[Harp-L] RE: Straw man argument WAS:Attack on Overblows

[bostonmoejo <bostonmoejo@xxxxxxx>]

A straw man argument is an informal fallacy based on misrepresentation of an opponent's position.  To "attack a straw man" is to create the illusion of having refuted a proposition by substituting a superficially similar proposition (the "straw man"), and refuting it, without ever having actually refuted the original position.
Presenting and refuting a weakened form of an opponent's argument can be a part of a valid argument. For example, one can argue that the opposing position implies that at least one other statement - being presumably easier to refute than the original position - must be true. If one refutes this weaker proposition, the refutation is valid and does not fit the above definition of a "straw man" argument



In a message dated 02/11/10 14:25:59 Eastern Standard Time, mikefugazzi@xxxxxxxxx writes:
The Attack on Overblows 

It seems like putting down the technique of overblows is really becoming the 
thing to do on harmonica forums lately.  I think there is a sort of âstraw 
manâ argument being waged in most instances.  By that I mean people are 
bringing up things that arenât always 100% true or to the point.  My 
understanding is that a âstraw manâ argument is one based mostly on 
assumption and not fact, so I hope I am using it correctly. 

Let me start by saying I am only writing this as a means for those out there 
interested in the debate to reflect on their ideas and opinions and then 
hopefully realize that it doesnât matter whether you appreciate overbends or 
not.  Some will play them and some will not just as some harp players like 
Suzuki harps over Hohner or big 4x10 amps over 1x8 combos.  Like with all 
things music, there is room for all of it and the listener will make up 
their mind as to what is relevant or not.  Someone who really has things 
figured out will be able to hear and understand the music at all levels 
anyways. 

Issue #1 

âOverblowers play too fast!â 

First of all, stop thinking of overblow players as a type of musician or 
even a style.  It is a technique like tongue blocking, warbles, or playing 
octaves.  Overbends are just another type of bend.  Next, and here is where 
the straw thing comes up, you donât have to play fast to overbend.  Granted, 
some guys do, but some donât.  They are not mutually exclusive, though. 
Carlos del Junco, Chris Michalek, and Clint Hoover are examples of players 
who use overbends liberally and do not play everything really fast. 

Issue #2 

âOverblows sound different than other notes and therefore sound bad.â 

Yes, the timbre of an overbend (since they arenât all blow notes) is 
different than a draw or blow note.  HOWEVER, so is the timbre of any bend! 
The 3 draw bend that blues players lust over sounds out of place compared to 
the other notes.  Same with the 4 drawâthose bluesy blow bends in first 
position???  They have a totally different timbre than a blow or draw note. 
Those notes are all acceptable to nearly any harp player.  So why not 
overbends?  Some of it has to do with historical context and cultural 
patterns. 

Issue #3 

âOverblows are out of tune.â 

Before I go any further, we are talking overwhelmingly about blues 
harmonica.  The vast majority of harp players posting online are blues 
players to some extent.  Almost anyone who brings up the âOverblows suck!â 
conversation plays blues.  So I find this issue rather hypocritical.  If I 
used a tuner every time I heard a traditional bend in blues, I bet it is out 
of tune.  Come on, the flat 3 is even taught to be played sharp on 
purpose!!!  I bet almost every 4 draw bend is flatâsame with nearly every 2 
draw bend.  The blow bends?  I bet they are flat 99% of the time.  Why is 
this considered correct and cool, but not when it is an overbend? Heck, most 
overbends are played to create harmony over a blues progression and 
transpose the flat 3, 5, or 7 to a different octave or key. 

Not convincing enough?  How about the fact that overbends can be played 100% 
in pitch and actually up and down to even more notes?  Who is even being 
judged for their playing?  Are the haters listening to pros or amateurs?  I 
can find a lot of amateurs playing really crappy traditional blues harp too. 

Issue #4 

âOverblows have bad tone.â 

Youâre right.  Poorly played overbends sound bad.  It is just like when 
players struggle playing the high end of the harp or the 3 draw bends.  In 
fact, I bet the majority of players canât hit all the notes on 3 draw with 
full tone and in pitch. 

This issue brings up a new point.  Overbending, to be done well, needs to be 
done on a harp meant to overbend.  Using a stock harp or just gapping isnât 
really enough.  Just because youâre stock Special 20 shrieks out a few extra 
notes doesnât mean you are playing the bends correctly. 

Issue #5 

âOverblowers just do it to show off.â 

Some guys doâespecially amateur webcam players (not that there is anything 
wrong with that, because there isnât!), players posting their woodshedding 
online, and newer players trying to figure out how to play well (we all have 
room to improve), but the best ob players donât have to ob.  Think about itâ 

Not making any sense?  Well, I am not a touring musician.  I play in a great 
local band that plays decent blues appreciating clubs once or twice a week. 
I play with really talented guys, who like to play in a modern style.  Point 
being, I am not comparing what we do to the level of bands touring 
nationally.   We did just finish recording an album.  I could have totally 
showed off all my speed, techniques, and the mammoth solos I can take. 
Instead, I just tried to serve the song.  I donât think I played one 
overdraw.  I am not even sure how often I played any overblows.   I know 
enough theory to use the best harmonica position for a song.  Therefore, I 
pick the harp with the best natural note layout so I donât have to use a ton 
of overbends, etc. 

I agree that trying to play everything on one key of harp or using a 
position just because you can is typically rather arrogant and self 
righteousâand not very musical.  I would also wager that solid ob players 
tend to learn a lot more theory in learning to ob and therefore can role 
with more musical punches. 

Live, there are no rules and I am much more liberal with my use of 
technique, but again, only as it serves the song (but we take longer solos 
and play more songs so there is a place for just about everything). 

Issue #6 

Who are you listening to? 

I am not a world-class overbend player, but I can play all of them on a good 
harp.  I can sustain them in pitch, use them with vibrato, and make them 
sound full and equal to other notes.  If you judge obs on YouTube videos 
from guys that are closet players, have never been in a band, and have 10 
months of harmonica under their belt, then you have some good evidence. 
However, start looking for albums with overblows.  Listen to some top notch 
pro players instead.  Not guys who ob for the sake of obing, but really good 
musicians who play harmonica! 

Over decades it has become acceptable for "traditional" bends to be used 
liberally with timbre different than blow and draw notes, intonation issues, 
and overall tone different than draw and blow notes.  Well played overbends 
offer all the pros and cons of traditional bends! 





Mike Fugazzi 
harmonica/vocals 
NiteRail <http://www.niterail.com> 
"Rock and Blues Ablaze" 
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