Re: [Harp-L] overblows-overbends?

I'll take a stab at it--and don't mind being skewered in the quest for
clarity.---- How about an *Harmonica Dictionary*--wiki style or by

Overbends refer to overblows and overdraws as a group to distinguish them
from the "standard" draw bends on holes 1, 2, 3, 4, and 6 and blow bends on
holes 8, 9, and 10. Bends on valved harmonicas would be an additional kind
of bend. And, lastly, as far as I know, there are bends like those which
involve flattening a blow or draw reed's pitch--such as lowering the pitch
of hole 6 blow or hole 5 draw . So, an overblow is a type of overbend; an
overdraw is the other type of overbend. This is how I believe the term is

There are people on the list who know far more than I do about the mechanics
involved with the various kinds of bends and have a better grasp of this
area; I hope they join in.

As for your 6 hole overblow sounding like an abused kitty, all I can say is
it takes time to develop a good tone on an overbend. Try to sustain the
note and then begin to shape it. Adjust the pitch, control the volume, and
try to add some vibrato.


On Thu, May 6, 2010 at 9:20 AM, <Cljdm@xxxxxxx> wrote:

> Hey all,
> What is the difference between a overblow and a overbend. I know a overblow
>  kicks the note in the blow hole up a step and one half. What does a
> overbend  accomplish?
> I can get the standard draw bends on any hole (although my intonation can
> always use work), and I can get the blowbends on 8,9 and 10 (although the
> 10
>  gives me some trouble with the middle bend). But overblows are still a
> mystery  to me. With I hit the 6 overblow it sounds like a cat on fire. So
> I
> mainly work  on standard bends and tone. I will die happy if I can even
> enter
> in the  slightest way,  the outer universe of Paul Butterfield, Paul DeLay,
> or any  of the greats I have been studying though the years.
> Best,
> Chris Mastakas

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