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It's HERE! Join The Oboe For Everyone Network

February 19, 2013, 8:08 pm
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Hi Everyone-

Now's your chance to be a part of something really special. A few posts ago I wrote about this idea, but here it is in all it's webpage glory:




What it's all about:


It is the mission of Oboe For Everyone to be able to provide lessons and resources to anyone wanting to learn how to play the oboe, regardless of financial ability or proximity to an oboe teacher. 


This project brings together oboe students, teachers, reed makers, repair people, and retailers to provide a network of opportunities and services for oboists. We are interested in connecting oboe students with oboe specialist teachers for either online lessons or for in-person lessons with instructors living in their area. On this site you will find teaching materials such as videos, writings, and exercises for improving your oboe skills, as well as helpful links connecting you to reed makers, sheet music sources, instrument repair, etc.  

So now's your chance to JOIN the Oboe For Everyone network.  You. Yes, you!


Oboe Students:

Are you a student looking for a teacher to help you learn how to play the oboe?  Fill out the new student information form and we'll connect you with an oboe teacher for lessons.  This is your chance to learn more about the oboe with lessons from an experienced oboe teacher. We'll do our best to connect you with someone in your community for in-person lessons,  but please note that online lessons might be the only option available.

Oboe Teachers:
Are you an oboe specialist teacher who wants to build your studio, give back to your profession,  possibly interact with oboists from around the world? Fill out the new teacher information form.  You tell us *briefly* your educational and professional background, if you want  to teach lessons online,  in-person, or both,  your location, what your usual fees are for lessons and if you would be able to take on students for less than your usual fee (or even free) if there is need,  what languages you speak, how many students you are willing to take, and what level of student (beginner, intermediate, advanced, etc) you are interested in teaching. When students who sign up meet your criteria, then they will receive your contact information for lessons.


If you are unsure about taking on students for less than your usual fee,  I encourage you to think outside the box   reed case.You don't need to take a lot of students to make a positive impact,  maybe just one or two as a service to your community and profession?  Or for students in your area,  possibly set up a barter system?  I fondly remember teaching a motivated student from rural Idaho who would pay me with fresh produce from their farm.  Finances were tight for them,  but they had plentiful food. So we bartered oboe lessons for amazing produce. Some of the best payment I ever received was a bag of perfectly ripe, absolutely delicious Italian plums from my student. Or, what about trading the service of lessons with a student willing to provide a service for you? Such as lawn mowing, leaf raking, etc. Please note that any oboist who is willing to mow my lawn and help with pulling weeds in the summer and leaf raking in the fall can receive a full year's worth of lessons and reeds from me.  That way the time that I would usually use for my own lawn work is instead shifted into teaching that person--a much better use of my specialized skills, in my opinion!

Reedmakers:
If you would like to contribute to the network as a reed maker, fill out our reed maker information form and we'll send oboists looking for reeds to you.


How does this work?

When a student signs up for lessons,  I compare their information with the list of teachers in the network.  If I can place a student with a teacher in their community for in-person lessons, I'll try that first.  If online lessons are the only option,  I look through the response forms to find a teacher whose criteria fits the student best (level interested in teaching, willingness to teach online lessons, etc, etc). If there is more than one teacher that fits the criteria,  I connect teacher/student on a "first come, first served" basis.  The teacher who signed up first gets the first opportunity to teach the student. Pretty simple and absolutely fair in my opinion.

Please realize that I do not receive any money from this service;  I simply connect students and teachers. For those learning and teaching online,  I encourage you to protect yourself and use a secure payment system,  such as Paypal to set up any funding.
I've been absolutely humbled by the teachers who have already signed up with backgrounds performing in major symphony orchestras and fine teaching institutions. Thank you! But we still need more help!


What's Next?

  PLEASE HELP SPREAD THE WORD! 

Share this link:  www.OboeForEveryone.com to your oboe colleagues, to advanced students ready to teach young players.  Share this link to potential students,  to music teachers, youth symphony directors around the globe. Let's GET THE WORD OUT and get busy making the world a better place by improving oboe playing.  It's one small step,  but it's a step in the right direction.


Oboe and out,

The Oboist


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In Memoriam--William Bennett

March 4, 2013, 7:27 pm
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By now many of you have heard the tragic news of San Francisco Symphony oboist William Bennet's brain hemorrhage and subsequent death yesterday on February 28th.  Bennet was performing the Strauss Oboe Concert at the time of his collapse.
you can read more here

The world has lost a consummate artist and wonderful person.


I think the first time I heard Bill Bennet's playing was way back when I was in high school.  Each week our local public radio station in Evansville, IN, would broadcast a show called SymphonyCast (or something like that, as memory serves) that featured full length, live performances of major symphonies.  For this small-town girl, the broadcasts were an incredible window into the repertoire and artistry of the world's finest orchestras. One week they featured the San Francisco Symphony performing Mozart's Oboe Concerto with William Bennett performing as soloist.  I was captivated by the performance--such sensitive playing, lovely sound, immaculate technique. Then the most memorable even occurred during the cadenza. He somehow wove in a short bit of La Marseillaise into a cadenza. To me that showed such playful daring! I was so impressed that he took that risk and the audience absolutely adored the moment as well since I could audibly hear their amusement. His risk payed off and produced an absolutely unforgettable performance and I immediately became a fan of his artistry and wit.


My Facebook account is FILLED with friends and colleagues posting and re-posting news articles of Bennett's passing and each post including a few words of their own about him.   A brief summary of descriptors includes,  "masterful musician," "profoundly beautiful playing," "exquisite oboist," "possessed blazing technique," "wonderful person," and the list goes on and on.  They're all true.


So many of us revered his playing deeply. We admired him as an artist musician, oboist, teacher, and human being.  But how many of us took the time to tell him this while he was living?

How often to do share your reactions with the performers who inspire you?  Do you let them know if you've enjoyed a performance? Except for applause,  the performers HAVE NO IDEA anyone enjoyed it. Audiences have been conditioned to applaud after a piece is finished much like Pavlov's dogs salivated in anticipation of food, so clapping doesn't really tell us much (unless it's REALLY LONG applause,  or INCREDIBLY LOUD and interspersed with CHEERS and STANDING OVATIONS--then we GET that the performance really meant something to the audience! :))

As performers we our buttressed by our own resolve to hone our craft in order to create/express music, and we work hard to share something special with our audiences, so WE NEVER TIRE to personally hear that someone has enjoyed what we do.  It confirms that what we do is relevant and has meaning to others outside ourselves/ colleagues and propels us to work harder, dig deeper,  bring more to an audience.

I encourage you to always GO backstage to tell a performer you enjoyed their performance (you might have to wait in line,  so be patient!). You'll probably leave the concert happy to have made a new connection with another human being.  My students usually comment,  "It was so great to meet performer "X!"  She was a nice PERSON."   Or send the performer a short email telling them what you most enjoyed,  or even (gasp) SNAIL MAIL the performer a short postcard or card mentioning that you enjoyed the performance. I'm not implying that you should  become a creepy, stalking fan; a simple bravo or recognition, or "thanks" is enough. If you're not sure what to say to a performer,  saying "thank for your performance,  I really enjoyed it" is a great start.  Or,  tell the performer which piece you enjoyed the most.  Or try to mention that you most enjoyed their expressive playing in a slow movement,  or that you were impressed with their technique in fast passages, or that you found their sound to be lovely. It doesn't need to be much,  and you don't need to be an "expert" at musical terms to say something. In fact,  one of the most memorable remarks I ever received was from a high school student who,  after my performance of the Mozart Oboe Concerto exclaimed,  "Wow!  You're like a NINJA on that oboe!"  I cherished what she meant,  and enjoyed the colorful simile immensely.

If you're not a performer,  know that your words DO MATTER. If you're a performer,  you understand how meaningful post-concert comments can be,  so pass on the goodwill and train your students to meet and TALK to performers too.  I once encouraged a student to talk to a "famous" performer after a concert and the student said to me,  "why should I tell them I liked the performance?  They must KNOW they're AWESOME."  What the student didn't understand is that some of the self-doubt and  and inner dialogue that happens when you are a beginner doesn't ever go away. The "I SUCK" moments happen for even the best musicians, it's just that the level of playing is higher.  The performer's ears become trained to listen for and correct minute deviations from  carefully honed technique, precision,  expressive nuances.  When practicing and in times of self doubt,  remembering words of praise and kindness can be a chorus of support giving life and reassurance to propel a performer back to trying new things, taking risks, and maybe even adding La Marseillaise into a cadenza.

