Author: HautboisJJ
Date: 2006-01-26 03:31
.....Oh well.....
The Hinke method from the 1st page demands the player to develop a strong ability of breathing in and OUT. If you listen to players like Alex Klein who breath rather obviously you will find that he breaths out in a lot of places before breathing in, which is for throwing off the carbon dioxide or unused air before taking in a new breath, preventing the "bull frog effect".
The breathing out method is often done in time, much like breathing in, and is of particular interest in Alex's recording, the Bach and Telemann Fantasias and Partitas, where when possible or after a long passage without breathing in, breaths out in time and breaths in before starting again.
The reeds, yes that is definitely so true, when reeds are over resistant to one player nothing works well.
d-oboe wrote:
"If you truly think you are supporting well, consider releasing more air before you start playing. So, *do* take a nice full breath, but don't play on 100% capacity. (on the opposite end of the spectrum, I wouldn't take the approach that some oboists do, of playing on very little air, as this tends to force the tone.)"
When i first heard about the Arnold Jacob 50% rule of breathing i was astonished to find out that i often breath too loudly, or better said, in tense situation. Once in a class with a British player (a friend of Evelyn Rothwell), i was taught to breath out before breathing in on a starting breath so instead of breathing little from the top, to breath in full capacity but to throw off any air that might be remaining in my lungs.
I think there is this other thing that affects both breathing, response and the occurence of the "bull frog effect". When the oboe is held in a position where the right hand thumb and left hand index finger is not supporting well enough, i.e. not balanced, the embouchure tends to 'bite' without your knowledge, like a clarinetist trying to gain support through the embouchure by 'leaning' the lips onto the mouthpiece, which should never be done on oboe because of the nature of the double reed. Such symptoms are usually seen with a low angle of playing and the disruption of air flow causing the blush.
Being a young student i have experienced quite a number of 'almost black outs' due to this problem, and it wasnt enjoyable.....=p
Post Edited (2006-01-26 08:54)
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