ProneOboe

When my students get too MOUTHY with the oboe, I put them in a corner. Really. They tend to play the oboe only from the TOP of their body, north of the collarbone, and it winds up unsupported.  Fussy.  Weak.  And out of tune. So I back them into a corner, and have them stand a foot or so out from it, facing out into the room.  And I challenge them to find a sound that resonates BEHIND them, out from the corner of the room that they are not facing, to fill the space without blowing directly into the space. It's a weird metaphor.  I wouldn't have any idea how to describe the physical technique to do it. When I find it in myself, it feels like my back is puffy and my body is round, and large, and barrel like, and also collected and zipped up, and supremely powerful.  If you know me, you know that these statements about my body aren't remotely true.  But that's what I feel when I'm blowing well, and filling the room, and owning my resonance. I teach resonance.

I LOVE practicing West Side Story.  I realized today, as I was working through the fugue portion of "Cool" in the Symphonic Dances from West Side Story , that I was reluctant to leave my folder at rehearsal tonight as I would always otherwise do.  I know the part, I've performed it many times, but I feel like I could work through these weird tritones and swing rhythms and aggressive flutter tonguing every day without getting tired of them.  It's not that I need more practice, it's that I don't want to stop playing. It's not merely that I grew up knowing this music and that it's nostalgic for me - my mother played hundreds of musical theater records in our home and although I can sing every word to every song in that Great American Songbook my heart does not thrill when I play Oklahoma on the oboe.  Bernstein is special.  Smart.  The melodies are SO beautiful, the angles and turns that the harmonies take are SO striking.  I never, never ever ge

OMG the Five Minute Reedmaker is Back! Here’s what I’ve been up to:  I have a few videos ready to drop - I think I’ll put them out on Fridays.  I don’t know if Season Two can take us all the way to the end of the year, as Season One did before.  There may not be that many more topics to consider.  But I love you guys so I’ll try. The playlist is still up on Youtube , but I’ve ALSO curated Season One onto my own website .  I never can figure out the best way to organize things in a Youtube playlist and this way you can see all of the videos really easily on one screen.  I think this will be helpful.  Perhaps you will let me know if you like it. Now onto today's video... I say this all the time - DON’T choose a reed for its tone.  DON’T keep scraping for sound, scrape for function.  Get the reed to work.  The sound will follow.  But the sound is not UNIMPORTANT, right?  Tyler wrote to me:  Your videos are great! (Thank you, Tyler! ) Do you think you could do one on tone

(Part One HERE ) (Similar story HERE ) Mercifully, THIS one didn't happen to me.  But my poor student was playing an audition for his orchestra, and reached up with his right hand to turn the page of his music.  And heard a "plink".  And when, a split second later, he returned his hand to his oboe to continue playing, he found that his entire thumb rest had fallen off onto the floor, leaving only the post it had been mounted to. With his hand now contorted uncomfortably, he finished the audition - ably, I am sure - and tracked down the crucial little piece of metal.  Evidently the screw that secures the adjustable thumb rest into its most optimal position had come out - never to be found again - so the thumb rest itself now can escape at will. He devised a workaround - teflon tape to keep the thing in - but let this be a lesson to all of us. Seriously, the oboe is not your friend.  It's like a cat trying to slip out the door - it's just WAITING for an