If we take nothing from Bill Bennett's tragic and untimely death,  it is this:

Never miss an opportunity to tell someone you enjoyed their performance;  you never know when it will be their last. 

R.I.P Mr. Bennet. The world is better because of you.

Oboe and out,

The Oboist





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The Oboist captured on video

March 14, 2013, 10:15 am
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Greetings all!

The oboist has been busy making short videos and loading them on YouTube for you to watch. Each  video is only a few minutes long,  but is full of essential information for playing the oboe. Topics covered include forming a basic embouchure, characteristics of a good oboe embouchure, embouchure flexibility exercises, troubleshooting advice for embouchure problems, and hand position.  Soon to come are more videos on how to play dynamics, articulation and the oboe, good body use, etc, etc. Think of each video as a  mini lesson on an important element of oboe playing. The concepts are useful to beginners, advanced players in need of a "refresher" lesson on basic elements of playing, or for those who want to improve their understanding of how to teach foundational elements to students. Here's a sample video below on forming a basic oboe embouchure.


 If you'd like to catch all of the videos and listen to some of my playing from live concerts, go to www.youtube.com and become a "subscriber" to my channel: "Christa Garvey"
That way you'll instantly receive notification when new videos are added. Or,  you can find them in the list of teaching videos on the OboeForEveryone site.

Enjoy and let me know what you think of the videos--are they helpful? What other videos about oboe playing topics would you like to see on Youtube? I look forward to hearing from you!

Oboe and out,

The Oboist

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Oboist Kathy Greenbank to be at UW- Eau Claire April 1st 2013 (No Joke!)

March 27, 2013, 9:13 am
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Here ye, hear ye!


All oboists in the Eau Claire, Wisconsin region take note!


 Kathryn Greenbank, the amazing principal oboist of the St. Paul Chamber Orchestra will be giving a masterclass at the University of Wisconsin, Eau Claire on April 1st from 2-4 pm in Phillips Recital Hall. The public is welcome to attend this FREE event.  This is NOT an April Fool's Day joke!  

Mark your calendars and email me: OboeForEveryone@gmail.com for more information.

Looking forward to seeing you there!


Oboe and out,

The Oboist


If you've never heard Kathy Greenbank's exquisite playing,  try this out:




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Double Tonguing on the Oboe

April 5, 2013, 11:11 am
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Double tonguing on the oboe isn't magic,  nor is it really difficult.  But it does take time to learn. In fact, the two most important ingredients to learning how to double tongue are PATIENCE and PERSISTENCE.   Add in a really light reed and you'll be double tonging on the oboe in no time. I've been meaning to write this post for some time,  and thanks to a fine oboist and friend who asked about double tonguing,  I'm finally sharing this with you. (Thanks KPK!!! :)



So, first what is double tonguing?  Good question!  Double tonguing is a method of articulation where your tongue alternates between touching the reed and your hard palate (the roof of your mouth).  It can facilitate rapid articulations and should be used when you are unable to maintain single tonguing speed with clarity.

ARTICULATING TI and KI

First,  let's find the right placement of your tongue.

 Say KI.   KI-KI-KI.

Notice that you use the middle-back portion of your tongue.  Compare this to KA, Kuh, or Ga/Guh sounds,  which are often taught with double tonguing. I think the KI sound works best for oboe double tonguing because the tongue is in a more forward position on the roof of the mouth than when you say GA or KA.

Next say, ti-KI-ti-KI.  But,  to get the best practice,  say "ti" with an oboe embouchure, exactly where you would articulate if you had a reed in your mouth (lips brought forward,  and your tongue touching the bottom part of your top lip that is rolled over your top teeth--Hope that's clear! )

Now practice this WITHOUT a reed or oboe until you can say ti-KI-ti-KI-ti-KI-ti-KI-ti-KI-ti-KI-ti-KI-ti-KI-ti-KI OVER and OVER again without getting tired.  Remember that your tongue is a muscle and to double tongue it needs EXERCISE to perfect this technique.  Try practicing this while driving, taking a walk, etc.  In fact,  I developed this technique after my stereo was stolen from my car while I was living in New York City and didn't have music to listen to. Commuting gave me lots of time to practice a new technique!

Here's a sound clip of me saying ti-KI-ti-KI:





KI and TI on the REED ONLY

Next, work with ONLY the reed. It is ESPECIALLY important to use a REALLY light reed with a very thin tip.  It a very thin tip isn't your normal style, you'll need to scrape your reed a little more for these exercises.

First articulate on the reed using a "KI" articulation only.
Use lots of air and a very quick tongue. At first this might feel awkward and "thunky." Keep the tongue motion as light as possible. Say KI again.  Then KI-KI-KI-KI.  Be patient with yourself,  and remember to use a very LIGHT reed,  lots of air,  and a quick tongue that is propelled by your air.  Once you can consistently articulate KI,  move on to the next step.

Second, articulate saying ti-KI and KI-ti on the reed alone. I think that the "KI" articulation must be MUCH stronger than the "ti" articulation because "KI" isn't touching the reed.
Practice the following exercise:

       1. While forming an oboe embouchure, say: :"ti-KI"
      (Make sure your tongue placement of the "ti" is exactly where you would articulate if a reed was in          your  mouth or this won't be a useful exercise!)

       2. Articulate on the reed alone: ti-KI

       rest, then repeat.

Then,  put on a metronome to a SLOW speed (quarter=60?) and articulate 16th notes on the reed only:



Take frequent breaks if your tongue is getting tired.  Be PATIENT with yourself, but be persistent--practice these exercises daily for 10-15 minutes until you can do this with ease. You want to be able to begin an articulation sequence on either a ti or KI articulation.
Next, slowly move the metronome tempo faster until you can articulate on the reed at quarter note=130+

It's important that you don't move to our next step until you can consistently articulate clearly, cleanly, and in time with the metronome.


DOUBLE TONGUING EXERCISES with the OBOE

Once your air, tongue, and reed are coordinated, add in the oboe. I've specifically written these exercises to encourage you to not simply double tongue on one note.  For some reason I've found that the hardest transition for me was coordinating my fingers to move on the "KI" articulations. Hopefully these exercises will help.

Try these exercises at quarter note=60,  then slowly move them faster until you can play them as fast as you can!




Again,  patience and persistence are key.  Repeat each line and take frequent breaks.  Don't move on to another line of music until you have mastered the lines before.   Practice these exercises for 10-15 minutes daily and keep track of your metronome speeds so that you can measure your improvement over time.

I look forward to hearing from you and answering any questions that arise as you practice double tonguing.  Or,  contact for me for a Skype lesson to troubleshoot any difficulties that you have.


Oboe and out,

The Oboist











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Join us for an Oboe Reed Maker's Boot Camp June 24-28

April 29, 2013, 8:53 am
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Oboe Reed Maker's Bootcamp June 24th-28th


Want to learn how to make reeds for the first time? Just looking to learn how to adjust the commercial reeds that you buy? Already know how to make reeds but want to refine your reed skills? Or, are you a reed making procrastinator who could benefit from joining a group of fun people to focus on reed making for a week and stockpile some great reeds for the summer and fall?

If so,  here's your opportunity! I'll be leading an 

Oboe Reedmaker's Bootcamp
June 24-28th 2013
 Eau Claire, WI


We'll be working on tying fundamentals, knife technique, understanding the parts of the reed, troubleshooting guidance for reed refining and adjustment, and everything else under the sun that pertains to reed making. The sessions will be half-day,  leaving you time to take an optional oboe lesson, practice your oboe, possibly play in ad hoc chamber groups, and to explore the lovely Eau Claire area (float down the Chippewa River on a raft, enjoy an outdoor concert, miles of bike/running/skating trails, fishing, boating, the Eau Claire Downtown Farmer's Market, mild Wisconsin summers, etc, etc!)


