[Harp-L] OB Tone and Intonation

[George Brooks <gbrooks1@xxxxxxxxx>]

Chris writes:

In general I think the uberblows are not very substantial notes. I have 
no fear
of leaning on them or using them in any fashion but the timbre of them 
creates
an uneveness through slower or more melodic passages that I don't like. 
As my
playing is evolving I am concentrating what I think sounds best and I 
have come
to the conclusions that OB are rarely a part of that equation. They 
work well in
fast passages and as passing tones but I don't like to use them unless 
I'm
playing Armenian music or something.

===========================================================

Chris is blowing smoke, but it's not to build himself up this time.  
He's selling himself way short, and I'm not buying it.  He can land on 
the 4OB from a distant interval, hit it in pitch, put vibrato on it, 
and make it fat. In my experience, he can make the 4OB as expressive as 
any other note, and a lot more expressive than, say, the 7 draw.  In 
his head, he may intend to use OBs mostly in fast passages and as 
passing tones, but that's not what I just heard from him at SPAH.

Paul also informs that the advice to avoid exposed OBs comes from 
Howard Levy.  When was that, Paul?   If it was long ago, his advice may 
have changed.  When I took lessons from him six odd years ago, he 
stressed a fearless mental approach: they're just different bends; 
master them and play music, using the notes that you hear without 
regard to whether they are open notes, normal blow or draw bends, or 
OB/ODs.  For sure, he advised against playing in perverse positions; 
lots of time was spent on how to choose the right harp (and thus 
position) for a song.  But if the chosen position has exposed 
overblows, you meet them head on.

George