In English, the name of a harmonica can sound like harmonica, or harp. The latter option also gave rise to the nickname of the musician playing this instrument - harper.
Where did it come from, who invented it? To answer these questions, you will have to delve a little into history.
Where did it come from...
The harmonica became famous not so long ago. Its history, of course, cannot be compared with the stories of a more ancient flute or the same guitar. Nevertheless, the harmonica has something in common with the flute: they both belong to the same family of wind reed instruments.
Unlike most musical instruments, the harmonica has an almost exact date of creation. It was patented in 1821 by 16-year-old German H.F.L. Bushman, "watchmaker." Of course, then it had a look that was clearly different from the modern appearance of this instrument: a metal plate with fifteen holes covered with steel reeds. The sound was produced only on exhalation, and, as in our times, its volume and purity depended solely on the skill of the master.
This is what the first accordion looked like
The design of the first accordion was not ideal. Many understood this and tried to make changes. The furthest went again to a German, a certain Richter from Bohemia. Already in 1826, he offered musicians his own version of the instrument. There were already 10 holes, and 20 reeds, that is, two for each: one of the reeds was responsible for producing sound when inhaling, the other - when exhaling. The scheme proposed by Richter with a diatonic scale turned out to be so good and convenient that it still exists to this day.
Already in mid-19th century, mass production of harmonicas began, and the first among its manufacturers was M. Honer. The company he founded in 1857, named after its creator, quickly conquered the market. Including due to the fact that Honer relied not only on Europe. In the early 60s of the same century, he brought his harmonicas to America, and this was the right step. Since then, the German company Hohner has been a world leader in the production of these particular musical instruments. However, their range does not end there; it includes accordions, recorders, and guitars. But it all started with an ordinary harmonica!
Now you can even find something like this: an accordion and a flash drive - two in one
Harmonica device
Inside the instrument there are two plates with reeds, one of which works on inhalation, and the other on exhalation. That is, the sound actually occurs when the tongue, located opposite the hole into which you inhale (or, conversely, from which you “take” air), breaks the air stream.
Since the harmonica is a very small instrument in itself, no acoustic resonator, such as, for example, in a guitar, simply would not fit there. Therefore, the strength of sound depends primarily (and only) on the musician himself, on the position of his hands, the development of his lungs and the degree of skill.
Accordions are made from wood, plastic or metal. A tree, as it should be, requires more careful care, is more sensitive to the weather and is more capricious about other everyday troubles.
Harmonicas, among other things, also differ in tonality. The most common type of instrument is in the key of C major. Among the "Chinese" there are a majority of such accordions. Companies from Japan and Germany introduce more variety: harps in G major are often found, and also, less frequently, in other keys.
Varieties
What types of harmonics are there? Quite simply, without rare professional instruments, they are divided into diatonic and chromatic.
Diatonic (bottom) and chromatic harmonicas
Diatonic ones allow the musician to “by default” extract only the basic notes from the instrument - C, D, E, etc. Chromatic ones make it possible to play the entire chromatic scale, using halftones (C-sharp, D-sharp, etc.). If we draw an analogy with the piano, then diatonic means playing only with white keys, and chromatic means playing with black keys too.
Of course, when you properly master playing the diatonic harmonica, all the special techniques - bend, overblow, overdro and others, it will not be difficult for you to extract the sounds of the “black keys” from the instrument. But all this takes time.
You can distinguish accordions by sight. The main difference is that chromatics have a slider on the side, a special button that allows you to raise the note by a semitone.
True, there are exceptions here too! For example, Tombo Chromatic Single S50. No slider, but chromatic. Halftones are extracted from the second row of holes.
As for the holes, the number of holes for a diatonic harmonica remains constant - 10. But for a chromatic instrument, this position can change. Of course, basically there are from 12 to 16 holes, but there can be more and less - 8, and 22. And even 10, as on a diatonic. The more there are, the wider the range of notes that you can use when playing.
And, of course, a chromatic harmonica will be larger in size than a diatonic one. The number of holes does the trick.
I’ll warn you right away: learning to play chromatically is more difficult. Maybe that's why it's less common. On store shelves there is often a decent selection of diatonic instruments and a much smaller selection of chromatic instruments. And by the way, the price also varies quite a bit, but more on that below.
In addition to the main division, there is also a smaller division into subspecies.
Thus, a diatonic harmonica can be blues, octave and tremolo.
Blues is the most famous. 10 holes, sound produced by inhalation and exhalation. It can also become chromatic for you if, as mentioned above, you master all the techniques of playing it perfectly.
