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Doublereed Archive - Posting 000051.txt from 2006/02

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] Re: Players Sounds
Date: Sun, 05 Feb 2006 12:12:38 -0500

The sound of the Philadelphia strings at that time was part of what I
referred to as the "transparency" of the PO sound. It is not necessary to
overblow in that organization. Quite the contrary, when I was there my
constant companion was the fear that I would play a disruption.
Herb

On 2/5/06 1:23 AM, "PhilFrei@-----.com> wrote:

> 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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