六、
HOW TO HOLD THE HARMONICA 怎样持口琴
1. Hold in left hand between thumb and fingers. Low notes(holes 123 etc)on left.
用左手在拇指与其他手指之间擎住，在低音符（123。。。孔）在左面。
2. Cup right hand over, forming a tight cup.This enables you to produce bluesy, vibrato effects.
右手在上面成杯状，形成密封的杯状（包住）。这种方法使你能够产生蓝调式振音效果（像哇哇声。），
3. Chromatic people:hold like above , only use your right thumb it press in the key.
半音口琴的朋友：保持像上面所讲的，只用你的右手（食）指按钥匙（推杆）。
(When not playing vibrato, use the palm of your right hand to work the key.)
（当不演奏（手）振音时，用你的右手手掌操作钥匙（推杆）。）

VIBRATO 振音
1. blow into the two or three lowest notes and quickly open and close the cup, pivoting at the bottom of your palms.
吸入二或三个最低的音符并且快速打开关上（像杯子一样弯曲的右手），以你的手掌根部为轴（扇动）。
2. Try moving your whole hand , opening and closing the cup, You should get a diffetent sound.
尝试移动你的整个（右）手，打开闭合（右手），你将得到一种不同的声音。
3. Experiment with vibrato and the sounds you get blowing and drawing.
带着振音和你吹气、吸气音进行（比较）。

七、 BLOWING　AND DRAWING EXERCISES 吹气和吸气（音）练习
Exercise1:Blow and draw into the first three holes (or around there ) and go up one hole at a time to the highest three notes . It doesn’t have to be petfect just close.
练习一：吹、吸前三个孔（123孔）（或其他）并且每次向上移动一个孔（演奏）更高的三个音符。也没有必要吹得尽善尽美，（接近就可以）。

HARP CODE 竖琴（口琴）编码（口琴谱标记）
4 =Blow into hole 4 吹第4孔
④ = Draw from hole 4 吸第4孔
123 = Blow int hole1 ,2 and 3 同时吹123孔
123 = Draw from hole 1 2 and 3 同时吸123孔
Exercise 2:Try this exercise keeping an even beat. Tap with your foot or count in your head.
练习二：尝试这个练习保存一段平稳的节拍，用你的脚打拍子或在心里数。

Exercise 3:练习三：

八、 PLAYING SINGLE BLOW NOTES 吹奏单音孔
In order to play melodies ,or Blues an Rock lead and accompaniment , you’ve got to play single notes.It’s probably the hardest and most important step in mastering the harp.
为了演奏乐曲旋律，或布鲁斯、摇滚，你必须演奏单音节。对要精通口琴也许是最坚难的、最重要的一步。
There are two ways to do it ---Tonguing and Puckering. Pick one that’s best for you.
有两种方法：一是用舌（堵）法，二是噘嘴法，挑选最适合你的一种
TONGUING 舌（堵）法
This is the best way to play if you’ll be playing a chromatic harp.
如果你会玩一个半音的口琴，这是最好的玩法。
1. Blow into holes 4,5 and 6, making a chord. 吹4 、5和6孔，成为一个合弦（和音）。
2. Push your tongue forward against the holes so that only one hole is uncovered and sounds,This can be either to the left or right of your tongue (hole4 or6),but pick a side and stick to it .
朝一个的方向伸出你的舌头，于是这样只有一个孔没有被盖住并且可以发出声音，这样才能对左边或你的舌 (4孔或6孔) 的右边, 但是你挑选出一面并演奏一个音。

