Author: RobinDesHautbois
Date: 2011-09-13 13:13
Pliscapoivre: you make an excellent analysis and comparison. Also, your description of the upside-down V (the blend between tip and heart) fits my experiments and it is the 1st time I see it actually discussed in such terms.
Because the words "projection" and "resonnance" were used, I would like to draw attention on some You-Tube videos of masterclasses by Leleux and Schellenberger. What is really striking with them is how "big" their sound is.... I mean, even when playing pianissimo, the sound just fills the hall and my whole attention. When their students imitate correctly, the same thing happens. What is remarkable is that they really focus on breathing, not the reeds.
Because I make my own reeds (and practice little in a day), I go both extremes: become very picky with them, but also play on almost anything when I just don't feel like scraping. I have noticed that work on breath - feeling the pressure of the air on my tongue before releasing the note and accumulating in the back of the mouth - these things make my room resonate much more... and I also feel much more comfortable playing: on practically any reed.
At first, this makes the dynamics louder, but with practice, it actually makes pianissimo much easier too. I find that I can drop my jaw more easily while at the same time having less trouble with the well known unstable notes. Problem is, all this gets lost when I get tired and I wonder if practicing past the point of fatigue might break down the benefits...
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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