 The Oboe BBoard
|
Author: janicemtbc
Date: 2011-11-08 15:05
I am preparing for a January concert series where I'll be playing the Cor solo in William Tell Overture. I do not circular breath so I'm hoping someone will have suggestions for where to breath during this solo. It's a challenge and the series includes 10 performances....any suggestions? Thanks
|
|
Reply To Message
|
|
Author: JRC
Date: 2011-11-08 22:28
It all depends on your skill level is how fast you could do:
1. Partial breathing out.
2. Partial breathing in.
3. Full breathing out.
4. Full breathing in.
and
5. Your lung capacity.
6. Your endurance and control ability.
I do not believe this particular piece requires circular breathing technique. Not even close, like many Pasculli pieces do. I am sure you will get lots of comments and suggestions but those unlikely help you unless he/she knows your skill level and your physicial ability. Go to your teacher.
|
|
Reply To Message
|
|
Author: WoodwindOz
Date: 2011-11-08 23:19
My advice, in addition to the above, is listen to recordings. LOTS of recordings. I have heard recordings where there is definitely no circular breathing, so listen to what has been done professionally and see if it works for you.
I often tell my students you can get away with breathing in most (appropriate) places if you 'set up' the breath, in other words, make it musical, make it sound as though it was meant to be there.
Rachel
|
|
Reply To Message
|
|
Author: WoodwindOz
Date: 2011-11-08 23:22
And for what it's worth, coming from a flute player, you have more to worry about than just the breathing...you also need to 'fit in', to an extent, and at the very least match up with, the flute player - they have a lot more notes than you do!
|
|
Reply To Message
|
|
Author: Wes
Date: 2011-11-09 02:13
A while back, I played it in a rehearsal with the following conditions:
1. The conductor needed to be watched and followed.
2. The flutist needed to be listened to and played with.
3. The second oboe player was also visibly conducting which needed to be ignored.
4. The trombone player, formerly with Spike Jones, was talking loudly through the entire solo with the second trombone player and he needed to be ignored.
Breathing was no problem!
Good luck!
|
|
Reply To Message
|
|
Author: Oboe Craig
Date: 2011-11-09 03:05
Wes,
Good and funny advice! Nicely done.
I think other good advice has been given to the original question on breathing so I want to address the talkative T-bone problem.
Seriously,.... Don't play. Make it all grind to a halt, and if questioned just say, "I cannot play when all the conversation is happening."
Personally, I won't give a tuning note until all stop playing and chatting.
After 1 - 2 times, the problems really go away.
![[toast]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley15.gif)
|
|
Reply To Message
|
|
Author: WoodwindOz
Date: 2011-11-09 03:15
I'm with you on the tuning note, Craig...and the teacher in me is the first to turn around and shush them!
Can't trust them trombones... :D
|
|
Reply To Message
|
|
Author: jhoyla
Date: 2011-11-09 05:42
Seriously Wes,
If the trombones sit directly behind you I'm surprised you can still still hear anything at all, never mind muted conversation! 
J.
|
|
Reply To Message
|
|
Author: mjfoboe
Date: 2011-11-09 12:18
Tuning the community orchestra(s) at times is an act of total frustration.
Please someone take the Trombones ...............! (And the Trumpets, and the horns, and the .........................).
Mark
|
|
Reply To Message
|
|
Author: oboesax
Date: 2011-11-09 13:42
The issue of being distracted is an interesting one. Last weekend my daughter performed the English horn solo in Dvorak's New World symphony with a large youth symphony in a large symphony concert hall. The youth orchestra recently added a double bass player who has Asperger's syndrome. Since the youth orchestra is a charitable organization perhaps they felt they should accept this student. Overall the youth orchestra plays at a high level, but this young man not only cannot play the notes, he plays a 1/2 tone off and also makes many random noises and plays during some silent pauses of the music. Right before my daughter's first solo in the 2nd movement, the bass player (who stands right next to her in the orchestra), started tapping his foot loudly off beat, and humming some tune that was not Dvorak. It can be heard on the recording. My daughter still pulled off the solo well, but she said she was very very distracted.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