3．Try to get a single,clear tone. 尝试得到一个单孔、清晰的音来。
PROBLEMS? 提问？
Getting the wrong note? 吹错音了吗？
Try placing the tip of your tongue in the hole (hole 5 ) next to the one you want to play. Press the side of your tongue against the other unplayed hole.
尝试把你的舌尖放置在第5孔，然后你这样演奏。强制演奏你的舌头两侧相反没有（堵住）的（两个）孔
Getting two notes? 得到两个音吗？
You’re not coveting both holes. （是的，这不是妄想）。
Problem 例如：
Try moving the harmonica very slightly to the left or right ,making sure that you’re still blowing into hole 4
口琴试着向左边或右边非常些微地移动,确信使你始终在第4孔吹。
九、 PUCKERING （噘嘴法）
Whatever the name ,many who pick up on the harp play this way.
不论是谁，很多吹口琴的人用这种方法。
1. Tighten your lips as if to whistle and blow into hole 4.
像吹口哨一样缩小你的嘴唇，并且吹第4孔。
2. Try getting a single , clear tone.试着得到一个单孔、清晰的音来。

PROBLEMS？ 提问？
Can’t get one note? 难道得不到一个音吗？
1. Problem Tighten your lips and press them more firmly against the harp.
问题一：贴着口琴，缩紧您的嘴唇并且更加牢固地（包住）他们（琴孔）。
问题一： 问题二：
2. Problem A common problem with this method is getting the pucker over the hole.
问题二： 这个方法的共同的问题是在琴孔上（嘴唇要收缩）折叠（起来）得到。
Try moving the harp slightly to the right or left in order to bettet center your mouth over the hole.
向右边或向左设法轻微地移动口琴目的是为了更好的（改善）您的嘴正对孔的中心（位置）。

十、
NOTES AND RESTS 音符和休止符
Before you can practice any rhythms , you’ve got to pick up on a bit of musical notation.It’s simple and really helpful.
在你能练习任何的旋律之前，你必须恢复（从新捡起）一些音乐的符号。这是很简单的，也确实是有帮助。
NOTES 音符 RESTS(mesns don’t play)休止符（意思是不用演奏）



十一
MUSIC EXERCISES 乐曲练习


十二、
PLAYING　SINGLE DRAW NOTES 演奏吸气单音
TONGUING 舌（堵法）
Do the same thing as you would to blow through hole 4. Try drawing air into your mouth . Try to get a clear , single tone.
如同你在第4孔吹音一样的事.尝试吸气，得到一个干净的（清晰的）单音。
PROBLEMS? 提问？
Don’t worry.Most mortals find drawing harder than blowing at first . Stick it , you’ll get it .
Getting two notes or no sound?
别上火，不要着急）。首先，一般人会发现（觉得）吸音比吹音难。坚持就是胜利。
1. A major problem is that your tongue tends to pull into your mouth when you draw. Try pushing it hard against the harmonica when drawing.
一个主要的问题就是，当你吸气时，你的舌往往是滑拖进你的嘴。当你吸气时，试图对着口琴推动它（舌头）是很困难的。
2. Try adjusting how much of the harp is between your lips . You might find one position works better than others .
试着在两唇之间调整口琴，你可能发现一个位置比较好（发音）。
3. Try changing the angle of the harp in your lips.
试着改变口琴与嘴唇的角度。
4. DON’T DRAW TOO HARD ! Sometimes if you try to play too loud the reeds won’t sound . Keep it cool .
不要吸得太猛烈！有时如果你拭着吹太大声，簧片不会发出声音。坚持住。
5. See page 8, “PROBLEMS.”
详见第8页，“提问”
PUCKERING 折叠（噘嘴法）
Do the same thing as you would to blow through hole 4 . Try drawing air into your mouth . Try to get a clear , single tone.
做同样的事情像你将吹第4孔。试着向吸嘴里气，尝试得到一个干净的单音
PROBLEMS ?提问？
NO sound ?没有声音？
Sometimes when you draw , your cheeks and lips collapse, so no air gets through .Adjust how tight you keep your lips ,Sometimes keeping them loose works, some times not . The most important thing is experiment until you get that clean tone .Soon you’ll be able to do it every time.
有时，当你吸气时，你的（腮）和嘴唇（内陷），于是没有空气进入。调整保持你的唇绷紧（程度）, 有时保持（嘴唇）松弛的(状态), 有时不。最重要的事情是你实验（不断地练习）直到你得到干净的音,很快你将会每一次都能够做到。
十三、MORE MUSIC EXERCISES 更多的乐曲练习