Hohner Blues Harp, blues (price approximately 1000 rubles)
Tremolo is great for playing folk songs. If you look inside such an accordion, you can find two sound plates at once. They are a little upset towards each other, but they sound at the same time. This combination produces the tremolo effect, which in fact gives the instrument its name.
Hohner Tremolo Soloist CG (price about 2300 rub.)
An octave harmonica differs from a tremolo only in that its two sound plates are not out of tune with each other, but, on the contrary, are tuned “to the octave”. They also produce sound together, and because of these structural features, the music is louder and somewhat more specific compared to others.
There are also, of course, orchestral harmonicas (bass, chord), but they are so rare and highly specialized that they are purchased only for playing in ensembles, when this is the main job. I think that in this case the person himself, without this article, knows what he needs.
What are you going to play
The choice of harmonica largely depends on what kind of music you are going to primarily perform on it. For different works you need a certain arrangement of notes that is most convenient for your chosen style.
For example, if you want to play jazz works or even classics - choose chromatic harmonica. Blues is already a diatonic, and, accordingly, blues. For simpler melodies, with a unique sound in the style of Russian folk and dance-round dances, a tremolo is suitable. The octave and other orchestral ones are very much for an amateur or for an actively performing professional.
What should you buy?
The first question for a beginner who is about to take up playing the harmonica seriously is: “Which instrument should I buy?”
If you are going to study with a teacher, then it all depends on the preferences of the teacher.
By the way, for a professional the question is “what should I take - chromatic or diatonic?” sounds the same as for any other musician - someone's problem of choosing between a guitar and a saxophone. It’s just that both chromatic and diatonic harmonicas, despite all the external similarities, are still different instruments in terms of difficulty of mastering, sound production techniques, etc.
But let's return to specific models. If you look towards diatonics, the most popular choice is Hohner Blues Harp (cost about 1000 rubles), Hohner Special 20 (about 930 rubles), Suzuki ProMaster (price around 2000 rubles), Lee Oscar Major Diatonic (you can find for 1200 rubles), Seydel 1847 (already somewhere around 3000 rubles).
Suzuki ProMaster
With chromaticity it's not so simple. Firstly, you should immediately decide which tool with how many holes you need. As mentioned above, the more there are, the richer the scale (that is, more notes can be extracted from the instrument).
Nevertheless, among them you can find the most popular models among beginners. Perhaps, first of all, these are Hohner Chromonika 40 (about 3,700 rubles), Tombo Uni Chromatic (cost about 3,800 rubles), Hohner Super 64 X (already about 10,000 rubles).
Buying tips
A quite decent instrument (from the diatonic range) can be purchased for around $20. In stores, of course, they offer harmonicas starting from 300 rubles, but it’s still better to focus on the average price threshold.
However, keep in mind that a chromatic harmonica will cost several times more. Just a good tool starts from 3-4 thousand rubles, a very good one can cost about 35,000 rubles.
Hohner Amadeus Chromatik Harmonika (cost about $1500)
It is better to buy in the company of a person who understands harmonics. And if you still come to the store alone, don’t be shy from the salespeople - try for yourself how the model you like sounds like.
In most Russian cities you can hardly get anything other than Hohner. If your soul has been yearning for something else, then welcome to the world of the Internet. Still, it will most likely be cheaper than going to another city yourself.
In the end, no one is stopping you from later buying a couple more representatives of your favorite instrument and then playing the harmonica whose sound you like best. Most models are not prohibitively expensive; this instrument is still easier to manufacture than, for example, a synthesizer.
In general, it all depends on skill. A beginner on an expensive harmonica is unlikely to be able to beat a pro on a cheap harmonica, right? Another thing is that in in capable hands a good tool can do wonders.
By the way, a harmonica is great gift to kid. Nowadays they produce a great variety of children's ones - colored, with some drawings, popular cartoon characters.
This is an interesting, exciting, and at the same time educational activity. Maybe in this way your son or daughter will become familiar with music, maybe later it will become their profession. Moreover, it is not at all necessary that the further choice will fall on the accordion.
But who knows - what if a new Stevie Wonder is growing up next to you?
You can use an inexpensive, simple instrument, and then buy a high-quality harmonica later. With this approach, the matter most often does not come to the point of buying an harmonica, because the performer is completely disappointed in the harmonica after playing a low-quality instrument.
There are several types of harmonicas:
- Diatonic (10 hole);
- Chromatic;
- Tremolo;
- Octaves;
- Bass;
- Chords;
- Various hybrids of these harmonics.
