deutsch
english

People

Here you can read exciting articles about some of the protagonists of the jaw harp and ethnic music world.
  • The acoustics of the jaw harp: Robert Vandré and the fascination of jaw harp physics

    Where is the connection between playing the jaw harp and speaking? Robert Vandré says one learns a lot about the jaw harp when dealing with the physiological and psychological speaking processes. There are similar patterns at work that generate the sound while speaking or playing the jaw harp, e.g. the movement of the tongue or the various resonant spaces in the area of the head. Robert Vandré is a hobby musician and for over 20 years a jaw harp acoustics specialist. Vandré is author of a jaw harp school and an authority for meticulous jaw harp acousticians as he examined and measured the instrument very thoroughly. Currently, there are only a few studies about acoustic parameters of the jaw harp. His website rvandre.de that is online since 2002 is one of the few sources that comprehensively analyse the sound properties of the jaw harp based on substantiated figures. That is why it is a treasure for instrument researchers and acousticians, but at the same time for jaw harp players that are seeking a better understanding about the functionality of the instrument. Helen from DAN MOI met Robert in 2017 at the Ancient Trance Festival in Taucha, near Leipzig.

    Quote: http://rvandre.de/toene.html

    The mouth harp as natural scientific object

    I’ve been always very interested in the acoustic conditions of the mouth harp. I am a natural scientist, ecologist and am working as a soil scientist and a botanist. Music is my hobby. So I have a completely different approach to those instruments, if compared to other jaw harp players. Of course I am alsointerested in the feel and how jaw harp music is influencing the soul, butI alsolook closely at the different factors and want to know how the instruments work on a physical level. I am rather a technician who says: that is rhythm, that melody, that happens via the diaphragm, those are the fingers, that comes from breathing, that is articulation.

    Robert Vandré acoustically examined and measured the jaw harp and evaluated the data. He recorded the tones of a jaw harp and by support of a computer software he measured the frequency range of those tones. The range displays the overtones that resonate in a jaw harp tone (photo frequency). Since the year 2002 Robert Vandré is having a website called rvandre.de, where he documents and provides public access to this research. The graphs show what overtones are present in a sound to what degree, which helps to understand how a sound is physically built. The outcome of the research was astonishing, says Robert Vandré, “I was very surprised how regularly the pattern of the sound the tongue generates is”. Due to his measurements one can comprehend how the jaw harp works: each jaw harp has a basic tone and all other tones of the mouth harp are overtones of the basic tone that can be generated by specific movements of the mouth and throat area.

    "I discovered the jaw harp many years ago at a festival. There were jaw harps from Schwarz, Austria. So I bought one and played a little on it. At first I was thinking of Snoopy from the Peanuts. He is playing the jaw harp, for instance in the bus. So I tried around a bit and came to the point, where I could play melodies that others in my surroundings were able to guess. Then the instrument was lying around for years and I forgot about it until I went to the music fair in Frankfurt. That also was many years ago. There was a booth with Hungarian jaw harps from Szilágyi. I bought one and on the train ride back home it totally got me: It was really cool to play a good jaw harp and to try out things on it. And that really triggered my curiosity: how does a jaw harp work, what is the physical background? I started to try around, to think about it and read things, for example from linguistic scientists who describe how a tone is generated and formed in the vocal tract."

    Play the Jew's Harp Like a Virtuoso by Robert Vandré

     

    How choose your jaw harp

    The acoustic curiosity is not limited to a theoretical level. Robert Vandré developed his own technique on how he improves mouth harps that do not sound as well. “I love to play the jaw harps of Josef Jofen who unfortunately does not make any more as he retired. I also like to play on Schlütter’s and Szilágyi’s jaw harps as they both are very good. If one does not sound so well I take pincers and shorten the end of the tongue that one strikes with the fingers. The tone pitch isn’t right anymore, but I don’t care. These are my best jaw harps today.