十四、
SOME SIMPLE TUNES 一些简单的歌曲
Start playing these songs slowly at first , until you can play them clearly . (Note: At first it’s important you get the notes right , though you should also always try to keep an even best.)
首先，开始吹奏这些（节奏比较）慢的曲子，直到你能清晰的演奏它们。（注意：首先，尽管你始终吹得比较连贯，你吹的音符正确，这是很重要。）

十五、
SOME NOTES NOT SOUNDING ? 一些音符没有声音？
Try tapping the hole-side of your harp against the palm of your hand after every song. That removes anything jamming the holes.
在每首歌之后用你的手试着轻拍打琴孔后面的。 除去（口水、杂物等）。

十六、
TALKING INTO THE HARMONICA 口琴论述
When picked up on the harmonica before the Civil War , they adopted it to their particular vocal musical style .
在（美国）南北战争之前，当时黑人首先捡起（玩）口琴，他们采用了它（口琴）独特声音的乐曲风格（布鲁斯）。
By using it as extension of their voice , they vastly extended the range of sounds the harp could make and found it to be admirably suited to creating different moods and effects .
借助（蓝调）作为黑人呐喊的延续，他们（扩展了）口琴能发出声的范围，并且发现口琴（蓝音）极好地被适合到（产生）不同的心情和效果。
That vocal style of playing is now an essential part of Rock and Blues Harp and is what makes the harmonica a truly unique instrument.
现在这种演奏音乐风格，是摇滚、布鲁斯口琴和基本部分，并且使口琴成为一个真实独特的乐器（工具）。
“DIT-DIT” “特— 特”

Blow out through holes 1,2 and 3 in a burst , cutting off your breath quickly (say”dit”into the harp ).
（急促地）吹第1、2和3孔，快速地切断你的呼吸（对着口琴说“特”）。
Cut off your breath as possible , although you will hear some overtones after you cut off the chord . (Remember to draw on circled notes _ dit)
切断你的呼吸（断音）（有可能），你将听到一些（泛音）在你断开（琴音）之后（记住吸有标有圆圈的音符—dit，发“特”（口型））
图

十七、
“TOIL—TOIL”To add to our train sound , the addition of “toil” is a must . Say “Toi…….lll ” into your harp , opeting your mouth ,pulling in your tongue and stretching out the note .
“特哦优—特哦优”加在我们的火车声，“特哦优”的增加是必须的。对你的口琴（发音）说“特哦。。。优”，打开你的嘴，（向内）拉你的舌头（然后在向外）伸展。
图

“TAH-TAH”“Tah” is sort of halfway between “dit” and “toil”. You start the same as the other two, with “tttt” , but just open your mouth and blow out or draw in . Just say “Taaah,”
“他啊——他啊”“他啊”是一个在“特”和“特哦优”的中间类别（发音）。你开始像那两种一样伴随着“T（拼音）TTT”，但是 这时打开你的嘴并且吸音或吹音，说（TA…..Ah(拼音)）。
图

