Fwd: [Harp-L] Overblows 4 and 5 uses



--- In harp-l-archives@xxxxxxxxxxxxxxx, Michael Fugazzi 
<mfugazzi67@xxxx> wrote:
So I've been able to play the 6 hole overblow for
awhile now, and I am starting to use it more and more
and understand where it fits in blues music.  Now I am
hitting the four and five with ease, but I don't know
the appropriate blues context for it.  Any help? 

==========Winslow:

Let's start with OB5 (verblow in Hole 5).

Try following 5OB with 6B - it's like sliding into it from a semitone 
below. This works nicely in second and first positions.

Try bending 5OB UP to the same pitch as 6B, then playing a downward 
rif that starts with a wailing 5D, like:

5OB (bend up), 5D 4D b4D 3D 2D (b = bend down 1 semitone)

This is a little like having a bendable Blow 6 by a back door route.

On the V chord in second position, try using this same 5OB, which is 
the major 3rd of the chord, and bending it up. You could use the same 
riff above as the V chord moves down tothe IV chord. Or you could use 
it as a note in a line:

4D 5B 5D 5OB 4D 4B,  6B 6B 5B 4D 3D 2D

or 

5OB 6B 6D 7D 7B 7D 6D 5OB

or 

5D 5OB 6D 7D 8D 8D

You can see where some of these lines would work in third position.

What about 4OB? 

In third position, this is the b2 degree of the scale - not terribly 
useful in blues except as a passing note from 4D to 5B.

In first position, it't eh minor 3rd - a blue note. you can actually 
use three overblows in row for a very bluesy effect:

4B 4OB 5OB (bend it up) 6OB

This gives you the 1, the b3, the b5 beidng up to the 5 and the b7.

In second position this is the b6, or the minor 3rd of the blow 
chord. As the latter, this is a sort of blue-note-once-removed. You 
may find that playing it agains the IV chord as a blue note is a 
little too dark and jazzy-sounding - or you may love it.

A safer way to approach this note is as a chromatic passing note up 
to blow 5. For instance, you could play the follwing lick over the IV 
chord:

4D 4OB 5B 6B 6D 6OB 6D 6B.

Winslow







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