    To find a good instrument is for beginners already very important. But how does one find a good beginner’s instrument? “If there is the opportunity at a jaw harp booth it is a definitely a good idea to try out a couple of them.”, Robert suggests. “It is important to choose an instrument with a soft tongue, so that the tongue of the instrument does not vibrate with too much energy at the teeth. The jaw harp still should have a good sound.” For Robert the secret of a well-sounding and well-playable jaw harp lies in the length of the bended part of the tongue. As described above, it should be short, so the counteracting vibration is not too strong. Then the instrument can produce a beautiful sound.

    Quote: http://rvandre.de/spieltechnik.html

    To play with body control

    Like most jaw harp players, Robert is an autodidact, but eventually he has passed on his knowledge to others. To give beginners a better start he compiled his knowledge in a course that is also published as a book. Every now and then, Robert Vandré also conducts workshops for jaw harp beginners and advanced players.

    What keeps me going with the jaw harp is that the sound reaches the inside and it really gives pleasure. It’s just so nice to play. I also enjoy playing the jaw harp in body control, i.e. controlling my breath as Aron Szilágyi demonstrates in a beautiful manner. Controlled rhythms, controlled pieces, chorales, folk songs, so really playing music on the jaw harp and not only sounds. That is what I am interested in. I’d like to make some proper music with it. As I discovered the jaw harp for myself it was virtually non-present in public space as far as I remember. Merely the sound of the coil spring as a sound effect showed up here and there.

    Apart from that there was the jingle of the German kid’s programme “Sesamstraße”, but there the jaw harp plays only 2 tones in the rhythm. The jaw harp as a melodic instrument did not seem to be present at all. As far as I see it, there is almost no living jaw harp tradition in Germany, apart perhaps towards the Alpine area, around Molln in Austria. There, playing the jaw harp was completely re-invented. Here in Germany, the world music scene has brought the jaw harp back to life, more precisely the people dealing with spirituality, who gain access to the jaw harp via the feeling.

    In 2007 he has seen really good jaw harp players for the first time at the Ancient Trance Festival that back then was hosted in Leipzig, says Robert Vandré. “To watch the good players live was my motivation to keep on dealing with jaw harps.

    Robert Vandré playing "Abendspaziergang":

     

  • Amazing jaw harp music: Rock, Pop, Jazz

    Is the jaw harp an instrument for dreamers? Is it an instrument for good-humoured people? Is it an instrument for curious sound hunters, experimental music lovers and noise enthusiasts? We were digging in the archives and want to share with you some #amazingjawharpmusic with pop, rock and jazz backgrounds.

    You´ll find some uncommon jaw harp music, leaving the common territories of traditional and world music. You’ll enter musical fields, where this instrument is hiding in the rhythm section of the band or pushing forward as brave solo instrument next to trumpet or bass. Sometimes the jaw harp is “merely” the usual twang instrument, that makes the rhythm swing; sometimes it´s the “salt and pepper” in the composition; some pieces show the experimental, highly individual approach to play the instrument; and others present the jaw harp as an autonomous instrument in jazz and avant-garde music.

    The songs you discover here are not necessarily played by Jew’s harp virtuosos in the classical sense. Most suggestions do not come from a traditional jaw harp background. The examples show, that the instrument is taken up from musicians respectively artists, to express personal sound ideas. They take us as listeners in very individual musical worlds, attempting to implement an extraordinary element into their music. We hope that this collection of pop, rock and jazz tunes using the jew´s harp will inspire and surprise you.

    #15 First comes John Zorn´s transcendentally flouting piece “Mystic Circles” from his 2008 album “The Dreamers”. The jaw harp is pulsing and flying in this music, constantly tracing the rhythm while creating an absent-minded acoustic atmosphere. The rhythmic motives are crossing the melodies like comets enlivening the sky. Moving and contemplative.

     

    #14 Tiger Lilly’s tune “Rendezvous with Death” from the 2016 album “A dream turns sour” is a black humoured parody of mortality. The jaw harp gives the rhythm this special notion of innocent, twinkle-toed fearlessness. Keeps the listener feeling save, and at the same time alerted to a danger, that´s hiding between the notes. The mouth harp played next to the high-pitched, sneaking voice of Martyn Jacques: an exquisite acoustic couple.

