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From: David Fairweather
Date: Wed, 14 Jan 1998 21:40:40 -0800
Subject: Overblows

>Finally(I promise), I'll tell you what Howard says
>about this approach. He doesn't think position or
>even key when choosing a harp. He just looks for
>where the melody lays the "sweetest." That's the
>beauty of the diatonic-the sweet bends and chords . .

Isn't that inconsistent with striving for consistent tone among overblows
bends and other notes? It seems to me that the harmonica has different
timbres for different notes and there's no point in trying to pretend it
doesn't. Instead embrace those differences, they are what make the
diatonic special. I like the timbre of a good overblow, it adds a color to
my pallette. If I think that timbre is inappropriate for a particular note
in a song, either I skip the note or I can switch to a different harp or
position so it falls somewhere less critical.



=-=-=-=-=-=-=-=-
David Fairweather

furth~orldsite.net