Experiment with these sounds ; 练习这些（短句）；
make up your own rhythms and combinations and see if you can get a Bluse or Rock sound.
如果你能得到一段布鲁斯或摇滚（短句），要你自己的节拍（旋律）和阅历（整合到一起）。
It’s by experimenting on your own that you’re going to really become a harp player , and the sooner you start the better .
你将来真想成为一位口琴演奏家，这要靠你自己来练习，并且（好的开始成功一半）
Listen to some Blues records: 听一些布鲁斯的录音：
Sonny Boy Williamson, James Cotton , Little Walter ,etc , and Blues –Rock stars like Mayall and Dylan.
[人名]和像[人名]一样的布鲁斯—摇滚之星。
十八
MUSIC AND THE HARMONICA 口琴与音乐
You might want to know that the notes you ‘ve been playing have names . In the diagram below , the blow notes are indicated by capital letters ,the draw notes by lower case letters .
你可能想要知道，这些你曾经演奏过音符有名字（CDEFGAB调名）在下面的图表中，吹气音符被大写字母标出 , 吸气音符被小写字母标出。
Diatonic全音节
图
As you can see , a distonic harp in the key of C doesn’t play any of the black keys of the piano ( sharps and flats) and the only full scale is from holes 4 through 7 .
The reason the first three holes are weird is to help you play blues .
正当你所看到的，一个标有C调的、音节全的口琴不能演奏出所有钢琴的黑键子（高调（音）和（低音））并且只有一个全音阶，从第4孔到第7孔。
The reason the first three holes are weird is to help you play blues .
前三个孔有些不可思议的（没有低音4和6）原因是它能帮助你演奏布鲁斯（音乐）。
十九、
Chromatic半音口琴
图

With a chromatic harp you can play every note there is , which is pretty cool .
带上一支半音口琴你能在这儿演奏任何一个音符，那是叫一个“酷”。
Try blowing into hole 1 , then blowing into it with the key pushde in ;
试着吹第一孔，然后推进“推进键”吹第一孔。
now draw from hole 1 , then draw from it with the key pushed in .
现在吸第一孔，然后推进“推进键”吸第一孔。
Repeat this process with each hole in succession and you will be playing the chromatic scale .
每一个孔连续性的重复这个步骤，而且你将会演奏出半音。
(though sometimes you will be getting the same note twice).
（有时你会得到音高有两次相同）
#= sharp, A sharp rsises a note a half step, b = flat , A flat lowers a note a half step.
# = (升调)节器 b = (降调)
二十、
HOW TO READ MUSIC 怎样读谱
Since songs have been written out a couple of million years this way , and will probably continue to be for at least the next ten (after that ,what’s it to you ?) it might be a good idea for you to pick up on it .
因为，歌曲被这种方法写出来连续几百万年了，并且还有可能再继续（使用）至少10年以上，（在此之后你还对它有什么问题吗？）它可能是你捡起（学习）口琴的一个好的办法。
But don’t worry , we’ll always give you the holes for the songs in this book .
（所以）不用担必，我们将在这本书中为曲谱给你（标出）琴孔（数）。
图

During the evolution of musical notation , the staff had from 2 to 20 lines , and symbols were invented to locate certain lines and the pitch of the note on that line . These symbots were called….
在音乐的符号的发展时候，（五线谱有从2到20条线），并且被发明出来的符号（位于）标在某一线上（或间上，并定出音高）这些符号被叫做…（do re mi）。
CLEFS 高（低）音符号
Music has three clefs , the C , F and G clofe . Most music for the piano , guitar and harmonica uses the G and F clefs
乐谱有三种首音符号，C（调）符号、F（调）符号和G（调）符号。大多是钢琴、吉他和口琴的乐曲用F（调）符号和G（调）符号。
图



二十一、
MEASURES式 方法标准（小节）
Music is divided into equal parts called MEASURES A BAR LINE divides one measure from another .
音乐被区分相等部份为称 （“小节线”每一小节的竖线）（从一小节到另一小节之间）。
图
To indicate the number of beats in each measure we use a…..
在我们使用过程中…每一小（节拍）标出的孔数
TIME SIGNATURE 拍子记号
The Time Signatures: 拍子记号

图means 意思是
2346 beats in each measure, 每一小节拍数
4448 and note getting one beat.并且每个音符打一拍
KEY SIGNATURE音调符号
The key signature , placed next to each clef , indicates what notes , if any , should br played sharp or flat in the piece .
音调符号，(放在每一段最前位置)，标出什么调的，（如果）在任何地方，在这一（片段）中将演奏这个调（值）
Sharps or flats next to individual notes only apply within the measure.
高音或低音符号只能在相近的小节内使用。