Most often, chord, bass and octave harmonicas are used in harmonica orchestras; they are very difficult to find on sale, so we will not focus on them. Let's instead discuss diatonic, chromatic and tremolo harmonicas.
Harmonica tremolo
They tend to have the two sound reeds slightly out of tune relative to each other on each note. This is what creates the tremolo effect. These harmonicas have only the sounds of the “white piano keys” and do not have any “black keys”. The tremolo can be considered a primitive harmonica; anyone with the slightest ear for music can learn to play it quickly and easily. However, due to the large shortage of missing notes, it is very limited in its capabilities. If you choose a tremolo harmonica, you will only be able to perform simple children's melodies, Russian and Ukrainian native songs and, probably, the anthems of some countries.
Chromatic harmonica
It has all the sounds of the chromatic scale, i.e. with all the “white and black piano keys.” Chromatic harmonics are capable of reproducing complex classical works and even jazz music. But at the same time it’s nice to have good musical education, sight read music and play the diatonic harmonica perfectly. Everyone who plays a chromatic harmonica started out on a diatonic harmonica, because you can learn some great techniques (like bends or beautiful vibrato) on a diatonic harmonica without damaging the reeds of the instrument.
It is the most popular harmonica in the world and can play any music in any style. It has a rich and thick sound relative to the harmonics described above. It has all the notes, but, nevertheless, you should master sufficient skills to play this instrument. This harmonica is sometimes called a blues harmonica, but this does not mean that it is intended only for blues compositions. The name is explained by the fact that the diatonic harmonica gained enormous popularity precisely in the era of the formation of blues music, into which, by the way, it fits perfectly.
Harmonica reeds
The material from which the harmonica reeds are made directly affects the durability of the instrument. Hohner and Suzuki traditionally use copper reeds for their harmonicas. Seydel made an innovative breakthrough in this area; it became the first company to make steel reeds for its harmonicas. They are difficult to break and last longer.
Harmonicas have different tones. If you consider yourself to be a beginner harmonica player, then opt for a harmonica in the key of C major. It will be easier and easier for you to master the main techniques and skills. In addition, most of the existing tutorials are written for the harmonica in C major. Once you start learning the harmonica of this key, you will then easily play all the others, higher and lower. keys.
Checking the tool before purchasing
If you purchase a harmonica in a special musical instrument store, be sure to ask for special bellows for harmonicas. With their help, they “blow through” each hole as you inhale and exhale to make sure that all notes are sounded. It is very important to “breathe” each hole separately. This can be quite challenging if you have never played the harmonica before. When checking each hole for inhalation and exhalation, pay special attention to additional sounds in the form of “ringing” that can be found on harmonicas. This means that the reed clings to the harmonica board. In this case, ask for another harmonica. In addition, in low keys (A, G and lower), the reeds may hit the harmonica cover; in principle, this is normal, there is nothing wrong with that. But after going through several harmonics, you will find one that does not ring. On harmonicas in the key of C major there should be no ringing at all, so the best criterion for buying a harmonica in C major is a clear sound on each hole.
Harmonica does not tolerate sudden fluctuations in temperature and dampness. Before playing, it is recommended to heat the harmonica in your palms to human body temperature. For a long life, the harmonica should be carried in a case, played softly and try not to drop it. Periodically, it must be shaken out, removing particles of dirt and accumulated saliva. And then the harmonica will delight you with its sound for a long time.
Develop a sense of rhythm
If you have a natural sense of rhythm, that’s good, but this does not free you from working on the rhythmic pattern of the work. This is where a regular metronome will come to your aid. By the way, metronome analogues can be easily found on the Internet. Having achieved some success, do not stop and continue to master complex species rhythm, learn to determine the size of a musical composition by ear.
The harmonica is very compact and convenient to carry with you all the time. You can train in any free minute, you will feel significant progress and in a few months you will not recognize yourself.
Develop musical memory
Once you start learning a melody from notes or tabs, try to break away from them at some point and pay attention to the intonation. Play from memory, putting your soul into this piece. At the same time, you will develop your ear for music, and memorization will become easier each time.
Accurate sound and original playing style
High-quality sound and a good sense of rhythm are the main thing for a master! Show your individuality in variations on the theme of the melody, but the sound must be impeccable!
The game of virtuosos is the best textbook for beginning performers. You should always have with you not only a harmonica, but also audio recordings of your favorite melodies and musicians. Listen to them whenever possible.
