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Harmonica Lessons: 8-9-10 Blow: Bending 10 Blow on C and G Harps

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[MUSIC]
So you can practice bending those
things up and
down same as you did with your draw bends.
[MUSIC]
And then hitting it bent.
[MUSIC]
Same thing with nine.
[MUSIC]
Don't do this
while people are around.
[LAUGH] They're not gonna wanna hear it.
So, I'm leading up to the most painful
blow bend of all, which is ten.
It's not bad on a G harp,
as I'll show you, but
on a C harmonica, this is not easy to do.
Because you got C, [SOUND] and A.
[SOUND] Now,
once again if I look over at the piano,
you'll see that this very high C,
which by the way is the same
note as the top C on a flute,
got three octave range of a flute.
[MUSIC]
You see that between C and
A is B and B flat.
It's very hard to differentiate
between those notes on a C harp.
All I care about here is that you be
able to just, [SOUND] hit the B flat.
[SOUND] Then you see that I really
do have my cheeks puffed out.
I'm not biting down, I'm letting the back
pressure in my cheeks help me bend.
[MUSIC]
I can differentiate between B,
C, B, B flat doesn't matter
if you can right now.
But now that I have that bend, I can play.
[MUSIC]
You can do
a warble
on eight and
nine.
[MUSIC]
[LAUGH] That's a little harder.
[MUSIC]
It sounds almost like a dobro on helium.
[MUSIC]
Now that I've shown you how to do this,
I'll play it for you on a G harp, and
you'll hear that it's
a more appealing sound.
So suppose you're playing
blues on a G harp.
[MUSIC]
Then you
switch to the G harp.
[MUSIC]
This can be an effective thing
to do if you're playing blues to give
the audience, whoever's listening,
a little bit of variety, so
they're not just listening to
cross harp all night long.
Switch into first position and
play those little blues licks up there on
a G harmonica where they
sound kinda pleasant.
[MUSIC]
Ten, ten, ten, ten, bend,
to nine, these are all blows.
Nine, bend,
[MUSIC]
Nine bend to eight, blow bend,
this is some very old sounding stuff.
The one of the things that's happening
here is the major chord, [SOUND] of G.
It's a lot like a guitar that's
tuned to an open tuning.
It relates a lot to the music
of Robert Johnson, and
the Delta blues guitar players
from the 1920s, and 30s.
If you can sort of mentally picture
that these reeds are almost like
guitar strings and
that when you're playing over them,
it's almost like the old guitar
players would bottleneck.
[SOUND] They're sliding
that bottleneck around
between that open G chord on their guitar.
[MUSIC]