Re: [Harp-L] Overdraw overbend overblow

[Rick Dempster <rickdempster33@xxxxxxxxx>]

"Bends" and "Over/bend/blow/draw" are exactly the same thing. The practical
difference between the two is that the so-called "over" technique is a
little harder to master.
Why? Because, when you perform a conventional bend, that is, start by
playing the higher-pitched reed of the pair that share the same chamber
(the draw from holes 1-6 or the blows from 7-10) you have a sympathetic
vibration from the opposite reed, which assists the lowering of the note.
It is sympathetic, because its reverse pitch (a 'blow' reed drawn or a
'draw' reed blown) is a semitone higher than its conventional pitch, and
thus 'reaches up' towards the lowering pitch of the higher, opposing reed.
The lower reed is already vibrating because it can 'feel' the upper reed
reaching down to it.
When the reed that is being bent down reed gets close to the reverse pitch
of lower opposing reed, the latter, which has been vibrating in sympathy
all along, takes over.
When you attempt to blow-bend, for example, holes 1-6, the blow reed does
not have the sympathetic vibration of the opposing (in this case the draw
reed) reed, whose 'reverse' pitch is yet another semitone further above the
opposed reed. Hence, no sympathetic vibration, and you are having to get
the reverse pitch of the draw reed started from no vibration at all.
I have not yet had a satisfactory explanation form anyone as to why a
reed's pitch is a semitone higher if it is played 'in reverse' ie a draw
reed blown, or a blow reed drawn.
I imagine that it has something to do with where the vibration starts from
along the length of the reed; that is to say, when you play a reed
conventionally. the breath first meets the reed at the rivet end, and
commences it's vibration there, and on to the tip, effectively playing the
whole length. When you play the reed in reverse, the breath meets the reed
at the free end - and - words fail me - I suspect that the whole of the
reed is not actively producing sound. Something to do with what I have
become accustomed to calling 'reed stiffness' (thanks to Vern, of course)
Gasp! This is so difficult to put into words! I dislike the 'over' term. I
prefer 'single reed bend' - maybe - but then that's what you have with
half-valving, where you are not playing the reeds reverse pitch.
OK; I promise not to try this again for at least another year!
RD


On 11 February 2014 02:44, Michael Rubin <michaelrubinharmonica@xxxxxxxxx>wrote:

> Ed,
> Bends make a note go lower in pitch.  Overblows and overdraws make a note
> go higher in pitch.
>
> On a standard diatonic harp, you can only bend on the draw notes from holes
> 1 thru 6.  You can only bend on the blow notes from holes 7 thru 10.
>
> On a standard diatonic harp, you can only overblow on the blow notes from
> holes 1 thru 6.  You can only overdraw on the draw notes from holes 7 thru
> 10.
>
> Since bends and overblows do opposite things, they needed two different
> terms to describe them.  The term overblow was coined by Howard Levy, who
> had played saxophone in his lifetime and overblow is a saxaphone term.  He
> thought the concept was similiar enough to call them overblows.
>
> Sadly, the term overblow is very confusing.  It suggests you need to blow
> hard.  It suggests you can only do it on blow notes.  Since many harmonica
> players teach themselves, when they discover how to bend on the blow notes
> from holes 7 thru 10 , they know only they are blowing and changing the
> pitch.  They must be overblowing!  But they are wrong, they are bending on
> the blow notes.
>
> Perhaps a better term for bending would be descended bend and a better term
> for overblows  would be ascended bend.  But I guarantee there would be
> problems with that as well.  These are the terms we use, I suggest taking
> the time to make sure you understand and are speaking them correctly and
> move on from there.
> Michael Rubin
> Michaelrubinharmonica.com
>
>
> On Mon, Feb 10, 2014 at 9:19 AM, Edward Hart <hooligan6a@xxxxxx> wrote:
>
> >  Why not just call them draw bends and blow bends?  Why the over?  Over
> > what?
> >
> >               Ed Hart
> >
>