Skip to main content

Yamaha Made Me Better

The Yamaha oboe has made me better.  No doubt everyone is tired of hearing me rhapsodize about this instrument, but it's revolutionized my approach. I can just play, and if I do my job right it does its job too.  Believing that my oboe will work every time makes me relax. I have always feared low attacks, but with this instrument, my new reed style, and my new articulation technique I don't any more. 

The exciting revelation, though, came very recently.  My Yamaha cracked while I was playing 3rd oboe and English horn in Milwaukee several weeks ago.  I quickly sent it down to Carlos Coelho, who pinned it, sealed it, and put inserts in the tone holes. I got it back as good as new, and played it for several more concerts, including Extase this past weekend.  When I pulled it out Monday morning, the pre-existing crack had opened wide and a large new one had materialized.  My pretty oboe is on a truck now, on its way to service.

So now I am in Milwaukee again, playing second oboe on my Loree.  And it's fine!  I can play low oboe just as well on this oboe as I could on the other, and it works.  Something about my newer, calmer, more confident approach to that register has actually proved to be the whole answer.  Clearly I needed the crutch of the Yamaha to teach me how to produce reliable low notes, but having learned the skill I can transfer it back, with good success. 

I can't wait to get my fun oboe back, but I'm confident and happy with my older instrument now, too.  If I have to play on my Loree for a few weeks I am fine - now that the Yamaha has made me better.

Comments

  1. Wasn't you who returned to LorƩe?
    Say, is Carlos Coelho the guy who makes shapers?

    ReplyDelete
  2. That was me - but now I have changed my mind. I'm complicated like that.

    Yes, Carlos is a super-duper oboe repair specialist and also makes shapers for oboe and EH. I haven't tried them, though.

    ReplyDelete
  3. The last Yamaha I tried (called "custom", back then) was in the mid 1990's. Back then, it was an even tradeoff between the pros and cons of it versus Loree.

    Loree had better sound (better mechanics!), but the Yamaha had more dependable tonal focus: that is, notes could be in the wrong place, but the pitch center was predictable..... compared to the infamous Loree unstable notes.

    Today... no idea! Today I pine for a Marigaux, Moenning or Dupin! (I'm on the list for a Laubin Rosewood)

    ReplyDelete
  4. My favorite instruments at the last convention were Bulgheronis and Josefs, and I'm saving my pennies.

    ReplyDelete

Post a Comment

Popular posts from this blog

Knife Sharpening

I've gotten a lot of questions on this topic, and the most recent querent prompted me to make a video to demonstrate.  You can find that  HERE . Knife sharpening seems to strike terror into many hearts.  And it's little wonder.  Many famous oboists have gone on record as saying that a sharp knife is the most important aspect of reed making. People have entire systems of stones and strops and rods set up to sharpen their knives. And it is important, of course it is - but I don't believe that you need your knife to be razor-like, or objectively the sharpest blade of any in your home.  The reed knife has one job - scraping cane off in precision ways - and it has to be sharp enough for that, and sharpened optimally for that purpose.  More than that is overly fussy for my taste. This is not to say that I allow my knife to be dull.  A dull knife forces you to put too much pressure on the reed and can cause cracking. Obviously it can lead to terribly inc...

Zoe's Musical Beginnings

I've mentioned before that I started out on the piano by figuring out melodies.  Connecting notes and trying to learn how they worked.  I'm fascinated to observe that Zoe's initial approach to the instrument is totally different from mine. She sits at our new piano and plays random notes, and tells us what to feel.  If she is playing slowly then the music is sad, and we should cry. When we are "crying" she either gets up and hugs us so we feel better (so awesome!) or bangs faster, to indicate that the music is now happy and we should dance.  Her other piano game is accompanying herself - she plays "chords" in alternating hands while she "sings" the ABC song or Camptown Races or Sesame Street.  She makes us sing along.  She loves it when we clap at the end.  When I was little I wanted to know how music worked. Although I make my living as a performer now, I learned about the interpersonal aspects of music later.  Her immediate interest is in ...

Exciting Upcoming Concerts

The South Bend Symphony has a great concert this weekend that I've been really excited about. If you are in town you should definitely try to attend, as it features Prokofiev's thrilling Symphony no. 5 AND our marvelous concertmistress, Zofia Glashauser, playing the Tchaikovsky Violin Concerto. However, I will not be there. This Friday and Saturday I am playing Strauss's Ein Heldenleben with the Milwaukee Symphony , and loving every single minute. This orchestra sounds spectacular, and here's why. They rehearse. They have plenty of time to really listen to each other and get things right. This morning, our service was a wind sectional, which blew my mind. Almost 2 full hours with only the winds and brass, just on this one 40-minute piece. The conductor worked with us on every detail. Intonation, articulation, ensemble, balance, style. And still we have another full orchestra rehearsal tomorrow as well as the dress. I haven't sat in a winds-only rehearsal...