Author: oboeblank
Date: 2006-03-13 16:38
I think Rothwell is correct, you never stop the sound with the tongue. De Lancie, as well as Woodhams always talked about the start of the note starting like a hot knife cutting into cold butter, and the wisp of smoke being the tail end of the note-it should just melt away. If you attempt to stop the sound with the tongue you will get brick wall note endings-they sound ugly and harsh.
The solution to the mooing problem seems to be in the reed-yes, back to the reed desk!
If you have a reed that is too easy, and you are holding in up to pitch using your embouchure then you will always have a "moo" to the end of the note.
Your reed might be unstable.
When you crow your reed at the pianissississimo level is the crow a "C"? A "C" should come in at the softest level and when you crescendo, the crow should bring in the second octave and third if you are lucky but it will always be a "C". If it starts flat and is like a duck call or siren then somthing is up.
Try this little experiment also-play half-hole E flat and make diminuendo using your air stream and nothing else. If it immediately starts to sag, don't even bother. Good stable reeds should let you play very close to pianissississimo with just your air and still maintain the pitch. To hold the pitch you engage you abdominal muscles, this way all of the work is transfered to large muscles instead of the tiny ones around the lips which tire easily.
Hope this helps-it's tough to make the note ends melt away, but it is worth it in the end. Your note endings will sound a million times better when you get this under your belt.
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