Re: [Harp-L] OB Tone and Intonation

[icemanle@xxxxxxx]

 Yes yes yes. Great forward looking comment.
 
I have all my students linger longer on their intonation problem notes. It starts with holding 4 hole inhale bend as a long tone. If it is used in a melodic line, I'll have them play that 'problem' note longer in the line until they stop shying away from it. It's just another note - just because you need a slightly different technique to play it is no reason to be afraid of it.
 
Same goes for OB in my more advanced students. Be proud of it. If it doesn't sound like you want it to, you have to expose it to the air more to take care of the irregularities inherent. Adjustments are made, subtleties are discovered and a more micro sense of pitch and tone develops.
 
The Iceman
 
 
-----Original Message-----
From: winslowyerxa@xxxxxxxxx
To: harp-l@xxxxxxxxxx
Sent: Wed, 23 Aug 2006 12:27 AM
Subject: Fwd: [Harp-L] OB Tone and Intonation


The one part of this I disagree with is the part about not exposing
the overblow.

It's like admitting to weak overblow technique, and much of what is
played and recorded using overblows betrays that weakness.

Fifth may be a better overall position than third for a particular
tune, but if it's because third exposes the overblow, I say go for
third and get your overblows to the point where you can sustain them
with full tone, in tune, and bend them up and down at will.

Only then will you have proper command of the technique. In fact,
several of the players named below do have that command, which makes
the advice a little puzzling. It's prudent advice, but not the sort of
advice that will help develop better technique or confidence in that
technique.

Winslow

--- In harp-l-archives@xxxxxxxxxxxxxxx, "Dick Anderson" <dandyd55@...>
wrote:

 Mike Will asked me to post my notes from SPAH and the OB tone and
intonation question with George Brooks,
Chris Michalek, and Michael Peloquin,  (I added one from  Alan Holmes
also)
In no particular order:

To improve tone of the OB

Play with an open throat such as just before yawning. (I think
George gave Howard credit on this one)
Stand and use diaphram support for airstream (George)
Build diaphram support by blowing into a straw in a glass of water and
trying to keep the bubbles as
one continuous stream.  (Chris)
Play with deep embrochure and lower jaw to increase size of interior of
mouth (recommendation from Alan Holmes)
Practice playing at your minimum sound volume. (George)

Choose the position/key to play carefully using the song's chord structure
and
don't expose the OB if you don't have to.  Don't play "How Insensitive" in
3rd position since 5th position
works better (George demonstrated) and it doesn't put the OB in such an
exposed part of the
song (Chris commenting on my unfortunate choice of 3rd position)

To improve intonation of the OB and all notes in general:

Get a keyboard (in tune) and play scales against the notes comparing your
intonation.(Michael Peloquin)
Play an OB tone from soft to loud and back to soft as you observe the note
on a tuner or compare against
the keyboard.(Mike P)
Play scales over two octaves in all keys listening for the correct
intonation. (George B)

that's what I heard.....

dick anderson
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