I need some help when approaching overblows when descending a scale or riff.
I have few issues hitting the overblow when ascending a scale (e.g. 6 blow to 6 overblow) or even hitting the overblow directly and moving lower in the scale (6 OB to 6 blow). But, when coming down from a higher note, hitting the overblow, especially from the blow hole right above is really tricky (7 blow to 6 OB). Any tricks, or is this just gonna take time to perfect the embouchure and technique?
Other than getting the 3 hole to sound music, this has been my hardest task in a while.
If you, like me, play OOTB harps, just practice and pray for luck -- or: put in a quick grace note before the OB, e.g. 5D to 5OB, which makes to OB easier to produce. Not satisfactory, I know, but I´m mainly bound to LO harmonicas (not OB friendly), since they provide spare reed plates at ... well, a reasonable price.
In many cases of ascending scale OB, the inhale reed in that chamber is played just before that chamber's OB is attempted....in this scenario, since the OB is actually the inhale reed sounding and since that reed is "coming off of" a usage (or vibration), it is easier to get it to respond to the OB.
In descending scales, for the most part, you don't have this slight advantage and have to get that inhale reed to instigate the OB without it, so you need just a bit more impulse to start the process - a bit more diaphragm support.
Sounds like this is the next problem that agamer has to address - pure OB from a "standing start"... ---------- The Iceman
Are your harps customized?,the only work ever done on mine is slight gaping work.
I have always found the four hole always overblows easier and if you try blowing the 5 hole down to the 4 overblow you might find this is easier making maybe a case for the cause to lie more with just the reed rather than technique.
7 blow to 6 overblow is tough. The way I practice it was to take the head from Cissy Strut and play it in 1st position or just work the minor pentatonic in 1st position.