Play in a group
So, you are already quite good at playing and improvising, and now you are invited to Music band. Playing in a team requires compliance special rules: It is necessary to wait for the moment when you can solo without interrupting other performers. A sign of the skill of a harmonica player who performs in an ensemble lies precisely in the ability to collaborate. If you give others the right to speak, you won't be left behind either.
Diatonic and chromatic harmonicas are fundamentally different from each other. Diatonic ones have a diatonic scale (for example: C D E F and so on) without halftone intervals between notes (C# D# and so on). Playing a diatonic harmonica is similar to playing the white keys of a piano. There are no halftones (black keys) in its tuning.
Diatonic harmonicas use three reed tuning methods: single, tremolo, and octave. In the first case, there is one tongue in each hole, which works on inhalation or exhalation. Each reed can be adjusted to its own pitch. There are a large number of models of similar design in the Hohner catalog. It happens that the model is presented only in the keys C and G. In this design, four holes cover a range of one octave. Other models may be available in the major keys A, B, Bb C, Db, E, Eb, F, F#, G and Ab. Such an instrument with ten holes can be played in 3 octaves.
There are harmonicas with minor tunings of C or G. They also have ten holes and cover 3 octaves.
There is also a model for blues musicians, which is available in various keys and operates in 3 octaves.
Holes 1-3 and 8-10 are used for playing chords. And through holes 4-7 you can play the full diatonic scale. The notes of the scale are played as a sequence of exhalations and inhalations. Natural C major includes the following notes: C (do) D (pe) E (mi) F (fa) G (sol) A (la) B (si) C (do). To perform this upward ascending scale, you need to do the following sequence of actions: exhale (C), inhale (D), exhale (E), inhale (F), exhale (G), inhale (A), inhale (B) and exhale ( C). For a downward movement, perform the same steps, but in reverse order.
The second setting method is tremolo. Such accordions have a number of double holes. Each hole is equipped with two reeds tuned to the same note. However, in this case one of the reeds is adjusted a little higher. When playing, this subtle difference in tuning creates a vibration reminiscent of a tremolo effect. There are single, double-sided, quartet and sextet models of these harmonicas, with a range of two to four octaves. Each model is available in several tones. The single model is an accordion with one row of double holes. Double-sided has two rows of holes with different patterns, located on opposite sides of the body. Other models are from 4 to 6 accordions in different keys, mounted on a single holder.
The third type of harmonica tuning is octave. Structurally, it is no different from the previous one. The only difference is that the reeds located in the double holes are adjusted to the octave interval. Such models have powerful sound without any vibration. Harmonicas with this type of tuning exist only in single or double-sided versions.
Chromatic harmonicas
The type of harmonica that allows the performer to produce semitones is called a chromatic harmonica. A similar instrument was proposed by Hohner in 1920. There are two types of chromatic harmonicas: for solo playing and for accompaniment. The first variety, as the name suggests, is intended for playing solo or in an ensemble. On such an instrument, halftones are extracted using a slider, that is, a button located on one of the sides of the instrument body.
The range of chromatic harmonicas can be from 2 to 4 octaves. There are models for beginners and for professionals. 2-octave chromaticity has a range from C 1st octave to C# 3rd octave. On the professional 2 1/2 octave model you can play from C 1st octave to F# 3rd octave. 3-octave models are also available for both beginners and professionals. Their range also starts from the 1st octave. 4 octave, professional models have a range from C small octave to D 4th octave. When the slider on a chromatic harmonica is depressed, the performer has access to diatonic notes (white piano keys), and when the slider is pressed, to semitones (black keys).
Another type of chromatic is the bass harmonica, which is used in orchestral accompaniment. These instruments operate in the bass register, starting from the note E, located in the counter octave. Another accompanying instrument is the 48-chord harmonica. This instrument is used in ensemble accompaniment. The “Hohner The 48 Chord” model consists of two harmonicas connected to each other with 12 inhaled or exhaled chords each, giving a total of 48 chords. Moreover, these can be major, minor, dominant, diminished and augmented chords. This tool has 96 double holes and 384 reeds. With a length of 58.4 cm, it is the longest harmonica in the world.
Which oscillate in the air stream created by the musician. Unlike other reed musical instruments, the harmonica does not have a keyboard. Instead of a keyboard, the tongue and lips are used to select the hole (usually arranged linearly) that corresponds to the desired note.
The harmonica is most often used in such musical directions like blues, folk, bluegrass, blues rock, country, jazz, pop, various genres folk music.
A musician who plays the harmonica is called a harper. harper).