I'm here to help you become a better reed maker. Come join us at the reed table for a week of great learning in an informal setting. College students and amateurs are welcome! Since this is a part of OboeForEveryone, the pay is **totally negotiable** but I am suggesting a fee of $150 for a week of reed making or $250 for a week of reed making and lessons to cover the cost of cane, etc. which will be supplied for beginning reed makers. Can't make the entire week?  Drop in for a day or two for a pro-rated rate if you wish.


Are you in? Contact me at: OboeForEveryone@gmail.com

My reed making background:  I've been making reeds for over 20 years, having studied the art of reed making with greats such as James Brody (Oboe Professor at the University of Colorado, Boulder), Elaine Douvas (Oboe Professor at the Juilliard School and the person who taught me how to make the "5-minute reed"), and David Weber (owner of Weber Reeds and co-author of The Reed Maker's Manual) and inspired by the oboe teachings of Marc Lifschey (he was my undergraduate teacher, but didn't teach reed making).I have a thorough understanding of WHY reeds work and take the mystery out of reed making for my students to make reeds quickly and consistently.


I look forward to seeing you here in June!

The Oboist



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The Oboist Captured on Video II: Hand Position for the Oboe

May 2, 2013, 9:29 am
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Hi All-

Here's another video for you.  This one is about developing good hand position to play the oboe. Share with your oboe students and colleagues. Wouldn't it be AWESOME for an OBOE video to go viral?  Yeah,  that's delusional,  but a fun thought anyway. Ha!

Hope you find it helpful and, as always,  I welcome  your comments, questions and suggestions!



Oboe and out,

The Oboist


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Living a life WITH music--a guide to listening for the aspiring oboist

May 10, 2013, 11:06 am
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Living a life WITH music--a guide to listening for the aspiring oboist

I love meeting young oboists and prospective students. I really do. Especially those who have so much enthusiasm for music and have decided it to be their life's work. It's not uncommon to hear the budding oboist say that he/she can't imagine a life without music and the oboe.  The student often goes on to tell me that music/oboe is their true "passion." I think that's just great!

During our first meeting the conversation usually leads to me curiously asking the aspiring oboist who their favorite oboe players are,  what are their favorite oboe pieces are, and their favorite recordings. It seems natural that if someone is so passionate about something and can't live without it,  that they've spent quite some time exploring it, right??  At this point the conversation has more than once turned to a grinding halt, with the student proclaiming,  "well,  I don't really listen to oboe music or classical music." I usually smile and gently tell them that this will hopefully change.


But I really want to scream: "you told me you can't LIVE without music,  BUT YOU AREN'T LIVING **WITH** IT!!!


I'm not saying that music students should only listen to "classical" or art music. But if you want to push boundaries, aspire to great playing, you really MUST know the music and classical performers who are at the top of their field pushing the boundaries and exhibiting great artistry. There is no limit to what you students will be capable of if you set your mind to something. But you can't push a boundary if you don't know what/where it is and if you aren't aware of what  the top-level performers are capable of, you're not setting the bar high enough for yourself or your future students.


In high school I remember lugging home as many records (yes, records!) from the library as the library would allow. I'd listen to the music, read the record jackets, then return them and go back for more. I quickly listened to everything with oboe in the library. It wasn't much,  so I went on to the entry-level  "greatest hits" of classical music,  which probably sounded something like this: 

http://www.kickassclassical.com/classical-music-popular-famous-best-top-100-list.html

or this:


100 "Great" pieces from the 20th Century:
http://www.limelightmagazine.com.au/Article/282134,abc-classic-fms-20th-century-top-100-revealed.aspx/2


or this:

http://www.digitaldreamdoor.com/pages/best-classic-wks.html


The first two years of undergrad, escpecially in the summers,  I'd go to the music listening library and JUST LISTEN to music EVERY DAY for at least an hour. I kept a listening diary with notes of the pieces/performers/interesting tidbits on the record jackets/CD liners, and my own reactions to the music. I listened to pieces that I LIKED and KNEW I LIKED,  but then pushed the envelope and listened to pieces I wasn't sure I would like,  pieces I thought I wouldn't like, and just random recordings as a surprise. I learned something from each of them and continually draw from this well of knowledge.


Now there are thousands upon thousands of great recordings available online. I can't even IMAGINE how much listening I could have explored if this was around back then--and yeah,  we still had TVs and movies and video games that are used as excuses for distractions back then too! :)


If you're really dedicated to preparing yourself to this often arduous yet deeply meaningful and important profession, know there’s more to achieving excellence in music than just practicing your art.  There’s more art music (otherwise known as “classical music,” the wonderous stuff you’re at college to immerse yourself in because you feel “passionate” about it) to learn and listen to than you could EVER experience in your entire lifetime, so are you embracing new sounds or repeatedly listening to the few works you know or have known for years? If you’re really "passionate" about this music life, dig in and dig the music. Life is short; there’s lots of music. Go get it!

SO HOW DO YOU DO THIS?

Want to develop your listening skills but not sure how?  One easy (FREE) first step is to go to YouTube and search for performances by experienced oboists. Yes, try to find some of your favorite pieces, maybe something you played for a solo festival, etc. But then move on to things you've never heard before. Challenge yourself to listen to the entire piece,  especially if the music is tough for you to listen to or make sense of at first. If you like the performer,  search for more pieces they've posted on youtube or look for their CDs/ mp3s available on Amazon or iTunes. If you like the composition,  search for more pieces by the same composer--and especially listen to music written for other instruments other than oboe! 


OK,  so you still feel overwhelmed and don't know where to start?  That's understandable. If you just type in OBOE in the Youtube search, you'll find everything from little kids playing the Mozart Oboe Concerto in their kitchen (at the level of a little kid oboe player) to some of the WORLD'S BEST oboists. Some of those youngsters are really talented,  and you should be happy for what they've accomplished. But try find There's a lot of junk to sift through, but a lot of gems too. To help you,  I've typed in the names of some really fine oboe players and found these options. They're all worth listening to as each have enjoyed a professional career as  oboists. 

This is by no means exhaustive and by not including a name/link,  it CERTAINLY doesn't mean I'm excluding them!  I just tried to find a variety of oboists in a short amount of time.  Some of them you'll like,  some you may not like.  That's OK, and just means that you're developing your ear to become a  discerning listener. 

Maurice Bourgue: http://www.youtube.com/watch?v=2jDHUUCeeHU
Peter Cooper: http://www.youtube.com/watch?v=srGjxxiUVCk
Nicholas Daniel: http://www.youtube.com/watch?v=DhygJyCvYeA
Cynthia Koledo DeAlmeida: http://www.youtube.com/watch?v=-1-vo564eII
John DeLancie: http://www.youtube.com/watch?v=L12QaKHfM1o
Diana Doherty: http://www.youtube.com/watch?v=ZfVOcK2DCxs
http://www.youtube.com/watch?v=41ieLOfE0Ek
Elaine Douvas: http://www.youtube.com/watch?v=rHzMXw4B19o
http://www.youtube.com/watch?v=zJQbjd12U7A
http://www.youtube.com/watch?v=fp_mSgaWoYk
John Ferillo: http://www.youtube.com/watch?v=cZC-vYfQ1vQ
Christa Garvey: http://www.youtube.com/watch?v=Nb-hpEkP2Mg
Harold Gomberg: http://www.youtube.com/watch?v=yOabPMeFGow
Ralph Gomberg: http://www.youtube.com/watch?v=tUf5pEUmBew
Leon Goossens: http://www.youtube.com/watch?v=1iWePrICoRQ
Kathy Greenbank: http://www.youtube.com/watch?v=ahltk3SQeCE
Erin Hannigan: http://www.youtube.com/watch?v=bhoDvNwjIps
Rebecca Henderson: http://www.youtube.com/watch?v=c5kr70RSHt0
Heinz Holliger: http://www.youtube.com/watch?v=G9Y3AcJKQ-I
Gordon Hunt: http://www.youtube.com/watch?v=-teFG5R4Y_o
Eugene Izotov: http://www.youtube.com/watch?v=8qK74btK5Zc
Helen Jahren: http://www.youtube.com/watch?v=5CD00BjYUCI
Jonathan Kelley: http://www.youtube.com/watch?v=Tryold-vpCs
Nancy Ambrose King: http://www.youtube.com/watch?v=mLhVBPuqutQ
Alex Klein http://www.youtube.com/watch?v=cs4dFc2xv48http://www.youtube.com/watch?v=Qt5j4o1XJRw
Andre Ladrot: http://www.youtube.com/watch?v=Rlh9dl6CJvM
Francois Leleux: http://www.youtube.com/watch?v=aj34FSZr7h0
Marc Lifshey: http://www.youtube.com/watch?v=Xaxb9yn-QBUhttp://www.youtube.com/watch?v=Mm5Ew5ocwI8
Humert Lucarelli: http://www.youtube.com/watch?v=-XdYQjsz03I
John Mack: http://www.youtube.com/watch?v=RUMlnOibupI
Albrecht Mayer: http://www.youtube.com/watch?v=KqJ-qwIKzfI
Katherine Needleman: http://www.youtube.com/watch?v=lQYeIejpKks
Pam Pecha: http://www.youtube.com/watch?v=H_U-mptjPSQ
Joe Robinson: http://www.youtube.com/watch?v=5EnoyuPlmGQ
Ronald Roseman: http://www.youtube.com/watch?v=XbTNqW_Lxn4
Evelyn Rothwell: http://www.youtube.com/watch?v=-LymAkix_-M
Cynthia Steljes: http://www.youtube.com/watch?v=-FgHuIzdJDs
Allan Vogel: http://www.youtube.com/watch?v=yvbJW16PKmI
Liang Wang: http://www.youtube.com/watch?v=Gu87qUExo9c
Richard Woodhams: http://www.youtube.com/watch?v=gcRFsIX-bh0

