Paul -
To play a regular blow and an overblow at the same time in the same hole, you just don't completely isolate the overblow - your mouth resonance is specific enough to make the overblow sound, but not specific enough to exclude the blow reed's note.
I'm doing the simultaneous blow and overblow in Hole 1, not Hole 4. It seems to work best in Hole 1, where the blow note and the overblow note seem less likely to fight it out.
On a C harp, yes, this gives both C and Eb notes. You could use this as part of a C minor chord or any other chord that uses those two notes. In the example I go from playing C and Eb together in Hole 1 to playing C and E-natural together by releasing the overblow as I widen my embouchure to add Hole 2 Blow to the the chord.
I've played around with doing it in Hole 3, which will give you G and C together. Why do that when Blow 3 and 4 will give you G and C? With the overblow chord, you can bend the C up to C# while holding the G (though the G will depress in pitch a little).
Hole 2 will give you E and G# together - part of an E major chord.
Winslow
--- In harp-l-archives@xxxxxxxxxxxxxxx, Paul Bowering <paul_bowering@...> wrote:
Says Winslow:
I've utilized a couple of extended overblow techniques - bending overblows up one semitone, and playing a blow and overblow at the same time in a single hole.
I'm currently sitting at a computer not equipped with speakers so I haven't heard the sample. I can bend an overblow okay but two simultaneous notes from a single hole? That's way cool. Do I understand that you can outline a Cm chord on Hole 4 (assuming a 'C' harp)? Is it musical? Please explain the technique further.
Paul
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