mega bending frustration
I'm REALLY frustrated with learning how to bend the 2 draw on an A harp. Trying to get that E down to a D. I can get it down to an Eb but no further. This is with about 3 solid months of daily practice trying to bend it. I'm okay with bending the higher notes, but this 2draw on the A harp has me completely stumped.
I'm wondering how long this plateau will last, and when I get really gloomy I start thinking I'll never get that dang note. I know the key is somewhere in the back of my throat, but no matter how much I focus down there, no matter how much I suck in, no matter how much I work on different mouth shapes, no matter how much I drop my jaw and tongue, I just get stuck at Eb and can go no further. Please someone tell me this is just a phase.
Some things come easier for me than other things. I know I've felt the same way in that I thought I'd never get a certain technique or bend control. Sometimes it just takes a while. I think I'll never stop working on my bends even after 15 years of private study with David. Also I wouldn't get too stressed over what the tuner says. Although we all want to do well and play really well, for me it's more about having fun.
As for bending technique the best tone comes from a relaxed embouchure and not from sucking real hard. I had the tendency to draw hard to get the bend in the beginning. Now I don't. Dave Hall has some real good comments and I'm sure that you'll get it just right. You have the desire now just wait for the technique to catch up.
If you think the 2 draw is a hard one, for me the 3 draw half and whole step bend control has been a real challenge. Hitting those notes where they sound natural, with tone and in tune is a major challenge. Big Walter was the king at the 3 draw bends to me. Also Kim Wilson is really impressive too. I know Kim has practiced for hours a day for years to get to where he is. Keep at it and don't get discouraged.
Sorry if I'm blabbing on too much. I'm just really starting to come to terms with bending and feel like I understand the lifetime challenge it is. A fun challenge, so satisfying when it starts to sound good.
I just thought of the things which I found have helped me especially in hearing and finding fun:
Using an A harp is a good idea I think
Playing chords in arpeggios really helped me hear the notes and their relationships. So to play an arpeggio of an A chord for instance but change the last note, the octave the first time, the major 7th the next time, then the flat 7th, then the 6th. And then the same pattern but using the E chord, but there is no major 7th unless you overblown. Doesn't matter. And then the B chord. This exercise really helps open my ears.
Similiar exercise, but playing bass lines. I actually find this a little easier.
And also mixolydian scales. These 3 things taken together I think have helped me a lot.
Also, songs with bends. Try 'yesterday' starting from 2 draw. It really works the 3 draw bends. Also, summertime. I used to play it starting on 6 draw, and that's good, but lately starting on 5 blow. Both require the 3" but I found it interesting how it seems a little different relative to the key.
The one I love at the moment is duke ellingtons Satin Doll. You can play along on a C harmonica. Play the sax line, starts on the 3". Jimi Lee put me onto this after months of teaching me to play on an A harp. The switch back to C was shocking, but after a little while I adapted. I think the big change was also very helpful in drawing my attention to the things which had to change. And also it has one phrase that goes 3' 3"' 3' 2. I found that move very challenging.
I like what Jon said about fun. That's also why I chose JimiLee as a teacher when I decided to take lessons, because he made that point in his interview on this site.
I just started playing SatinDoll on chromatic too, so I could remind myself what that 3"' should sound like. Now I see how that slide could be addictive.
All the best, Dave
@lynn65 -
One thing you don't mention is feeling suction at the point where you're creating the constriction in the air flow.
Suction doesn't cause bending. But it's a useful byproduct. It's like the dashboard light that tells you a door is open or that something needs attention.
Only in this case, it's a positive sign. It means THIS SYSTEM IS NOW ENGAGED AND OPERATIONAL.
The "system" being your mouth set up to bend notes because you can tune it once you have the narowing in place, with the suction to confirm it.
You don't get this suction by sucking hard. You breathe normally (but deeply and gently from your gut) and create the suction just by how you place your tongue close to the roof of your mouth.
Of course, once the system is engaged, you have to adjust it to the right size for for the notes you want to bend - big or low notes, small, for high notes. But I think you've already explored this. I suspect the mising peice is the full engagement of the tuned chamber.
So monitor your sensations for the suction that is trying to pull your tongue up to the roof of your outh and close of the tunnel (and resist it).
I have a similiar but different problem with 1 draw on the A. I know it can go way down to 50 cents below Bflat, but I only ever get to 40 cents at most, and that rarely. And I really struggle to bend 1 Draw on a lo-F more than a quarter tone, but I know it can be done. And sometimes I've done it. I had to find a place in my throat, I guess it's my tongue really, but I had to learn to move it in a different way, and I started to see the needle move.. I tried a LO-Eb. Very difficult to get a full step on 2 draw and nothing on 1 draw. But eventually I got there. And then stopped practicing. But it's about getting some different movement, some small changes at first and gradually you get more control and stronger movement. I think.:)
how about the 1 draw on your A? Does that go all the way to Bb and below? Or do you have a G harp you can bend 2 draw on?