No.4 - "Trick and Tips" from the published book by Gianluca Littera.

No.4 – "Trick and Tips" from the published book by Gianluca Littera.

Suzuki Chromatic Harmonica player, Gianluca Littera from Italy published “Theoretical and practical treatise of Chromatic Harmonica” book for all people learning harmonica and who would like to start.

This is video about trick and tips.

hi America friends there are a lot of suggestion that cannot pass making music better through the harmonica in this video I want to suggest you something that I hope will help you let's see the little tricks and tips the first trick is dedicated to the amount piece a trick that could be useful to some people it may happen that you have many difficult sleeping the harmonica between your lips this fact is quite normal and all the time we are going to learn to handle the necessary silo intake that allows you to keep your lips moist and consequently also the mod piece and to slide the harmonica without friction for many reasons we could try the unpleasant feeling of dryness that I said before and this can happen not only due to inexperience but also to personal characteristics such as sports elevation as a result redness and the chirping on the lips it can it can be helpful to use lubricants of course for or reduce that spread in very very small quantity on demand piece greatly reduce the problem even if for a limited time I recommend a noticed but silicon visit lubricants in the case of silicon holler G rare there are also water does it lubricants but they have this a deadly lower yield compared to silikal you must not abuse lubricants since they create a condition that is altered so use it only in case of real need and in any case get used to managing this condition naturally keeping your lips moist wetting them with your tongue during musical poses there are also less obvious tricks for example if we tilt the torso forward it was from the horror cavity the saliva will naturally flow to the heart rate of the mountain and then coming into contact with the mouthpiece and then spread out along the Stroman when it is movie during or as a crucial with a certain practice we can manage lubrication also through this action but if we exaggerate we risk a drowning the reeds that would suffer for the access the contact with the lips must be light pressure just the necessary to establish the correct utterance and that not allowed the hair to escape Sadoway hold excess pressure beyond this purpose will be not only a source of tension but an increase in friction and address to the detriment of the precision and speed of our resolution another tricks is always if necessary to bike not exactly the tongue this action will increase this salvation in a consonant way try it I will not like to talk to you about the position of the body in general it is common to see the shoulder raised in aspiration by many Harmonist every instrumentalist has his own musical expressivity also through the body the gestures that are part of their way to express themselves but we must distinguish the musical gesture and the wrong assimilation of the movement in practice to not knowing how to do otherwise let us first get used to plane without further engaging our body with gestures that are not strictly necessary so we will take advantage of it by channeling our energies once we have acquired a current instrument just so we can express that motion that best translate our inner musicality raising your shoulder can be a sign of difficulty or worried during the inhalation of the air phase as if you wanted to increase the possibility of taking in hair but if the raising of the shoulder can be evident there could be other less obvious postural advices they often ask me if it's better to play sitting or standing I see advantages and disadvantages in both situations the sitting position is less dynamic and is likely to close and compress the diaphragm but hollow us to get childless in the case of a prolonged study standing with the passing of the hours we risk it to compensate their tiredness with the wrong positions for example distributing the weight or propping the weight on a single leg and balancing the body while we shall always be able to distribute the weight in a ballot way I will suggest alternating the study by sitting and standing and getting used to dialing with the such situations we will have to play looking theoretically two three four meters to the floor in front of us this position allow us to work anatomically in the best condition and the insult cases avoid the saliva access in the instrument he may be table if we adopt a to current position instinctively we try to put album in try to create a support and a special reference to move the instruments away this position is particularly compromising for the development of the instrumental technique greatly reducing our mobility and agility and forcing us to involve the head instead of moving the hearts and the instrument to reach the nose we play with harms free and relaxed without profit on the Apes the instrumental technique precision we reach it with the SSI memorizing the movement performance by our arms without constraints and impediments face it with initial difficulties it may help to make some objective consideration and adopt an in always positive attitude it can console us to know that the posture with other instrument can be very complex and before is showing a minimally satisfying sound can spend an important time for example the violin where the posture is a real forcing of the body and its anatomy at least harmonica it is not so unnatural and with a bit of constancy and effort we will be able to acquire our approach and prepare the body correctly let us feel free to a certain extent to experiment with the solutions always trying to incorporate the principle that I have expanded and those that I will point out from time to time tackling each topic striving only they apply criteria that we understood clearly not rules in a short time probably you will find yourself adopting in most cases the solutions indicated here otherwise it will add not value to indicate a technical solution if they can't be shared by most people nevertheless there will be individual characteristic that may require a small adaptation of some of the rules listed here concerning the setting such singularities can be considerate and the report here only a good teacher cannot fulfill this task we are not in a hurry in this first phase the body and the mind need to memorize in the required time during the study we stop frequently to avoid the stiffening the muscle and the creating tension that would reflect on the body and in particularly negative way on the mouth amateur help my suggestions have conferred to solve your doubts we try to be constant in our study better a little but every day finally and it is the most important thing we never forget to a fun and to feel harmonica like a friend and rejoicing studying and making music always for the moment that's all with this tutorial have a good music with your Monica


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