[Harp-L] Harp-L] Re: Seamless Overblow Challenge

[David Naiditch <davidnaiditch@xxxxxxxxxxx>]

Like David Fairweather, I also hear the timbre differences between ordinary draw bends, blow bends, unbent notes, and overblows.  I disagree with those who say that for the sake of musicality, change of timbre between notes doesn’t matter.  Some tunes in some styles require that each note of an instrument have a very similar timbre.  Irish, bluegrass, and traditional classical music, for instance, would typically have a very different feel if each instrument’s timbre kept significantly changing from note to note.   It could be interesting, but wouldn’t conform to the traditional way of playing.  (And, of course, there is the additional issue of producing overblows and bends with precise pitch and without any slides.)

 It is true that instruments such as a sax are capable of producing a wide variety of tonal colors.  But the saxophonist is the one in control.  Unlike the diatonic harmonica, the timbre of each note isn’t dictated by the instrument (whether a bend, OB, or unbent note is required).

 Having said all this, I think bends and overblows sound really good in a lot of blues and some jazz, and folks such as Howard Levy are among my favorite harmonica players.