Note C which ends the scale of an octave, and note C which begins the scale in the following octave are identical tones. A player can make a choice of playing either C to help carry a musical sentence for a better and more comfortable rendition. The diagram above shows the positions of these identical tones. (Marked: Double C)

When two harmonicas in the key of C and C # are paired together, they function as a complete chromatic harmonica including all sharps and flats, and are capable of performing music written in any key.

THE TECHNIQUE OF HOLDING AND CONTROLLING THE INSTRUMENTS

Place the C # harmonica on top of the C harmonica which are held together at the two ends as shown in the picture below.

When the playing is at the left section of the harmonica (lower octave) the right hand holding the right end of the harmonicas is kept still, the left hand holding the left end of the harmonicas control the harmonica positions by turning the left hand at the wrist.

When playing the natural tones on the bottom harmonica, turn the left hand wrist counterclockwise to bring the left section of the bottom harmonica to the lips. ( See picture below.)

When playing the sharps or flats on the top harmonica, turn the left hand wrist clockwise to bring the left section of the top harmonica to the lips. ( See picture below.)

When the playing is at the right section of the harmonica (higher octave) the reverse is true.  The left hand holding the left end of the harmonicas is kept still, the right hand holding the right end of the harmonicas control the harmonica positions by turning the right hand at the wrist.

When playing the natural tones on the bottom harmonica, turn the right hand wrist clockwise to bring the right section of the bottom harmonica to the lips. ( See picture below.)

When playing the sharps or flats on the top harmonica, turn the right hand wrist counterclockwise to bring the right section of the top harmonica to the lips. ( See picture below.)

When playing the middle section of the harmonica, turn the wrists of both hands to bring the bottom harmonica ( for natural tones) or the top harmonica ( for sharps or flats) to the lips.

TECHNICAL CONTROL FOR FAST AND SMOOTH PERFORMANCE ON TWO HARMONICAS

When playing the natural tones on the bottom harmonica, the tip of the upper lip remains in contact on the top harmonica .

When playing the sharps or flats on the top harmonica, the tip of the lower lip remains in contact on the bottom harmonica.

When switching back and forth between two harmonicas, the motion is rather a gliding action instead of jumping from one harmonica to the other.

Once this technique is perfected, one can play a chromatic scale smoothly at lightening speed.

When many notes are played continuously on either the bottom or the top harmonica, it is not necessary to keep the tip of the lip in contact on the other harmonica during this time.

The HUANG MUSETTE and CATHEDRAL CONCERT harmonicas are extremely effective in a harmonica ensemble. Once mastered, the instruments are capable of taking parts for advanced playing, technically uncompromised.

May this new addition to the list of HUANG harmonica models contribute more enjoyment for your harmonica playing.

The HUANG MUSETTE and CATHEDRAL CONCERT harmonicas feature special reed metal for strong and brilliant sound, synthetic comb and screw-tapped reed plate assembly for airtight quality, and nickel-chrome plated brass covers and nut and bolt fastening