Re: [Harp-L] Hole 2 and 3 overblows



I'm intrigued as I've never over-blown anything but the higher
positions, the easier ones.  In fact, I didn't realize it was possible
to achieve a consistent enough tone with the lower holes to even
contemplate the use of such a thing among one's "chops". 
Now, can you recommend a harmonica that would make such a technique
easier initially, such that one might get used to the idea? 
Can you also share how you learned the technique of over-blowing the
say... first five holes? 
Talk about "real creativity"!!  Brother, I think you might have some!!
Brad Trainham
On Wed, 09 May 2007 17:47:11 -0700 (PDT), you wrote:

>Hole 2 and 3 overblows tend to be ignored as they duplicate other notes
>available by more conventional means. Overblow 2 duplicates Draw 3
>triple bend, while Overblow 3 duplicates Blow 4.
>
>But they are useful.
>
>Consider this: By playing overblows on holes 1, 2, 3, 4, 5, and 6 in
>sequence, you have an entire chord 1 semitone above the draw chord,
>produced by a consistent technique. I have heard Allen Holmes use this,
>as have I.
>
>Let's say you have a C harp and want to arpeggiate an Ab7 chord. You
>could start with Overblow 1, the leap  Draw 3 triple bend, then move to
>Blow 4, then Overblow 4 and Overblow 5. Or  you could just play
>overblows in Holes 1, 2, 3, 4, and 5.
>
>Which is easier? I think the all-overblow path is smoother.
>
>Second scenario:
>
>You're listening to a guitarist or maybe a sax or even a chromatic
>harmonica playing blues in G and moving smoothly (maybe by bending)
>between C and Db. 
>
>On a C diatonic you can't do this with fluidity; C is blow and Db is a
>draw bend. It will either sound choppy or sound careful; it won't sound
>fluid.
>
>But let's say you overblow Hole 3. That's a C. Now, you bend it up a
>semitone to Db. Fluidity accomplished.
>
>Winslow
>
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