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Doublereed Archive - Posting 000049.txt from 2006/02
From: PhilFrei@-----.com
Subj: [DR-L] Re: Players Sounds
Date: Sun, 05 Feb 2006 04:24:03 -0500
Re the "Players Sounds" comment:
One of the greatest things an oboe can do, by my ears, is to swell and
subside, changing tone color in the process (or not! one has the choice!). Someone
who is always "dark" will tend to miss out on things that require a bright or
fiery spirit. Someone who's tone is invariably is bright may lack a certain
mysteriousness or reflectiveness or stillness that is sometimes just so.
I know this isn't "classical" but have folks ever heard Jerry Garcia using a
wah pedal, very subtlely, slowly arching the guitar's tone over a long
passage? So cool. And we can do something like that without electronics.
One of the nice things about not being too closely allied with a school or
teacher, one can come up with one's own concepts.
I don't know about that comment earlier about dark tones and frying bacon.
The hissing sound sometimes comes because of turbulence inside a reed with an
overly long tip. I'm not sure what else might cause it. I don't think that is
exclusively American.
I was told Tabuteau created his sound in order to blend better with the
smoother string section, that it was the new concept of strings that drove the
innovations. Curious to hear so many different versions.
Phil Freihofner
Albany, CA
"Don't be afraid of perfection. You will never attain it!"
Salvidor Dali, Rule #2 from "10 Rules for him who wishes to become a painter."
In a message dated 2/4/2006 2:01:52 PM Pacific Standard Time,
doublereed-digest-help@-----.org writes:
Date: Sat, 04 Feb 2006 08:58:07 -0500
To: doublereed@-----.org
From: Mark Flanzraich <mjf1947@-----.net>
Subject: Players Sounds
Message-id: <000701c62993$06b033a0$0301a8c0@mark7pn5d5a0a2>
Hello List,
My take on things are slightly different. I always believed that the
distinction between a dark or bright sound is really not the central
issue. From my perspective one needs a balanced reed that has a
"complex" sound (overtones) from all parts of the reed in a good
balance. And this complex sound must be wrapped in a flexible reed that
permits good intonation and expression. It "richness" of sound that I
believe needs to the objective of reed making as well as projection.
I agree that reeds that sound "dark" in the orchestra pit do not sound
the same at the back of the room. Similarly, reeds with that sound a
little "bright" in the pit sound lovely and rich in the far reaches of
the room.
The sound must be alive and move .......................................
Mark Flanzraich
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