Re: [Harp-L] Who u-blocks

["Jim Greenwald" <staggerin@xxxxxxxxx>]

Hi All

Up until about ten years ago, I was primarily a U-blocker - using T-blocking 
of course for splits, and pucker only when I wanted to free up my tongue for 
an effect.
Since starting seriously on Old Time (fiddle and banjo, stringband type 
stuff) at that time I reversed the percentage and mostly T-block and now use 
U-block more for overbends or for when I actually want to avoid splits.
I agree with Tom that U-blocking is pretty great for getting access to a lot 
of notes without a lot of visible external movement, especially 
energy-efficient for playing in a rack.

Also like Tom, I've got to sing the praises of the new Seydel 1847 for 
tongue embouchers. The steeper and very smooth cover plates make for the 
best lip glide (and allowing greater relaxation) of any harp I've got. The 
'radiusing' (borrowing a term from fretted instrument fingerboards) of the 
comb and the chamfering of the comb-teeth combine to make more fluid 
movements of the tongue with less drag.
BTW the illusion of 'roundedness' of the holes comes from this bevelling of 
the 'radiused' comb-teeth.
Besides the other design features of the harp, it seems special attention 
was paid to make an enhanced platform for tonguing. I'm entered in a contest 
this Sunday and need all the confidence I can get <g>

Cheers,
Staggerin' Jim
Listen to Roots Harmonica at http://www.live365.com/stations/staggerinjim


----- Original Message ----- 
From: "Tom McGovern" <tmcg@xxxxxxxxxxxxxx>
To: <harp-l@xxxxxxxxxx>
Sent: Thursday, May 17, 2007 4:25 PM
Subject: [Harp-L] Who u-blocks


I, too, am primarily a u-blocker.  I always have been, since I
self-taught in the late 1960's.  I never really thought about it until
the discussion came up a harp festival a few years ago.  I find that I
can get great range with the tongue movement up and down the harp
without moving it.  One of my "parlor tricks" is to put the harp in my
teeth, no hands, and play a bit of a fast boogie-woogie bounce with
cords thrown in, in second position, including a one blow and six blow
single note.  It's fun and a good way for me to help explain to new and
non- harp players how important tongue position is in playing. I think I
get pretty good tone u-blocking also.  There are negatives, though.
I've always had trouble doing octaves, as the tip of my tongue won't lay
flat up against the harp.  I'm convinced there is no right or wrong way
to play the harmonica.  If it sounds good, it's right.



As a follow-up to my earlier post about my Seydel 1847's I was bring on
the cruise with our band, I'm pleased to say they not only held up to
some salt-air drenched (and too many boat drinks) heavy playing, they
still remain my favorite harps.  Thanks, Rupert, for bringing them to
the Buckeye.



Tom McGovern

www.airmargaritaville.net



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