[jazzman1945]

Sound effects

Vibrato

Vibrato is a result of periodic rippling of the air column (here the air cushion) created by various breathing organs inside the Melodica. Vibrato enlivens and ennobles the sound; without it Melodica sounds like a simple accordion.

Vibrato can be achieved by following techniques:
1. using the diaphragm (stomach) – ‘ha-ha-ha-…..” (not the throaty ‘h’ but from the chest – as if warming the hands)
2. Throaty “h-h-h-h-…” not the guttural but with half-closed throat
3. by lolling the tongue basis
4. vibrating the lower jaw – the only way suitable for the short sounds
5. Lightly pressing and releasing the key by one of the 4 fingers on the right hand. This is done in the following manner: the very end of the white key is pressed but not by the finger end (it is pointed upwards) but by its main, lowest phalange); the thumb supports from the opposite side. This way we get a claw-like grasp by two fingers – the playing one, vibrating from its base, and the thumb.
6. Vibrato by Doppler effect – as in the “Hammond” organ. In this case Melodica is rotated, by both hands, left in front of the performer in the circle (using flexible pipe allows to enlarge these circles significantly).

Frullato (coarse sound)

This effect, suitable only for prolonged sounds, can be achieved by the following techniques:
1. Throaty wheeze (as if you have a sore throat) but silently
2. By producing rolling ‘rrrrrrrr
3. Humming ‘zzzzzzzzzz’ or ‘zhzhzhzhzh’
Pronouncing ‘uuuuuuuuuuuu , at the same time pressing any key, is also possible. This presents wide options of ‘singing’ with Melodica – unison, octave, third, etc. – as much as your fantasy will allow.

Tremolo on one or several sounds simultaneously
Tremolo can be achieved by pronouncing quickly ‘tuku-tuku’ or ‘putu-putu’. Triplet tremolo results from pronouncing ‘patsta-patsta’.

Glissando (bend) and blues notes

This is an absolutely necessary effect for blues notes. Best of all to use it on the long sounds, as time is needed for its preparation and performance.
Best of all it is performed on the white keys as they are longer than the black ones, and it is possible to play on white keys with shortest movements by the low or high finger phalange. All 5 fingers may be used for this effect: the side of the thumb, sides and phalanges of the index fingers, the upper phalanges of the other 3 fingers.
This is how it is done: finger touches the keyboard end opposite the key intended for bending; then, with increased air pressure into the inlet, press slowly on the key end with one phalange, at the same time changing the inner mouth cavity from wide to narrow. This effect won’t be achieved with a weak air flow.
Here I need to clarify: by pressing the key we open the vent inside Melodica containing the vibrating metal reed, the same as in the mouth harmonica. If the key is already pressed and the vent is open, there will be a momentous reed transformation from steady to vibrating position, and change of sound practically won’t be felt, apart from when playing in the lowest registers.
When the key is pressed slowly and carefully (the most suitable point on the key is its end, on the lever principle), the vent will also open slowly; until it is completely open, we’ll get unsteady, “off-key” sound – the very sound suitable for blues.
The main problem, though, is that this kind of sound making was not intended by Melodica’s first and main manufacturer. On the contrary – everything was made to pass this unsteady sound phase as quickly as possible, like on accordion.
This is why every Melodica musician should study thoroughly the key pressure mechanics, from no pressure to achieving a steady sound, if he wishes to get glissando and blues sounds.
Steve Christofferson is a great master of playing blues notes on Melodica.