Wait till you get the double bend on the two hole, I was happy happy happy when I finally got it. I used Jon Gindick’s book.
Yeah, that one was probably the last bend to come to me. That along with the 3 draw 1 1/2 step bend, depending on the key of the harp. You really have to angle the airflow for the draw 2, full step bend. To me, it feels like I’m bending it from the very bottom of my throat, rather than somewhere higher up.
For those interested, there is an overbend (overblow & overdraw) chart here. If you scroll down, look for the diagram with the blue shaded squares. You’ll note that overbends can be bent themselves to create a whole slew more of pitches (I have no idea how to do that.) The usual, unadorned overbend note will be the first note in the blue box next to the unbent note (so, on a C harp, 1OB is Eb, 2OB is Ab, 3OB is C, 4OB is Eb, 5OB is F#, etc.)
You don’t need to know how to bend the overblows or overdraws to get a full chromatic scale. Assuming you know all the regular bends, you just need the following overbends to complete a full 3-octave chromatic scale on the diatonic: 1OB, 4OB, 5OB, 6OB, and 7OD. (You can double check my work, but I think that’s right.)
And, for fun, you can watch Howard Levy jam out to 12 songs in 12 keys on one harmonic here. I especially enjoy the jazz-blues sound of his C blues (played in first position). I can’t make first position sound remotely bluesy–it’s all second or third for me. He’s got a very distinctive sound, I especially love his vibrato.
Thanks for the additional info, pulykamell. I was getting started by reading Howard Levy’s page on the subject, incidentally.