if i were to buy a custom harp, i'd buy one from a customizer whose style would not exist without overblows.
that said, is the key of C a better choice than say A?
the reason i mention C is because your standard chro is in C. i know BUDDHA likes lower key harps. in a youtube he says he doesn't care for D. i have a D i set-up and i accidently got it to overblow fairly easily.
if i thought i could duplicate my accident, i'd do it, but there is more to it than meets the eye.
When my student come to me to learn OB, I start them with a Bb harp because all of the OB/ODs sound pretty good and are easy to get. With the C harp the OBs are easy but things like 9 and 10OD are a squeaky. I don't mean they squeal just harder for beginners to get.
The lower keys are great for building tone and great for working on ODs but the 1OB and 4OB can be difficult for beginners.
If you're style is mostly blues right now and you want to start adding chromatic elements then start with the A harp.
Personally, I prefer not to play anything over a Bb harp and tend to look for ways to play in alternate positions before switching harps. I will switch to a higher keyed harp if it sounds better. Sound is more important than what harp I am using.
My typical gigging kit has low Eb, 2xLow F, 2xG 2xAb 2xA, 3xBb, B 2xC, D
---------- "The privilege of a lifetime is being who you are." - Joseph Campbell
great trick. i had a friend bending notes in minutes-7-10 blow bends too. amazing.
my style is mostly blues, but i would like to add chromatic elements to all the styles i play, or can't play, simply because there are chromatic elements in them.
i forgot about ODs. they are pretty shrill on C and higher.
i'd be fine with Bb or A or G.(i was hoping for C to be a good choice because i really like C-particularly GOLDEN MELODYs in C.)
I can overdraw & overblow really well & bend the overblows but I don't know how to do much with them. Does anybody know any good books or videos where I could start learning how to put them into practising different modes & scale exercises.
without me saying else about why I chose that tune please report back to me after you've learned the melody. In fact post a video. ---------- "The privilege of a lifetime is being who you are." - Joseph Campbell
It's been a long time since I've been able to get on the forum and it may have nothing to do with the topic but "how much do you OB now?" made me laugh. The forum could almost be taken as a support group without that question but you had to go and say it. Glad I'm back. And now to hunt for the straw trick, because I've had friends to OB in the past but still haven't done it myself. You guys are great!
Last Edited by on May 13, 2010 3:00 PM
OK. I tried the Flintstones thing like Buddha suggested. The only harp I own that OB's on both the 4th and 6th is a D Firebreath. I gave it a go....my wife said I sounded like a kid just learning to play the violin...pretty pitchy! Wish I had a better harp in the Bb key Buddha starts his students out in. Oh well...
I can see where the Flinstones melody would be a good exercise to move about between OBs and not, as it's such a familiar melody, and our "ear' knows what it wants to hear, so we are more driven to get it right, and subsequently coax some overblows out to do it... I will try this.
joch230, there is a reason why I ask people to start on draw five. The reason goes far beyond using OBs in a melody context. Learning this song is to be considered a major cornerstone in everybody's musical arsenal.
----------
"There are said to be pleasures in madness, known only to madmen."
I've been trying something to season my OBs and ODs......Hitting the 6 OB from 6 blow is a LOT easier than hitting right after 7 OD. I'm working on the blues scale in 11th position and damn it is tough.
You get overblows on holes 1,4,6....overdraws on holes 7,9,10.... not to mention blow bends on 8 and 10 and draw bends on holes 1,2,3,4,6
Like Mr. Miagi trying to catch a fly with chopsticks...play this scale cleanly and you can do anything!
Hmmm....1,2,3,4,6 drawbends been doin' for years,same with 8,9,10 blowbends no worries!Hole one overblow for me still seems impossible, hole 4,5,&6 no worries, I'm gettin' em' . Overdraws, well, they seem rather elusive, needs much more practise, maybe I need to tinker (or learn to)??? Have been running Lee Oskars for years but am branching out now with an 1847 Seydel(A) and a few Suzukis.
Last Edited by on May 24, 2010 3:16 PM
MP, all you have to do to post a YouTube video is click the little button under the video that says 'embed'. A box will appear with the code. Cut and paste the text in the box into your post. That's all there is too it!
Ok I'm stumped! Grew up with Fred Wilma BarneyBetty Pebbles & Bam Bam, but I seem to start on 6 blow?????? (must be 1st pos?) Could anyone just give me the first few tabs?
The challenge here is to learn to play the song in 11th position, which is one of my favorite positions to play in. However, for those of you wanting to master overblows and overdraws, you really need to be playing custom harps by Chris Michalek or Joe Spiers in my opinion.
