[Harp-L] All Overbends Are Not Created Equal?

[Michael Rubin]

When I overdraw on 7 I use a koo articulation.  There is pressure in the
middle of the roof of my mouth and I aim my inhale air to that point, not
to my throat.

Although I U block holes 9 and 10 overdraw and CAN ublock 7 overdraw, I
find puckering to be more effective.

I use the ball end of a tuning fork to "emboss" both reeds.

I gap my reeds so tight that there is some resistance when I try and play
the built in notes.  Then I slightly back it up so there is no resistance.
Both reeds.

I would work with a G harp to start.

Although I am not much for spiritual woo woo,  I found determination and
the decision to accomplish the deciding factor in overblows.

Good luck.
Michael Rubin
michaelrubinharmonica.com

On Fri, Mar 17, 2017 at 9:11 AM, Tin Lizzie <TrackHarpL at xxxxx> wrote:

> The Iceman makes a good point that if you can consistently hit the center
> of a bullseye, regardless of the size of the bullseye, you win the archery
> contest.
>
> But the question I’m trying to ask is, WHY is that 7 overdraw-ha-ha so
> much more difficult than the others?
>
> Greedy Tin Lizzie (wanting the 2nd position b5 in the middle octave, darn
> it all)
>
>
> On Mar 17, 2017, at 9:36 AM, Sébastien Frémal wrote:
>
> > (except for that 7 motherf**** overdraw ha ha)
>
>