[Harp-L] Overblows

[Michael Rubin]

But when you play -3***, Ab, you are inhaling to do it.

When you play -4*, Db, you are inhaling to do it.

Correct?

On Fri, Nov 16, 2018 at 8:58 AM Jerome P. <jersimuse at xxxxx> wrote:

> Hi Rubin,
> it's half semantics, half reality.
> Let's take three examples.
>
> 1. when I do a 3', Bb on a C harmonica
> like everybody else, it is my draw reed which makes most of the sound
>
> 2. when I do a 3''', Ab on a C harmonica
> like everybody else (but most of harmonica players don't know that), it's
> not the draw reed which produces the note but the blow reed.
> This is not a bend, but an overdraw !
>
> 3. when I do a 4', Db on a C harmonica
> not like everybody else, it is not my draw reed which makes most of the
> sound, but my blow reed !
>
> The two only real draw bends I do are 3' and 10'. I think my 2' is also
> mostly a draw bend in fact, but not totally sure, I'll have to verify. By
> "real draw bends" I mean : it is the draw reed that makes the sound.
> For all the other ones, most of the sound is made by the blow reed. So
> these are not really draw bends, but overdraws, like the 3''' case.
> Additionnaly to that, I play overblows.
> Conclusion : 95% of the time, either I play a natural note, or I play an
> overnote.
>
> I'll have to take time to make a video to show this.
>
> Regards,
>
> Jerome
> www.jeromepeyrelevade.com
>
> Le ven. 16 nov. 2018 à 14:27, Michael Rubin <
> michaelrubinharmonica at xxxxx> a écrit :
>
>> Jerome,
>> Are you saying you don't bend to get the F or F# on 2 draw?  You play one
>> overblow raised very high?  Please elaborate.  I feel like I must be
>> misunderstanding you and you are using semantics to be humorous.
>>
>> Michael
>>
>> On Fri, Nov 16, 2018 at 7:14 AM Jerome P. <jersimuse at xxxxx> wrote:
>>
>>> Hey Joe, you're trying to ruin my legendary humility :D
>>>
>>> I love your definition of what your paying a musician for !
>>>
>>> In fact, I know many players who have done this work on timbre
>>> homonigeneity & pitch precision.
>>> I organize yearly training sessions in France, together with Sebastien
>>> Charlier, and the guys we teach to have already done this work both on
>>> bends & overblows.
>>> Most of them are amateurs, they still have to work of course, but some
>>> have
>>> extremely good results concerning those notes.
>>> And at a certain point, bent notes become much more complex to be
>>> controlled than overblows (both on timbre & pitch).
>>>
>>> I'll reveal the secret for you.
>>> A lot of harmonica players play the overblows in the same position as the
>>> high bent blow notes, and they also force a bit with the stomach and/or
>>> the
>>> throat to get them.
>>> How do I know ? They have this specific timbre on the overblows, very
>>> different than the one they have on draw bends.
>>> The secret is to do the contrary : play the overblow in the same position
>>> as the opposite draw bend & do not put any force.
>>> Now the timbre is closer to the one of the draw bend, but the pitch is
>>> probably too low.
>>> Once you have done this, take a tuner and verify the pitch of both notes
>>> :
>>> bend & overblow.
>>> You have to find a tongue position which is exactly the same for both
>>> notes
>>> (for example 4' and 4°) with perfect pitch for both, of course.
>>> If you succeed, both pitch are perfect & the timbres are homogeneous.
>>>
>>> I'll reveal another secret, just for you : I consider my harmonica
>>> composed
>>> of natural & overnotes. That's all.
>>> I exagerate a bit, I have two bent notes on my harp : 3' & 10'.
>>> For all the other ones, I play either natural notes, or overnotes.
>>> Bends don't exist, my friend ! and I can prove it ! :D
>>>
>>> Thank you very much for your kind words !
>>>
>>> Best regards,
>>>
>>> Jerome
>>> www.jeromepeyrelevade.com
>>>
>>> Le ven. 16 nov. 2018 à 05:22, Joseph Leone <3N037 at xxxxx> a écrit :
>>>
>>> > I always try to be charitable..IF I can. Or maybe diplomatic. Yes there
>>> > may be occasions when a person uses overblows to show off.
>>> > BUT I kinda see it this way. More than likely a person is using the
>>> > overblows to show that they have paid their dues and in an ever
>>> > increasing competitive world, these players are making a case that they
>>> > have done the work and done the mileage to prospective gig
>>> > providers. And therefore getting gigs through a display of (possibly)
>>> > higher qualifications.
>>> >
>>> > See I have always believed that you are not paying a musician for WHAT
>>> > they can do. You are paying them for EFFORT spent in practice
>>> > time. Which in most cases amounts to years. And not just a couple
>>> hours of
>>> > gig.
>>> >
>>> > In the 7 decades that I have listened to harmonica players, and
>>> keeping in
>>> > mind that if the lifetime of harmonica was only one year, overblows
>>> > didn’t (really) appear till Dec. 11th. I hear overblows and most of the
>>> > time the timbre is like my left arm. It isn’t right and it isn’t fair.
>>> So
>>> > to speak.
>>> > But I certainly admire those who can pull it off. AND do it
>>> consistently.
>>> > If I were ever to seek a player as an expert on overblows, there are a
>>> few
>>> > right here on this list. But most fall short and should refrain from
>>> doing
>>> > them in public until such time as they sound like a Jerome or ????
>>> >
>>> > The greatest thing you will ever learn is just to love..and be loved in
>>> > return. Play on. :)
>>> >
>>> > Love….smo-joe
>>> >
>>> > > On Nov 15, 2018, at 9:28 AM, Jerome P. <jersimuse at xxxxx> wrote:
>>> > >
>>> > > "A few use them to show off more than making music, though."
>>> > >
>>> > > I believe you but this is absurd : non harmonica players don't care,
>>> and
>>> > > harmonica players now are aware it's not such a big deal.
>>> > > Musicality is much more challenging (once the technical work has been
>>> > done,
>>> > > of course).
>>> > > :D
>>> > >
>>> > > Le mer. 14 nov. 2018 à 20:08, The Iceman via Harp-L <
>>> harp-l at xxxxx>
>>> > a
>>> > > écrit :
>>> > >
>>> > >> OB is used by different artists in different ways. There is no 1
>>> > ultimate
>>> > >> answer...I use them when they offer up a note choice not available
>>> in
>>> > >> traditional bending techniques, no matter what "position" I may
>>> choose
>>> > to
>>> > >> play.
>>> > >>
>>> > >>
>>> > >> A few use them to show off more than making music, though.
>>> > >>
>>> > >>
>>> > >>
>>> > >>
>>> > >>
>>> > >>
>>> >
>>> >
>>>
>>