There's definitely a reason why buddha chose the flintstones themesong (some kinda jazz standard?) - I don't know why. Here it is played on a 1847 in G:
-5 -3' +6* +6 -5 -3' ... then there's the 4 ob somewhere, bet besides that only draw and blow notes.
---------- YT - Music isn't created, it evolves.
Last Edited by on May 25, 2010 2:44 AM
I choose the flintstones theme because the melody outlines Rhythm Changes which is one of the most used chord progressions in jazz. There are 1000s of songs that use those changes so if you go to a jazz jam and a rhythm changes tune is called then you will have no problem playing over the changes as long as you keep that flintstones theme in your head.
These are all the same tune just a different melody and tempo
Allen's Alley (AKA Wee) by Denzil Best Almost by David Baker Anthropology (AKA Thrivin' From a Riff) by Charlie Parker/Dizzy Gillespie Apple Honey by Woody Herman Bop Kick by Nat Cole Boppin' a Riff by Sonny Stitt Brown Gold by Art Pepper Bud's Bubble by Bud Powell Call the Police by Nat Cole Calling Dr. Jazz by Eddie "Lockjaw" Davis Celerity by Charlie Parker Chant of the Groove by Coleman Hawkins Chasin' the Bird by Charlie Parker Cheers by Charlie Parker Constellation by Charlie Parker Coolie Rini by Howard McGhee Coppin' the Bop by J.J. Johnson Cottontail by Duke Ellington Delerium by Tadd Dameron Dexter's Deck by Dexter Gordon Dexterity by Charlie Parker Don't Be That Way by Edgar Sampson Dorothy by Howard McGhee The Duel by Dexter Gordon Eb Pob by Fats Navarro/Leo Parker Fat Girl by Fats Navarro Father Steps In by Dixon/Randall/Hines/Fox Fifty Second Street Theme by Thelonius Monk The Flintstones by Hoyt Curtain Fox Hunt by J.J. Johnson Goin' To Minton's by Fats Navarro Good Queen Bess by Duke Ellington The Goof and I by Al Cohn Hamp's Paws by Hampton Hawes Harlem Swing by Nat Cole Hollerin' and Screamin' by Eddie Davis I'm an Errand Boy for Rhythm by Nat Cole In Walked Horace by J.J. Johnson Jay Jay by J.J. Johnson Jaybird by J.J. Johnson The Jeep is Jumpin' by Duke Ellington Jug Handle by Gene Ammons Juggernaut by Gene Ammons Juggin' Around by Frank Foster Jumpin' at the Woodside by Count Basie Lemon Drop by George Wallington Lester Leaps In by Lester Young Lila Mae by Nat Cole The Little Man on the White Keys by Nat Cole Miss Thing by Count Basie Moody Speaks (original version) by James Moody /Dave Burns Moody's Got Rhythm by James Moody Moose the Mooche by Charlie Parker Mop, Mop by Gaillard/Stewert/Tatum Newk's Fadeway by Sonny Rollins No Moe by Sonny Rollins Northwest Passage by Herman/Jackson/Burns O Go Mo by Sonny Rollins Oleo by Sonny Rollins On the Scene by Gillespie/Fuller/Roberts One Bass Hit by Dizzy Gillespie Opp-Bop-Sha-Bam by Dizzy Gillespie An Oscar for Treadwell by Dizzy Gillespie Ow by Charlie Greenlea Passport by Charlie Parker Raid the Joint by Erskine Hawkins Red Cross by Charlie Parker Rhythm in a Riff by Billy Eckstine Rhythm Sam by Nat Cole Rhythm-a-ning by Thelonius Monk Salt Peanuts by Dizzy Gillespie Seven Come Eleven by Charlie Christian Shag by Sidney Bechet Shaw Nuff by Dizzy Gillespie Shoo Shoo Baby by Phil Moore Solid Potato Salad by DePaul/Prince/Raye Sonnyside by Sonny Stitt Squatty Roo by Johnny Hodges Stay On It by Tadd Dameron Steeplechase by Charlie Parker Straighten Up and Fly Right by Nat Cole The Street Beat by C. Thompson / Robert Mellin Strictly Confidential by Bud Powell Swedish Schnapps by Charlie Shavers Swing Spring by J.J. Johnson Swingin' With Diane by Art Pepper Syntax by J.J. Johnson Ta-de-ah by Nat Cole The Theme by Miles Davis Tiptoe by Thad Jones Turnpike by J.J. Johnson Wail by Bud Powell Webb City by Bud Powell Wee (AKA Allen's Alley) by Dizzy Gillespie Who's Who by Art Farmer Wire Brush Stomp by Gene Krupa XYZ by Budd Johnson Yeah Man by J. Russel Robinson
