rucker_z
8 posts
Aug 04, 2010
6:49 PM
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So the other day I was doing a little improvising, playing an E blues on my A harp (that is called 2nd position I think) and I heard the ninth in my head, and I realized I didn't know how to play that note. Behind the I chord (E).
Is there a way to play that F-sharp? As far as I know, you go straight from that E on the 2 blow up to either G or G-sharp on the 2 draw. . . do you need a chromatic harmonica to play some of those other non-blues scale tones or is there another technique to access those notes. Is this where the mysterious overblowing comes into play? I am a beginner player who can so far bend the first 4 holes.
Last Edited by on Aug 04, 2010 7:55 PM
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Jim Rumbaugh
272 posts
Aug 04, 2010
7:38 PM
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6 draw (when in cross harp)
that's the simple answer. I just LOVE it and wail on it a LOT.
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intermediate level (+) player per the Adam Gussow Scale, Started playing 2001
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rucker_z
9 posts
Aug 04, 2010
7:57 PM
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^^Thanks for your reply. Yeah I know about the 6 draw. . . but since I'm playing mostly in the lower register right now (and I know that needs to change as I learn more) I'm really curious if that f sharp can be played on the 3 hole. . . or if this is one of the limitations of playing cross harp, diatonic harmonica.
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jonlaing
34 posts
Aug 04, 2010
8:14 PM
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3 draw bent a whole step. The intonation is a little tricky, but it's there.
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Stickman
388 posts
Aug 04, 2010
8:35 PM
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I find this useful
Harmopoint
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The Art Teacher Formally Known As scstrickland
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Ryan
329 posts
Aug 04, 2010
9:09 PM
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"As far as I know, you go straight from that E on the 2 blow up to either G or G-sharp on the 2 draw."
I think you're a little confused, on an A harp the E is on the 2 draw, not the 2 blow (there is also an E on the the 3 blow but you should definately be using the 2 draw instead). As others here have mentioned, the 9th(F#) can be played by bending the 3 draw down a whole step.
Here is a chart for the A harp (I haven't included any of the possible bend notes or overbend notes, but you should be able to find charts online that show those):
Blow:(A) (C#) (E) (A) (C#) (E) (A) (C#) (E) (A)
Draw:(B) (E) (G#) (B) (D) (F#) (G#) (B) (D) (F#)
Last Edited by on Aug 04, 2010 9:24 PM
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rucker_z
10 posts
Aug 05, 2010
2:52 AM
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>>I think you're a little confused, on an A harp the E is on the 2 draw, not the 2 blow (there is also an E on the the 3 blow but you should definately be using the 2 draw instead).<<
Nah, not confused, just tired as it had been a long day by the time I posted my question. I meant to refer to that E on the 3 blow. Your response does lead me to another question though:
I'm working through Adam's beginner videos, and I did notice that he tends to emphasize that E on the 2 draw as opposed to the E on the 3 blow. Why is that? (I notice that tone wise they do sound different or maybe that's just how they sound when I play them.)
Thanks all for your responses! And yowza, I really can't imagine bending that 3 draw all the way down a whole step, but I guess that's just another thing to work toward.
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GamblersHand
206 posts
Aug 05, 2010
3:23 AM
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Yes it's mainly about the tone as you say - the draw notes tender to have a richer sound. The ability to bend the notes, and therefore throw in slurs and dip-bends allows more expression and a much more voice-like sound.
I prefer the decay of a draw note - they seem to resonate for slightly longer, with a blow note being more abrupt, but this might be more about the breathing. Lower end draw notes also sound great as "roll offs" at the end of a phrase
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rucker_z
11 posts
Aug 05, 2010
1:53 PM
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^^I noticed that the draw notes sounded richer than the blow notes too but I just figured it was my technique that was lacking. Thanks for the tips.
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