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From: Winslow Yerxa <76450.32~ompuserve.com>
Date: Wed, 14 Jan 1998 21:30:10 -0500
Subject: using overblows

TO: internet:harp~arply.com

Jan van Gastel details his troubles learning to overblow, then
asks:

are there many diatonic players actually using this
technique, just as using normal bends? How many players,
subscribed to harp-l use this technique in their music,
more often than casually?

Sure. Start with Will Scarlett, who recorded extensively with
overblows on early Hot Tuna albums in the late 1960s - he played
everything on a G harp. Then jump to the early 1980's, when
Howard Levy's recorded work started showing up. Howard has
recorded widely in many contexts, and is widely considered to be
the inventor of overblows (they were first recorded in 1929). He
certainly put overblowing on the map by integrating it fully into
his playing while developing an amazing fluency on the diatonic
harp.

In blues, Adam Gussow of Satan and Adam makes extensive use of
overblows, while Steve Baker in Eurpoe also uses them, tho not as
much. Sandy Weltman of St Louis and Carlos del Junco of Toronto
are two Levy students who have self-produced recordings out using
overblows extensively. Red Archibald of San Francisco is another
blues recording artist who uses them.

Non recording artists (at least no CDs out) would include myself,
Joe Filisko, larry Eisenberg, Chris Michalek, Randy Singer,
Richard Sleigh, Michael Peloquin - these are all people I know
personally who come to mind as I write. I'm sure many others
could come out of the woodwork to attest to their own or others'
use of overbends.

As to the difficulties you describe.

You don't say what kind of harp you're playing. Asian made harps
- - Lee Oskars, Huangs, some models of Suzuki - are more likely to
squeal and make "bonus" noises when overblows are attempted.
Wooden combed harmonicas are often too leaky. And any harmonica
can benefit from reed gap adjustment - generally a lowering of
gaps will help.

How are your high (Holes 7-10) blow bends? If you can initiate
them easily at a low volume and hold a steady sounding bent note,
then you've got a starting basis. If your blow bends need work,
then work on those first - your overblow attempts will profit
from that.

Could be you just need to focus on the note you want to make, and
experiment until you hear it start to emerge.

Winslow Yerxa
Harmonica Information Press
Z