Author: sömeone
Date: 2005-10-18 05:55
You reminded me!
That experiment you did was one of my initial experiences in 'getting' something out of my head on the oboe. I found out that if i throw away my embouchure, it will sound superbly flat, and when i 'pull' (air focused, basically blow more) the air out of the bell at the same time the pitch goes up, but now the tone is much more fuller because i am sort of more relaxed. And so the idea of adjusting tone and pitch came into my head, and that is how it should be. Of course you can 'cushion' or 'uncushion' more of the reed and adjust your support and there it is, a balanced tone color throughout all different dynamics and registers.
Arnoldstang said:
......Because of these factors finding the most glorious tone might put you out of tune......
That is my point from the start of the thread till now. And i think that is my conclusion, although there won't be any forever. It's a journey of discoveries everytime i start playing all over again.
Because the oboe can easily go sharp when the embouchure is not mature, reed is taken too much into mouth (bad habit or effects of long playing.....he/she must be tired....erkkkss.....), or worst, with the above nature, tries to play loudly. The oboe is famous for being able to project easily compared to other instruments. But that sort of projection is heard as a thin and electric sound from far, which in contrary a good tone will project BUT sound as good as from near.
Remarkably, blend IS one definitive factor in ensemble playing that when done well 'hides' bad intonation. Most probably the oboist is still sharp but now he/she does not project that much anymore. If you have a well in tune section the whole section will project together, and that tone is one that won't go away from my head forever. There was this time in band when a famous band conductor came to tutor us, and for the first time ever, i understood the essence of balance of sound and intonation. Good tuning = It naturally sounds louder than normal. But of course, the aim is not to get only one tuning note to sound just like that, but the whole piece of music. The other characteristics of the other wind instruments means that the clarinets, flutes etc might also face the same problem as the oboe in this tonal adjustment problem. But on instruments like the clarinet it might not have been that obvious for them, thus the problem occuring.
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