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From: Michael Will
Date: Sun, 25 Aug 1996 21:14:36 -0700
Subject: Re: Overblowing?

James Morgart wrote:
>
> An overblow has much the same affect as a bend (it flattens the note).
> Instead of a draw, it is done on a blow note - usually a high one like hole
> #7.

Sorry, but that is not an overblow. It's a regular blow bend. There
are overDRAWS for holes 7-10. OverBLOWS are for holes 1-6. And
overblow pitch goes UP (it sharpens the note), unlike a bend which
flattens the note.

Using overblows and overdraw, you can play the "diatonic" harmonica
chromatically. All the notes (and microtones) are available. This
takes *lots* of work! Definitely advanced techniques, it's difficult to
get usable notes from overblows. I can get nasty squeals that scare
cats and other larger animals..

I've heard one way to get it is to start on hole 6 of a relatively high
harp (D, E, or F say). Do a draw bend all the way down, then hold your
mouth in the same position and punch out the blow. Keep the mouth tight
and the tongue stiff.

Many overblowers fine tune the gapping of their reeds--how far away from
their slots they are. Both reeds work together, so you have to adjust
both the blow and the draw reeds.

And I've heard that Lee Oskar harps do not overblow well (if at all).
The Hohner Golden Melody is the choice of many overblowers, including
the master Howard Levy, supposedly because of its air tightness.

If you don't have all your normal draw bends (holes 1-6) and blow bends
(holes 7-10) under complete control, don't even think about overblows or
overdraws IMO. You should be able to slide up, slide down, and step up
and step down to and from all bends. There are 2 distinct bend notes on
hole 2 and 3 on hole 3. Make sure all of them are *usable notes*.
Bends are not just for ornamentation--a fancy embellishment. They
provide usable notes in their own right.

Mic'l