[Harp-L] Re: B maj triad (WAS overdraws)

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

Thanx for the suggestions George. I've been overbending since about
1979, and I'm pretty sure my technique is fairly good. Nevertheless, I
don't know anyone who overbends here (Australia)  - except maybe Ian
Collard and you've got to be quick to catch him at it , eh Ian? - and
any advice is appreciated. Unfortunately the airfares for the 15,000
mile trip represents a bit of an obstacle to attending any of the
workshops you reccommend.
I think it's time for some serious attention to my customising skills,
and yes indeed, the acquisition of some custom harps when the domestic
coffers look full enough.
Cheers,
Rick Dempster

>>> George Brooks <gbrooksvt@xxxxxxxxxxx> 28/07/2007 8:15:59 >>>
In response to Rick Dempster's query:

I would, first of all, recommend getting a custom harp set up for OB/OD

by someone, like Jimmy Gordon, who really knows what he is doing.  Even

if your ultimate goal is to work on your own harps, it's good to have a

benchmark.  Also, your musical technique can grow without waiting for 
your customizing chops to improve.

I don't have Rupert Oysler's DVD, and so cannot comment.

I have some thoughts on practicing arpeggiation of the B maj triad on a

C harp (3 draw, 4 OB, 5 OB):

1.  Practice ~slowly~, cleanly articulating the attack of every note. 

I use the glottal stop articulation (like a silent cough).

2.  Practice arpeggiating the Bm triad first (3 draw, 4 draw, 5 OB) 
since it's much easier, then proceed to the major triad.

3.  Practice the B maj triad an octave up (7 draw, 8 blow bend, 9 blow

bend).

4.  In all cases, try to maintain continuity at the breath direction 
change so that at no point are you dead in the water.  Think of the way

a violinist maintains the continuity of a line while changing bow 
direction or the way the top of a crashing wave advances while the 
bottom of the wave is already beginning to recede.

5.  Come to SPAH and sit down with Michael Peloquin or Jason Ricci or 
me.

6.  Come to Rockers In The Rockies this October and and sit down with 
Chris Michalek or Michael Peloquin or Jason Ricci or me.

George

p.s. I renamed the thread because there are no overdraws in the B maj 
triad, only overblows.



On Jul 27, 2007, at 12:36 AM, Rick Dempster wrote:

> Overblows & overdraws? I'm just about ready to break down and order
a
> very expensive custom harp from someone or other.
> After nearly thirty years of messing around with these techniques I
now
> use them with increasing regularity. I have got gradually better at
> customising but I'm a long way off being able to produce something
that
> works anywhere near as well as I would like. Maybe I'm just too
clumsy.
> I have to watch the pennies pretty carefully in my situation, so I
> don't spend too easily.
> I'm really looking for any advice I can get. I've tried adjusting
the
> reed offset, embossing, tip scooping, all with varying degrees of
> success.
> I don't think I 'get' the reed curvature thing yet, for one thing.
> Do the DVDs by Rupert Oysler cover setup for overbending adequately?
> The big thing that's really driving me nuts at the moment is getting
a
> really quick, clean major arpeggio with draw 3 as the root (ie that's
B
> major on a C harp)
> I can get it most easily descending; ascending is a real cow. I can
> 'feel' why this is, but I won't try to put it into words here.
> For me that arpeggio is a 'must have' as it means I can play an 'I
got
> rhythm' style bridge in second position without swapping harps. That
> kind of bridge (ie B7, E7, A7, D7 or sometimes  with the E as a
minor)
> is all over the sort of tunes I like playing.
> Any advice gratefully received.
> RD