 The Oboe BBoard
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Author: HautboisJJ
Date: 2010-02-21 12:18
I have in my disposal 2 cors...after a concert that didn't go so well with the newer one (which was supposed to be better) i figured that it must be an adjustment problem that i failed to realise, thus my previous question on the adjustment of the half hole notes.
2 weeks now and i realise that perhaps i am missing out something there...
I tried today the older cor, a Howarth intermediate model i believe, and i had no problems at all in that area, although to my eyes there are no differences in the height and adjustment of the half hole pads. The unresponsiveness of the other instrument, a stencil instrument from a famous maker in Europe is more apparent when i leap from another note to any middle register notes, example opening of dvorak 9th solo, C-Eb. Interestingly, i have no problems at all with the rest of the instrument, and basically the scale is superior than the Howarth, which to me has always a bit a sagging middle D.
Is it possible that it is a reed problem more than anything else? I have to play Daphnis and Chloe, Dvorak 9th, Roman Carnival, Petrushka, all in the span of the next 2 weeks...and i am thinking of switching back full time to the Howarth...is it something that i can solve myself?
Regards,
Howard
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Author: hautbois
Date: 2010-02-21 14:09
Howard -- Good literature for you to be playing! I hope you enjoy it.
I am not certain I can answer the question you asked, but do suggest that you try holding down the three right hand fingers (on f#,e, and d) while playing the C and see if going to the Eflat is easier. If it is, then possibly it is a finger coordination matter, with your fingers not yet having totally learned the coordination in the transition from the older instrument, which is causing the problem. I also suggest that you slightly increase the intensity of the support as you make the transition from C to Eflat, or at the very least, be absolutely certain that you are not backing off of the support.
Should those suggestions not help, then I would look to adjustments, particularly the balance with the E pad and F resonance pad, and the rocker mechanism, if you have one.
Elizabeth
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Author: jhoyla
Date: 2010-02-21 15:03
Howard hello,
Firstly, this advice is freely given, and is probably worth what you are paying for it :-). If you are currently studying with a teacher you should take his/her advice on this matter, however here are my thoughts, for what they are worth:
You will ALWAYS sound better on an instrument you are comfortable with. Unless it has some serious wolf notes, just the fact that you are playing confidently and with ease will make you sound better. If you are playing on an instrument that you are fighting, one that you don't trust to produce the notes you finger, you will sound worse. And this is irrespective of the relative qualities of the actual sound each instrument makes.
A confident buzz-saw sounds better than a shaky and hesitant instrument, however beautiful the sound it occasionally produces (on some notes). Honestly. This is true for the oboe as well, not just the Cor.
It may well be that with your Cor, a change in cane/scrape/shape/bocal will turn it into a dream-instrument; but do you have the time and money for the necessary experimentation, at this time?
Perhaps the best thing to do at this point is to spend time improving your performance on the Howarth, and put off the experimentation with the better instrument until after your audition? It will let you concentrate on making music, and not on making your instrument sound perfect.
2 cents,
J.
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Author: mschmidt
Date: 2010-02-21 16:24
Adjustment, adjustment, adjustment. That is my new motto!
I started a thread here months ago about a problem with a particular interval that showed up in an oboe quartet I was playing (http://test.woodwind.org/clarinet/BBoard/read.html?f=10&i=14860&t=14860). I looked at all the proximate adjustments--the ones I would expect would cause a problem. No luck. Then I did a very careful adjustment of the "usual suspects," the screws on the upper joint that control the C and B flat vents. Problem solved. The maladjustments in the upper joint weren't enough to keep the low notes from sounding when played on a scale, but for some subtle acoustical reason, the change from C to E flat was especially susceptible to small leaks. It was worse with the left E flat because...well, I'm not sure, but adjustment of the upper joint solved the problem!
My English horn was even more likely to go out of whack. Daily adjustments when the weather was unsettled were not out of the question. I had an appointment with RDG to see what could be done about the almost continuous need for adjustment, but, alas, the thing was stolen from me before I could have it looked at. (I know you're probably tired of me mentioning the theft, but it's still causing me a lot of pain!)
You can find another thread started by me just weeks ago about the rental Bulgheroni I am using--there again, I thought I had it all adjusted and yet it still was giving me problems. More careful adjustment (a screw turned maybe 1/32 of a full turn) solved the problem--it is working much better now. Or at least it was yesterday--who knows when I'll next have to take out the screwdriver for further adjustment!
Mike
Still an Amateur, but not really middle-aged anymore
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