Now we're gonna move
down to the five overblow.
Now this one, when I was looking for
these notes, I thought one of my big
frustrations was that I couldn't play
the major scale in cross harp position.
It's not there.
So after I got the sixth hole overblow,
and realized what it was,
that it was that minor third
that was missing, I though wow.
Maybe the major seventh of the cross harp,
maybe I can get that from the same
technique if it worked on the fifth hole.
So I started messing around
with the fifth hole blow.
And lo and behold,
the F sharp came out.
[SOUND] Its like sorta saying, coo.
The sixth hole has more of a little
bit more of an E sound in it.
And every harmonica's different.
If I do this on a G harp,
the sounds will be lower in my throat.
But on a C harp, the fifth hole overblow
you try to bend five, blow down.
[SOUND] And the tongue it kinda arched
up along the top of your mouth.
[SOUND] And there is, lo and
behold,is your F sharp.
Of course, none of these things
are inherently, perfectly in tune.
If I wanna play it flatter,
I mean here's F sharp on the piano.
There's a lot of flexibility there.
I can actually make it go up.
All the way up to an A,
and now, with that knowledge
I can play a pretty in-tune.
G major scale, so
that G doesn't just have to
be the blues key anymore.
It can play G major on a C harmonica.
And you can also use this
overblow as a little.
You can go.
You can bend it from F sharp to G.
It's just great because the overblows,
when people first found out about them,
one guy said to me, that's very nice but
I can't bend them so
I'm not interested in it.
Well, you can bend them.
[LAUGH] So now we're gonna practice
playing the fifth hole overblow.
you don't have to do this loud.
the draw, and
now from the blow.
And then things get really
interesting if you try to do
it from an adjacent hole.
For example, if we try to play
six blow and five overblow.
take some doing.
When you're first starting out to do
this stuff, it's not that simple.
And once again, adjusting the action
of the reeds is very important,
because if you do this a lot,
your notes will start going flat on you
because if you're doing it and
really stressing them.
Both the blow reed and the draw
reed are involved in this process.
The blow reed is sitting
in there going aah!
And the draw reed is going, [SOUND] so
a lot of times the blow reed is actually
doing the brunt of the work and
your five and six blow reeds
will start going out of tune.
So, again its this [SOUND] coo,
it's a little further
back in the mouth than the sixth hole and
to sustain it,
it takes some doing and
you might wanna even sit there and
figure out how long can
you hold this F sharp?
And bend it around a little bit and
get a feeling for it's range and
the fact that the F sharp is just
one of the notes in this
fifth hole overblow.