[Harp-L] Hole 2 and 3 overblows

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

Hole 2 and 3 overblows tend to be ignored as they duplicate other notes
available by more conventional means. Overblow 2 duplicates Draw 3
triple bend, while Overblow 3 duplicates Blow 4.

But they are useful.

Consider this: By playing overblows on holes 1, 2, 3, 4, 5, and 6 in
sequence, you have an entire chord 1 semitone above the draw chord,
produced by a consistent technique. I have heard Allen Holmes use this,
as have I.

Let's say you have a C harp and want to arpeggiate an Ab7 chord. You
could start with Overblow 1, the leap  Draw 3 triple bend, then move to
Blow 4, then Overblow 4 and Overblow 5. Or  you could just play
overblows in Holes 1, 2, 3, 4, and 5.

Which is easier? I think the all-overblow path is smoother.

Second scenario:

You're listening to a guitarist or maybe a sax or even a chromatic
harmonica playing blues in G and moving smoothly (maybe by bending)
between C and Db. 

On a C diatonic you can't do this with fluidity; C is blow and Db is a
draw bend. It will either sound choppy or sound careful; it won't sound
fluid.

But let's say you overblow Hole 3. That's a C. Now, you bend it up a
semitone to Db. Fluidity accomplished.

Winslow

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