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主题：超吹（overblow）介绍--参考文献

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超吹（overblow）介绍--参考文献

超吹（overblow）介绍

什么是超吹呢？为什么你想学超吹呢？超吹（overblow），超吸（overdraw）和overbend之间有什么区别呢？

我们下面就来回答这些问题。

H-spot

有些书上陈述超吹时，是和吹气压音的方法一样。但我首先要问“是哪种吹气压音”，是舌堵吹气压音，还是puckered吹气压音？（litttt：不知道如何翻译？）如果是puckered吹气压音，那是舌尖压音，还是H-spot压音？

许多书上有描述用舌尖演奏超吹的技巧。但我个人认为，这种方法不可取，因为它需要很多肌肉群同时紧张的演奏（littt：呵呵，紧张多了就叫“不紧张了”），然而这些肌肉群在演奏普通音调和压音的时候就根本用不上（除非你也用舌尖演奏压音，我也不是很赞成这样演奏）。这种演奏方法不可能保证相邻单孔音调转换的平稳过渡，舌尖、唇部肌肉和脸颊肌肉不是特别稳定，尤其在需要用力适当的时候，如果在需要演奏一个很长的延长音的时候，舌尖容易生“累”，从而疲软造成音偏。

我提倡的方法是：在超吹（吸气压音和吹气压音）时都用H-spot来演奏。H-spot即：持续发“Hey”时舌头所在的舌位。我知道这种描述不是太精确，但要点是这个动作的发生是在舌后部（喉咙开始的地方）而不是舌尖部。

超吹的两个步骤：

一把普通的大调音阶口琴，每个孔含有两个簧片，一个吹气簧片（简称“吹簧”），一个吸气簧片（简称“吸簧”）。在演奏（吸气）压音的时候两个簧片是同时作用的，吸簧低于音调振动发声，而吹簧高于音调振动发声。（littt：这里不是太理解）但当演奏超吹时，仅仅是吸簧发声，而吹簧因卡在簧板上而不发声。（littt：不要紧张，只是暂时固定）

演奏超吹可以看成下面两个步骤的组合：

1．卡簧（使吹簧卡在簧板上）

2．吸簧发声

尽管超吹的终极目的是在吹单孔时使吸簧发声，但为了到达这个目的卡簧确是首要的。

1．卡簧（chocking the blow reed）

簧片能不能卡住，取决于口琴静止状态下簧片与簧板的间隙。当演奏时，如果间隙小到一定程度，吹簧不发声了，说明吹簧能被卡住；如果间隙过大，簧片就不会被卡住。所以为了使口琴适于超吹在不影响其他音的演奏的基础上又能卡簧，困难之一就是调整簧片间隙了。

为了很好的控制吹簧，明智之举还是卡单簧练习：拆开口琴外壳，堵住吸簧（例如用手指盖住簧片孔），然后吹响吹簧，并缓缓试着吹气压音。（如果间隙足够小，卡簧也就不远了）压音时用H-spot舌位压音，不要用舌尖，舌尖、口唇和脸颊都应保持放松状态。

2．吸簧发声(getting the draw reed to sound)

吸簧发声很容易做到，只需要演奏出正确的音调就可以了。但建议这一步也要单簧练习。轻轻地吹奏出所要音调确定正确的舌位和喉部动作。

3．超吹(the overblow)

一旦你能正确控制卡簧和吹奏出正确的吸簧音调时，你就可以把前两个步骤合练了。（littt：杨过与小龙女的合并，知道有多大威力了吧，哈哈哈哈。。。）。

首先不要想着你是在练超吹，而是要集中精力吹响吹簧，然后慢慢地压音并试着找到“卡簧点”。如果当你找到卡簧点的同时，有可能吸簧就能发出正确的音调（littt：欢呼吧！曙光正向你招手！）；如果吸簧没有发声，那也不要灰心，保持卡簧的姿势不变，试着轻轻地改变各发声空腔（喉部，口腔，舌位等）的形状来调整簧片发出所要的音调；如果这样还不行，那就把两个簧片的间隙都调小（干脆非常小），这样就会很容易了。

