I keep reading that many people just can't get any OBs on a regular diatonic. Here's maybe an alternative you might want to check out before giving up harp playing completely.
I recently bought a valved harp (Suzuki ProMaster 350V) just out of curiosity really. While experimenting with it I thought it might be a good idea to try and play licks I already know on a regular diatonic. Turns out that you can play the exact same stuff without using OBs (you can't play those on a valved harp) but with blow bends instead.
So if you take that little lick from CC rider (it's in one of Adam's early youtube videos - beware once you have it in your head it wont budge) for instance there's a part that goes like this:
4d 4d 5b 5d 5ob 6d 7d etc.
Now you can play the exact same lick on a valved harp by just bending the 6b down instead of playing the 5ob:
4d 4d 5b 5d 6b' 6d 7d etc.
Of course that too takes some practice if you want to control it properly but I figured it out in 20 minutes or so. I also tried to play all the minor scales that require OBs on holes 4 and 5: it works just great. Replace the OBs by a blow bend one hole higher up and you have the note you're looking for.
If you are able to do blow bends and by any means you can't OB, maybe that's worth checking out.
Sounds like an idea to check out. Im still working on getting good at all the normal bends first. That seems to take a long time to do. I can do some with ease, some are harder, and some not sure I get at all.
What gets me about overblows is that is sounds like the gaps on the harmonica have to be set close. By doing that wouldnt you be losing some of the other available notes? Is the diatonic harmonica one of the only instruments with hidden notes? Seems like an uphill battle like climbing Mt Fuji or something.
Ryan, No, you don't lose the other notes. Check out other threads here and sites on the internet for more info on gapping.
In addition to Doom's Valved, there is the Hohner XB40 available. It has 40 reeds, each chamber having 2 blow reeds and 2 draw reeds. You can achieve all notes by regular draw/blow bending. I really would like to try one of these, but haven't shelled out the money for one.
Anybody out there got one of those? What's the verdict?
Last Edited by on Jan 23, 2009 12:57 PM
I'm an overblower for my own reasons...but there are so many ways to achieve an end to a desired result. Over the years I have seen so many mind blowing players using different techniques to get different or the same results. Just go to SPAH one year and watch...It's incredible...if you think overblowing is the only effective way "chromaticism" or just for different scales listen to a guy Like Brendan Power or PT Gazelle... Crazy! It doesn't matter: Chromatic, diatonic (with overblows), Valved diatonic, xb 40, polyphonia, half valved chromatic, whatever...there is some one out there if your listening who may not change your mind about the way YOUR doing it but will change your mind on how it can be done....In the end the result should be (And I fail too often) to serve the song and the mistress of music not anything else. I am not a over blow lover or a tuned harp hater or a valved vindicator just a fan of the instrument and just a music lover.
Anybody ever worry that playing and learning on an alternate tuned harp will affect their improvization on a regular harp? That is my main concern. Learning to play on regular tuned harp and getting the intonation correct on all the bends and overtones is hard enough. To throw in another harp where the notes are in different spots could yield bad results.
I guess I think in terms of scale degrees when I am playing, and not what note I'm actually hitting. A person who thinks in notes and has their positions memorized on all their harps would probably have an easier time with this?
preston, it's almost impossible for me to play anything of substance on an alter tuned harp. They work fine if you think in terms of licks but I think in terms of notes, shapes and sound.
Hey preston...Im ny letter above your I said "Im an overblower for my own reasons"...This being one big one! you nailed it. Check this video below where I compare the song sumertime using a minor harp and a reguler: Thanks jason
That idea to tune down the 7d is a great one - as I'm pretty much a blues-based player I can't recall using the 7d musically.
If my theory is right, then the flattened draw 7 gives
1st position flat 3rd 2nd position flat 7th 3rd position 6th
And you can get the natural 3rd/7th with the (new) blow bend it's not much of a loss. The only drawback would be for 5th position playing as far as I can see
I think it'd be especially good with 3rd position, as the 7d was always the "no go" zone in the middle register
...either that or I try to get those pesky overblows happening
