 The Oboe BBoard
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Author: oboelove
Date: 2017-06-02 08:49
I have been playing for about 5 months and I'm currently trying to learn dynamics. While my embouchure as it stands right now works pretty well for playing Bb3-D6 reasonably in tune at a constant mezzoforte, attempting to play with variation of dynamics has raised the question of whether I am on the right path.
It is decently easy for me to play fortissimo because, in my experience, it involves opening up and relaxing my embouchure until it is pretty much absent from the picture, so the reed and the instrument (and my air) end up doing all the work.
But pianissimo has so far eluded me. I have been able to achieve using two different methods (both not very reliable right now). The first is to form my lips in an O shape and exert a lot of embouchure pressure all around the reed. The second is to take in a lot more lower lip, stretch it over the teeth and sort of dampen the reed on that lip. In this case, I am also pulling the lower lip down to push it against the reed as well as pushing in with the corners of the mouth.
I have been playing pp-ff-pp single note long tones to practice. What I've found is that it's easier to get from pp to ff, but going back from ff to pp is almost impossible to achieve without biting. I've noticed that in the process of opening my embouchure for the ff, my lips often "unroll", after which it is difficult to get back to the position for pp, hence the biting.
When I see most oboists play, I don't notice a lot of embouchure change or jaw movement, so I feel like I might be doing something wrong. Is it wrong to open my jaw to play fortissimo? Should I feel more back pressure when I play pp or less? How different should the embouchure be for different dynamic levels?
I apologize for so many questions, but I'm really confused at this point. Any input is appreciated!
EDIT: To clarify, I am playing on American scrape reeds.
Post Edited (2017-06-03 06:55)
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Author: SarahC
Date: 2017-06-02 09:57
No answers. But I have also been playing for five months... Before that I would play for a few weeks of the year only.. (at least I did three weeks in 2016... And then put it aside till Jan this year
Dynamics are hard!
Funnily I find it easier going ff to pp. But not the other way round!
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Author: oboelove
Date: 2017-06-03 03:35
@SarahC That's funny. We should exchange our secrets!
@EaubeauHorn I did, but I am moving at the moment and it will be a while before I have access to one.
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Author: oboist2
Date: 2017-06-03 05:13
Quite a lot depends on whether or not you are playing a long scrape reed or a short scrape reed too as they respond quite differently. With the long scrape reed, generally you should try to cultivate playing with a relaxed embouchure all the time, and using your lower abdominal muscles more to control pitch and dynamics. This takes quite a lot of practice. My fist teacher had me playing a lot of PP notes before I was allowed to play louder, and he was really listening to whether or not I cold make the room ring with my softest sound. Then he had me use the section on sonority in the book " La Technique du Hautbois" by Louis Bleuzet ( Leduc edition).
If you are using a short scrape reed, the lips come into play a lot more, but again, use the lower abdominals and air speed to control the dynamics, particularly in the first 2 octaves. You will note that you need to apply a little more lip pressure in the second octave, particularly towards the A,B and C at the top, and if you are playing up beyond that, I find it helpful to ease the pressure back a little on the C# D and D# but put it back on for the E and above and a very slight increase in the amount of reed inside your top lip. Never bite though, and do not put the reed too far in your mouth. I have 1-2 mm inside the lip most of the time and slightly more when I am playing top notes.
I hope you get a teacher again soon. perhaps you can find an online one who will give you lessons via skype or face time or something. It is not as good as a face to face, in my opinion, but should help keep you on track. Good luck.
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Author: oboist2
Date: 2017-06-03 05:23
Also do make sure you are not playing on too hard reeds for the length of time you have been playing. This often makes a diminendo hard to achieve and the note will quit on you about 1/2 way down. If it is a very open reed ( and you probably dont have enough experience to know what constitutes a too "open" reed) it will also get you into the bad habit of biting too, and that will compound the problem.
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Author: oboelove
Date: 2017-06-03 06:53
@oboist2
Thank you for the input! I am playing on soft American long scrape reeds, the ones I've had so far tended to be more closed than open, if anything. I also try to play on the tip.
I'm interested in what you mean by controlling dynamics with the abdominal muscles. Wouldn't the pitch go flat as it gets quieter if you only use your air?
Today I was more successful. I was able to bite less and play PP more reliably, although now I'm noticing a distinctive airy hissing/crackling sound coming from the reed on the quietest notes.
Focusing on producing the best PP first is a good idea I think, as I have been able to achieve a crescendo from multiple different PP "starting points", but not vice versa. I will try that.
Post Edited (2017-06-03 06:54)
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Author: SarahC
Date: 2017-06-03 15:10
Play with a Pro. Com has a super system of online teachers btw
My teacher is Juan from there, although there are others. The lesson is recorded, so u can go back and watch it later too. He is a good match for me. Some teachers don't handle musicians as students well! Also the time lag works in my favour in his case. My evening is his mid morning. Works like a charm. He is very fussy on tone quality and style.
There are no oboe teachers physically near me.
I use Howarth short scrape... Maybe it is worth trying short scrape and see if it helps your dynamics. U don't want a Reed too soft. Over here, medium soft is the softest we can buy.
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Author: oboist2
Date: 2017-06-04 03:05
Most American teachers that I have come across using a long scrape recommend the abdominal support and air speed for controlling both pitch and dynamics. Martin Shuring's book is great at explaining it. A good teacher though will help you through it all. Currently I do not have many students, partly because where I live, there appears to be little demand. A web teacher may help you until you get to have a face to face teacher. As I am playing softly, and especially if playing low, I visualise that the abdominal muscles are appplying pressure upwards and also in from the outside to the centre, where the air column starts. I cannot say whether or not this is acutally happening, but visualisation and aural concept is really important in helping you achieve the sound you want.
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