图 = Play F , C and G sharp,用F、C和G调
= Play B andE flat.用B和E调

= Naturals cancel a previous # or b within a measure.（还原符号）
二十二、
PRACTICE TUNES 实际（练习）曲子
DIATONIC 全音节的（10孔的）
LOOK DOWN THAT LONESOME ROAD 看那孤独的小路（曲子的名字）
Holes indicated are for a C harp. Guitar Acc .C （C调口琴，吉他伴奏用C调）
谱子
二十三、
CHROMATIC半音阶口琴
4=blow into hole 4 吹4孔 ④=Draw from hole 4 吸4孔 Depress key（向里）按键
Holes indicated are for a C harp, 琴孔标记为C调口琴
AURA LEE ** ·李


二十四、
DIATONIC全音节的（10孔的）
THE STREETS OF LAREDO 拉雷多的街道
谱子
二十五、
CHROMATIC半音阶口琴
THE MIDNIGHT SPECIAL （特别的夜）
谱子
二十六、
DIATONIC全音节的（10孔的）
HOUSE OF THE RISING SUN 日升之屋
谱子

二十七、
CHROMATIC半音阶口琴
SCARBOROUGH FAIR 斯卡堡集市
谱子

二十八
DIATONIC全音节的（10孔的）
SHENANDOAH（好像是地名）
谱子
二十九、
CHROMATIC半音阶口琴
THE COUNTY JAIL
谱子
图 = dottes eighth note . It receives 3/4 of a beat . 8分音符，3/4拍子
三十、
DIATONIC全音节的（10孔的）
WORRIED MAN BLUES （It Takes a Worried Man to Sing a Worride Song）
忧郁（王子）布鲁斯（男愁了唱）
谱子
三十一、
CHROMATIC半音阶口琴
THE ENTERTAINER
谱子
三十二、
DIATONIC全音节的（10孔的）
WILDWOOD FLOWER 《野花》
谱子
三十三、
（Variations）（变调）

谱子
三十四、
CHROMATIC半音阶口琴
ST.JAMES INFIRMARY BLUES 《 ST.JAMES 的布鲁斯》
谱子
三十五、
谱子
三十六、
PART 2 第二部分
The following section , pages 37 to 47 , is for playing blues harp .Generally ,only a diationic harmonica is used ,as it is capable of the ”bending” and chording associated with the blues sound .
下列各段，37页到47页讲的是演奏布鲁斯口琴。一般地讲，当口琴能够 "压音" 和（吉他）揉弦在蓝调音乐中配合，只有一支10孔口琴够用了。
Thus , this section is geared toward the diatonic harmonica . However, many blues tunes can be played on a chromatic harmonica and the ones following are no exception . Just read the music and ignore the holes indicated.
因此，这个部分是与10孔口琴（演奏）有关联的。然而，许多蓝调歌曲能与半音阶口琴有一些关联也是不例外的。仅仅是（唱谱）演奏音乐，而忽视被标出来的琴孔。
三十七、
THE 12 BAR BLUES PRORESSION 12小节布鲁斯
4 measures of tonic 4节主音小节（主和弦）
2 measures of subdominant 2节次属音小节（次属和弦）
2 measures of tonic 2节主音小节（主和弦）
1 measure of dominant 1节属音小节（属和弦）
1 measures of subdominant 1节次属音小节（次属和弦）
2 measures of tonic 2节主音小节（主和弦）
equals…. 等等。。。。。
The 12 bar blues 12节布鲁斯
图

