the 5 draw is part of the blues scale and a great note to play.....but it can only be bent a quarter step with no extra notes.....why bend 5 draw????you greatly risk blowing out 5 draw bending it because you can easily go below the floor
Of course I should have added: And why not learn the limits of the instrument you’re going to play? So many people seem to not even know the 5 draw won’t bend semi-tone, which causes much of the problem, along with the lack of control to stay within the reed’s limit.
Last Edited by LSB on Jan 22, 2019 7:04 AM
As warranty guy for Suzuki, I speak with many players. I am always surprised when they don't know that 2 draw is the same as 3 blow. Similarly, the bending limits on certain holes (5 and 7 mainly) are not common knowledge. I am not an expert, but maybe I am becoming one.
I suspect that the common damage to 5 draw is not so much from trying to bend the note as a single note bend, but more from playing a 4-5 partial chord or dirty 4 and bending that chord, unknowingly taking the 5 draw down too far.
However, I have read mention of using the 5 draw 1/4 tone bend to infer a semitone bend in playing a line. After having read that, I noticed myself doing just that in a recording of a live gig, playing a descending phrase. I generally do not deliberately attempt bends on the draw 5.
I do still blow out 4 and 5 draws on occasion, though rarely. When improvising I reach for expression of musical ideas and sometimes slip up and pay the cost of asking too much from the instrument. I would rather occasionally reach too far and deal with the damage than let timidity through fear of reed damage hamper expression.
If you want your harps to last indefinitely, leave them in the box and do not breathe through your harmonicas at all. ----------
If you took the time to learn music theory, the first thing you'd automatically notice is that there's only 1/2 step between blow and draw in the 5 hole, and you only get a 1/4 step draw bend and too many people don't learn this and try to bend way past the floor of the bend and so they blow them out quickly, ESPECIALLY when they're playing much too hard and force things to happen. If you're blowing them out frequently, you're playing much too hard and the bend on a diatonic goes in 1/2 step increments to within 1/2 step of the lowest note in the hole and so since there is only a 1/2 step between the blow and draw in the 5 hole, then there's just 1/4 step there and that's the FLOOR of the bend and the note will NOT bend any further and trying to go past it, you're gonna blow it out, ESPECIALLY if you play too hard all the time and most people are guilty of this during the note bending process. ---------- Sincerely, Barbeque Bob Maglinte Boston, MA http://www.barbequebob.com CD available at http://www.cdbaby.com/cd/bbmaglinte
I had to go dig this up from another thread because my video was unlisted and I couldn't remember how to find it. It's definitely worth learning how to bend the 5 draw to gain some expressiveness.
One very effective way to use the space below 5 inhale (which is a 1/4 tone plus 15 - 20 cents) is as a starting point and then slowly releasing it to 5 inhale.
Here's an example of one simple line - 2 inhale, 3 inhale 4 inhale, 4 exhale, 5 inhale bend and SLOWLY release.
It creates tension and interest. ---------- The Iceman
Last Edited by The Iceman on Jan 22, 2019 11:21 AM
On a slight side note, I've been watching Preacher on Hulu, and the intro has harp in it. I haven't picked up a harp to play along. It's not a complex part, but it kind of sounds like the harp is bending past the floor on it.
it's called "expressiveness".... have you never heard a singer hit a sustained note from slightly below pitch and then raise it to exact pitch?? ---------- The Iceman
yep, 5-draw bend is part of the blues vocabulary, especially scooped up from the bend. you just have to be aware of the pitch limitations and reed sensitivity.
groyster, LW's opening lick in "Backtrack" is one example among many..
---------- 4' 4+ 3' 2~~~ -Mike Ziemba Harmonica is Life!
I think it’s a good topic George. In musical terms; Pretty much similar as when you bend the 2 draw a bit flatter than the whole step. Specifically.
5 draw is often already rather flat though, depending on the tuning approach taken to the harp.
Speaking of which, a just intonation tuned harp will bend 9 blow much flatter than an ET harp. It’s a consideration if you’re considering emulating old records where the player was blowing the 9 blow super flat rather than playing 9 draw (jimmy Reed for instance).
It’s pretty easy to get an inflection on 5 draw. It doesn’t take a lot of air.
Back track is one example. There are a couple examples in Juke where Little Walter bent the 5. The best known is probably in chorus 3 where he holds the 5 draw a long time and then commenced his descending run by bending that long held note.
he uses the bend again in chorus 4 measures 7 and 8.
On the topic of breaking the 5 draw, it’s true of course that the reed is easily damaged. I replace a lot of 5 draw reeds, as I’m does every harp repairer. I used to replace a few of my own, but not many anymore despite playing amplified quite regularly and probably more over the last 2 years than in the past. I really think the culprit in many cases is the 4-5 draw headshake with bend. This is where the 5 is often bent without intent or really much awareness. I see so many harps in which both the 4 and 5 are compromised. I believe it’s not so much the bend which causes the damage, it’s the way in which it’s executed. Not even so much taking it to the floor, but taking it to the floor with excessive force. BBQ Bob is well known for pushing the line that excessive breath force is the cause of many problems on the harp, and it’s really true. Poorly setup harps which are relatively unresponsive I think lead people into bad habits. When I began making repairs and setting up harps for better response one of the ways I studied was through purchasing some customised harmonicas from various builders. I was also privileged to repair some very nice custom harps. Over time I believe playing all these nice harps and building my own to mimic these has led to greater moderation and control over my playing. Also careful listening to records and attempts to copy including the more subtle elements of tone. I bend 5 draw intentionally probably more than ever but break very few reeds. I can’t remember the last time I had to replace a 5 draw for myself but it was before 2018 and I suspect possibly early 2017 in a very old harp.
In fact, I think intentional bending of 5 draw while holding a thought of protecting the reed by playing with light breath may be a key to developing better overall control and expression. Mindfulness in playing
A flatter than half step flat 7th is sometimes called a harmonic 7th or a blues 7th. Probably used more for vocal expression. Barbershop quartet singers use it for chordal harmonies and authentic blues singers sometimes use it in vocal lines. There are recordings of Little Walter using it by bending the draw 5 in second position.
If you think linear, use the 5 inhale bend as a quick substitution for 5 hole exhale....
For example, think of the short descending line - 5 inhale, 5 exhale, 4 inhale, 4 inhale bend, 3 inhale ending on 2 inhale.
If you wish to go for velocity, try playing 5 inhale, 5 inhale bend, 4 inhale, 4 inhale bend, 3 inhale ending on that 2 inhale.
I promise you that the average listener will hear that 5 inhale bend as the 5 exhale note....
Velocity is improved by virtue of eliminating the one breath direction change on this descending line. ---------- The Iceman
Last Edited by The Iceman on Jan 24, 2019 9:26 AM
great minds thinking alike again...although I was referring to an actual note and not a semi tone bend as the result... ---------- The Iceman
Last Edited by The Iceman on Jan 24, 2019 9:49 AM
Check out some great playing on the 5 hole by Charlie McCoy. The 5 bend(played as its own note) and the scoop into the 5 draw are both vital in this passage:
