Excellent nice level of band structure great execution. Individual construction prevalent and fresh while every player plays as a unit. attention to dynamics is good. Great band beautiful delivery.😎
I would love to see harp tabs scrolling by as Howard plays. Not that I'd ever even attempt any of this, but just to see where and how he's using various techniques. 4:34 -4:36 for example. Is he just leaning deeper and deeper into an overblow for that continuous ascent?
One may bend the overbends' pitches up several steps if the harp is well set up and the player has a strong embouchure. I suppose the key of the harp may have some bearing on how well those bends may go. Howard has some interesting use of his tongue here. The chords sound like it is a Natural Minor tuned harp, at least for part of the tune. Being able to make seamless transitions from an overbend into a natural note to another bend is pretty interesting stuff to work on. The change of breath direction is something to consider. Howard has a fairly recently published book, "Rhythms of the Breath", that likely discusses what you're asking about. I should buy the book. I saw and met him in a small club in Portland, Maine, years back. I was not yet playing overbends, but seeing and meeting him was perhaps what made me Finally tackle overbends. It has been an interesting, all-consuming study since. I can now play Goodbye Pork Pie Hat on diatonics and chromatics. I think learning all the overbends drives home a bunch of important points. If you want something bad enough, you have to go after it. And, man, once you hit the first overbend, the floodgates can open up. To finally be able to play all those licks I had heard in my head, for Decades, has made me fuller, a lot happier. I've learned more music theory along the way.Knowing scale degrees is key. I love jazz/blues, for instance. Paul Butterfield's music made me sit up and pay attention when I was quite young, in 1973. Jazz-tinged blues became top seat for me. I discovered T-Bone Walker's music around the same time. My friends were all into Jethro Tull and Aerosmith, music I never cared about. Call me a non-conformist, that would be fairly accurate. Cheers!
@@roberttemple2521 Interesting observations. I do have Howard's book. It's all rhythm and breathing, as the title suggests. Most of the exercises don't require bends or overblows.
Just met Luiz this afternoon and decided to check the band out on UA-cam. This solidified my decision to get a ticket for their evening show today. Edit: I'm here after the show. It was a great choice to go, all 4 play great together. The vibe and sounds are fantastic.
Excellent nice level of band structure great execution. Individual construction prevalent and fresh while every player plays as a unit. attention to dynamics is good. Great band beautiful delivery.😎
So, that's how it's done.
I would love to see harp tabs scrolling by as Howard plays. Not that I'd ever even attempt any of this, but just to see where and how he's using various techniques. 4:34 -4:36 for example. Is he just leaning deeper and deeper into an overblow for that continuous ascent?
One may bend the overbends' pitches up several steps if the harp is well set up and the player has a strong embouchure. I suppose the key of the harp may have some bearing on how well those bends may go. Howard has some interesting use of his tongue here. The chords sound like it is a Natural Minor tuned harp, at least for part of the tune. Being able to make seamless transitions from an overbend into a natural note to another bend is pretty interesting stuff to work on. The change of breath direction is something to consider. Howard has a fairly recently published book, "Rhythms of the Breath", that likely discusses what you're asking about. I should buy the book. I saw and met him in a small club in Portland, Maine, years back. I was not yet playing overbends, but seeing and meeting him was perhaps what made me Finally tackle overbends. It has been an interesting, all-consuming study since. I can now play Goodbye Pork Pie Hat on diatonics and chromatics. I think learning all the overbends drives home a bunch of important points. If you want something bad enough, you have to go after it. And, man, once you hit the first overbend, the floodgates can open up. To finally be able to play all those licks I had heard in my head, for Decades, has made me fuller, a lot happier. I've learned more music theory along the way.Knowing scale degrees is key. I love jazz/blues, for instance. Paul Butterfield's music made me sit up and pay attention when I was quite young, in 1973. Jazz-tinged blues became top seat for me. I discovered T-Bone Walker's music around the same time. My friends were all into Jethro Tull and Aerosmith, music I never cared about. Call me a non-conformist, that would be fairly accurate. Cheers!
@@roberttemple2521 Interesting observations. I do have Howard's book. It's all rhythm and breathing, as the title suggests. Most of the exercises don't require bends or overblows.
Well, who knew
Eres fabuloso saludos desde barcelona
Just wow. How is that possible, and I thought I could play.
Amazingly groovy my friends !!! Very tasty
Just met Luiz this afternoon and decided to check the band out on UA-cam. This solidified my decision to get a ticket for their evening show today.
Edit: I'm here after the show. It was a great choice to go, all 4 play great together. The vibe and sounds are fantastic.
Glad you came and enjoyed it!
Another fan of yours congratulates you from
Barcelona
Easy you are the Best.!!
Una locura
The king with two brains🙌
love when he plays the harp and piano at same time
So cool, thanks
Glad you liked it!