Now,  realize that not everything is FREE.

Take the next step: support professional music making. Go find recordings of your favorite artists and composers and BUY THEIR WORK.  You don't need to spend loads of money, especially if you don't have loads of money.  But for professional musicians to consistently produce professional quality recordings for us to enjoy,  it costs MONEY.  And for professional musicians to CONTINUE creating professional quality recordings, it takes PEOPLE to BUY their MUSIC.  It's like a restaurant: to keep your favorite restaurant afloat,  you need to occasionally eat there to show your support, enjoy the food, and keep the restaurant in business. Same goes for professional orchestras and chamber music concerts. Do your part to go hear LIVE MUSIC. Get cheap student rush tickets if they're available. Live music is so much more exciting than recordings and you'll be supporting living musicians who do this for their livelihood! If you hope to be a professional musician some day but don't support live music performances by attending them, how can you possible expect for there to be an audience for your work in the future?? 



DREAM BIG. But WORK BIG and LISTEN BIG to get to your dreams.  Then you'll REALLY be living a life WITH MUSIC.

So, my question to you: Who are your favorite musicians/oboists/composers? What are some of your favorite live concert experiences?  I'd love to have you share your experiences.

Oboe and out,

The Oboist


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Update: Reed Making Bootcamp in Eau Claire, WI June 24-28

May 27, 2013, 9:52 am
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For those of you who are interested in the Reed Making Bootcamp June 24th-28th in Eau Claire, WI,  here are some more details.

1. The camp is perfect for beginning oboe and English horn reed makers,  experienced reed makers wishing to refine their reed making skills,  or anyone wanting to join in with fun people to stockpile great reeds for the summer and fall.

2.The reed making sessions will be from June 24-28th and consist 2,  2.5 hour sessions each day (one from 10-12:30 and another from 3-5:30). The sessions will take place in my office at UW-Eau Claire. In-between those times I will be available to teach 30 min oboe lessons to anyone interested (3 lessons for each student over the course of the week are available). 

3. If there are enough reed makers,  we could have some ad-hoc duo, trio, or oboe ensemble sight-reading sessions for fun.  There will be ALL levels at the reed table,  from several beginners to professionals, high-school, college,  adults. The aim is to welcome a diverse community of oboe lovers who simply want to learn more about reed making, playing oboe, and learn from each other in good company.

4. There will be no fees for the reed sessions,  just come as you can. However,  I will have quite a bit of gouged/shaped/folded cane available,  and I ask that anyone using the cane makes a donation to help cover those costs.    

5. If you are under 18 years of age,  please have your parents contact me.  Please note that I am not able to provide supervision outside of reed sessions, transportation, or housing. Hopefully in years to come if there is sufficient interest we can organize this into a more formal event with housing, supervised activities for minors outside of reed sessions, etc.

6. Do you need tools for reed making? Contact me for a list of tools you'll need and places to get them.


Contact: OboeForEveryone@gmail.com  Hope to see you there!

Oboe and out,

The Oboist
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Ask the Oboe Doctor: Answering readers questions

May 29, 2013, 9:36 am
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Today I have the honor of responding to a reader's questions that were submitted via email.  The questions were so good that I thought I'd share them with everyone. I also hope you like this picture. It's from a recurring story in the Peanuts comic strip by Charles M. Schultz. In the comic,  the character Lucy van Pelt runs a booth offering psychiatric help and the characters come up to her for advice about their problems. Her advice,  for 5 cents, is a hilarious parody of the lemonade stands that children in the U.S. often operate.  I've modified the booth to take on OBOE help.  So, today the Oboe Doctor is "IN" and ready for your questions!




The questions today are from a  reader in Indonesia who asks, 

"I wanted to know your experience with Kreul oboes. Have you ever played the Kreul Oboe?
Further I wanted to know how to optimise regular exercising/practice to develop a nice tone quality, when you don't have a teacher by side. I personally find it very hard to reflect my own playing sometimes I even feel I can't hear my tone. (esp. During orchestral rehearsals). I have a teacher but during self practice I hardly know what is good and what not in terms of tone quality.And the problem of puffy cheeks and air in the upper lip are some symptoms I personally have.how can I improve those?Also, do you have some exercises on the reed only? (my kreul oboe is in service now, and I'm scared of loosing my intonation even though its still very not pro-sounding)"

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Ok,  these are some great questions! 
 1. Let's start with the first question about Kreul oboes.
 I *do* have some experience with Kreul oboes,  but sadly not much.  I looked up some information from Peter Hurd,  an expert oboe collector. The following information is excerpted from his very useful site: http://oboes.us/resources/makers.html
KREUL - A first class maker. Stencils: Kreul/Mirafone, Gordet "German" model, Lucerne, Eneg. Note: some Lucerne stencils NOT by Kreul. The Kreul oboes have a beautiful, sumptuous, dark sound brimming with personality. Very "forgiving" to play and locks in on pitch centers. Built to "withstand nuclear attack." Keywork is of a much harder alloy than the usual French oboes. Ergonomically best for persons with having large hands. The "German model" Gordet/Kreul and "Lucerne" stencil is in fact a different instrument from the "standard" Kreul though at first glance nearly identical in appearance. The Gordet/Kreul and Lucerne/Kreul will be much heavier physically than the standard Kreul or Kreul/Mirafone, with much thicker wall diameter. The Gordet/Kreul and the Lucerne/Kreul produce the "darkest" oboe timbre of any make I know of. The "standard" Kreul oboe, though somewhat "dark" sounding, still has an element of brightness. I admire Kreul oboes, though I prefer the usual Hans Kreul and Hans Kreul/Mirafone to the Gordet and "Lucerne" Kreul models. It is possible on occasion to find a "Kreul" (or "Hans Kreul") oboe this is in fact the same model as the heavy "Gordet" or Lucerne/Kreul. Conversely, it is on rare occasion possible to find a German Kreul "Gordet" oboe that is in fact the lighter weight "standard" Kreul model. Excellent value for money. Kreul radically redesigned the keywork patterns in the 1990s- most of the key touches became flat, in stark contrast to the earlier "domed" touch surfaces- "flat keyboard" effect- takes time to become accustomed to the flat surfaces. Sadly, Kreul ceased production in the late 1990s.
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There is a Lucerne/Kreul oboe at our school. It's been a few years since I've last played it,  but from what I remember the Lucerne model has a big, dark sound but otherwise is fairly old and sadly not in great playing condition right now. Time for an overhaul when we have enough funding! Other than that, I don't have much to add.  Can any other readers comment on the Kreul oboes?  I'd welcome your input!  

