Dang. Those are awfully high notes on short, stubby reeds.
How are your bends on a F-harp, or an E-harp or an Eb? If those are difficult, then start with the highest key where you have good control over those bends, and work your way up through the harp keys, one semitone at a time through F, F# and G.
The higher the note, the smaller the oral tuned chamber taht will cause the note to bend, and the smaller the difference between the right chamber size and the wrong one (i.e., the one that doesn't work). So you really have to be careful in hunting for (and then memorizing) those sweet spots.
It can help, as well, to have a strong air flow supporting the bend, as those reeds are less pliable that longer reeds. That doesn't mean blowing hard, but it does mean plenty of back pressure.
Dang. Those are awfully high notes on short, stubby reeds.
How are your bends on a F-harp, or an E-harp or an Eb? If those are difficult, then start with the highest key where you have good control over those bends, and work your way up through the harp keys, one semitone at a time through F, F# and G.
The higher the note, the smaller the oral tuned chamber taht will cause the note to bend, and the smaller the difference between the right chamber size and the wrong one (i.e., the one that doesn't work). So you really have to be careful in hunting for (and then memorizing) those sweet spots.
It can help, as well, to have a strong air flow supporting the bend, as those reeds are less pliable that longer reeds. That doesn't mean blowing hard, but it does mean plenty of back pressure.