Overblowing is a technique used when playing a wind instrument which, in particular through the manipulation of air provided (compared, for example, finger changes or slide operation), causes an audible tone to jump to a higher one. Depending on the instrument (and less so on the player), overblowing may involve changes in air pressure, at the point where air is directed, or in the resonant characteristics of the chamber formed by the player's mouth and throat (a feature of the embouchure). In some instruments, overblowing may also involve direct manipulation of the vibrating reed (s), and/or pushing the temporary register button if not letting the finger unchanged. With the exception of the overblowing harmonica, the pitch leap comes from one of the vibratory modes of the reed or air column, for example, fundamentally, for an additional tone. Overblowing can be done deliberately to get a higher tone, or inadvertently, produce production notes than intended.
In a simple woodwind instrument, overblowing can cause the pitch to change into different registers. For example, an Irish tin whistle player can play in the upper octave by blowing harder while using the same fingering as in the lower octave.
In brass instruments, overblowing (sometimes combined with tightening embouchure) produces different harmonics.
In beatings, or striking, wind instruments such as saxophone, clarinet, and oboe, the transition from the lower registers to the higher is aided by the "register key" which pushes the vibration node at a certain point inside the pipe as it is higher. harmonics generated.
Another type of overblowing is used in instruments such as flutes, where the direction of the airflow is changed to a higher tone. This technique can also be shown when blowing on top of a glass bottle (beer bottle, wine bottle, etc.) to produce pitch.
Video Overblowing
Bagpipe
Some bagpipes, most importantly are uillean pipes, capable of overblowing in the sense of jumping to higher notes, although most bagpipes are not usually played in this way. Among Highland pipers, the term more often refers to problems affecting the stability and reliability of tones and tones caused by excess air pressure. When the piper plays, the rhythm is set between blowing to blowstick and squeezing the bag. Often, the piper will be too pressing the bag while still breathing, causing the pipe to stop audible or change the tone and tone.
Maps Overblowing
Harmonica
Overblowing is an important modern technique among players of some kind of harmonica, especially harmonic harmonica standards or harp blues. Combined with a flexible note , it generates a full chromatic scale across the entire instrument range. Though pioneered in tone-rich, overblowing, or overdrawing harp, it is possible that every harmonica has both reed punches and a bales react mounted on the same air duct (ie, behind the spokesperson's hole ), but no valve windsaver on the high notes of the two reeds. While superficially resembling in pitch-jumping effects that overblowing other wind instruments (beat-reed, aerophone, brass), the overblowing harmonica is completely unrelated from the underlying physics point of view. It does not induce the sound of reeds to sound higher pitch-free tone not even begin to approach the harmonic series nor too musical - nor does it induce higher vibrational modes in the air in pipes or other resonators - harmonica generally does not have such a resonator. Instead, it silences the audible reed while raising the sound of a previously silent sound - which usually responds to air flowing in the opposite direction. The key fact for understanding both overblowing and bending on such instruments: free reeds mounted over reedplate slots will usually respond to the airflow pulling initially into the slot, that is, as closing reed , but, only with a slightly higher air pressure from the opposite side, will also respond as reed opening ; the resulting pitch is generally only less than semitone higher than the reap-cover pitch.
Exaggerated records can be played as soft as other notes on the instrument. The proper embossing will cause the reed cover to stop vibrating and induce the opening reed to begin. Overblow tones are naturally flat but can be bent at the correct tone. The overblow consists of two steps: the flap of the cover must be stagnant (silenced), and the opening reel should be sounded. Note the clean overblow requires that these two steps be executed simultaneously. Overblowing techniques have also been described not much different from blow bend, except on reed draw-bend-only (holes 1-6), and draw a bend embouchure, except on reed blow-bend-only (7-10 holes). This latter technique is also known as "overdraw" because the airflow is reversed, and these techniques are sometimes collectively referred to as "overbends".
Certain modifications to factory-made harmonics can increase the sensitivity of the instrument and make overblows much more accessible. Lowering the reed (over the reedplate) gap and slightly reed slots (probably called embossing processes) may be the most commonly used adjustment method to regulate harmonic outcomes. Since it involves both reeds in space, overblowing is not possible at fully valved harmonics such as colored buttons.
Well-known practitioners of overblowing are Howard Levy, founding member of Flecktones, Adam Gussow, Otavio Castro, Chris Michalek, Jason Ricci, and Carlos del Junco.
Woodwinds
In the case of clarinets, tap the reeds onto the funnel, open and close the instrument cylindrical tube to produce a tone. When the instrument is exaggerated, with or without the aid of its register key, the pitch is twelve higher. In the case of a saxophone, which has a combination of oral musical instrument similar to clarinet, or obo, in which double reeds pulsate each other, the conical holes of this instrument give their closed tube the properties of the open tube; when exaggerated, the pitch jumps an octave higher.
Pipe organ
Several levels of pipe organ designed to be exaggerated. For example, the pipe provided at a harmonic distillation stopper is twice the length of the pipe from another termination designed to sound the same tone. When such a pipe is exaggerated, it sounds an octave's higher notes higher than any other length of pipes. For example, a 16-foot harmonic flute pipe is designed to sound the same tone as most 8-foot pipes.
Further reading
- Kool, Jaap, Das Saxophon (The Saxophone). pub J. J. Weber, Leipzig. 1931; translated to English by Lawrence Gwozdz. Herts, United Kingdom: Egon Publishers Ltd, 1987.
- Master Your Theory: Class 4 by Dulcie Holand
- Bahnson HT, Antaki JF, QC Beery. The acoustic and physical dynamics of the diatonic harmonica . J. Acoust. Soc. I. 103: 2134-44 (1998).
- Thaden J. Diatonic Doctor . Harmonica Horizons 5 (1990).
- Johnston RB. Pitch control in harmonica play . Acoust. Aust. 15: 69-75 (1987).
References
External links
- Harmonica overblow technique
Source of the article : Wikipedia
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