2. How to develop your best tone, especially when your teacher isn't there. 
It can be frustrating when you hear lovely playing from your teacher and then not be able to remember exactly how it sounded while practicing. I distinctly remember having this same issue as a student! My teachers were so inspiring to listen to, but during practice session I had only vague recollections as I tried to reconstruct their sounds from my aural memory. Sound is ephemeral, instantly fading if not recorded,  but we luckily we have a few tools that can help us in between lessons.

Do you have access to a recording device?  Even a phone or iPod, etc that can record short phrases can be helpful. Ask your teacher to play a short melody or part of an etude or solo that you are working on and record him/her. Then you can play back the recording over and over while you are practicing. Listen to your teacher's  sound, play a bit on your own, and listen again.  Then record yourself playing and compare the recordings of you and your teacher. 

If something in your playing sounds harsh or not what you want, see if you can change your air or your embouchure to improve the tone.  Are you using too much embouchure or "pinching" the reed instead of using more air support? Or maybe you need a little more embouchure support from either your top lip, bottom lip, or the "corners" or sides of your lips. Make small changes to fine-tune your embouchure and listen to what is changed in the sound. Then record yourself playing slow, long tones and compare this to your teacher's recording.  This is an ongoing process of testing small changes, observing the results of your tests, then accepting or rejecting the changes.

I wish I could say that if you move muscle "X" or "Y" that you'd instantly improve your sound, but it's not that easy, especially since I haven't heard or seen you playing or know what your goal sound is.  But an oboist's tone is developed by having a clear idea of WHAT they personally want to sound like,  then developing the embouchure muscles through systematic trial and error to eventually be able to consistently produce the sound that they want. 

Our reeds can also have a huge effect on our sound. If you like the sound of your teacher, make sure that you have reeds that are similar to theirs. Learn how to make reeds like your teacher or buy reeds that are similar.

Also realize that our sound is like our voice or fingerprints,  something unique and special to us. Everyone has (and should have!) an individual idea of what the most beautiful oboe sound should be,  but not an exact copy of someone else's sound. However, we can also do many things to develop and create what we think should be our ideal tone. One way of doing this is to LISTEN to recordings of as many oboists as you can (see the links of oboists from this post for some ideas). Find the playing that you most enjoy and try to build elements of their sound into your own unique tone. The more that you listen to oboists that you want to emulate, the more you'll be honing your ears to develop the same sound for your practice.

Sometimes it's almost impossible to hear ourselves clearly in rehearsals.  However,  try to develop "muscle memory" of what it feels like to produce your best sound. Then,  when you are in a loud ensemble,  use that memory to help guide you.

So,  in a nutshell: listen to recordings that inspire you,  record yourself, then compare. Make small changes to your air and embouchure and reeds to develop your ideal sound. Patience, persistence, and an awareness of what you are changing will get you there.


3. How improve puffy cheeks or air in the upper or lower lips.
This is a fairly easy fix...if you are aware and persistent! Find a small mirror to put on your music stand. A small mirror from a make-up container, etc is ideal. Place it on the stand where you can get a really good view of your embouchure. Then use a tighter embouchure around your gums and teeth (not around the reed!) so that no air pillows are created in your lips/cheeks. You may have to practice in shorter intervals because your muscles will get tired more quickly at first. If you notice that you're reverting back to your old habit because your muscles are tired,  take a short break. Then,  practice again and frequently look into the mirror to make more changes if needed. Keep the mirror on your stand ALL the time, even during rehearsals (but NOT concerts), to continually bring your awareness to creating your new embouchure formation. 


4. Are there exercises on the reed alone that can be practiced while your oboe is in the shop?

Yes! Try doing this long-tone (dynamic sound shape) exercise found on this post on the reed alone. You don't need to play all of the exact pitches that are indicated on the music,  but do your best to create the dynamic differences. Use a metronome to make sure you are beginning the sound in time and progressing your volume evenly. Use a mirror to notice/remove puffy cheeks or air pockets in your lips too! Then work on embouchure flexibility that I've copied from from my post here:

Flexibility Exercises on the Reed Alone:
      1. Say “EEEEEEEEE”
Form your embouchure around your reed and begin blowing. Next, while blowing position your embouchure to say “EEEEE.” The pitch of the reed should go up.


    2.Say “OOOOOOOOOOH”
Form your embouchure around your reed and begin blowing. Next, while blowing position your embouchure to say “OOOOH.” The pitch of the reed should go down.
    

 3.Say “EEEEE---OOOOOOH”
Alternate between “EEEE” and “OOOOH” sounds.  It might sound like a sliding kazoo.  Discover the highest and lowest notes that you can play.  Can you play a short song such as “Three Blind Mice,” “Row Row, Row, Your Boat,” or even “Yankee Doodle”?


Practicing this sort of flexibility will be important for playing the oboe.  Low notes need more of an “OOOO” embouchure,  and higher notes need more of an “EEEE” embouchure. 


I hope that's been helpful. Please let me know if you have questions or would like clarification on anything.  Do any other readers have comments/suggestions to add?  Or do you a question of your own that you'd like to send to the Oboe Doctor? (email me at: OboeForEveryone@gmail.com)


Oboe and out,

The Oboist









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Road trip to the John Mack Oboe Camp Masterclasses in North Carolina!

June 5, 2013, 2:18 pm
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Hi All!

The Oboist is packing up to go to the John Mack Oboe Camp (JMOC) at the Wildacres Retreat outside of Little Switzerland, North Carolina!  The camp,  a series of masterclasses for oboists first led by the legendary oboe pedagogue, John Mack, have been held almost continuously since 1976. Since the passing of Mr. Mack,  the "camp" has been led by his former students.  This year Jeanette Bittar and Dwight Parry will be leading the group classes for students (college age, professionals, teachers and advanced amateurs) performing etudes, solos, and orchestral repertoire. The idyllic mountain surroundings and supportive environment makes this one of the most perfect places on earth to intensively study everything oboe for a week!

For more info on the camp, click here: http://dept.kent.edu/oboecamp/instructors.cfm



The first time I participated at the camp,  I was a mere 17 years old. What an experience it was to be surrounded by, and learning from, so many fine oboists! And the last time I participated in camp was in 2005,  the last year that Mr. Mack was living.  So,  it's been a while since I last set eyes on this special place.  But I'm super excited to be bringing 3 of my college students this year, who will be playing in the masterclasses!

I'm taking 2 students with me,  and we've got a 15 hour, 1000 mile drive ahead of us from Eau Claire, WI to North Carolina.

We're leaving early tomorrow and hope to spend the night somewhere around Lexington, KY.  (We of course welcome any suggestions on great places to eat!)  :)

Camp begins on Friday,  so maybe we'll see you there?  Or,  if I can muster enough wifi,  I'll be sending updates to all of you over the course of next week to share what we're learning.

Gotta get packing up my oboes, reed tools and music,  so that's all for now.

Oboe and out,

The Oboist.

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Some thoughts from the John Mack Oboe Camp

July 1, 2013, 9:10 pm
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I know, I know,  in my last post I promised that I'd send updates from the John Mack Oboe Camp (JMOC). But it turns out that the exquisitely rural Wildacres retreat in North Carolina had very little internet and no ATandT cell phone service.  In a way this was REALLY, REALLY good,  because it allowed me to fully absorb all of oboe-ness without interruptions from the outside world.  Being "unplugged" was a little hard at first,  but I got used to it as the week rolled on!
The view from Wildacres. The chairs are empty because the oboists were all practicing! :)



So by now after such a long break you're likely wondering, how was camp?  Right? Wow.  Words can hardly describe a week at the John Mack Oboe Camp.  If you're into EVERYTHING oboe,  surrounded by 70 other eager oboists to attend morning masterclasses learning Barret Articulation Studies, Melodies and Grand Studies, afternoons learning about instrument repair/adjustment, recording the oboe, and reed making, and evenings devoted to learning orchestral oboe parts and solo repertoire,  this place is for you!!! It's all-day and half the night 100% oboe,  a place where we oboists are around kindred spirits and spend our free time to talk "shop" and read chamber music and absorb even more "oboeness."

