Re: [Harp-L] Simultaneous blow and overblow

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

But they're not always dissonant - there lies the easier opportunity
(the harder one being to make the dissonant ones work).

HOles 1, 4, and 6 will give you a minor third between blow and
overblow/

HOle 2 will give you a major third.

HOle 4 will give you a fourth (pefrect if you bend it up a bit, true of
all these intervals)

Hole 5 will give you a major second - more of a dissonance.

In the overdraws:

7OD with 7B will give you a semitone - a true dissonance.

8OD with 8D will give you a minor third.

9OD with 9D, also a minor third.

10OD with 10D - a major third.

NOw, I've never gone above HOle 4 in trying to cultivate this, so the
above theroetical possibilities remain theoretical in my experience.

Also, an interval that is not of itself dissonant, like a minor third,
may still clash with the undelrying scale of the tune being played,
like Eb in a C major scale. Of course we know from playing blues that
there are creative ways to make use of such things.

Winslow



--- 46long Blake <46long@xxxxxxxxx> wrote:

> And here I am trying desperately NOT to get the dissonant
> simultaneous notes
> when I shoot for ob4 on my A harp...... I didn't know it was a
> virtue.....
> 
>  - Blake
> 
> 
> On 4/18/06, Winslow Yerxa <winslowyerxa@xxxxxxxxx> wrote:
> >
> > 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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> 
> 
> --
> Blake Taylor
> http://46long.com
> http://www.myspace.com/46long
> 


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