Story
Types of harmonicas
Harmonicas are divided into:
- Diatonic harmonicas
- Orchestral harmonicas
Chromatic harmonic
Blues harmonica
The blues harmonica is the most popular today. Usually it has 10 holes, each of which can be played by inhaling. draw), and exhale (eng. blow). With certain playing skills, you can play chromatically using special techniques - bends and over-blows. Sold in different keys and tunings, but the most common is C major.
Tremolo harmonica
Class structure
Regularity is important. Make yourself a schedule. Don't deviate from it. It is recommended to start your lessons by playing chords slowly. It is important to adhere to “diaphragmatic breathing”. Then gradually move on to playing riffs and melodies. It is best to take sounds and melodies by ear from professional recordings. But still, first, it is recommended to learn at least 10 riffs/melodies by notes; This will give you confidence in the game and allow you to quickly select by ear. In addition, it is useful to play with the so-called minuses, and record your own game in the form of sound files. This will help you get a feel for how the audience will hear you (a harmonica player perceives the sound produced by his instrument differently, since the vibrations are transmitted through the hands and muscles of the mouth), and will also allow you to be more critical of your playing.
Performers in Russia
see also
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Excerpt characterizing Harmonica
Having received this report, the sovereign sent the following rescript to Kutuzov with Prince Volkonsky:“Prince Mikhail Ilarionovich! Since August 29 I have not had any reports from you. Meanwhile, on September 1st, through Yaroslavl, from the Moscow commander-in-chief, I received the sad news that you had decided to leave Moscow with the army. You yourself can imagine the effect this news had on me, and your silence aggravates my surprise. I am sending with this general the adjutant Prince Volkonsky in order to find out from you about the position of the army and the reasons that prompted you to such sad determination.”
Nine days after leaving Moscow, a messenger from Kutuzov arrived in St. Petersburg with official news of the abandonment of Moscow. This sent was the Frenchman Michaud, who did not know Russian, but quoique etranger, Busse de c?ur et d'ame, [however, although a foreigner, but Russian at heart,] as he himself said to himself.
The Emperor immediately received the messenger in his office, in the palace of Kamenny Island. Michaud, who had never seen Moscow before the campaign and who did not speak Russian, still felt moved when he appeared before notre tres gracieux souverain [our most gracious sovereign] (as he wrote) with the news of the fire of Moscow, dont les flammes eclairaient sa route [whose flame illuminated his path].
Although the source of Mr. Michaud's chagrin [grief] should have been different from that from which the grief of the Russian people flowed, Michaud had such a sad face when he was brought into the Tsar's office that the Tsar immediately asked him:
- M"apportez vous de tristes nouvelles, colonel? [What news did you bring me? Bad, Colonel?]
“Bien tristes, sire,” answered Michaud, lowering his eyes with a sigh, “l"abandon de Moscou. [Very bad, Your Majesty, abandonment of Moscow.]
– Aurait on livre mon ancienne capitale sans se battre? [Have they really betrayed my ancient capital without a battle?] – suddenly flushing, the sovereign said quickly.
Michaud respectfully conveyed what he was ordered to convey from Kutuzov - namely, that it was not possible to fight near Moscow and that, since there was only one choice left - to lose the army and Moscow or Moscow alone, the field marshal had to choose the latter.
The Emperor listened in silence, without looking at Michaud.
“L"ennemi est il en ville? [Has the enemy entered the city?],” he asked.
– Oui, sire, et elle est en cendres a l"heure qu"il est. Je l "ai laissee toute en flammes, [Yes, Your Majesty, and he is turned into a conflagration at the present time. I left him in the flames.] - Michaud said decisively; but, looking at the sovereign, Michaud was horrified by what he had done. The Emperor began to breathe heavily and frequently, his lower lip trembled, and his beautiful Blue eyes instantly wetted with tears.
But this lasted only one minute. The Emperor suddenly frowned, as if condemning himself for his weakness. And, raising his head, he addressed Michaud in a firm voice.
“Je vois, colonel, par tout ce qui nous arrive,” he said, “que la providence exige de grands sacrifices de nous... Je suis pret a me soumettre a toutes ses volontes; mais dites moi, Michaud, comment avez vous laisse l"armee, en voyant ainsi, sans coup ferir abandonner mon ancienne capitale? N"avez vous pas apercu du decouragement?.. [I see, Colonel, in everything that is happening, that Providence requires great sacrifices from us... I am ready to submit to his will; but tell me, Michaud, how did you abandon the army that was leaving my ancient capital without a battle? Have you noticed any loss of spirit in her?]
