[Stuart Goodall]

Sorry about the removal. Will upload a better version of this superb standard, plus some other melodica stuff soon! I know it’s apostasy, but I’ve been practising the (whisper it) harmonica a little, and also trying to create some new backing tracks for melo using a two manual farfisa organ (the shade of Jimmy Smith smiling down wryly).

[Stuart Goodall]

I wonder if participants consider the “limitations” of the free reed as a sound generator, when considering the most appropriate melodica for the given music (or, most appropriate music for the melodica)? When the French harmonium was developing (C1860) there were many innovations (like percussion, where the reed was struck mechanically as well as blown) that were attempts to modify (improve) the sound and generally limited tone. I once owned a colossal American organ which essentially attempted the same thing through banks of octave and sub-octave reeds. The point is, though – you are never far away from the accordion! It’s gonna be the same deal, whether you have a harmonica, a melodica, an accordion or a harmonium: the sound-world will be that of the free reed and its particular harmonic fingerprint. Thus, just as the saxophone failed to end up as part of the modern orchestra, but found a home in jazz, so it shouldn’t be expected that the melodica is going to achieve usefulness as (for example) a classical voice: it won’t have the brilliance of a trumpet, or the woody richness of a clarinet, or the poetic quality of the flute. It does, though, have its own special, expressive sound world, and is a great “folk” instrument, again like the sax. The big advantage over the accordion, for the melodica, is the breath control and extension of the body – a real bonus for keyboard musicians looking for more expressivity that isn’t achieved electronically. Whew! (And I hope this is on the right thread.)

Further thought – yes, of course, that breathing contact is a part of the harmonica, too. But key thing about the melodica is the keyboard. Possible to play almost anything. Having said that, a harmonica genius like Toots Thielemans doesn’t seem too limited by his instrument!

[Stuart Goodall]

Thanks, greatly enjoyed this, Offir. (And who would have guessed this about penguins?)

[Stuart Goodall]

Thanks Lowboy, oui oui, it does sound a bit like a crazy accordion. So I should consider the “click” as part of the instrument’s overall sound and character – rather like the noise of woodwind pads? Yes, it’s surprising what extraneous mechanical noises we turn a blind ear to – like the thump etc that is noticeable on piano recordings. But I like that idea.

Just the same, I might try some felt, as you suggest. My old (metal) Piano 26 doesn’t have clattering keys like this one (the tone’s sweeter, too).

[Stuart Goodall]

The playing technique has little in common with piano keyboard technique – which is one reason I’ve always thought the button melodica was not ideal for children in respect of learning to finger the keyboard. But maybe the way to think of it is like the button-only accordion and “squeeze boxes”, which also demand a new fingering technique from that of the standard keyboard. The Hohner soprano, by the way, has a much more folky tone, just perfect for certain kinds of music, and unlike the more developed tone of the Piano 26 model of the same era. Just my views.

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