超吸（overdraw）

超吸演奏起来很困难，主要是因为很短的高音吸簧不易被卡住的缘故。假如你吸气时只是让单簧分别发声，这不会很困难，困难的是卡住吸簧。为了使吸簧能被卡住，不得不把它调得非常紧，因为长宽比例更小的簧片易于弯曲振动（littt：簧片的长宽比例是不是都是一定的？如果说厚度对音色有影响，长宽比例是不是会对音调有影响？长宽比例小还易于弯曲振动？）。

我通常为了调整好高音吸簧，常常是屡败屡试！一旦簧片调好后，超吸演奏起来和超吹是异曲同“功”之妙，一样是从舌后部“吸”出来的，舌尖一定要放松。

在此强调一下，超吸需要卡住的是“吸簧”，切记！

原作者：tinu

胡译者：littt

2005年10月27日

本贴已被 bluesbird 于 2006年01月02日 10时50分02秒编辑过

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2005-10-27 1:18:30

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littt

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看到大家都在学overblow,不满足于现状的littt也要学,于是上网搜索了一篇关于overblow的文章.为了和各琴友共享(呵呵,其实也是为了练习英语)试译如上.
 
在试译过程中有几点不明白:
1 puckered blow bend(不知道怎么翻译)
 
2 在演奏（吸气）压音的时候两个簧片是同时作用的，吸簧低于音调振动发声，而吹簧高于音调振动发声(这里不是特别理解)
 
3 长宽比例更小的簧片易于弯曲振动（littt：簧片的长宽比例是不是都是一定的？如果说厚度对音色有影响，长宽比例是不是会对音调有影响？长宽比例小还易于弯曲振动？）。
 
原文如下:(the original article follows as below:)
The Overblow, introduction 
What is an overblow, why would you want to play it? What is the difference between an overblow, an overdraw and an overbend? What"s the best way to play an overblow? Are there things you should avoid doing? You should be able to find answers to these questions and more, right here. If you know how to overblow and are looking for ways to improve your technique then take a look at the <a href="

http://www.tenhole.com/asp/master.asp?hole=4" target="_blank" >practice page</A> in hole 3.
The H-spot
In some publications it is stated that an overblow is played in much the same way as a blow bend. "What kind of blow bend?" would be the first thing I would like to ask. Is that a tongue blocked blow bend or a puckered blow bend? If it is a puckered blow bend then is it a tongue tip bend or a H-spot bend? A number of publications describe a technique which uses the tip of the tongue to force the overblow to sound. This, in my opinion, is a very bad way to learn to overblow. It requires a lot of tension in a number of muscles that are not used in playing other notes like normal draw and blow notes or bend notes (unless of course you use the tip of the tongue to play bend notes, which I would also advise against). This tension will make smooth transitions from one note to the next nearly impossible. The tip of the tongue and the muscles in the lips and cheeks are not very stable muscles, especially at the force needed. The tip of the tongue will tire quickly and the control needed to play a longer note at the right pitch will be lost. The method I advocate is one where the overblows (and the draw and blow bends) are played using the H spot. The H spot is the part of the tongue which stops the airflow in pronouncing a rapid series of hey sounds. I know this is a very inaccurate description, but the point is that the action takes place far back on the tongue at the start of the throat and not at the tip of the tongue.
 
Two parts of the overblow
A normal diatonic harmonica has two reeds for each slot, one blow reed and one draw reed. When playing a (draw) bent note these reeds work together, the draw reed vibrating at a pitch lower than the one it is tuned to and the blow reed vibrating at a pitch higher than the one it is tuned to. When playing an overblow only the draw reed sounds while the blow reed is choked. Playing the overblow can be seen as to consist of two separate parts: 1. Getting the blow reed to stop sounding. 2. Getting the draw reed to sound. Though the objective in overblowing is to get the draw reed to sound while blowing into the slot, choking the blow reed is the important first step to achieving this.
 
