Author: ohsuzan
Date: 2007-02-04 02:51
My first thought, Ashley, was exactly what Chris said -- the reed can make a HUGE difference. I'm not crazy about K. Ge American scrape reeds, but they are competent.
I think you get yours from Meg Cassell, though, don't you (GoodToneGuild)?
Those are very dark, heavy reeds -- so maybe that's not the issue.
Two things have been significant for me in developing oboe tone (I'm also a former clarinetist). One was, to get my embouchure right -- it needed to be tighter than what I reflexively chose, but NOT biting. Too loose, your sound will be raucous, rather than mellow. Too tight, and it will be thin and squeaky.
The second thing is to get the air right. (Well, duh! Air and embouchure -- is that all?!?!?!?) There seem to be a thousand different ways to blow the air wrong. The thing that works best for me is to think of just making sure the tip of the reed feels "filled" with air, all the time. I first heard that from a teacher I worked with last summer (Claudia Giese), and then I read it here (second page, "Keep the wind at the tip of the reed.")
My own teacher subscribes to the "get the air all the way down the horn" theory. Claudia said she used to think that, but then found that the "fill the tip of the reed" imagery worked better for her. It results in a more relaxed feel for me, and a very nice, solid, secure tone.
Susan
Post Edited (2007-02-04 02:55)
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