Author: HautboisJJ
Date: 2011-01-06 00:19
Hello Craig,
I think my point is not so much deciding where to put your fingers first as a violinist (deciding just or equal temperament) in my 'method' (if it ever qualifies as one, haha!), not only because we have only 'one' 'open string' (the idea of rolling in and out as practically little as possible, because then the open string position changes, which is why i played a b, a, c#, and d on normal position to test flexibility in all registers in short scrape reeds), but also to simply always have a consistent open string setup so that what you practice will always end up the same. It's as if you don't press anything on the oboe it will always be the same pitch, and one simply puts down the fingers and everything then becomes in tune! (because we don't have to be consistent with fingerings in the way a violinist would have to be) If only the world is that beautiful of course....but i do believe there is a sort of truth to that, because instruments today are becoming better and better and more in equal in intonation than we think.
I think the beautiful thing about this idea is that whatever you decide at the end, really is the distinguishing factor of your final personal 'sound'; one's sound is an end result of how to achieve the same pitch universally (theoretically the 'open string' position/pitch should be the same around the world if everyone plays 442, for instance, determined more or less by the instruments they play of course*) but with different reed lengths, different staples, different scrapes, different lip pressure, different amount of air, different musical situations (louder or softer for instance) and of course different oboes.
*How different can this be though? Indeed i have played higher or lower instruments and with quite a varying rate. The concept then is to create a reed higher or lower to compensate but not change any other variable, which again, recreates that final 'personal sound'.
Howard
Post Edited (2011-01-06 00:28)
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