This was the first time that I attended camp since Mr. Mack passed away in 2006.  It's really incredible how the faculty have worked so hard to keep the same structure and supportive atmosphere as when Mr. Mack taught the classes. The camp was taught this year by an incredible and dedicated group of Mack students including: Dwight Parry, Principal Oboist of the Cincinnati Symphony,  Jeannette Bittar,  Danna Sundet, professor at Kent State University, and Thom Moore, talented oboist and recording producer.

I think that every JMOC participant brings something different away from camp,  depending upon their background, level of playing and goals. However, there were a few REALLY BIG ideas that were repeatedly iterated throughout the week. Here are some of them,  in no particular order. I hope they make sense out of the context of my notes and the classes.

Masterclass in action!

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From Dwight Parry:

 Mr. Mack says you need 4 things to be a fine musician (in this order):
          Intelligence
          Determination
          Talent
          Ability

The purpose of a penultimate note accent is not to play the last note louder, than the previous note;  don't pound the last note,  but instead "tuck" it under.


Time is the bastion of last resort for expression; use color, vibrato, direction, intensity, and inflection instead.

The first note of a slurred passage is often played too short. Imagine a tiny tenuto on the first note.

Always vibrate through the end of last notes.

At the end of phrases,  think of how a ball rolls off a table:  it rolls OUT,  then down. With this idea then,  use your air to continue/blow through the phrase before rapidly playing a diminuendo at the very end.

For fingering the high Eb:  use the Bb key instead of the B key;  the pitch might be a little flat,  but great to push for upward slurs. (I found this to be a great suggestion!!)


There are three ways to create a staccato:
1. "Huffing" each note
2. Steady air stream and only the tongue.
3. A mix of 1 and 2.  This is usually the BEST option.

Vibrato should CONFIRM good pitch,  be formed around the center of pitch, and not be used to mask poor pitch.

Take vibrato out of the equation when practicing to hear better.

A great way to practice downward leaps (for instance from D down to G):
     1.  First play a staccato D and G
     2.  Play D,  then prepare to play the low D,  then go up to G
  This way your embouchure is properly (even overly!) prepared for the downward interval.


Low notes need more air to articulate. Really open up your embouchure and almost err on flat.


From Jeanette Bittar:
Sing through your music first;  this will give you a natural sense of line,  without unnatural swells and put life into your phrases.

Always prepare large upward intervals by energizing the first notes in the interval.

Push yourself to open your self to the music, to express the love to our audience.

Practice and "intellectualize" your music until it sounds organic for your performance.

Prepare for large intervals by filling the "space" of the interval with air.

The key to smooth legato is connecting BETWEEN the notes.

from Marcel Tabuteau:  "Be the FIRST you!" (Don't try to copy/imitate others)

On creating a beautiful sound (of which Jeannette certainly displayed at all times!): Blow WARM air through your oboe. Think BIG sound,  not LOUD. Create a big, resonant space in your mouth.

Learn to listen to yourself and to what you are really creating.

On turns (in the Barret etudes): let up on the upper notes, give more to the lower notes to give momentum to the ornament and work with gravity.

Use visualization to create what you want in your head (first). Then you will see it in your life. Believe in your vision.

If you want to change the way you feel,  change the way you think.

There's a lot more where these came from.  If you were at camp,  please contribute your favorites

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Happy campers: So proud of the three  University of Wisconsin, Eau Claire oboists who participated at JMOC this year!

I hope you can take some of these ideas and incorporate them into your own playing.  I also wrote countless notes into my Barret etudes, solos, etc,  but these were some of the recurring ideas. Overall,  the teachers demonstrated and sought in the students really thoughtful, elegant playing, producing a consistently beautiful sound quality from graceful beginnings of notes, a consistent line where no notes unnaturally stuck out of the line, to tasteful ends of phrases.  These reminders have made my practicing since camp very enjoyable!

A piece of our oboe heritage: an oboe played by Marcel Tabuteau,  former oboist extraordinaire of the Philadelphia Orchestra  and instructor of the Curtis institute.  He is also my oboe "grandfather"/grandteacher.


 The only difference in camp since Mr. Mack's passing is that (in my estimation) despite REALLY, REALLY fine teaching,  a few of the students were a little too "young" to be there. These were the folks who only seemed engaged when they or their oboe "friends" were playing, and didn't understand that there was something to learn from EVERY player.  Some actually skipped class or  sat in the back and played games on their cell phones,  etc during the masterclass sessions (I can't even IMAGINE anyone being foolish enough to do that during Mr. Mack's time!!!!!).  I hope in time these young students learn that there's something to learn from every camp member,  and grow to seek out more from the camp experience.  If you're a talented high school student, but are looking for a "camp"  that give you lots of free time or structured "fun" activities beyond the oboe-intensive instruction,  JMOC might not be for you just yet.  However,  if you are student,  professional or enthusiastic amateur who wants to have contact with some of the world's finest oboists who will generously impart their knowledge to you for hours on end so that you can improve LOADS in a short time,  this camp is for you.

Gotta get back to practicing--I'm inspired and want to incorporate lots of great ideas from JMOC!

Oboe and out,

The Oboist
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5 Ways to Instantly Improve Your Oboe Playing

July 6, 2013, 1:52 pm
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 The path to becoming a great musician doesn't just happen;  it comes from consistently making choices during every practice session that slowly take you to your goals and dreams. Here are 5 suggestions that I encourage you to incorporate into your daily learning sessions that will immediately help you improve.
     
     1. Practice long tones (dynamic sound shapes) EVERYDAY for at least 5 minutes to try to produce a sound that is a little louder and a little softer, more resonant, and more beautiful than the day before. Then use this capability as the basis of all phrases that you play to shape beautiful music, not just notes.

     2.  Use more air. (Sigh. 99.9% of my students have heard me say this repeatedly!) Potters use clay to shape their ideas, a sculptor may use stone and a chisel. We use air as our medium. Air is the fuel that carries our creative ideas into actual sound. Chances are YOU can use MUCH more air to instantly improve your pitch, response, and sound.

     3.  Sit/stand using good posture and release all unnecessary tension in your body. Less is more.

     4. Always use a metronome while learning new pieces and at least 50% of the time for the pieces you already know. Metronomes are an unsympathetic tool to help us identify if we are keeping a steady beat, counting rhythms correctly, and give structure to our internal subdivisions.  You're either playing it in time or you're not,  but you'll never know if you don't turn that metronome on.


     5.  Listen.  Listen to great artists: violinists, pianists, singers, and yes, oboists.  Really listen,  to all of the beautiful nuances, stylistic ideas, diverse repertoire, etc and use their ideas to inform and challenge your creative musical thinking.The work of others can be incredibly inspiring and illuminating into what is possible.  Then listen to yourself and be an honest critic. Next step: create music that is more exquisite than anything that has previously been recorded.

 If you follow these 5 suggestions, you'll be a much better player in a week. If you follow these ideas over the course of a lifetime, I'll be searching out your professional recordings!

Now stop trolling the internet and get practicing. :)

Oboe and out,


The Oboist




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Circular Breathing: A necessary skill for comfort and peace of mind

July 12, 2013, 10:22 am
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We're lucky that circular breathing is relatively easy to do on the oboe, especially compared to the flute or tuba! In fact, I believe that circular breathing, while not often used or taught by teachers of the last generation, is a skill that is absolutely necessary for all advanced oboists in our time (along with double tonguing).

So what is circular breathing?  Circular breathing is a means of breathing in and out of your nose while STILL maintaining sound on the instrument.  To circular breathe it is useful to understand that we have two types of "bellows" to hold and push air out and into our reeds. This first is of course your lungs,  which you usually use to play oboe. The second bellow is your cheeks, which will fill with air and quickly push air into your reed as you rapidly inhale through your nose during circular breathing.

Why/when should one use circular breathing? You should use circular breathing to not interrupt a long musical line and when you feel winded/tired but otherwise don't have time or a musically proper place to break the line.  I avoided learning how to circular breathe for a LONG time, thinking it was merely a "circus" trick and would practice a few exercises then put it away. It wasn't until I programmed a recital piece (the Silvestrini Etudes) that absolutely required circular breathing so that I was forced to really learn it. I'm so very glad that I acquired this new skill and I can't imagine playing without it now. Gone are the days of feeling absolutely out of breath after long passages. Circular breathing gives me a real sense of comfort,  knowing that no phrase is impossibly long since I can breathe at will with very little effort and feel fine.

