Aussiesucker
564 posts
Mar 03, 2010
7:38 PM
|
I have been playing awhile & have always had a preference to use lower keyed harps ie Bb or lower especially for playing melodies unaccompanied . Higher keyed harps I am ok with providing I steer clear of the top end. Somehow, I struggle to get clear distinct fast responsive high notes on harps C to F. Have tried numerous harps, different brands & keys and it’s worse the higher the key.
With most blues music I would be down the bottom end in 2nd pos & its not a problem whatever key. However, I am also involved in study of bluegrass & Irish fiddle tunes which call for eg D and need quick responsive play often up on holes 9 & 10. Low D is currently my way round my problem.
I believe it must be in my technique although it does not seem to make any difference if I attack with pressure or just breathe soft. I have not played around with gapping as I cannot see this as the problem especially with every harp and my trying to vary breath pressure. Any possible suggestions?
|
nacoran
1312 posts
Mar 03, 2010
8:11 PM
|
It took me a while to learn the high end on higher harps. I think what I finally did was I spent a lot of time on an F#. I don't think it's really uncommon to have problems up there if you focus a lot on lower harps. I think I put my lips together closer and don't play as deep in my mouth on higher harps. I think you have to be more careful with your breath strength up there. It's easier to accidentally choke a reed up there.
----------
Nate
Facebook
|
Kyzer Sosa
166 posts
Mar 03, 2010
9:50 PM
|
the subtleties on higher harps on the higher holes, for me at least, is about positioning of my mouth...it seems it takes just the tiniest movement to make that 6 draw bend go away... the lower harps, in the same regard, ive never had a prob with em.
----------
Kyzer's Travels
|
harmonicanick
651 posts
Mar 04, 2010
1:16 AM
|
Aussie
You could try just not playing holes 1-5 at all when you practice, yes, not at all, for a couple of weeks.
Also only practice on D,C,E,High G, and most of all F harps.
|
Andrew
911 posts
Mar 04, 2010
2:23 AM
|
The top octave can be sweet and gentle, or it can make your audience's ears bleed. If you watch Joe Spiers' YouTube videos on gapping, you'll see that even on a Bb harp, he recommends almost closing those gaps completely for that sweet sound. The higher you go, the shorter and stiffer those reeds are, and the closer the gap needs to be.
----------
Kinda hot in these rhinos!
|
The Gloth
263 posts
Mar 04, 2010
3:09 AM
|
I'm not really a high end player, but I find it much easier to play high holes on,let's say, MB Deluxe or Promaster than on MB, Bluesharp etc.
|
HarmonicaMick
117 posts
Mar 04, 2010
4:32 AM
|
Aussie,
As Andrew said, 'The higher you go, the shorter and stiffer those reeds are...' Still, I don't think that most of us need to worry about gapping, not unless we're trying to be the next Howard Levy.
One thing that will speed up the reeds noticably is using an appropriate artuculation. Try this on a D harp:
Play a dotted rhythm into the 7 blow as fast as you comfortably can, using single tonguing, like this:
ta ta ta ta
7> 7> 7> 7>
1 & a 2 & a etc
ta is the fasted articulation, because the air is expelled from so close to the harp.
Now try it double tonguing with ta ka. You'll be able to do it even faster.
Now try it at the same speed with no articulation, or just the natural ha, which comes from the diaphram. I'll wager that you couldn't play it nearly as fast with just ha.
One thing to watch out for: these tongued articulations tend to be harder not to verbalise on the blow, I think it is. Mess about with it and see what you think.
----------
YouTube SlimHarpMick
|
Baker
46 posts
Mar 04, 2010
4:46 AM
|
Hey Aussie,
I suffered from the same problem. In fact I still find it much harder above the 6 blow, especially on higher harps.
Someone this forum (I forget who) gave me this piece of advice which really helped. Drop you jaw down as far as it will go, until it is uncomfortable (You will get used to it after a while and it will become more comfortable) an concentrate on producing a solid column of air from your diaphragm.
|
hvyj
176 posts
Mar 04, 2010
5:58 AM
|
RELAX, drop the lower jaw, keep the mouth and throat open for a large, relaxed oral resonance chamber (sort of like you are yawning). Form as large an air aperture as you can in your lips consistent with still getting a single note. Keep the harp deep in your mouth and PRODUCE ALL AIR FLOW FROM DEEP IN THE DIAPHRAGM. Also, while you are doing all of this, don't employ hard breath pressure--soft and even will do it. BREATHE into and through the harp.
This being said, on some harps you may need to gap the reeds for them to respond properly.
Last Edited by on Mar 04, 2010 6:00 AM
|
easyed
13 posts
Mar 04, 2010
9:04 AM
|
I've found (in my limited experience) that tongue blocking the higher notes helps. Give it a try.
|
bluemoose
132 posts
Mar 04, 2010
10:21 AM
|
Aussie, for some fiddle tunes I've found that 12th position works really well. (tune in D, use A harp)
|
Aussiesucker
566 posts
Mar 04, 2010
12:17 PM
|
Thanks everyone for valuable input, which I will take all onboard & put into practice.
My F harp( my least favourite flavour) will for now be my weapon of choice and I will hopefully be flying high in a month!
|
