{"id":1164,"date":"2018-01-02T12:07:23","date_gmt":"2018-01-02T11:07:23","guid":{"rendered":"http:\/\/www.planetharmonica.com\/?page_id=1164"},"modified":"2019-03-07T17:25:28","modified_gmt":"2019-03-07T16:25:28","slug":"overnotes-made-easy","status":"publish","type":"page","link":"https:\/\/www.planetharmonica.com\/NextGen\/en\/teaching-ep2-eng\/overnotes-made-easy\/","title":{"rendered":"Overbends made easy"},"content":{"rendered":"

Easy Overblows and Overdraws<\/strong><\/h1>\n

Even if the use of overbends\u00a0has significantly grown over the last thirty years, many harmonica players willing to leverage the potential of their favorite instrument are still concerned about these techniques. A plethora of information is available on the internet and some tutorial books at last dare to address this topic. Unfortunately, some are a bit tricky when it comes to the details of the ways to get these overbends. Generous but also wacky advices sometimes let the player stuck and frustrated.<\/p>\n

Then, the vast majority of players go back to the setting phase, the so called necessary stage to get through before getting any overtone. But as the information on settings is somewhat confusing, this can make things even worse and reinforce the thought that these additional notes are very difficult to get.<\/p>\n

However, learning the right technique ensure you can get overbends on any kind of harmonica, including low cost ones!<\/p>\n

BENDS AND OVERBENDS:<\/p>\n

To figure out what is technically at stake, just remember one thing : bending IS already playing an overbend !<\/p>\n

Let\u2019s drill down a bit :<\/p>\n

\"\"<\/a><\/p>\n

    \n
  1. It seems consistent to say that the drew reed sounds as the player draws and tries to bend the natural note. Same thing for any blew reed when the player wants to get a blow bend. Not at all\u2026.<\/li>\n
  2. One can only get the inflexion (beyond a semitone with the same reed (blew or drew) than the natural note. However, some very airtight harmonicas allow to get a full semitone that way : by lowering the vibration of the drew or blew reed without triggering the opposite reed ; the timbre of this note will be similar to \u00ab valved bends \u00bb.<\/li>\n
  3. As soon as the bend hits the right note, the opposite reed vibrates and takes over, while the other reed (supposed to be played) vibrates less and less, according to the intensity of the bend. We must highlight the two exceptions (our two \u00ab\u00a0valved\u00a0\u00bb bends with no valve \ud83d\ude42 ) in 3′ and +10″, where the sound is obtained thanks, respectively, to the draw and blow reed. In these two cases, the opposite reed doesn’t create the sound and thus these are the two bends that are the most different in terms of tone from the other bends. A minimum homogeneity can still be achieved thanks to technique.<\/li>\n
  4. Then, it is absolutely possible to get a draw 4 bend by completely blocking the draw reed (by putting a finger on the reed or by taping it or even by changing the angle of the reed in order to block the air flow).<\/li>\n<\/ol>\n

    To summarize, the usual bend (except fo the 3′ and the +10″) is a kind of overbend, except that, when playing an overblow or an overdraw, one of the two reeds is really blocked (which is \u00ab nearly \u00bb the case when an usual bend is played).<\/p>\n

    CONSEQUENCES :<\/p>\n

    \u2022 Overbends can be played exactly like an opposite \u00ab regular bend\u00bb.<\/p>\n

    \u2022 Only one tongue position is needed to get the one or the other according to the air flow. For example, a 6 overblow and a draw 6 bend are two different notes that only need one tongue position.<\/p>\n

    \u2022 This is why an overbend is supposed to produce the same timbre than an usual bending since the same physical principle is applied.<\/p>\n

    \u2022 If you use anything else than your tongue to bend (jaws, harp position, throat\u2026), you will probably have to find another technique to get the overbends, unless you\u2019re ok with different timbres.<\/p>\n

    APPLICATION :<\/p>\n

    Now, it\u2019s time for you to check how you bend natural notes on your harmonica ! Of course, you\u2019ve been bending for a while and you don\u2019t even remember how the hell you\u2019re doing it.<\/p>\n

    Try to put together all the single elements you think you\u2019re using to bend, on the three octaves of your instrument.<\/p>\n

    Do you draw strongly?<\/p>\n

    Do you angle the harmonica?<\/p>\n

    Do you inflate or deflate your cheeks ?<\/p>\n

    Do you set your jaws down ?<\/p>\n

    Do you tighten your throat to get some sounds ?<\/p>\n

    Do you use tongue blocking while you bend ?<\/p>\n

    Do you frown ?<\/p>\n

    So, what happens exactly into your mouth, can you clearly feel where your tongue is according to the note you want to play ?<\/p>\n

