Skip to main content

Make More Reeds

I recently met with a former student who proudly described THE reed she was working on to me.  She’d gotten it to a point where it made a beep, but it didn’t really play on the oboe yet, but it HADN'T CRACKED!  I celebrated with her - but I limited my glee.  One slightly successful reed - in the past month - is a good start.  It’s further than she had gotten before.  

But that is no way to be abundant.  If it takes you a month to sort of make one reed, where’s the incentive to even start? No one has that kind of time, and you can’t make your living on one reed a month even if it’s a perfect reed.  

More to the point - the learning curve at that rate is basically a flat line.  Reedmaking is an art as well as a craft.  I can teach someone to construct a reed in a single session, and we can get to a beeping reed in that time. But the next part? The part where you finish it to your comfort and then go out in public and play on it?  The part where you analyze what you don’t like, form a hypothesis about how to fix it, try that, and fail a bunch of times before you succeed? That’s really on you, and it takes EXPERIENCE and practice to get there. 

I don’t know actually how many reeds I made before I started making adequate ones.  Before I started actually playing on my own, and not my teacher’s.  That statistic is lost to time. I don’t remember what my numbers were like, but I started learning in 9th grade.  The summer after 11th grade I was on my own, by circumstance not choice.  My reeds were not good at that time but I could get by on them.  Since then it’s been a continual process of iteration. 

Does it have to take two and a half years to learn this skill? ABSOLUTELY NOT.  

But can you get there on one reed a month? ALSO NO. 

Make more reeds. Make more reeds.  Make more reeds. 


I want to help. Oboe Reed Boot Camp can't happen this summer.  Getting a crowd of oboists into a room to sit close together for hours, talk and laugh, and try each other's reeds didn't seem like INSANITY before COVID-19, but it does now.  

Instead I have the offer of Reed Club - a weekly social reedmaking session over Zoom, for people who have the concepts in place but would like more support, accountability, and companionship as they work.  

And later this summer I will open a new online program, Zero to Reedmaker, for the folks who need a little more INSTRUCTION.  Feel free to hit me with an email if this sounds like YOU and you want to be notified when it opens! 

Comments

  1. HI Jennet! the Zero to Reed maker sounds great for two of my students. I had started them with adjustments, but then the virus hit..... If I am not back and forth to PA, I will be signing up for August reed club in lieu of boot camp.

    ReplyDelete
    Replies
    1. Wonderful! I'll make sure I get info out about Zero to Reedmaker as soon as I create it - and you're welcome in Reed Club anytime.

      Delete

Post a Comment

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-Saëns 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...