Take them one video at a time. Make sure you get each one before moving on, ask me if you need help. So far, it is only theory if knowing the names of the notes you are playing is theory. Michael Rubin Michaelrubinharmonica.com
The importance of the eyebrow raise in bending up overblows! (Just kiddin'! :) I think using the keyboard and relating that visually to what is going on is very important.) ---------- MBH Webbrain FerretCat Webbrain
@Michael. Are you going to cover overdraws? I think I did one by accident once. I'm not sure if I hear them often and couldn't really identify one if I did. Would my harp need to be set up special for them? ----------
I like the way Michael incorporates some theory into the lesson. The visual on the keyboard helps me with what little theory I know. I like knowing what notes I am playing as I am definitely an "ear" player.
Tookatooka, I am definitely going to explain what the names of the notes of the overdraws on a C harp are. That will be in next few lessons. You can then use a keyboard and your ear to judge if you are hitting an overdraw or you can play into a chromatic tuner and it will tell you. In time I will explain how to easily find out the name of the note in any hole on any harp. Michael
I do not think I will be doing the physical nature of doing overdraws any time soon, but I did say I would do all that stuff if 10 people asked, you're one of those ten. For overdraws, gap both reeds tighter to the point where if you gapped any tighter there would be resistance from the normal note. You might gap to where there IS resistance and then back off the gap. Then it is similiar to a draw bend, sometimes I say Koo and I draw air from the floor of my mouth to the ceiling of my mouth. On hole 7, I pucker, on 9 and 10 I U block. Overdrawing on 8 draw creates the note already in 9 draw. Michael
