Author: d-oboe
Date: 2006-11-14 20:43
"Are you just touching the corner of the reed with your tongue, or are you hitting it full-on?"
I understand that when we tongue the reed, we may be only touching the corner - fine. The only problem, is that it is impossible to determine, on a regular basis in the practice room, whether or not this is actually happening. Even if one were to think they were tonguing the corner of the reed, it is important to note: what we may feel is happening is often different than what is actually going on. This makes it impossible to assess progress.
In any case, tonguing doesn't exist in and of itself. It is perhaps better termed "wind interruption" because biomechanically speaking, that's what happens. This misunderstanding often leads players to believe they can't tongue properly, when in reality, the wind was not being used correctly.
I won't delve to far into wind production, but know, Suzan, that's it not how much wind, or how little wind that is used in a phrase that makes it work. It is the ability to have a precise stream of air, that is under complete control of the play at all times.
And above all...keep it s-i-m-p-l-e. Your brain will never be able to manage the 13 seperate intervals that make up the first phrase of O Come Emmanuel, all at once, in the practice room. (Even less the concert!) You have to find the SIMPLEST way of breaking down that phrase. It is ONE phrase, that will have ONE shape. (You can determine what that shape is of course! Does it start soft, and grow, and then come away...or what?) Seeing as you now only have ONE shape to worry about, it is sooo easy to hear what is going wrong. It will be extremely obvious when notes don't conform to the shape you like.
If you try to make 14 individual notes perfect you will never get past the first phrase. Trust me.
D
|
|
The Oboe BBoard
.jpg){kind=small}
