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2 and 10 bend issues

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Wed, 12/18/2019 - 17:16
JToens
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Joined: 11/19/2019

Hello Mr. Winslow or anyone else who can help

I wanted to ask if you have suggestions about bending the 2 and 10 hole.  I picked up bending very quickly on all other holes in the following Harps I own (C-Special 20, D-Manji, G-Session steel, A-Crossover) but continue to struggle with these previous two holes.  I am reluctant to get into adjsuting the reeds as I am only a few months into playing and dont want to break them but will if that is what it takes.  However, my thought is my technique is probably a big part of the issue.  Are these commonly hard holes for bending?

P.S. I can bend the 2 and 10 easiest on the A-Crossover and then C-Special 20 but I think this is just becuase these are easier harmonicas for beginners to start on based on what I have read.

Thanks in advance to anyone able to provided suggestions.  Here in Southern California I can't find anyone to ask these questions or find someone who has even picked up a harmonica for that matter.  This forum is a great help for insight

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Thu, 12/19/2019 - 10:51
#1
Expert Winslow Yerxa
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Joined: 01/15/2010
Some suggestions

Interesting that your easiest bends on those two holes are on two harps that fall in the middle of the low-to high (G-A-C-D)  pitches of the keys you have.

How much finesse do you have on the A and the C?

  • Can you bend them in a continuous, smooth dive down to the two-semitone bend and back up to the unbent note?
  • Can you bend and sustain the one-semitone bend?
  • Can you bend and sustain the two-semitone bend?
  • Can you start cold on either the one-semitone or two-semitone bend?

Work on those bending actions and sustained states on the A and the C. This will consolidate your bending ability in general, and may help you in moving up from the C to the D and down from the A to the G.

Moving down from the A to the G, the tuned chamber in your mouth needs to be bigger for any given bend, to match the lower pitch. You can accomplish this in two ways:

  • Move the K-spot (where you constrict the airflow at the back of the tuned chamber) back in your mouth
  • Lower the "floor" of the chamber by lowering your tongue between the K-spot and the tip of your tongue (especially when tongue blocking)

Moving up from the C to the D, you need to make the tuned chamber smaller, to match the higher pitch for any given hole and bend:

  • Move the K-spot (where you constrict the airflow at the back of the tuned chamber) forward in your mouth
  • Raise the "floor" of the chamber by lowering your tongue between the K-spot and the tip of your tongue (especially when tongue blocking)

Another suggestion: matching between harps.

Draw 2 on the D harp is in between the pitch of Draw 2 and 3 on the C harp. Work your Draw 3 bends on the C harp (work all the semitones of the bend, similar to the exercise I gave earlier for Draw 2) and it may help with Draw 2 on the D.

Draw 2 on the G harp is in between Draw 1 and 2 on the A harp. In addition to working the Draw 2 exercise on the A harp, also pay attention to your Draw 1 bend; that may help.

Adjusting the reeds? Probably not needed. All the models you have tend to be dialed in well enough for basic playing.

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