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Doublereed Archive - Posting 000062.txt from 2004/10
From: benthin@-----.net
Subj: Re: [DR-L] Another reed-physics conjecture
Date: Wed, 13 Oct 2004 23:36:30 -0400
To find the most balanced angle of the reed in the lips, place it in the
mouth minus the oboe and play a B-flat pitch- look at its angle in the
mirror and you will see why I feel most players hold the oboe too low.
I've learned to play with as much consideration of "side pressure" as
other factors- ie, learning to play the oboe is to learn how to control
the vibrations of the reed. With a beginning student, I spent a
considerable amount of time having them play the reed WITHOUT the oboe
to understand what one can do with it when the lips are high on the reed
vs low and how different degrees of cushioning affect the sound and
pitch. Try playing Yankee Doodle on only the reed without touching it
and you will know reed control. Try it with the oboe attached and a
MUTS supporting it so it virtually floats and you will see how much more
lip control is possible.
I am not as concerned with the length of the reed or its crow pitch
as I am with the pitch it sounds with a proper embrechure- which I find
to be Bflat. I use a short relatively soft reed and a very
loose/well-cushioned embouchure that makes low notes easy and just
slightly more lip pressure allows easier high notes. Playing soft is a
cinch; playing loud requires more air pressure and more side
cushioning. This still allows the ability to adjust to playing with
sharp high-note flute players. Others can't understand how I can play
in pitch until they see the note I can produce without the oboe.
PhilFrei@-----.com wrote:
> I am reluctant to give up the "sweet spot" I've found where the tone seems to
> ring the most (when the reed is at it's most perpendicular position relative
> to the lips).
"MUTS" = Michael's Ultimate Thumb Saver - Oboe/English Horn Support
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