Fwd: Re: [Harp-L] A question



--- In harp-l-archives@xxxxxxxxxxxxxxx, Pablo Basso <soplete@xxxx> 
wrote:
If I took an asian harp, (like folkmaster) and waxing the rivets. it 
will be a good sound on overbends?.

====Winslow.

Could work fine. Asian harps sometimes squeak more easily than 
others, making high-pitched ringing noises. But this does not always 
happen/

======Pablo

another question: How can i know if a harp is equal or compromised 
tuning? 

====Winslow

Certain models are produced in certain tunings. Hohner literature 
will tell you which ones are in which tuning. GOlden Melody is equal 
tuned. Most others are in a compromise tuning.

Lee Oskars are equal tuned.

I don't know about Suzuki. You may be able to check their online 
information, or someone here may know.

I believe most Herings are just-tuned. Just gives great chords but 
can make draw 5 sound very flat - sounds great in a chord but not so 
great as a melody note. There are different kinds of just tuning that 
help with this by using a more elaborate mathematical model.

==========Pablo


Now I´m practicing overblows. I  set off de coverplates and start to 
proof the choking and resonate the draw reed. All OK. But when I set 
on 
the coverplates, I can make the 6 overblow to sound, but is so much 
difficult to sound the 4 and 5.  I can make to sound the overdraws 
(7, 8 
and 9)  more easily than the 4 and 5 overblows, even when in theory 
is 
so much difficult to make the overbends. 

===========Winslow

This is all part of the learning process. I get the impression that 
higher pitched notes - OB6, OD7, 8, 9 - are easiler for you. It may 
be that your mouth naturally creats a resonant chamber that favors 
these higher-pitched notes. It may take careful work for you to learn 
to create the conditions for the lower pitched overblows to sound.

It might also help to adjust the profile of the reeds - the curve and 
angle at which the reed rises away from the reedplate from the rivet 
to the tip.


Winslow







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