realizing playing in 12 keys.

[0085] The above is the implementation method of the C-key harmonica based on C. The harmonicas of the other eleven keys can adopt this implementation method according to the corresponding interval relationship. This embodiment covers harmonicas of twelve keys including the C key.

[0086] Seventh Embodiment

[0087] As Figure 8 shown in the figure, in this embodiment, on the basis of the fourth embodiment, the two air inlet and outlet holes 51 on the rightmost side are removed, as well as the corresponding four blowing reeds and four sucking reeds.

[0088] By switching whether the tone-changing board 4 is pressed, a complete chromatic scale can be played, realizing playing in 12 keys.

[0089] The above is the implementation method of the C-key harmonica based on C. The harmonicas of the other eleven keys can adopt this implementation method according to the corresponding interval relationship. This embodiment covers harmonicas of twelve keys including the C key.

[0090] Eighth Embodiment

[0091] There are a total of 10 air inlet and outlet holes 51 on the mouthpiece 5; there are a total of 20 blowing reeds on the blowing seat plate 3; and there are a total of 20 sucking reeds on the sucking seat plate 2.

[0092] The definition of the reed intonation is as Figure 9 shown in the figure. The tones of the blowing reeds from left to right are: C, C#, E, E#(F), G, G#, C, C#, E, E#(F), G, G#, C, C#, E, E#(F), G, G#, C, C#; the tones of the sucking reeds (5) from left to right are: D, D#, G, G#, B, B#(C), D, D#, F, F#, A, A#, B, B#(C), D, D#, F, F#, A, A#.

[0093] Before the tone-changing board 4 is pressed, the blowing tones are in sequence: C, E, G, C, E, G, C, E, G, C; the sucking tones are in sequence: D, G, B, D, F, A, B, D, F, A.

[0094] After the pitch-changing board 4 is pressed, the blowing notes are successively: C#, E# (F), G#, C#, E# (F), G#, C#, E# (F), G#, C#; the drawing-in notes are successively: D#, G#, B# (C), D#, F#, A#, B# (C), D#, F#, A#.

[0095] In this embodiment, a pitch-changing board structure is added on the basis of the traditional standard blues harmonica tuning method (Richter System), so that it can not only perform bending notes like a traditional ten-hole blues harmonica, but also achieve semitone changes by changing the pitch-changing board.

[0096] The above is the implementation manner of the C-tone harmonica with C as the reference. The harmonicas of the other eleven tones can adopt this implementation manner according to the corresponding interval relationships. This embodiment covers the harmonicas of twelve tones including the C-tone.

[0097] The Ninth Embodiment

[0098] As Figure 10 shown, on the basis of the eighth embodiment, in this embodiment, the blowing note of the second hole is changed to A, and the blowing note after pressing the pitch-changing board is changed to A#.

[0099] The above is the implementation manner of the C-tone harmonica with C as the reference. The harmonicas of the other eleven tones can adopt this implementation manner according to the corresponding interval relationships. This embodiment covers the harmonicas of twelve tones including the C-tone.

[0100] The above descriptions are only the embodiments of the present utility model, and do not limit the patent scope of the present utility model accordingly. Any equivalent structure or equivalent process transformation made by using the content of the specification and drawings of the present utility model, or directly or indirectly applied in other related technical fields, shall be equally included in the patent protection scope of the present utility model.

Claims

1. A chromatic harmonica capable of double reed bending, characterized in that, Comprising: A housing, on the inner side of which there are fretboards, and inside the fretboards there are respectively provided a plurality of first cavities and a plurality of second cavities, and the number of the first cavities is the same as that of the second cavities; An air intake seat plate, which is arranged on the front of the housing, and on the front of the air intake seat plate there are respectively provided a plurality of first air intake reeds and a plurality of second air intake reeds, and the number of the first air intake reeds is the same as that of the second air intake reeds; A blowing seat plate, which is arranged on the back of the housing, and on the front of the air intake seat plate there are respectively provided a plurality of first blowing reeds and a plurality of second blowing reeds, and the number of the first blowing reeds is the same as that of the second blowing reeds; A tone-changing board, which is arranged on the top of the housing, and on the top of the tone-changing board there are respectively provided a first sound hole and a second sound hole; A mouthpiece, which is arranged on the top of the housing, and on the top of the mouthpiece there are provided a plurality of air inlet and outlet holes.

2. The chromatic harmonica capable of double reed bending according to claim 1, wherein There are a plurality of the first cavities and a plurality of the second cavities, and the number of the first cavities is the same as that of the second cavities, and the sum of the number of the first cavities and the second cavities is twice the number of the air inlet and outlet holes.

3. A chromatic harmonica capable of double reed bending according to claim 1, characterized in that, There are a plurality of the first sound holes and a plurality of the second sound holes, and the sum of the number of the first sound holes and the second sound holes is the number of the air inlet and outlet holes plus one.

4. A chromatic harmonica capable of double reed bending according to claim 1, characterized in that, The sum of the number of the first air intake reeds and the second air intake reeds is the same as the sum of the number of the first cavities and the second cavities.

5. A chromatic harmonica capable of double reed bending according to claim 1, characterized in that, The sum of the number of the first blowing reeds and the second blowing reeds is the same as the sum of the number of the first cavities and the second cavities.

6. A chromatic harmonica capable of double reed bending according to claim 1, characterized in that, Inside one end of the tone-changing board there is provided a clamping groove, on the outer side of the clamping groove there is clamped a hanging ring, one end of the hanging ring is fixedly installed with a spring, one end of the spring is fixedly installed with a positioning ring, and on the inner side of the positioning ring there is provided a positioning post.

7. The chromatic harmonica capable of double reed bending according to claim 6, characterized in that, The bottom of the positioning post is fixedly installed on the top of the housing.

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