This is a public version of the members-only Harmonica with Howard Levy, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Harmonica with Howard Levy.
Join Now

by level
This groups the Lessons by level according to difficulty.
 ≡ 
by style
This groups the Lessons by musical genre.
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Harmonica Lessons: 7 Overdraw

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
Lesson Specific Downloads
Play Along Tracks
 
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   

This video lesson is available only to members of
Harmonica with Howard Levy.

Join Now

Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Harmonica with Howard Levy. This is only a preview of what you get when you take Harmonica Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
Log In
X
[MUSIC]
We're reaching the point now where we're
gonna make the diatonic
harmonica into a fully
chromatic instrument in the third octave.
Because if we play the harmonica
from the seventh hole blow on up.
[MUSIC]
We discovered
there's some missing notes.
[SOUND] There's no C sharp.
[MUSIC]
And there's no G sharp.
[SOUND] There's just two missing notes.
Could be a lot worse.
And so after I discovered the overblown
notes in the bottom of the harmonica,
I figured maybe I could
apply the same principle and
if I tried bending on the draws,
on the top of the harmonica,
maybe these same things
would pop out there.
And it's so funny because the whole
thing with the top of the harmonica,
the playing on it is that
the draws if you pull on them,
they'll just stop playing.
I mean I was telling you this in
the earlier sections on bending.
If you try to bend the draw on the top.
[MUSIC]
It'll just go away.
And a lot of people when they start
playing harmonica, they think that they
can bend the draw notes on top, just like
they can bend the draw notes on bottom.
And some of these people
accidentally play overdraws,
[LAUGH] where the note pops out and
they have no idea what they're doing, but
they think, I'm gonna breaking
my harmonica or something.
So, here's how it works.
If you draw on the seventh hole draw,
which is a B, and
the seventh hole blow is a C.
That draw reed bends down a little bit and
spazzes out and becomes the closing reed,
and the C blow reed bends up to a C sharp.
And here's how that sounds.
[MUSIC]
It's pretty loud and
unlike the overblows,
these notes tend to be a little bit sharp.
Which is, in my book, it's always better
to be a little sharp than a little flat.
Flat sounds ooh, flat.
Sharp?
You can make something that's sharp
flatter more easily than you could
make something that's flat sharper.
So.
[MUSIC]
You can bend these too.
And this will come in handy when
you're playing blues licks.
So I'll show it to you in a second.
So that's the seventh hole.
[MUSIC]
It's basically kinda
like bending a draw bend.
[MUSIC]
It's a lot like bending six draw.
[MUSIC]
Except when you try to bend seven draw
down, this other note pops up.
If your harmonica is not adjusted right,
this becomes not only incredibly
difficult to do, but painful.
Because, a lot of pressure builds
up in the side of your head and
when I first started doing this,
I thought, I know these notes are here,
but this is a horrible
feeling to get these notes.
Like I said,
I knew nothing about adjusting.
If you adjust both of the reeds and pushed
them in quite a bit toward the reed plate.
It makes this much, much easier,
exponentially easier to do and
I'll show you this in a little while.
So, that's the seventh hole.
[MUSIC]