If you don't already circular breathe, the following exercises will have you up and at 'em in no time. Of course,  like almost everything pertaining to the oboe, you'll first need to first arm yourself with a good dose of patience and persistence. (I know, I know, I've said that a lot before,  but it's so TRUE!) I've created a series of exercises to teach this skill and hope you find this helpful.


Exercises without the oboe

First isolate the use of your cheek bellows
1. Fill cheeks with air and hold it there.
2. With cheeks filled with air,  breathe in and out from your lungs through your nose.

Now use your cheeks as a bellows.
1. Fill cheeks with air and push the air out through your lips.
2. Try this again, pushing air out of your cheeks while you inhale through your nose.
    For some of you this is the most difficult step. You can try putting your hands on your cheeks to        
    actually "squeeze" or manually remove the air out of your cheeks as you inhale air through your  
    nose.
3. When your air is all out of your cheeks,  begin blowing air out from your lungs. This is step of   expelling air from cheek bellows and changing to expelling air from your lung is often a very tricky step for some. Again, try to make this transition as quick as possible. When first learning, you may notice a difference in air support. The air from your lungs will likely have more air support than your cheek bellows. Try to really pressurize the air from your cheeks so that the support is similar to your lung/abdominal air support.  This will make the transition of expelling air from  your cheeks to your lungs smoother and when playing the oboe the pitch and sound will be more similar.


Once you've mastered the above techniques,  you'll need two tools to practice: 
 A cup half-filled with water
 A straw


1. Place the straw in the water and begin blowing through it to make bubbles.
2.  As you continue to blow through the straw with air from your lungs, VERY quickly fill your cheeks with air.
3. Engage your cheek bellows to push air out of the straw while you rapidly breath in through your lungs.
4. Finally, transition from expelling air from your cheek bellows to your lungs again.
If you are circular breathing correctly,  there should be constant air bubbles moving into the water. If the bubbles stop,  you're likely not making a transition from one bellows to another quickly enough. Go back to the first exercises above to refine your skills. (This exercise can be a really amusing bar trick to amaze your non-musician friends!) :)

Once you've mastered this step,  try circular breathing on a reed only.

1. Place the reed in your mouth  and begin blowing through it to make sound.
2. As you continue to blow through the reed with air from your lungs, VERY quickly fill your cheeks with air. The sound should never stop.
3. Engage your cheek bellows to push air out of the reed while you rapidly breath in through your lungs.
4. Finally, transition from expelling air from your cheek bellows to your lungs again.

There should be constant sound through this exercise. You may notice a change in pitch as you change from cheek to lung bellows,  but try to minimize any differences.

Finally, we get to the oboe!
Place the reed in your mouth and try the last exercise again. There will be more air support needed now, so really try to push air out of your cheek bellows quickly with a lot of support from your cheek muscles.

In music, first try circular breathing through long trills where no one will notice any potential changes in  pitch very well. Then,  add circular breathing in to places where you have long notes in loud passages where you might not be heard by others. Next try adding in your new skill while playing scales, etc. I only circular breathe during slurred passages,  but these are often not hard to find.

If you find yourself out of breath after practicing circular breathing,  you likely aren't taking in enough air in your quick inhalation. Practice taking in more air into your lungs or circular breath more frequently.

Another use for circular breathing: EXHALATION
One of the difficult parts of playing oboe is getting out unused air. At breath marks,  the first thing we do is to exhale old air and then inhale new air. But if you feel like you have too much used/old air in your lungs,  you can use circular breathing to EXHALE through your nose as well.  I often use this trick when circular breathing for long periods of time or anytime I start to feel winded and too full of "old" air.  That way on your next inhalation you can take in much more fresh air. This feels GOOD.

That's it. Hope this helps!

Oboe and out,

The Oboist



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Dynamics don't mean a thing

July 18, 2013, 11:16 am
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While working with a student chamber music ensemble recently, one student commented that as a group they could have done more with the dynamics.  This student is a fine musician and a bright person, but he/she (like tooooo many musicians) missed the point.

The newly formed trio had just played a piece and it was indeed lacking something, but dynamics wasn't it.  To me, the generic word "dynamics" is misused ALL the time to actually represent the idea of musical understanding or expressive playing.  Think of the last time that you heard a GREAT performance.  Were you ever thinking,  "wow, those DYNAMICS were AWESOME"?  Doubt it.  More likely, the performer's clarity of interpretation, the way he/she conveyed the emotion, structure and meaning of the piece with finely crafted phrases, attention to utilizing great technique, intonation, timbral choices and conviction of playing were what you found meaningful.


I explained to the group that if they KNOW what they WANT to express in a given piece of music and play it with conviction, then "dynamics" as a stand-alone idea don’t really exist.  More often, dynamic indications, along with tempo and articulation markings, are used to enliven the composer’s expressive ideas and help define the overall character of a piece, not solely a change in volume. A dynamic marking at the beginning of a piece, along with the tempo indication or other descriptive words helps to reveal the mood and character of the work.  When used at the beginning, middle and ends of phrases, the composer is indicating the scope of a gesture. For instance, a phrase that builds from pianissimo to fortissimo at the highpoint will carry much more emotive/expressive power than one that only moves from pianissimo to piano. Sudden changes in dynamic markings help to indicate a change of mood, character, etc. (These are often accompanied by different articulation marks, so notice those too!)

Dynamics are a natural part of expressive playing, but without understanding the phrase/piece, you might as well be turning a volume knob on a stereo. It can get louder or softer, but you have to think about WHY you want to make those choices.

So, instead of saying,  “we should play with more dynamics,” replace that with either,  “we’re not playing this with the expression that this piece needs” or “we don’t yet entirely know what we’re trying to express.” Then get back to work studying the piece and make some MUSIC.


Oboe and out,

The Oboist






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Practicing: the oboe doctor's prescription for optimal improvement

July 23, 2013, 7:49 am
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Practice.  It's what gets us to Carnegie Hall,  makes permanent (not perfect), and how we oboists spend many hours of our lives.

But what are you actually doing during that practice time? Sitting in a practice room with your instrument at your face making sounds for hours at a time each day doesn't magically get you to your dreams.   (Believe me,  I tried that for quite some time when I was younger!)

A bassoonist in undergrad used to proclaim as he headed to the practice rooms, "I'm going in there to get AWESOME!!" For this "awesomeness" to be achieved though,  it helps to have a plan. Below are six ideas to incorporate to help you progress and a practice "prescription" to provide structure to your practice sessions.

1. Identify your goals: both short and long term
2. Identify how you are going to reach your goals
3. Practice with your goals in mind
4. Observe and assess your progress
5. Reflect on your practice session
6. Plan your next practice session: give yourself a practice "prescription"


1. Identify your goals: both short and long term
Maybe it's a question of fate or free will,  but I believe that you have some control over how you design your life. I'm always reminded of John Updike's novel, Rabbit, Run.  The protagonist in the novel is on the run at a gas station when the station attendant asks him,  "where do you want to go?"and Rabbit responds with something like,  "I don't know." At that the attendant quips, "The only was to get somewhere, you know, is to figure out where you're going before you get there." I read this over 2 decades ago,  but the idea really stuck!

Identify your long-term goals first,  then develop a plan of attack for reaching them. Think about what you want to be doing over the years. Maybe you want to enjoy the oboe, perform in your community/church and have a career outside of music. Maybe you want to be a school music teacher. Maybe you want to perform in a world-class symphony orchestra or chamber ensemble. I clearly remember writing in a high school English class as a sophomore that I wanted to perform, teach oboe at a college,  and I wanted to make a difference in the lives of musicians. At the time I had no idea how to get there, but over time (a decade!) I made choices that prepared me for all of these things.

Whatever you decide you want to do, be realistic about your goals. If you set your goal to play Principal Oboe in the New York Philharmonic by the time you are 22,  you'll have to realize that Liang Wang expertly fills the principal role in the orchestra and will likely stay there for his career. Your chances of winning a position in a major symphony are almost as good as winning the lottery,  so cultivate your playing to the highest level but keep an open mind as to how you might contribute your talents to the world. 

