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Doublereed Archive - Posting 000043.txt from 2007/12

From: Matthew Peaceman <mpeaceman@-----.de>
Subj: [DR-L] Terrible tone
Date: Mon, 10 Dec 2007 05:29:37 -0500

I would also like to second all of the positive remarks on this girl's
sound. For the time spent at the oboe it is more than just ok. It is
quite nice. Of course she has a way to go but these things take some
time and she has obviously been using her time well. If she continues to
do so, she will reap the rewards. One comment on vibrato, that eternal
subject: there are many different viewpoints on the technique of
creating vibrato as well as to its use in the music. I personally prefer
to introduce the subject somewhat later in the development since I feel
that it either often comes by itself or it is fairly easy to learn and
apply once a player is playing well 'on the air stream'. Some of my
pupils seem to come naturally to a vibrato, not having to 'do' anything
to create the shimmer, others need to learn it. Where I tend to differ
in opinion about vibrato with many, is that natural or not, I believe it
is important for a player to be able to apply it or not, as a musical
choice rather than a reflex. This is extremely important in terms of
stylistic considerations. It is interesting to note that Leon Goosens,
at a very early age in the beginning of his career in the Queens Hall
Orchestra, was ribbed for his use of constant vibrato. He felt strongly
enough about it, that he continued to use it and of course influenced
the following generations greatly. At least in England. More interesting
perhaps, is what we learn about the rest of the players who, at least in
England, did not use constant vibrato until deep into the 20th C. This
is not to say no vibrato was used but that it was not considered an
integral part of the sound, but rather an ornament. The same is true of
all string instruments as well.

What I am saying here is only this. Some of the most beautiful sounds I
know of oboists, flutists, string players and singers come often right
in those moments when their tone is so pure and unadulterated that
vibrato would only have disturbed. Vibrato as part of our vocabulary,
not dogma. Or in other terms, If the girl finds a sound that she thinks
is lovely and appeals to her own sense of aesthetics, I could live
without much vibrato. If she gets as far, she will probably look to
extend her 'vocabulary' as any good poet would anyway.

Have a nice day, even if it is Monday.

Matthew

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Email: mpeaceman@-----.com
Web: http://www.mpeaceman.com

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