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Doublereed Archive - Posting 000072.txt from 2005/03
From: "cflat" <cflat@-----.net>
Subj: Re: [DR-L] Spring thoughts (oboe)
Date: Sun, 27 Mar 2005 10:10:21 -0500
Hi,
So I'm just curious, do professionals who rely on their oboe to
make a living typically work on their own oboes? I know Ray
Weaver and Alfred Villani of the Houston Symphony, when I was
young, used to be pretty good techs and adjusted and repaired
their horns. Is this typical of professionals? I just put my
daughters oboe in the shop Friday. Whenever anything went wrong
with my oboe, my teacher always fixed it or adjusted it right
during the lesson. My daughter's teacher is a "woodwind
specialist" and the oboe isn't really his main specialty. As much
as my daughter's oboe needs to be tweaked, it seems like a
necessity. I'm lucky that I can let her use mine when her's goes
in the shop. This is a little off the topic of this thread but it
got me to wondering about this.
Thanks,
Charles
---------- Original Message ----------------------------------
From: Dlouhy Jonathan <dlouhy@-----.net>
Phil, you've brought up a very good topic. Of course I have some
thoughts on the matter. the F# has to b e stronger since it is
responsible for closing the Bb and C keys on the left hand.
There's now
way around that. I don't have any comments on the rest of your
observations. I will say that what I call the "B" key, middle
finger
left hand feels better slightly stronger than the ring finger of
the
left hand because it is a longer and stronger finger. Also bear in
mind
the fact that the middle key has to be strong enough to push up
the
lever that hooks over from the G# key. Of course the spring that
closes
the G# key has to be strong enough that it will close the key, of
course, and not want to open up when you're blowing hard. This can
happen. I think it is important to bear these facts in mind when
adjusting spring tensions. Getting them to be all the same will
not
result in them feeling the same because of the varying strengths
of
each finger and your individual hand position. And as you pointed
out
certain springs, like the trill keys and the octave springs must
be
strong enough to push the key back down. I like the both octave
keys to
be the same strength, personal preference, but it is very
important
that the lower octave spring is sufficiently strong that it also
pushes
the octave key back very quickly, for playing passages that
require
jumping up octaves in sequence rapidly, Ravel G Major piano piano
concerto comes to mind. If that octave key doesn't close quickly
enough
you're dead in the water.
That's all that comes to mind for now. I hope it helps some.
--
Regards,
Jonathan Dlouhy
Principal Oboe,
Atlanta Symphony Orchestra
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