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Re: Reed Crow Technique

Author: oboeblank
Date: 2007-04-26 17:38

-I too stay away from the three C crow. Too many C's and you've got some trouble in the upper register which limits the ability to float the tone.

-I agree with Ferrillo that the first C should show itself with very little air and as you gradually "crescendo" the air the second C should come in. For me, this usually means that the reed will be very stable and the octave skips will be octaves and not some mutation of the octave. The way Ferrillo explained it was that the two octave crow showed the proper balance between upper and lower partials.

-I put the C crow at 440, and unlike the lucky others here, I have never had a reed work and play up to pitch that crowed anything under a C.

-Now here is something that is entirely crazy, which I learned from a former Dlouhy student-pop the reed in your mouth and puff on the reed, using no air from your lungs just the air puffed up in your cheeks, you should get a C natural.

-I usually don't crow the reed in playing position, but play an A and push the reed in the facilitate the crow. There needs to be a connection or correlation between the tuning note A and the C crow for me.

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Reed Crow Technique new

Bobo

2007-04-25 17:33