     

    #13 Scissor Sisters "I can´t decide" from their album Ta-Dah (2006) is another black-humoured piece of music. Again the jaw harp seems just right to give a pinch of sound colour into the mix. The jaw harp is played by actress Gina Gershon.

     

    #12 Famous German pop band 2raumwohnung released their first album “Kommt zusammen” in 2001 using a jaw harp in the opening track. Here the instrument is following the bass line. A campfire guitar, a jaw harp and the request “don´t stay alone, get together” lends the song a quite hippiesque nature.

     

    #11 British blues rockers from Medicine Head, landed their biggest success with their single “One and one is one” in 1973. It´s featuring Peter Hope-Evans steadily playing the jaw harp at the side of the drums and the bass line. In this song, you hear how a jaw harp can be used as a rhythmical instrument in rock music. Until today Hope-Evans is a virtuoso on harmonica and jaw harp. Check out a current recording from January 2018 with his Blues Club Band.

     

    #10 Did you know Dizzy Gillespie was not only a genius trumpet player, but also an excellent jaw harper? Check out Dizzy Gillespie´s album “To a Finland Station”, which he recorded with fellow trumpet player Arturo Sandoval 1982 in Helsinki. You´ll find Dizzy playing the jew´s harp on the tracks "First Chance" and "Dizzy the Duck". Discover the jazz jaw harp as a rhythmical instrument, but also as a magnificent solo enchanter. In an interview Arturo Sandoval says, Dizzy had a lot of humour in his music. He played the jaw harp a lot. Sandoval remembers: “He gave me one of his instruments, and he taught me how to play it.” Further Gillespie playing a jaw harp was featured in one episode of “The Cosby Show” in the 1980s. There he emerges as the music teacher Mr. Hampton, who plays around with the famous twang-instrument for one of the Huxtable daughters. (For all of you who want to see it: the episode is called “Play it again, Vanessa”.)

     

    #9 Gina Gershon Solo: Here is another funky track with US-American actress Gina Gershon on the jaw harp. She plays it as a solo instrument in a duo full of joyful laughter with bassist Christian McBride on the song “Chitlins and Gefilte Fish”. Find it on McBride's 2011 album "Conversations with Christian".

     

    #8 Swiss Mundart from Bern region is celebrated by the ingenious group Stiller Has. In their song “Gruusig”, recorded in 1994 for their album “Landjäger”, the jaw harp is backing up the lyrics of the vocalist, sounding truly weird – just as the song title suggests. For all of you, who can´t tolerate to listen to a jaw harp, that sounds totally wrong and awkward, please don´t listen to this.

     

    #7 Daniel Higgs is an US-American musician and artist whose musical expressions are influenced by experimental sound expeditions, post-hardcore music and global music vibes. Higgs is (or was) the head of the band Lungfish who actively played together from 1987 till 2005. Their style was shaped by repetitive, almost meditative sounds. Since more than ten years Higgs follows new cooperative and solo projects. The Jew’s harp accompanies him on this trail. In 2003 Higgs published the album “Magic Alphabeth” solely dedicated to the quest of mouth harp vibrations. You hear an experimental approach that settles somewhere between folk and noise, excessively exploring a personal voice through the jaw harp.

     

    #6 Harvey Matusow´s Jew’s Harp Band is the most extravagant approach to contemporary jaw harp music. The album “War Between Fats and Thins” was recorded in 1969. Matusow is not primarily known as a musician. He is popular for his carrier as a member of the communist party and spying for the FBI in the McCarthy era. He has been linked to artists first in the US and later in his English exile. He was involved in the organisation of film- und avant-garde music festivals, was working for TV and radio and recorded this crazy LSD-influenced jaw harp album with his Jew´s Harp Band.

     

    #5 Harpist and singer-songwriter Joanna Newsome recorded 2006 her beautiful epic song “Emily” on the album “Ys”. You´ll have to wait almost till minute ten of the twelve minute long song to hear some very scarcely sprinkled jaw harp dots. This song is a painting and an incredibly lyrical encounter.