Seeing the calmness of his tres gracieux souverain, Michaud also calmed down, but to the sovereign’s direct, essential question, which also required a direct answer, he had not yet had time to prepare an answer.
– Sire, me permettrez vous de vous parler franchement en loyal militaire? [Sir, will you allow me to speak frankly, as befits a real warrior?] - he said to gain time.
“Colonel, je l"exige toujours,” said the sovereign. “Ne me cachez rien, je veux savoir absolument ce qu”il en est.” [Colonel, I always demand this... Don’t hide anything, I definitely want to know the whole truth.]
- Sire! - said Michaud with a thin, barely noticeable smile on his lips, having managed to prepare his answer in the form of a light and respectful jeu de mots [play on words]. - Sire! j"ai laisse toute l"armee depuis les chefs jusqu"au dernier soldat, sans exception, dans une crinte epouvantable, effrayante... [Sire! I left the entire army, from the commanders to the last soldier, without exception, in great, desperate fear...]
– Comment ca? – the sovereign interrupted, frowning sternly. – Mes Russes se laisseront ils abattre par le malheur... Jamais!.. [How so? Can my Russians lose heart before failure... Never!..]
This was just what Michaud was waiting for to insert his play on words.
“Sire,” he said with a respectful playfulness of expression, “ils craignent seulement que Votre Majeste par bonte de céur ne se laisse persuader de faire la paix.” “Ils brulent de combattre,” said the representative of the Russian people, “et de prouver a Votre Majeste par le sacrifice de leur vie, combien ils lui sont devoues... [Sir, they are afraid only that your Majesty, out of the kindness of his soul, will not decide to make peace . They are eager to fight again and prove to Your Majesty by the sacrifice of their lives how devoted they are to you...]
- Ah! - the sovereign said calmly and with a gentle sparkle in his eyes, hitting Michaud on the shoulder. - Vous me tranquillisez, colonel. [A! You reassure me, Colonel.]
The Emperor, with his head down, was silent for some time.
“Eh bien, retournez a l"armee, [Well, then return to the army.],” he said, straightening up to his full height and turning to Michaud with a gentle and majestic gesture, “et dites a nos braves, dites a tous mes bons sujets partout ou vous passerez, que quand je n"aurais plus aucun soldat, je me mettrai moi meme, a la tete de ma chere noblesse, de mes bons paysans et j"userai ainsi jusqu"a la derniere ressource de mon empire. “Il m"en offre encore plus que mes ennemis ne pensent,” said the sovereign, becoming more and more inspired. “Mais si jamais il fut ecrit dans les decrets de la divine providence,” he said, raising his beautiful, gentle and brilliant feelings eyes to the sky, - que ma dinastie dut cesser de rogner sur le trone de mes ancetres, alors, apres avoir epuise tous les moyens qui sont en mon pouvoir, je me laisserai croitre la barbe jusqu"ici (the sovereign pointed his hand to half his chest) , et j"irai manger des pommes de terre avec le dernier de mes paysans plutot, que de signer la honte de ma patrie et de ma chere nation, dont je sais apprecier les sacrifices!.. [Tell our brave men, tell all my subjects , wherever you go, that when I no longer have a single soldier, I myself will become the head of my kind nobles and good men and thus exhaust the last funds of my state. They are more than my enemies think... But if only. It was destined by divine providence that our dynasty should cease to reign on the throne of my ancestors, then, having exhausted all the means in my hands, I will grow a beard until now and would rather go eat one potato with the last of my peasants than dare to sign the shame of my homeland and my dear people, whose sacrifices I know how to appreciate!..] Having said these words in an excited voice, the sovereign suddenly turned around, as if wanting to hide from Michaud the tears that had come to his eyes, and walked into the depths of his office. After standing there for a few moments, he big steps returned to Michaud and with a strong gesture squeezed his hand below the elbow. The sovereign’s beautiful, meek face became flushed, and his eyes burned with a gleam of determination and anger.
“Colonel Michaud, n"oubliez pas ce que je vous dis ici; peut etre qu"un jour nous nous le rappellerons avec plaisir... Napoleon ou moi,” said the sovereign, touching his chest. – Nous ne pouvons plus regner ensemble. J "ai appris a le connaitre, il ne me trompera plus... [Colonel Michaud, don’t forget what I told you here; maybe someday we will remember this with pleasure... Napoleon or I... We can no longer reign together. I recognize him now, and he will not deceive me anymore...] - And the sovereign, frowning, fell silent. Hearing these words, seeing the expression of firm determination in the eyes of the sovereign, Michaud - quoique etranger, mais Russe de c?ur et d"ame - felt. himself at this solemn moment - entousiasme par tout ce qu"il venait d"entendre [although a foreigner, but Russian at heart... admiring everything he heard] (as he said later), and in the following expressions he portrayed himself as his feelings, as well as the feelings of the Russian people, whom he considered himself authorized.
