Author: vboboe
Date: 2006-04-14 16:35
... hey! thanks, GMac, for this informative '2 cents', you've explained several things about intonation that i've been struggling with since starting on american scrape reeds, didn't really understand why teachers have been harping on about just playing the tip since last summer already, that's not where my reeds seem to want to sing in my embouchure as it is just now
... really really identify with what you say << it 'feels' easier at first (it feels like you have more control), it's kind of like when you're biting the reed...it feels as though you have more control but really you actually don't. It's a false sense of security >>
... i'm of the belief it's all probably down to an embouchure growth and development thing, as lips get better from regular practice over the years, one is able to move one more step closer towards optimum reed-playing style on american scrape reed
... also totally identify with <<certain notes will tend to 'stick out' on your instrument, particularly middle C will be really bright/edgy, the F natural (top line of the staff) will probably be sharp and loud, the G at the top of the staff will be sharp, and there are others >> to which i can add G# top octave, wow, ear painfully wide tone plus # up from F#
... ditto identify with << you will also produce a brighter sound >> teacher has been repeating over and over lately that i need to develop a darker sound, so your detailed explanation has been really really helpful, thanks, isn't this board a great place to learn things?
... for me over here, this is definitely an ear re-training thing, because i was originally trained in the 'brighter sound' which is quite acceptable elsewhere, and where the three zone structured u-scrape reed can deliver both bright and dark tonality, but since it is very complex and intricate to actually make and requires a very well developed embouchure to manage it effectively, it definitely isn't a beginner's reed
... so now, having identified the problems (notes sticking out etc) and knowing the american style reed has to be played at the tip, the next step for me is to learn how to do that without feeling like the reed's not there at all (guess my lips not yet developed enough sensitivity, probably still pressing too hard to 'control' it)
... one of the pluses you mentioned with more reed in mouth
<< The pitch is more even between registers, meaning that you will not have to put as much effort into changing your embouchure between the low (low Bb-G#), middle (A-G#) and high (A-above) registers >>
... this seems to answer ohsusan's question, this position is obviously useful and seems quite appropriate for 'blending in with the ensemble', so playing at the tip is not cast in stone, it's relative
... <<One thing to think about as well is that you really have to have a pretty strong reed ... this means that there have to be good rails in the back and a decently prominent spine right down the heart and the back. If the reed closes down easily, playing on the tip won't work >>
... many previous posts have mentioned reeds closing down for them and i've had that too, especially with the taper scrape commercial reeds i started on, so my bottom line comment is that it probably does depend mostly on where one's embouchure development is at, and the type of reed one can manage effectively at that stage of growth will determine how much tip playing is actually possible at that point in time
QUESTION ... when playing just the tip, do you actually feel some 'buzz' sensation on the lips? Trying to explain my question, i've tried a bassoon reed, it really buzzes my lips a lot at those lower vibrations, but i can't feel faster vibrations as buzz on my lips with oboe reeds, is it meant to be that one should or could feel a slight vibrational buzz ?
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