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Re: Response vs Tone

Author: oboeagogo
Date: 2012-03-28 21:45

In answering this question I think to what Martin Schuring says in his book about playing the oboe and "damage control"; that you approach the oboe by keeping it from sounding bad. Elaine Douvas speaks of "using [her] throat like a garden hose to control the sound" (these words are an exact quote from her as i carted her from the airport to her hotel during the first American Oboist at CCM). While watching her masterclass it seemed as though she not only did this but compressed her chest resulting in a very focused sound. Upon listening to her recording of the Strauss Concerto with the Brooklyn (Symphony, Phil?) she just doesn't ever seem to sing but again, sounds lovely. This is what I mean about "conservative".

I like to approach the oboe more as a singer with open throat, staying full and buoyant with regard to support rather than compressing. This is something I have learned from Adrian Gnam and numerous vocal coaches (almost like football players taking ballet class). I'm also not a "damage control" person. I like to let the oboe sound like an oboe and do my best to sing. It is my approach; not saying it's better or worse. Just the aesthetic that I pursue.

Drew's explanation is very good. But I think really all are as important as the other; in a good reed one cannot be present without the other (good tone, good response, good intonation, etc.). Otherwise it is deemed a bad reed. I just won't play an ugly sounding reed no matter how great all the other criteria.

best,
oboeagogo

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Response vs Tone new

mjfoboe

2012-03-28 02:31