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Author: HautboisJJ
Date: 2006-04-20 15:24
My exact point!
<<The tone colors have to be organized, and must relate to what the music is trying to convey. If, within a phrase, the tone colors are constantly changing, how will the audience know what the player is trying to do? The greatest artists know exactly when to alter the color of a *specific* note, or group of notes, to help explain the music best. Even in oboe jazz (it exists!) there is organization. Not as much, maybe, as a Bach cantata, but there is a reason for doing every little thing...not only because we are "inspired in the moment" to play something a certain way.>>
I should correct how i put it in a verbal phrase, it is not an idea reserved for the 'lower level' or student playing only. How i think of it is that advanced players should seek out to get more color varieties in their tone, i remember someone who quoted on the board about how Marcel Tabuteau played 'in tone' with Julius Baker (floboe), how would that be possible without tonal variety? And how would someone be able to manage the pan like phrases of Daphnis et Chloe if they can only sound 'oboe like'? Uniformity in tone is of the utmost importance, but it is the basic essence of oboe playing, but an artist should not stay at that point, but advance to another stage where he is able to produce more colors and i am pointing on any particular musical phrase which demands homogeinity of sound throughout (which in fact can be quite colorful with its crescendos and decrendos when done well.) Paul Goodwin played so beautifully the Vivaldi sonatas on Baroque oboe, and i doubt anyone would say that he had one color in mind for all his phrases. My best efforts to produce an understandable english statement is difficult. Haha...but it is well worth it i have learnt much from Ohsuzan and d-oboe. And yes...i do play on the tip for my style of reed.
Howard
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ohsuzan |
2006-04-14 02:44 |
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d-oboe |
2006-04-14 11:57 |
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ohsuzan |
2006-04-14 12:19 |
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d-oboe |
2006-04-14 14:39 |
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GMac |
2006-04-14 14:45 |
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vboboe |
2006-04-14 16:35 |
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ohsuzan |
2006-04-14 15:33 |
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oboeblank |
2006-04-14 16:11 |
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GMac |
2006-04-15 13:33 |
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oboeblank |
2006-04-17 02:53 |
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GMac |
2006-04-17 03:25 |
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HautboisJJ |
2006-04-14 19:02 |
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d-oboe |
2006-04-19 22:16 |
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ohsuzan |
2006-04-14 21:52 |
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vboboe |
2006-04-15 01:31 |
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vboboe |
2006-04-16 20:32 |
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GMac |
2006-04-16 21:30 |
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vboboe |
2006-04-16 22:24 |
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vboboe |
2006-05-06 18:46 |
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GMac |
2006-05-06 21:57 |
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jendereedknife |
2006-05-21 09:01 |
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GMac |
2006-05-21 18:07 |
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oboeblank |
2006-05-21 18:31 |
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GaryT1957 |
2006-04-15 01:34 |
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sylvangale |
2006-04-15 02:52 |
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ohsuzan |
2006-04-15 04:21 |
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sylvangale |
2006-04-15 05:15 |
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ohsuzan |
2006-04-15 12:58 |
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HautboisJJ |
2006-04-17 06:46 |
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GMac |
2006-04-17 13:04 |
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HautboisJJ |
2006-04-17 17:12 |
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vboboe |
2006-04-17 19:51 |
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ohsuzan |
2006-04-17 19:30 |
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HautboisJJ |
2006-04-18 05:20 |
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HautboisJJ |
2006-04-19 15:25 |
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ohsuzan |
2006-04-19 17:36 |
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Re: Playing on the Tip/Reed Style new |
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HautboisJJ |
2006-04-20 15:24 |
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angela@reedery |
2006-05-01 18:32 |
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ohsuzan |
2006-05-06 22:35 |
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HautboisJJ |
2006-05-07 05:03 |
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GMac |
2006-05-08 12:49 |
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wkleung |
2006-05-09 03:09 |
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GMac |
2006-05-09 03:51 |
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HautboisJJ |
2006-05-08 14:13 |
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GMac |
2006-05-08 23:17 |
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HautboisJJ |
2006-05-09 04:26 |
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wkleung |
2006-05-09 12:06 |
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GMac |
2006-05-09 22:38 |
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wkleung |
2006-05-10 02:49 |
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GMac |
2006-05-10 03:05 |
The Oboe BBoard
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