 The Clarinet BBoard
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Author: sfalexi
Date: 2011-06-03 01:14
In the past, I spoke with an oboist who said basically always choose control over tone. Control is number one, tone can be modified and worked on. But go for the mouthpiece with the least fight needed.
What's your call?
Alexi
PS - Let's ASSUME you haven't found that special control AND tone mouthpiece. Let's assume you have to pick between two close ones, but one has a nicer tone, and the other is much easier to control.
US Army Japan Band
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Author: Buster
Date: 2011-06-03 01:21
Control.
then perhaps with control more possibilities of tone will be found in time.
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Author: Ed
Date: 2011-06-03 03:28
No question about it. You will make the tone what you want it to be, but if the control is not there, it is difficult to make music.
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Author: concertmaster3
Date: 2011-06-03 06:03
Tone can be experimented with by using different reed setups, control makes it easier for you to make music (But of course I'd agree with another oboist...)
Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com
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Author: Bassie
Date: 2011-06-03 12:00
Absolutely. My standby mouthpiece has better tone but is a pig to play.
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Author: William
Date: 2011-06-03 15:28
I'm also a control freak. Tone quality is less important to me than musicality, any day. Of course, I'm also "greedy" and want the best of both worlds, but expressive and technical control have a very slight "edge" over sound in choosing a mouthpiece.
Or clarinets, for that matter. My Leblanc Concerto clarinets sound really good, but I am able to play more expressively with my Buffet R13s--so I play them instead.
Post Edited (2011-06-03 15:31)
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Author: ohsuzan
Date: 2011-06-03 16:14
@ Ron Ford -- I think the same advice applies to the oboe, too. I am a clarinetist-turned-oboist. Recently (well, last year) had an audition for which I was using a piece intended mostly to demonstrate my technical skills (Wm. Grant Still's "Incantation and Dance").
I was obsessing about whether to use a reed that provided the nicest tone, vs. a reed which would allow me to securely execute the gymnastics of the piece. My reedmaker's advice was to choose the reed that allowed the best FUNCTION -- articulations, leaps, easy high and lows, etc. His contention is that folks don't hear the tonal difference as much as we think they do -- that's something that players perceive much more acutely than non-oboist listeners.
I took his advice, and was both satisfied and successful with my performance. Since then, I have had other oboists tell me the same thing -- choose your reed (and for clarinets, by extension, your mouthpiece) for FUNCTION first, and work on creating the desired tone within that context.
Susan
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Author: sfalexi
Date: 2011-06-03 22:54
So I'm seeing a pattern..................Got it. Now to wait till those synthetic reeds I ordered arrive so I can hopefully find a reed that works the same EVERY time.
I'm going to an all synthetic setup so it'll play pretty much the same no matter WHEN or WHERE I play - I'm thinking that will allow me to focus on increasing technical facility and musicality instead of having to constantly figure out what adjustments I'll have to make every perfomance depending on the reed, humidity, temperature affecting tuning a lot, moisture in the air, etc.
Alexi
US Army Japan Band
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