Re: Learning to Overblow

["Chris Michalek" <chris@xxxxxxxxxxxx>]

Tim,

I respectfully disagree with you. Overblowing is clearly useful to
those that play any style of music and should not nessitate a change
in approach. Afterall, each one of the overblow/draw notes are
available somewhere else on the harp.  

I think the real issue is a modulation from our personal comfort
zones. I think many of the current players will stay where they are
in terms of playing and the younger/newer generation of player will
naturally progress into the total harp approach that utilizes all of
the available notes.  For an example of this simply reflect upon the
history of harp.  The music originally played by most is markedly
different then what we hear today.  Look at the change in stlye and
approach from the 20's-40's 40's-60's 60's-80's 80's-present.

I think it's important to note who I think are the
transitional/bridge players that were able to transcend the current
field of blues and utilize a more gesalt method of playing

- - Madcat Ruth
- - Lee Oskar
- - Norton Buffalo

I am proud to be on the forefront of this "new" shift of playing
along with you (Tim Moyer) and fellows like Howard Levy, George
Brooks, Jason Ricci, Carlos del Junco etc....


Chris Michalek



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>---- Original Message ----
>From: wmharps@xxxxxxxxx
>To: harp-l@xxxxxxxxxx
>Subject: Re: Learning to Overblow
>Date: Sat, 20 Mar 2004 14:07:29 -0000
>>
>>In my humble opinion, based on my own experience, learning to 
>>overblow involves a total approach to playing, not just learning a 
>>new technique.  I struggled for a year with just learning to get