- Sire! - he said. - Votre Majeste signe dans ce moment la gloire de la nation et le salut de l "Europe! [Sovereign! Your Majesty signs at this moment the glory of the people and the salvation of Europe!]
The Emperor bowed his head and released Michaud.
While Russia was half conquered, and the inhabitants of Moscow fled to distant provinces, and militia after militia rose to defend the fatherland, it involuntarily seems to us, who did not live at that time, that all Russian people, young and old, were busy only with to sacrifice oneself, save the fatherland or cry over its destruction. Stories and descriptions of that time, without exception, speak only of self-sacrifice, love of the fatherland, despair, grief and heroism of the Russians. In reality this was not the case. It seems to us that this is so only because we see from the past one common historical interest of that time and do not see all those personal, human interests that the people of that time had. Meanwhile, in reality, those personal interests of the present are so much more significant common interests that because of them one never feels (or even notices) a common interest. Most of The people of that time did not pay any attention to the general course of affairs, but were guided only by the personal interests of the present. And these people were the most useful figures of that time.
Those who tried to understand the general course of affairs and wanted to participate in it with self-sacrifice and heroism were the most useless members of society; they saw everything inside out, and everything they did for the benefit turned out to be useless nonsense, like the regiments of Pierre, Mamonov, plundering Russian villages, like lint plucked by the ladies and never reaching the wounded, etc. Even those who, loving to be clever and express their feelings, they talked about the present situation in Russia, involuntarily bearing in their speeches the imprint of either pretense and lies, or useless condemnation and anger at people accused of something for which no one could be guilty. In historical events, the most obvious is the prohibition of eating the fruit of the tree of knowledge. Only one unconscious activity bears fruit, and the person who plays a role in historical event, never understands its meaning. If he tries to understand it, he is struck by its futility.
The significance of the event that was taking place in Russia at that time was all the more unnoticeable, the closer human participation was in it. In St. Petersburg and provincial cities distant from Moscow, ladies and men in militia uniforms mourned Russia and the capital and talked about self-sacrifice, etc.; but in the army that was retreating beyond Moscow, they hardly spoke or thought about Moscow, and, looking at its conflagration, no one swore revenge on the French, but thought about the next third of their salary, about the next stop, about Matryoshka the sutler and the like...
Nikolai Rostov, without any goal of self-sacrifice, but by chance, since the war found him in the service, took a close and long-term part in the defense of the fatherland and therefore, without despair and gloomy conclusions, looked at what was happening in Russia at that time. If they had asked him what he thought about the current situation in Russia, he would have said that he had nothing to think about, that Kutuzov and others were there for that, and that he had heard that the regiments were being recruited, and that they would probably fight for a long time , and that under the current circumstances it would not be surprising for him to receive a regiment in two years.
Because he looked at the matter this way, he not only accepted the news of his appointment on a business trip for repairs for the division in Voronezh without regret that he was deprived of participation in the last struggle, but also with the greatest pleasure, which he did not hide and which his comrades understood very well.
A few days before the Battle of Borodino, Nikolai received money and papers and, sending the hussars ahead, went to Voronezh by mail.
Only those who have experienced this, that is, have spent several months without ceasing in the atmosphere of military, combat life, can understand the pleasure that Nicholas experienced when he got out of the area that the troops reached with their forages, supplies, and hospitals; when he, without soldiers, wagons, dirty traces of the presence of the camp, saw villages with men and women, landowners' houses, fields with grazing cattle, station houses with fallen asleep caretakers. He felt such joy as if he had seen it all for the first time. In particular, what surprised and pleased him for a long time were women, young, healthy, each of whom had less than a dozen officers looking after her, and women who were glad and flattered that a passing officer was joking with them.
In the most cheerful mood, Nikolai arrived at the hotel in Voronezh at night, ordered himself everything that he had been deprived of for a long time in the army, and the next day, having shaved clean and putting on a dress uniform that had not been worn for a long time, he went to report to his superiors.
The head of the militia was a civil general, an old man who, apparently, was amused by his military rank and rank. He angrily (thinking that this was a military quality) received Nicholas and significantly, as if having the right to do so and as if discussing the general course of the matter, approving and disapproving, questioned him. Nikolai was so cheerful that it was just funny to him.