    Important : there is only one technique that allows to get an overbend exactly as the opposite bending ! In other words, if you can\u2019t get a 6 overblow using your 6 draw bend technique (without changing the position of your tongue, just by reversing the air flow), you still have to work and improve your technique. Same for all the bent notes\u2026.<\/p>\n

    It\u2019s only when you feel you\u2019re getting close to it, although it still sounds a bit squeaking, that you can go back to the harp setting question. However, at this stage, setting is some kind of technical stuff, only providing comfort to your playing (and opportunities to play many overbends\u2026)<\/p>\n

    ADVICES :<\/p>\n

    \"\"<\/a><\/p>\n

    \u2022 Play the overblow like a draw bend (not like a blow bend)<\/p>\n

    \u2022 Play the overdraw like a blow bend (not like a draw bend)<\/p>\n

    \u2022 Just focus on the accurate position of your tongue, not on the way your tongue moves inside your mouth. Every time the position is accurate, no doubt you\u2019ll get an accurate sound.<\/p>\n

    \u2022 What is really at stake is to remember these accurate positions for each note you\u2019ll have to play. And remember there are only 4 tongue positions that provide all the notes of your harmonica.<\/p>\n

    POSSIBLE SETTINGS :<\/p>\n

    Let\u2019s go back to basics :<\/p>\n

    \u2022 Reed setting needs to be considered for both bends and overbends.<\/p>\n

    \u2022 The \u00ab good \u00bb setting provides an additional comfort to your playing, whatever the notes are. There is no point in getting a \u201cclosed\u201d setting for overbends and an \u201copen\u201d setting for rhythmic and dynamic playing. An appropriate setting provides a strong and chromatic playing, but you still have to play using the lower part of the air column.<\/p>\n

    \u2022 Even if you still feel comfortable in playing \u00ab regular \u00bb bends, setting up the tilt angle of the reed makes overbends and even regular bends easier to play.<\/p>\n

    What can you do ?<\/p>\n

    Basic stuff : technique (accurate tongue position, pressure, consistency of the air flow etc.) and tilt angle of the reeds. The more you have structure issues on your harp (air leakage, warped comb, low quality reed\u2026), the more you\u2019ll have to add extra settings (embossing, arcing etc.). As far as I\u2019m concerned, I only go through the following four stages :<\/p>\n

    \u2022 Realign reeds (to avoid putting varnish on the first two octaves).<\/p>\n

    \u2022 Setting up the reeds tilt angle against the plates. The more you get technical playing skills, the less you need to tighten the reed\u2026<\/p>\n

    You may also put some nail polish or beeswax to avoid unpleasant noises (only at the intersection of the rivet and the base of the reed, not on the reed itself, you would modify the pitch of the note).<\/p>\n

    \u2022 Tune again the reeds if needed.<\/p>\n

    FAQ :<\/p>\n

    My overblows sound too low\u2026<\/strong><\/p>\n

    You need to move your tongue forward. You can still slightly move up the tip of your tongue to higher the pitch, including on the \u201cusual\u201d bends. Sometimes, the whole tongue is too far backwards. It is usual that the medium octave draw bends sound too low, so the overblows sound to low too.<\/p>\n

    My overdraws sound too high\u2026<\/strong><\/p>\n

    You need to move your tongue backward and block the air flow by lowering the pressure. Playing too strongly change both the pitch and the timbre of the note. Do not forget you have to use the same tongue position as the one you use to play a blow bend in the highest range of your harp.<\/p>\n

    I can\u2019t manage to play the 1 overblow although I can play every overbend on the medium octave\u2026<\/strong><\/p>\n

    To play overbends on the lower octave (and on the low tuned harmonicas), you need to use the medium back part of you tongue. You need to feel something almost guttural, and emulating how Darth Vader breathes will drive you straight to get a 1 overblow. Do not underestimate the Force !<\/p>\n

    My overbends squeal\u2026<\/strong><\/p>\n

    Realigning reeds will help to let only one reed triggering when an appropriate pressure is delivered. However, it\u2019s simpler and quicker (but not more efficient) to put some varnish ont specific places. Technique may help for one second, but it cannot prevent the reed to squeal if you hold the note a bit longer.<\/p>\n

    I can play all the overbends but I don\u2019t know what to do\u2026<\/strong><\/p>\n

    Most players asking this question have played harmonica for years without overbending.<\/p>\n