RE: [Harp-L] overdraws



As Michael mentions, these are very high pitched notes.

Blow bends in the high resgister can be tricky too, again because of
the high pitch and the tiny changes in embouchure that make difference
betwen being in and out of the bend zone for that note.

One thing that can help is practicing on a low-ish pitched harp as this
brings the high resigster down closer to regular bending range.

Another thing that might be worth trying is temporarily sealing off the
draw reeds so that you can concentrate on getting the overdraw to come
out of the blow reed. If the harp is screwed together you could remove
the draw reedplate, put some removable tape across the draw slots NOT
ON THE REEDS but on the opposite side of the plate, then assembling the
harp. This will give you the opportunity to focus on getting the right
mouth shape to get those blow reeds to produce a note in response to a
draw breath. Play the blow note, then play a draw bend, aiming for one
semitone above the pitch of the blow note.

Of course getting overdraws with an inactivated draw reed is not
real-world, but it gets you part of the way there.

Winslow


--- Michael Peloquin <peloquinharp@xxxxxxxxxxx> wrote:

> >From: drori hammer <drori_hammer@xxxxxxxxx>
> >Hi -
> >   After a LONG period of frustration, I think I am finally
> beggining to 
> >master overblows (mostly the #6 OB which is very useful in 2nd
> position, 
> >but also the #4 and 5). I am nowhere NEAR doing the #1 ob yet, but I
> am 
> >optimistic :)
> >   However, I still can`t seem to manage the overdraws - completley 
> >clueless. Can anyone give me any useful tips or advice on getting 
> >overdraws?
> 
> 
> Overdraw technique for me is likened to trying to suck a really thick
> milk 
> shake through a straw.
> make sure that action is set (maybe emboss too) those OD's use very
> short 
> reeds and they need all the help they can get.
> 
> Michael Peloquin
> http://www.harpsax.com
> Come check me out on MySpace at http://www.myspace.com/harpsax
> 
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