From the chief of the militia he went to the governor. The governor was a small, lively man, very affectionate and simple. He pointed out to Nikolai those factories where he could get horses, recommended to him a horse dealer in the city and a landowner twenty miles from the city who had the best horses, and promised all assistance.
– Are you Count Ilya Andreevich’s son? My wife was very friendly with your mother. On Thursdays they gather at my place; “Today is Thursday, you are welcome to come to me easily,” said the governor, releasing him.
Directly from the governor, Nikolai took the saddlebag and, taking the sergeant with him, rode twenty miles to the landowner’s factory. Everything during this first time of his stay in Voronezh was fun and easy for Nikolai, and everything, as happens when a person is well disposed, everything went well and went smoothly.
The landowner to whom Nikolai came was an old bachelor cavalryman, a horse expert, a hunter, the owner of a carpet, a hundred-year-old casserole, an old Hungarian and wonderful horses.
Nikolai, in two words, bought for six thousand and seventeen stallions to select (as he said) for the horse-drawn end of his renovation. Having had lunch and drunk a little extra Hungarian, Rostov, having kissed the landowner, with whom he had already gotten on first name terms, along the disgusting road, in the most cheerful mood, galloped back, constantly chasing the coachman, in order to be in time for the evening with the governor.
Having changed clothes, perfumed himself and doused his head with cold milk, Nikolai, although somewhat late, but with a ready-made phrase: vaut mieux tard que jamais, [better late than never] came to the governor.
It was not a ball, and it was not said that there would be dancing; but everyone knew that Katerina Petrovna would play waltzes and ecosaises on the clavichord and that they would dance, and everyone, counting on this, gathered at the ballroom.
Provincial life in 1812 was exactly the same as always, with the only difference that the city was livelier on the occasion of the arrival of many wealthy families from Moscow and that, as in everything that happened at that time in Russia, it was noticeable some kind of special sweepingness - the sea is knee-deep, the grass is dry in life, and even in the fact that that vulgar conversation that is necessary between people and which was previously conducted about the weather and about mutual acquaintances, was now conducted about Moscow, about the army and Napoleon.
Before purchasing your first harmonica, you will need to decide what type of harmonica you are going to learn to play.
There are different types of harmonicas. This is mainly due to the fact that to perform various pieces, a certain harmonica system (arrangement of notes) is required in which it is convenient to play this piece. For example, if you are going to play blues or country, a blues diatonic will suit you. If it's jazz or classical, you need chromatics. The tremolo harmonica is friends with the Russian folk. If you are going to accompany a group, then perhaps a chord or bass harmonica is suitable for you.
The result is something like this:
Blues harmonica
The blues harmonica is the most popular today. Usually it has 10 holes, each of which can be played by inhaling. draw) and exhale (eng. blow). With certain playing skills, you can play chromatically using special techniques - bends and blows. Sold in different keys and tunings, but the most common is C major.
Chromatic harmonica
The chromatic harmonica (“chrome”, “chromatic”) makes it possible to play chromatically (i.e. use all notes) without using special techniques. As a rule, a button (“slider”, “valve”) is used for this, when pressed, the notes shift by a semitone in one direction or another, but there are also chromatic harmonics without a slider, for example, bass harmonics, or chords. The number of holes is usually 12-16. Big size and the presence of a button allows most instruments to be visually distinguished from other types of harmonics. Most often used in musical styles such as blues, jazz, pop and classical.
The button chromatic was invented by the German company Hohner, apparently based on the diatonic blues harmonica in the early 20th century, with the first models appearing around 1910.
Tremolo harmonica
In a tremolo harmonica, two sound plates sounding simultaneously are slightly out of tune with each other, creating a tremolo effect. Thus, there are 2 reeds for each note, and the sound is more saturated. The presence of the A note in the lower octave allows you to fully play Russian melodies.
Octave harmonic
Octave harmonic is another type of diatonic. In it, two sound plates sounding simultaneously are tuned exactly an octave relative to each other. This gives greater volume and a different timbre to the sound.
Bass harmonica
The bass harmonica is actually two separate instruments, one on top of the other, connected by hinges on both sides. Each hole plays only on exhalation, and for each note there are two sound plates tuned to an octave.
Chord harmonica
The chord harmonica, like the bass harmonica, also consists of two movably fixed plates, the double reeds of which are tuned to the octave. But unlike bass harmonicas, it has both exhale and inhale notes, allowing you to use different chords.
