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Dirty-South Blues Harp forum: wail on! >
Resonation
Resonation
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Jeffrey van Kippersl
1 post
Jan 14, 2011
3:26 PM
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With the risk of saying something i've missed.........
I've read a lot about overblowing and under/overdrawing, I think you need to be able to play every single note on the harmonica, and practiced both overdrawing and overblowing rather excessively. Theres noting more sweet then playing one riff/lick in three octaves on a single harp :-) and to be able to the same in iv and v chord.....
Also on this forum, theres been a lot of interesting information available. After 7 months of practice I decided to get a teacher to investigate the depth of the notes. Over there we've talked a lot about playing the harp and drawn up next conclusion:
Theres not enough emphasis on resonation in the overblowing technique debate/teaching. We've, Iv'e found that a lot of described techniques miss the essence, which would be generating the right resonance for each single note. The mouth position, tongue position a.s.o, will follow your resonation attempts.... And the strange thing is, I'm able to produce them with several different mouth, tongue positions now enabling me to attack the notes differently in correspondence with the last mouth position, this in turn enables me to, finally, produce 4 and 1 ob in a faster riff.
With the shifted paradigm I went trying it on my Bb, B, A and even G harp, resulting in a sustained and warm 1ob,
Ergo, my opinion is that the main focus should on resonation and not mouth or tongue position or even customization of harps, its all about producing the right airflow, resonating on the right frequency.......
Just for sharing......
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Silvertone
75 posts
Jan 15, 2011
4:48 AM
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Nice first post! I dont OB but agree resonance doesnt get enough attention.
It is very important. Tone and volume both come from resonance.
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barbequebob
1489 posts
Jan 15, 2011
8:00 AM
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When it comes to resonance, regardless if it's overblowing or not, that is something the vast majority of harp players tend to ignore BIG TIME and just concentrate too much on the gear to make themselves sound better where learning how to play RESONANTLY does far more than any of that stuff they're spending way too much money on and still wind up not sounding all that great.
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Sincerely,
Barbeque Bob Maglinte
Boston, MA
http://www.barbequebob.com
CD available at http://www.cdbaby.com/cd/bbmaglinte
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barbequebob
1490 posts
Jan 15, 2011
8:04 AM
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When it comes to resonance, regardless if it's overblowing or not, that is something the vast majority of harp players tend to ignore BIG TIME and just concentrate too much on the gear to make themselves sound better where learning how to play RESONANTLY does far more than any of that stuff they're spending way too much money on and still wind up not sounding all that great.
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Sincerely,
Barbeque Bob Maglinte
Boston, MA
http://www.barbequebob.com
CD available at http://www.cdbaby.com/cd/bbmaglinte
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harpdude61
643 posts
Jan 15, 2011
8:13 AM
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I agree with the OP. You can play an overbend with the same big dropped jaw, open mouth, and open throat that you do with any other type of note.....IMHO all notes on all harps can be played with the big open relaxed style. I've always heard the bigger the resonater the better. Only thing I see changing is throat position which naturally slighty changes the tongue position.
Jason says his goal was to make OBs sound like any other note. He does this very well indeed.
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harpdude61
644 posts
Jan 15, 2011
8:19 AM
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Jeffrey..there are actually a couple of licks you can play in 4 octaves using the notes that match 1 blow, 1 draw bent, and one draw if you can hit the 10 overdraw and bend it up 1/2 step..I love doing this with guitarist when I lead an answer/call. They usually start too high if I start on the bottom end and go up.
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Greyowlphotoart
368 posts
Jan 15, 2011
8:22 AM
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Interesting subject this. What was your approach to resonation? Can you describe the method you adopted?
Quite often you hear a momentary pause before the OB sounds and this mars the fluidity of the solo.
I recall Guy Peled on a recent thread visualising resonation as creating a hissing sound approach to produce the OB, the pitch of which would change with the overblow hole he was attempting.
My approach feels as if I'm creating a small pocket of pressurised air to produce the OB. I guess everyone will have ther own take on this according to what they feel works for them.
I do believe it is helpful resonance-wise to have the OB note in your head that your trying to acheive and it is also important as with most harp techniques to remain as relaxed as possible so that their is no unnecessary tension in the mouth etc.,.
When players first tackle a draw bend there is great emphasis on exagerratedly dropping the jaw and making a huge effort, then when they get it the technique evolves into a much less aggressive approach with much less jaw movement and the bend becomes more controllable, smoother and pleasing to the ear.
One interesting fact that Guy pointed out was that the angle of the harp in the mouth for OB's is not critical and you can play them with the same embouchure with the harp upside down or even held vertically. Try it...it works.
Another point a friend mentioned to me was that the embouchure for the OB and the same step draw bend on the same hole is identical. Just blow and draw no need to reshape the mouth.
 Grey Owl YouTube
Grey Owl Abstract Photos
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Jeffrey van Kippersl
3 posts
Jan 15, 2011
12:56 PM
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A lot of insights, Im learning with every post......
The resonation is created by saying khee, try and say kheewee, make the k soft and humble. Anyways its always a bit strange to describe the things. The best insight for me would be, when hitting it, feel the vibration....Man! :-)
No but seriously, the khee thing seemed to work with a couple of guys trying to hit their first overblows.
So im not using my regular blowing airflow. To be clear I do not induce (?) the note by the khee sound, that would be pushing it in with a k sound. Its more that the resulting airflow of the khee is used to sound the note. When practiced you can produce the airflow whith out really saying khee. The OB will sound instantly even when hitting it as your first note.
This stops the pausing of the notes to. So no or limited in between time!
Most import start by finding the resonation by sounding as soft as possible, essential, then build volume!
For the rest, really, its interesting to read the approaches and so on, I working on the harp for not even a year now, seem to be hitting all the notes, but, I still encounter a very limited vocabulary when loosing myself into the music.
At the moment I'm working the playalongs and the backing track and are making my first steps with a guitarist, awesome and i would love to be able to play fast lick with the 10 hole.....
Grtz,
Last Edited by on Jan 15, 2011 1:00 PM
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Pluto
122 posts
Jan 15, 2011
4:25 PM
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Well Said Bob
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Pluto
123 posts
Jan 15, 2011
4:25 PM
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Well Said Bob
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