Skip to main content

Logistical Morass

You know that old puzzle about the fox and the goose and the grain and the guy who wants to ferry them to the other side of the river but can only take two at once and can't leave the goose with the grain or the fox with the goose? That's completely what I feel like this week, trying to make my baggage efficient to all the gigs I'm doing without forgetting anything.

I have one case that holds an English horn and an oboe, and one case that holds any two instruments, and single cases for everything but the EH. I needed the oboe, oboe d'amore, and English horn to teach with yesterday, as we are gearing up for this week's St Matthew Passion over at Valparaiso University (click HERE for details and tickets) and I wanted to be able to play along and check reeds with and for my students that are involved with that. But this morning I need two oboes to teach a methods class (at Goshen College), and tonight I need just my one good oboe for a quintet recital (in Plymouth) but I need to send my d'amore in its single case to Valparaiso to be used by my sub. Tomorrow I have a gig in the morning (in Fort Wayne) which is EH alone, but I'm going straight from there back to teaching two oboe lessons (in Valparaiso) and from there straight to VU where I need all three horns again. Friday is the same. And the limiting factor to just shoving everything into the car and moving on with my life is that I still strive to be the Unfussy Oboist, so I want to be walking into every service as lightly laden as is possible (plus it's heavy to lug them all around) and every transfer of an instrument to a different case carries with it the risk of leaving something essential behind. So I want to maximize my carrying potential while minimizing transfers and take the smallest number of instruments possible to every service.

And I cannot tell you how much mental energy I have expended on this so far. I just know there's a way to make it perfect.

Comments

Popular posts from this blog

The Blog has MOVED

 Have you been waiting ... and waiting ... and WAITING for a new Prone Oboe post?  Don't wait here anymore!  The blog has moved to https://jennetingle.com/prone-oboe/  and will not be updated here on Blogger anymore.  Please come and check me out there!  I love you all - stay safe out there!  Jennet

Beauty of Sound

In our dress rehearsal Saturday afternoon, the conductor did exactly what I often do to my students - he asked the violins to play more beautifully, and they did.  He didn’t tell them how, or give them a flowery expressive speech, he just asked for more beauty of sound, and they immediately gave it to him.  To a great extent the sound we produce is set, based on our equipment and the shape of our mouths and our bodies - but it can be altered, too.  Adjustments in reeds and instruments can go a long way, but the key change we can make is in our own minds. I don’t know how to explain it physically, but if you determine the sound you want to make you can produce it.  Or at least you can lean in and approach it.  This is something I’ve been paying a lot of attention to lately in my own playing.  As I prepare the Saint-SaĆ«ns Sonata to perform on our Oboe Studio Recital (tonight at 7 - details HERE ), my approach is largely about beauty of sound and vibrato....

Breathing and the Brain

I’m working on the Bach E Major Partita, and it’s significantly difficult for me.  Not so much the notes, although E Major is not the most effortless key on the oboe.  Not so much the music-making, although I could work my whole life on solo Bach and never be perfectly satisfied with my choices, because it’s that complex and THAT good.  No, the problem is breathing, and breathing is always a challenging thing for a wind player. Oboists can play long, long phrases with ease. The opening in the reed is so tiny that it really rations the air, so we can play longer lines than any other orchestral wind instrument.  It’s also comparatively easy to circular breathe on the oboe, which means that we can actually take in new air while  playing and maintain an uninterrupted line.  The downside is that an oboist can never fully expel her air through that tiny opening.  We end up with excess carbon dioxide in our lungs, and as we breathe in again the new good air...