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4
TurboSlide Harp
– User Guide, page
VER. 11.02.11, ©AntakaMatics, Inc. 2011
OVERBLOWS
2 SEMITONE
BLOW BEND
1 SEMITONE
BLOW BEND
BLOW TONES
DRAW TONES
1 SEMITONE
DRAW BEND
2 SEMITONE
DRAW BEND
3 SEMITONE
DRAW BEND
OVERDRAWS
C
1
D
E
2
G
G
3
B
C
4
D
E
5
F
G
6
A
C
7
B
E
8
D
G
9
F
C
10
A
262
330
392
523
659
784
1046
1318
1568
2092
298
392
494
587
698
880
9686
1191
1397
1760
Db/
C#
Gb/
F#
Bb/
A#
Db/
C#
(E)
Ab/
G#
F
A
Ab/
G#
C#/
Db
(F)
G#/
Ab
C#
Db
D#/
Eb
F#/
Gb
B
D#/
Eb
D#/
Eb
F#/
Gb
A#/
Bb
A#/
Bb
HOLE
By appropriately altering his/her embouchure, a player can achieve several of the “missing”
notes not normally provided by the diatonic scale. Some notes may be “bent” lower, others
“overblown” or “overblown” higher. These are summarized in the diagram below:
The lower “bendable” notes typically provide a smooth transition between the natural pitch of
the draw reed and approximately a semitone below the pitch of the blow reed. The bends on
the upper register, as well as the overblows and overdraws involve more sudden transition of
pitch.