三十八、
THE BLUES PROGRESSION FOR “STRAIGHT HARP”(First Position)
布鲁斯进展“直接吹奏（法）”（第一位置）
When playing “staight harp” use a harmonica tuned to the same key as the piece you are playing . In other words, for a tune in the key of C use a C harmonica , etc .
当直接吹奏法用一支口琴变成与你现在正演奏的一样是相同的调。换句话说，用C调口琴吹C调，G调口琴吹G调，A调吹A调等等，以此类推。
l 4 measures of tonic . Blow into holes 4 and 5
l 4节主音小节（主和弦）：吹45孔
l 2 measures of subdominant. Draw from holes 5 and 6
l 2节次属音小节（次属和弦）：吸56孔
l 2 measures of tonic blow into holes 4 and 5
l 2节主音小节（主和弦）：吹45孔
l 1 measures of dominant. Draw from holes 7 and 8 or Blow into hole 6
l 1节属音小节（属和弦）：吸78孔或吹6孔
l 1 measures of subdominant . Draw from holes 5 and 6 or Draw from hole 5.
l 1节次属音小节（次属和弦）：吸56孔或吸5孔
l 2 measures of tonic .Blow into holes 4 and 5 .
l 2节主音小节（主和弦）：吹45孔。
三十九、
12 BAR BLUES IN C C调12小节布鲁斯
图
Holes indicated are for a C harmonica （用C调口琴）
= A chord Play both holes at the same time. 在同一时间演奏2个孔
Subdominant次属和弦Dominant 属（或主）和弦
四十、
THE BLUES PROGRESSION FOR “CROSSED HARP”(Second Position)
交叉法（第二位置）


图内 crossed harp guide 交叉口琴图解
for blues in the key of…..要演奏的调
use harnonica tuned to ….所用的什么调的口琴
When playing “ crossed harp”, use a harmonica tuned to the subdominant of the key of the piece you are playing . In other words, for a tune in the key of G ,use a C harmonica ,etc.
当用“交叉法”演奏，用一支口琴把你所演奏的位置变成主和弦的调（主音），换语话，用C调口琴演奏出G调（这是真正你想要的G调），以此类推。
l 4 measures of tonic, Draw from holes 2 and 3 or Draw from holes 3 and 4 .
l 4节主音小节（主和弦）：吸第2、3孔或吸3、4孔
l 2 measures of subdominant . Blow into holes 4 and 5
l 2节次属音小节（次属和弦）：吹4和5孔
l 2 measures of tonic, Draw from holes 2 and 3 or Draw from holes 3 and 4
l 2节主音小节（主和弦）：吸第2和3孔或第3和4孔
l 1 measures of dominant. Draw from hole 4.
l 1节属音小节（属和弦）：吸第4孔
l 1 measures of subdominant. Blow into hole 4.
l 1节次属音小节（次属和弦）：吹第4孔
l 2 measures of tonic. Draw from holes 2 and 3 or Draw from holes 3 and 4 .
l 2节主音小节（主和弦）：吸第2和3孔或第3和4孔。
四十一、
12 BAR BLUES IN G 12小节G调布鲁斯


Holes indicated are for a C harmonica.（用C调口琴）
谱子
四十二、
THE BLUES PROGRESSION FOR “THIRD POSITION”
第三位置的布鲁斯