     

    #4 Most of you may know, that the great Leonard Cohen was fallen for some twang colour in his music. Hold your ear on “Tonight will be fine” from the album “Songs From a Room” (1969) and “Is This What You Wanted” on “New Skin For The Old” (1964). You´ll hear some reminiscent association with country style Jew´s harp playing on “Tonight will be fine”. While on “Is this what you wanted” the jaw harp, again very close to the bass line, acts like a comment for the strophe of the song.

     

    #3 Nothing needs to be said about the legendary song “Guns of Brixton” from The Clash´s 1979 album “London Calling”. Legendary.

     

    #2 A spiritual, but at the same time experimental approach can be found in the musical works of Tuvan artist Sainko Namtchylak. Listen to "Tuva Blues" on her album “Stepmother City” from 2001. The blending of Tuvan tradition and contemporary musical explorations fusion here in an almost transcendent way.

     

    #1 Meredith Monk is awarded our number one in DAN MOI´s hit list #amazingjawharpmusic. On her album “Songs from the Hill” from 1979 the US-American vocalist, composer and choreographer dedicated one solo piece to the “Jew's Harp”. It´s another very personal expression on the instrument, that roots in the contemporary traditions of experimental music.

  • The Strange Sound of Happiness: Diego Pascal Panarello follows the mystic power of the jaw harp

    Finally, there is a new flick about the mouth harp out. Sicilian movie maker Diego Pascal Panarello was working more than 7 years on “The Strange Sound of Happiness”. The fantasy documentary celebrated its world premiere at the DOK Festival 2017 in Leipzig, Germany. DAN MOI met Diego in the foyer of the cinema in Leipzig only minutes away from the start of the premiere. He is not only revealing his jaw harp collection on the bar table in front of us, but is also revealing some exciting legends such as the connection of the jaw harp to the mafia, the story of losing his favourite jaw harp and naturally his first personal encounter with those items that take away all sorrows.

    Diego Pascal Panarello (DPP): My home is in Sicily between Syracuse and Catania, the exact name is Augusta. It’s a navy place and a fisherman place. I got the first jaw harp by chance. I don’t know why, but one day I woke up and wanted to play it. So I went to a souvenir shop and bought one. When I started to play this instrument, I didn’t stop for one week. There came a lot of blood from my lips, because I wasn’t able to play. I wasn’t feeling bad, though. Actually I was feeling very good when playing it. This was some 12 or 15 years ago and afterwards I forgot about the instrument. I only played it every now and then. When I started to play a little bit better I felt pleasure. And I was thinking this little instrument is covering something more mysterious. I was fascinated by the instrument, and I was fascinated by the name it has in Italy. Scaccia Pensieri means something like “worries go away”. And I was thinking maybe there is a reason why, so I got curious about it.

    DAN MOI: What would you consider yourself?

    DPP: I’m a film director, and a failed musician. I wanted to be a musician, but I never have been able to play any instrument. I’m kind of a wrong choice for music – no rhythm, no tuning, no anything … I became a filmmaker. And now I’m even a tiny little bit of a musician.

    DAN MOI: What is the story you are telling in the film?

    DPP: It’s the story of a guy who has been going around for 20 years looking for something. At some point he is tired of his failure and his less than perfect life, so he returns to his parents’ house. And by chance he stumbles upon this instrument and starts to follow the sound of this instrument. And in a way he discovers something that he didn’t know before. The film is a mix of reality and fantasy. It’s a documentary with a touch of fantasy. It’s totally a visionary pop trip and it doesn’t pretend to have a historical approach, it’s completely narrative.

    This guy who comes back after 20 years discovers a new world through this instrument. And this new world is represented by Yakutia, because it is a completely different from my place in Sicily. To me it was looking like a place that only existed in my mind. In the film I don’t reach that place for real, not by train or plane, but I get to this place with my mind. I was always fascinated of that completely different place. So I developed the film between Sicily and Yakutia, because they are kind of opposite and far away from each other. There are a few more spots than that in the film, like France, Hungary and Austria, but actually when watching nobody knows where we really are.

