 The Oboe BBoard
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Author: Theyoungoboist
Date: 2011-03-15 22:06
Today when I was warming up (on just the reed) I noticed that when I tried to play a long tone my pitch would start to randomly rise.
Any ideas on why this happened and/or how I can prevent it.
I can try and post a recording of it if that helps.
-TYO
http://oboeadventures.tumblr.com/
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Author: mjfoboe
Date: 2011-03-16 01:01
Are you biting down on the reed?
Is the reed very easy to blow?
Did the reed dry out?
Does the reed opening have an oval shape?
Do the blades collapse and do not stay open?
Were you blowing hard and fast to make the pitch go up?
Mark
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Author: Theyoungoboist
Date: 2011-03-16 04:17
I did not notice any change in my mouth position so I don't think so.
The reed is getting old and tired, but still works
No, the reed didn't dry out.
The reed is closed the right amount.
I didn't check.
I felt like I had to work to make the reed make a sound. But I tried to keep the air flow constant once I got a sound.
http://oboeadventures.tumblr.com/
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Author: RobinDesHautbois
Date: 2011-03-16 10:55
Yo TYO!
I don't know for how log you've been playing, but what you describe is part of "the quest for the Holy Grail" in oboe playing! I struggle with this every day and used to even in my strongest days right out of university... probably to a different degree, though. This is why I had asked question about how people practice long tones, maybe different exercises improve different things.
The questions by mjfoboe are very valid. With time, you want 2 things:
* decent reeds (not necessarily great)
* enough auto-body control over your breathing and blowing
=> this means there will come a time where the more you think and the harder you try, the worse it gets.
But it will take time to get there. How log depends partly on how well suited your reeds are to your physiognomy.... in a few years when you get good at reed making, you might decide to keep or change scraping techniques.
But also, there needs to come a point where you can play well on bad reeds.... don't rush it it takes years! In the meantime, practice diligently and be both patient and observant.
Best of luck!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: RobinDesHautbois
Date: 2011-03-16 18:09
The mere fact that your asking the particular questions you do is a really good sign.
I don't know how you play now, but with this outlook, this angle on learning, if your practice follows your line of inquiries, you'll be great in no time! And again, don't worry if things don't exactly progress as you'd hope or like other students of your same teacher: there are SO MANY factors involved that its a "hit or miss" issue in the first years.
Keep us posted!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: GoodWinds ★2017
Date: 2011-03-17 16:20
yeah Robin, 'you can play well even on bad reeds'...
I was in a community symphony orchestra rehearsal when my second (oboe) asked me with both courtesy and care if my reed had an issue: it turns out that upon close examination the thing was actually split, and I was playing tolerably on it! I think it was at that moment that I actually felt some accomplishment as a player...
GoodWinds
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Author: GoodWinds ★2017
Date: 2011-03-17 16:21
... of course, I broke it on the spot and replaced it with another...
GoodWinds
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Author: RobinDesHautbois
Date: 2011-03-17 19:11
In the last half hour before a concert (this was in 1992 or such), I was offered $50 for a reed I had made: I refused to sell it because (apart from disliking the guy) I was lending it to a very young oboist (student of the guy) in a youth orchestra AND it was SPLIT!
The fracture could only be seen with a bellied placque inserted, but it still played marvellously!
I should have had it encased in plexiglass!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: Oboe Craig
Date: 2011-03-17 20:08
Robin,
That reed should be encased and enshrined!
This might be a topic for a different thread (eventually) but one of my teachers showed me his 10 year collection of archived reeds. He only kept the absolute best of the best playing reeds and not as judged by appearance.
Over-time they become your own fossil record of sorts and upon very close examination every couple of years along the way, the reed maker will see very different things.
Some obvious differences might become less apparent, and some subtle thing can really stand out.
For me, 20+ years into this habit now, the biggest thing offering insight is the study of reed profiles, like the side-view pics in Weber's manual and some other's more modern reed guide info.
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