图内：　third position guide第三位置指南
For blues in the key for …..布鲁斯曲子所用的调是。。。。
Use a harmonica tuned to ….使用的口琴调是。。。。
When playing in the “third position” . use a harmonica tuned one step below the key of the piece you are playing . In other words , for a tune in the key of D , use a C harmonica ,etc .
当用第三位置演奏时，用一支口琴改调为比你正在演奏的调子下一个的调子（CDEFGAB） 。换句话说 ,就是对于一支D调曲子要用一支C调口琴，以此类推。
l 4 measures of tonic. Draw from hole 4.
l 4节主音小节（主和弦）：吸第4孔。
l 2 measures of subdominant . Blow into hole 6.
l 2节次属音小节（次属和弦）：吹第6孔
l 2 measures of tonic. Draw from hole 4 or Draw from hole 8 .
l 2节主音小节（主和弦）：吸第4孔或吸第8孔
l 1 measures of dominant ,Draw from hole 6 .
l 1节属音小节（属和弦）：吸第6孔
l 1 measures of subdominant . Blow into hole 6.
l 1节次属音小节（次属和弦）：吹第6孔
l 2 measures of tonic. Draw from hole 4.
l 2节主音小节（主和弦）：吸第4孔
四十三、
１２ BAR BLUES IN D D调12小节布鲁斯
谱子
四十四、
SUMMARY OF BLUES PROGRESSIONS
STRAIGHT HARP
蓝调进行曲的概述
直接吹奏法
l Tonic-Blow into holes 4 and 5
l 主音——吹4和5孔
l Subdominant –Draw from holes 5 and 6
l 次属音—吸第5和6孔
l Dominant-Draw from holes 7 and 8 or Blow into hole 6
l 属音（占优势的）吸第7和8孔或吹第6孔
CROSSED HARP交叉吹奏法
Tonic-Draw from holes 2 and 3 or Draw from holes 3 and 4
主音—吸2和3孔或吹3和4
subdominant-Blow into holes 4 and5
次属音-吹45孔
Dominant-Draw from hole 4
属音-吸4也
THIRD POSITION第三位置吹奏法
Tonic-draw from hole 4
主音-吸第4孔
subdominant – blow into hole 6
次属音—吹第6孔
dominant – draw from hole6
属音-吸第6孔
图

四十 五、
SAMPING　OF BLUES RHYTHMS 蓝调旋律小样（品）

图


四十六、
INSTANT CHORD GUIDE FOR DIATONIC HARP
10孔口琴直接吹奏法和弦指南（图解）
CHORD----Play holes 图解——演奏的孔
图







四十七
图
四十八、
HARP CARE 口琴的注音事项
1、 The biggest problem you’ll ever encounter with your harmonica is stuck reeds , that is notes that won’t play .
你曾经遇到的最大的问题是你的口琴簧片被粘住（卡住），那个音就不能演奏了。
While this does not indicate your harp is ruined, often people do ruin their harps trying to solve this problem .
然而这不意味着你的口琴报废了。人们经常把他们的竖琴做报废处理，来尝试解决这个问题。
The probable cause of the stuck reed is salive, food,or some other substance caught between the reed and the channel .
人们导致口琴簧片被粘住（卡住）的原因是口水、食物或其他物质（卡在）簧片与（座板里的槽）之间。
The best way to free the reed is to firmly tap the hole side of your harmonica against the palm of your hand .
（放开）琴簧的最好办法是稳当地用你的手拍拍你口琴的背面。
In fact , you should do this after every few minutes of normal playing.
实际上，你应该正常吹口琴每几分钟之后，做这件事（轻轻拍打口琴）。
If this technique does not work , I would recommend returning the harp to the dealer or manufacturer .
如果这个方法不好使，我将推荐把口琴退还给厂家或经销商。
Often they will repair the instrument at little or no expense , but not if you’ve tampered with it .
他们经常会免费修理一些毛病，除非你没有用口琴来捣什么东西。
2、Many palyers soak their harps in water to make palying easier . This technique does free-up the reeds and speed up the breakin process . However , manufacturers warm against submerging the harmonica in any liquid , and will not generally repair a “soaked”
许多琴友浸泡他们的口琴在水里使（口琴）演奏起来更容易。这种方法（在演奏过程中）提高琴簧的（敏感度）。然而,厂家反对在任何的液体浸泡口琴,并将不会通常修理 "泡过"（的口琴）。
A NOTE ON CHROMATIC HARP CARE
关于半音口琴注意事项
Since chromatic harmonicas tend to be quite expensive , it is often cheaper to repair a broken one than to replace it ,Thus ,it is particularly important that you do not tamper with the instrument ,but leave repair to professionals.
因为半音口琴相当贵 , 修一支口琴比换一支口琴要便宜。因此，有特别注意的是，专业人士修理以后，你不要用工具支“捣鼓”它。