    DAN MOI: How strong is the jaw harp tradition in Sicily?

    DPP: It has become a souvenir for tourists that visit Sicily. Sicily is well known through the cinema. People from all over the world get there, because Sicily is known through the Godfather or Salvatore Giuliano, so they buy this instrument. Since about ten years ago a new movement has started in Sicily through the very important Marranzano World Festival in Catania. This festival shows the jaw harp in a new light, and takes it out of this mere tourist context and out of the mafia tradition.

    The jaw harp in Sicily was originally connected with the sheep, and with the sheperds. In their loneliness they used to play on the top of the mountain, where they were playing together with the animals. At one point, the mafia came to take control over the territory. To be able to do that, the sheperds were considered an important player. They were the ones moving around with the sheep, so they were a crucial part to take control of. The sheperds became kind of soldiers for the mafia bosses. This is how the connection between the jaw harp and the mafia started. In many films about Salvatore Giuliano there are some sheperds playing this instrument to send signals like “Salvatore, police is coming”. But I think, this was a kind of fantasy of the film director Francesco Rosi.

    There are a lot of legends about them sending signals from the top of one mountain to another, but actually this is very difficult due to the low volume of the instrument. That’s the nice thing about this instrument: since there is no history, there is a lot of space for legends. Maybe with my film I have done something, which is close to that point of view. It’s nice, because it’s like a blank canvas, you can put there whatever you want. Everybody is able to create a legend about this instrument.

    DAN MOI: Who do you think will watch the movie?

    DPP: I hope that this film is watched by the people, who don’t know this instrument. I’d be happy, too, if people who play the jaw harp also see it, but they already know everything without my story. It’s not a classical documentary that tells the history of the instrument. So basically, this film is for everybody. As you know, the instrument is represented as a magic key …

    DAN MOI: Was it difficult to film the jaw harp?

    DPP: I was telling the camera guys, please shoot always from the right side, never from the left, because the left is covered by the hand. But on the other hand, if you don’t see so much, the instrument becomes even more mysterious. So there is a part in the film, were it’s dark and we played with this feature: if you cover the jaw harp, it could be more interesting, so people wonder, „is it a piece of iron, how is he playing, what does he play?

    DAN MOI: What is your favorite scene in the film?

    DPP: You know, there is a moment that actually doesn’t exist in the film. I met a master blacksmith in Yakutia. He gave an instrument to me and since he gave it to me my playing got so much better. I made a big step forward and I thought it was because of the instrument and the blacksmith, who made this instrument. One day I broke the instrument. It happened in Europe, and that was a shocking moment for me. I said: “Ok, I have to go back to Yakutia to repair it.” But when I went back to Yakutia, the master was sick and wasn’t able to repair this instrument. At that very moment I started to cry, because for me it had the same meaning like when we lose a person or something we highly value. It was very symbolic to me. In the film there is a reconstruction of this story, but I actually experienced the true story.

    Jaw Harp Collection of Diego Pascal Panarello.

    DAN MOI: Do you have a Marranzano with you?

    DPP: Yes, I have one very old Marranzano. It was made by a blacksmith that has already died. By chance, I met a girl and we were talking. She told me that her grandfather was a blacksmith from Leonforte, and I said, “Yes, there was one guy from Leonforte who was making jaw harps, but he died.” And she said, “Yes, my grandfather was making those instruments”. So she had five of them and gave one to me.

    DAN MOI: Would you play a song on your jaw harp?

    DPP: Yes, of cause. This is not the typical sound of Sicily. The Sicilian sound is usually harder. I don’t know why, but this instrument sounds very soft. It’s not common for the Sicilian sound. Its long life is neither usual. Usually the shape of the instrument is bigger. I don’t play a Sicilian song, I play an improvisation. It’s a kind of Tarantella.

Items 1 to 3 of 37 total

Page:
  1. Previous Previous  |
  2. ...
  3. 13
  4. 1
  5. 2
  6. 3
  7. 4
  8. 5