Choking the blow reed
The ease with which a reed can be choked depends on the gap, the distance the reed is from the plate when it is not vibrating. If the gap is low enough the reed will not play at all, it will choke immediately. When the gap is too wide the reed will never choke. One of the difficulties in setting up a harp for overblowing is finding the optimal gap, where the reed will both play and choke well. When setting up a reed try to get a minimal amount of leakage when it is choked. Any extreme arcing of the reed will interfere with choking the reed because the reed will never close the slot off properly. In order to develop a good control of the blow reed it is wise to practice choking an isolated reed. Open up a harmonica and block the draw reed of (e.g. by putting a finger over its slot). Play the blow reed and gently bend it down, if the gap is small enough you will soon reach the point at which the reed chokes. Bending down the note is done from the H spot at the back of the tongue, not by using the tip of the tongue. The tip of the tongue should remain relaxed, as should the lips and cheeks. Once you get the reed choked, slowly increase the pressure at which you are blowing and try to keep the reed choked as long as possible.
 
Getting the draw reed to sound
 
Getting the draw reed to sound is the easy part of the overblow, all you need to do is resonate the right pitch. Again I would suggest you start with an isolated reed by blocking of the blow reed. Gently blow and try to find the right tongue/throat position that will allow the draw reed to sound. It helps if you have a clear idea of what the note you are going to play should sound like. This helps set up the muscles in your throat for resonating the right pitch. Remember this is not a matter of force, the isolated draw reed will sound at a whisper of a breath if you are resonating correctly.
 
The overblow
Once you feel you can control the choked blow reed and can get the draw reed to sound, you can put the two parts together and play an overblow. First forget about playing the overblow and just concentrate on playing the blow reed. Slowly bend down the note and try to reach the point where the blow reed chokes. Chances are that you when you do reach this point the draw reed will immediately start to sound. If it doesn"t then don"t panic, stay concentrated on keeping the blow reed choked and gently try to get the vocal tract in the right position for resonating the note the draw reed should produce. If this turns out to be very difficult then try to set the gaps on both reeds a little lower (or very low) that should make them respond better.
 
OverdrawsOverdraws are difficult mainly because the short high draw reeds are difficult to choke. If you isolate the blow reeds you will find that its not too difficult to get them to sound when drawing on them. The problem is choking the draw reeds. The draw reeds have to be set up very tightly in order for them to choke well. Because of their smaller length to width ratio they have a greater tendency for torsional vibrations. I usually need a lot of trial and error to get the high draw reeds set up well. If the reed is set up well the overdraw is played exactly like any other overblow, from the back of the tongue. The tip of the tongue should be relaxed. Again the important thing to remember is that the draw reed should stay choked, concentrate on that.

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2005-10-27 1:40:38

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理论上讲，一端固定的均匀簧自由振动，其基频f0=0.55966*k*(E/p)0.5/l2
k=簧厚度/120.5，E为材料的杨氏弹性模量，p为密度，l为长度
如果考虑低音簧末端较厚还要复杂一些，但是理论来说宽度不影响频率，也就是“调”。
但是这个频率也不是绝对的，因为簧片发声的时候是受迫振动。参考一下一般的有簧管乐器就可以知道簧片并不一定振动在固有频率上。
口腔有频率选择作用，压音的情况是吹吸两个簧片同时振动，音高介于两者之间，这就是第三孔可压三个半音而五七孔一个都没有的原因。
关于长宽比，我的猜测是过窄的簧片振动容易“失稳”，产生扭曲的振动，直接表现是高频啸叫，这也是某些牌子的琴由于高音簧片太单薄了而不适合overdraw的原因。

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2005-10-27 15:12:16