RE: [Harp-L] over-blows

[JersiMuse <jersimuse@xxxxxxxxx>]

In fact, you can get more than a semi tone when playing overblows &
overdraws.
For example, on the 7 overdraw, you can get a C#, a D, and even a D#.
Another example : on the 4th overblow, you can get a Eb, a E, a F and a F#
(I have to say my F and F# are quite awful, I never use them, but there are
present).
BTW, you can bend an overblow or an overdraw, the same way you bend a draw
note.
For example, you can play 7°° 7° 7°° using a bending effect, the same way
you'd do with 4' 4 4'

There is an example of multioverdraw here :
http://www.sebcharlier.com/goodies.php
2nd paragraph, click on "Show English version" and listen to the mp3.
(to be totally honest, Sebastien Charlier has shown me this technique to get
multi overdraws).

I also use one at 0:38 sec here : http://www.youtube.com/watch?v=UZ1lb5he6ds

Regards,

Jerome
www.youtube.com/JersiMuse


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Objet : [Harp-L] over-blows


 Jeff wrote: Does anyone have good information, instruction, online video,
or anything relating on where to get started on how to "over-blow" 



Here is a link where overbends are explained by Mike Will
http://www.angelfire.com/tx/myquill/Overblows.html .
Mike's great home site: http://www.angelfire.com/tx/myquill/

Youtube is full of good instructional material.  Here is a very good how-to
instruction, the straw technique by one of recently departed experts, Chris
Michalek, using a C harp. It's titled, "12th pos. The secret to overblowing
& bending notes pt 1".  The explanation starts at c. 5:25. 
http://www.youtube.com/watch?v=ys86fFfylRw 

Here's an explanation posted about a year ago by one of our resident
experts, Winslow:

Overbend is a term that includes both overblows and overdraws.
Overbends are the opposite of standard bends:
- They pop up in pitch, to one semitone ABOVE the opposite note
- You get overBLOWs in Holes 1 thru 6 (the same holes where you get draw
bends)
- You get overDRAWS in Holes 7 thru 10 (the same holes where you get blow
bends)

The note you get with an overbend is always one semitone higher than the
highest pitched reed in that hole, regardless of the pitch of the other
note. Because actually, it's that higher reed that's vibrating backwards -
pushing away from the reedplate instead into it - and sounding nearly a
semitone higher. 

So, for instance, in Hole 5 on a C harp, with Blow E and Draw F, you'll get
a slightly flat F# overblow, nearly one semitone above Draw F that produces
the note, and only one whole tone above the E. Same thing for the overdraw
in Hole 7, where you have Blow C and Draw B. The Blow C produces the
slightly flat C# overdraw, which is only a whole tone above Draw B.
Ron - FL Keys