【口琴汇--搬运经典】Comprehensive guide totheCorner switchingtechnique VI

原文的全部标题是：

Comprehensive guide to the Corner (or Tongue) switching technique

--by M.A. Weber

Corner switching is one of the most intriguing and important (but unfortunately also underrated) techniques to master on the harmonica.

There is quite an amount of frustration and practice required to fully grasp this technique but at the end it is all worth it.

Alan “Blackie” Schackner uses a very appropriate analogy in his book “Everything you always wanted to ask about the chromatic harmonica but didn’t know who to ask!“:

拐角切换是口琴上最引人入胜和最重要（但不幸的是也被低估了）的技巧之一。

要完全掌握这种技巧，需要相当多的挫折和练习，但最后都是值得的。

Alan "Blackie "Schackner在他的书中用了一个非常恰当的比喻 "一切你一直想问的关于半音阶口琴的问题，但不知道该问谁！"。

Also, John Sebastian Sr. wrote about it in his “Classical Harmonica Series” books (1-6):

另外，老约翰-塞巴斯蒂安在他的 "古典口琴系列 "书籍（1-6）中也写到了这一点。

ohn Sebastian, classical harmonica music series

John Sebastian Sr. describes the technique as right and left tongue blocking.

Well known harmonica soloists, like Cham-Ber Huang were big proponents of the technique and used it frequently. In the book “Harmonicas, Harps and Heavy Breathers: The Evolution of the People’s Instrument“, the Author Kim Field wrote:
“Cham-Ber Huang trying to explain the intricacies of tongue switching to me while rocketing us down the Long Island Expressway in his car”
His student Robert Bonfiglio can be seen in the following video giving a good practical insight of the technique:

老约翰-塞巴斯蒂安将这一技巧描述为左右舌封锁。

著名的口琴独奏家，如黄湛伯就是这种技巧的忠实拥护者，并经常使用。在《口琴、竖琴和重呼吸者。The Evolution of the People's Instrument "一书中，作者Kim Field写道：

"黄昌伯试图向我解释舌头转换的复杂性 当我们开着他的车在长岛高速公路上飞驰时"

他的学生Robert Bonfiglio可以在下面的视频中看到他对该技术有很好的实际见解。

During this course I will point out some of the advantages of the technique, visualized by my proposed exercises.
Note: this course focuses on using a 3 octave chromatic harmonica. I am sure a lot of the below exercises can be repurposed to be used for a 4 octave chromatic or even partially for a diatonic harmonica.

It is important to understand that in order to master the corner switching technique one needs to be able to play equally well from both corners of the mouth using tongue blocking. That means, at least at the beginning of the process more practice will be needed to master musical passages equally well playing with the right and left corner.

I N D E X

Exercise I – Alternating between left and right corner switching

Exercise II – Practicing scales starting from channel 1

Exercise III – Interval corner switching

Exercise IV – Neighbor channel corner switching (NCCS)

Exercise V – Same channel corner switching

Exercise VI – More patterns/lines to practice

Exercise VII – Real world classical music examples

Exercise VIII – Complete example to analyze

Final Words

在本课程中，我将指出该技术的一些优点，通过我提出的练习直观地表现出来。

注意：本课程的重点是使用3个八度的半音口琴。我相信下面的很多练习都可以转用于4个八度的半音阶口琴，甚至部分用于双音阶口琴。

重要的是要明白，为了掌握转角技术，需要能够用舌头阻挡从两个嘴角同样弹好。也就是说，至少在开始的时候需要多加练习，才能掌握用左右嘴角同样演奏好的音乐段落。

I D E X

练习一--左右角交替切换

练习二--从通道1开始练习音阶

练习三--区间角切换

练习四--邻居信道转角（NCCS)

练习五--同通道角切换

练习六--更多的图案/线条练习

练习七--现实世界中的古典音乐实例

练习八--完成例题进行分析

最后一句话

今天为您顺位推送练习五的内容：

Exercise VI

More patterns/lines to practice

Note: this pattern spreads over 3 octaves. By using corner switching you are always in control where the next large interval is located. In this pattern (measure 2) you won’t be able to avoid skipping two channels with the right corner

注意：这个模式分布在3个八度上。通过使用角的切换，你总是能控制下一个大音程的位置。在这个模式中（第2小节），你将无法避免用右角跳过两个通道。

Going chromatically up in fourth

Note: this D-major pattern gradually continues to go up. Every larger interval starts with the left corner similar to the previous example. Try to practice that for all major triads.

注意：这个D大调模式逐渐继续向上。每一个较大的音程都从左角开始，与前面的例子类似。试着对所有的大三度进行练习。

Major triads with flat seven. This should be practiced over all major and minor triads. Please try to figure out the “fingerings” (R-L). Feel free to contact me in case of questions. or doubts regarding the fingerings.

大三和弦与七度音。这应该在所有大、小三和弦上练习。请试着找出 "指法"（R-L）。如果对指法有疑问，请随时与我联系。

Triads going up in minor thirds

Diminished patterns up and down

Diminished pattern going down

More pattern with fourth

Triads with tritone (flat five) steps. In that line are left and right corner jumps unavoidable.

Pattern with octave jumps

Pentatonic pattern over two octaves

Two octave jump pattern

Two octave jump pattern slow

Two octave jump pattern fast

Note: the above two octave jump exercise is a good example to illustrate how corner switching reduces the distance of all channels (notes) on the harmonica. The line starts on the high C in channel 12. By immediately switching to the left corner you already cover a distance of 4 channels. The jump to the C in channel 5 is therefore reduced to only 4 channels.

注：上面的两个八度跳音练习是一个很好的例子，可以说明转角切换如何减少口琴上所有通道（音符）的距离。这条线从第12通道的高音C开始。通过立即切换到左角，你已经覆盖了4个通道的距离。因此，跳到第5声道的C的距离就减少到只有4声道。

There are two different possibilities to play the above sequence. I prefer option 2 (NCCS) because it keeps the pattern fairly regular between right and left corner switching.

有两种不同的可能性来演奏上述序列。我更倾向于选择2（NCCS），因为它使左右角切换之间的模式相当有规律。

-> some Jazz clichés:

These two lines should be practice in all keys

Fun little melody