Be flexible too,  as your goals may change over time as opportunities arise. Life presents us with many doors, and when we are presented with new opportunities we sometimes can't see how all of the passageways will connect to our goals.  There so many ways to create a meaningful life with music,  but you have to be open to creating them.

Next,  identify your short term goals. These are the small steps that build and lead you to your bigger goals. Some short term goals may be to increase your practice effectiveness, develop better technique, fix embouchure problems,  learn a specific piece/set of etudes, seek out and get into a summer festival, prepare for a successful college audition, etc., etc. Come up with goals that are attainable over a few weeks or months. These short term goals will give your practice sessions a daily purpose and (hopefully) motivate you to practice.

2. Identify how you are going to reach your goals.
If you are a student,  a teacher can help you with this part, but draft a plan for yourself first to present to your teacher. This shows initiative and will be a very useful skill to develop when you don'd have a teacher.  If you are on your own and don't know how to reach your goals,  talk to other musician colleagues to help you with some ideas. Or,  write me with your your proposed plan of attack and I'll happily give you feedback.

3. Practice with your goals in mind
This part is up to you.   Constantly be mindful of the big ideas you want to concentrate on.  If your teacher is working with you on air use or embouchure formation, etc,  bring your attention to these ideas as you practice through your technical exercises, etudes and solos.  Have you heard the saying,   "you can bring a horse to water,  but you can't make them drink"? If you have goals and know what you have to do to achieve them,  it's up to you to get practicing to go get them!

Keep your practice prescription handout (below) on your stand to keep you on track. Jot down questions and observations that arise during your sessions. This will help with #5,  as you reflect on your session and also be something to share when your teacher asks in your next lesson, "how did your practice sessions go? Do you have any questions for me?"

4. Observe and assess your progress during your practice session. 
Far too many students leave the assessment part to their teachers.  How many times have I heard a student stink it up playing wrong notes or rhythms and then look helplessly at me for help when they already know the problems?   The purpose of a lesson is to bring problems to your teacher that you haven't yet found ways of conquering for their suggestions,  and to also receive feedback/ideas that you haven't yet considered.  I can't underscore the importance of the last sentence!! That way lessons are a time for learning NEW IDEAS/SUGGESTIONS,  not a rehashing of something you've already heard (this is a waste of your time for both you and your teacher if you want to make optimal improvement!)

 The sooner that you take responsibility for your own improvement, the faster you'll find yourself making REALLY MEANINGFUL progress.

One way to assess yourself is to record yourself and listen to it.  Really listen. Then assess what you heard. Are the notes in tune and is the rhythm absolutely accurate? Is there clarity in your attacks, and all articulations in general?  Are your musical/expressive intentions as obvious in your recording as you thought they were while you were performing it? (This last one is often eye-opening!!)

It's best to record only a few minutes of music in each practice session. First,  if you record your entire practice session,  then you'll have a few hours of listening to do,  and who really has time for that?  Second,  by recording only a few minutes,  you'll be able to really critically identify a few key areas to immediately improve upon during the same practice session.

Take a few minutes to practice through the section again. Use a metronome, use a tuner, bring your full awareness to what you are doing physically and creatively.  Then re-record yourself.  Did you fix the issues? If not,  practice some more, re-record, and repeat the assessment. If your practice methods don't seem to be creating improvement,  discuss this with your teacher/mentor/fellow musicians for suggestions. Using a recording device for just a few minutes each day can bring huge improvements to your ability to listen to yourself and take responsibility for your progress.

Another way is to develop in yourself the ability to critically listen to yourself while playing. Almost as if you are listening from outside of your own body.  If you hear things that need improvement,  do your best to make those changes as you play.  This brings an immediacy to your awareness on what to improve. Then go back to the problem areas and re-work as needed.

A third way to assess how your practice is going is to play for another friend/colleague. You may *think* you have totally mastery of a difficult passage,  but can you play it in front of someone else?  If you are a college student have a few practice buddies, friends with whom you play a little of  your lesson material for each week. We sometimes did this at Indiana University during my undergraduate years on the day before our lessons and it really paid off! An oboe buddy would listen to me and try to think about what Marc Lifschey, our oboe professor, would say.  It helped us listen more critically, anticipate what our teacher would say (and fix the problems so he *hopefully* wouldn't have to say them! ), and taught us how to give constructive criticism to one another. Win, win, win!

5. Reflect on your practice session and use this to inform how you will structure your next practice session. Spend a few moments to think about what went well,  what went better than expected, and what went worse than expected. 

 6. Plan your next practice session: give yourself a practice "prescription"
This is a fluid process, one that might change day-to-day to meet your specific needs.  If your technical studies didn't go so well,  maybe they need to be practiced a little slower/differently next time. Or, if something went better than expected,  try to figure out WHY,  then incorporate  this technique for future sessions. Most importantly,  write your next prescription down at the end of your practice session so that you have a clear idea of what you want to accomplish before your next session even begins. 

I've drafted a Practice Prescription below for a week of learning. This is organized for someone taking weekly lessons with a teacher, but feel free to modify it to best suit your needs.  For instance,  if you are not taking lessons,  you obviously won't need that part. Or,  if you are focusing on solo repertoire or orchestral pieces instead of etudes,  your prescription will look slightly different than this one.

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Practice Prescription
Date:
New ideas from last lesson:

Short Term Goals— for the next few weeks and what you are doing to achieve them:


Long Term Goals—over the semester and years and what you are doing to achieve them


Day 1:
Practice Prescription for today: list the time you anticipate to spend on each of these segments, specific pages or sections to learn, main ideas to concentrate on, metronome speeds, etc.
Warm Up:

Technical Studies:


Etudes:

Solo Repertoire:


Ensemble music (chamber and large ensemble):


Other:

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Assessment:record a short portion of your practice session (1-5 minutes). What did you learn from listening to this? What are you most proud of? What needs the most work? Practice the segment then record again.  Have you noticed any improvements?  How will this inform your next practice session?


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Reflection: take a few minutes to think about how your practice session went.  Assess what went well, better or worse than expected? How will this inform your next practice session?

Before you end your practice session, use what you’ve learned from the reflection to fill out your practice prescription for tomorrow.

Day 2:
New ideas from last lesson:

Short Term Goals— for the next few weeks and what you are doing to achieve them:


Long Term Goals—over the semester and years and what you are doing to achieve them


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Practice Prescription for today: list the time you anticipate to spend on each of these segments, specific pages or sections to learn, main ideas to concentrate on, metronome speeds, etc.
Warm Up:

Technical Studies:


Etudes:

Solo Repertoire:


Ensemble music (chamber and large ensemble):


Other:

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Assessment:record a short portion of your practice session (1-5 minutes). What did you learn from listening to this? What are you most proud of? What needs the most work? Practice the segment then record again.  Have you noticed any improvements?  How will this inform your next practice session?


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Reflection: take a few minutes to think about how your practice session went.  Assess what went well, better or worse than expected? How will this inform your next practice session?

Before you end your practice session, use what you’ve learned from the reflection to fill out your practice prescription for tomorrow.

Day 3:
New ideas from last lesson:

Short Term Goals— for the next few weeks and what you are doing to achieve them:


Long Term Goals—over the semester and years and what you are doing to achieve them


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Practice Prescription for today: list the time you anticipate to spend on each of these segments, specific pages or sections to learn, main ideas to concentrate on, metronome speeds, etc.
Warm Up:

Technical Studies:


Etudes:

Solo Repertoire:


Ensemble music (chamber and large ensemble):


Other:

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Assessment:record a short portion of your practice session (1-5 minutes). What did you learn from listening to this? What are you most proud of? What needs the most work? Practice the segment then record again.  Have you noticed any improvements?  How will this inform your next practice session?


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Reflection: take a few minutes to think about how your practice session went.  Assess what went well, better or worse than expected? How will this inform your next practice session?

Before you end your practice session, use what you’ve learned from the reflection to fill out your practice prescription for tomorrow.

Day 4:
New ideas from last lesson:

Short Term Goals— for the next few weeks and what you are doing to achieve them:


Long Term Goals—over the semester and years and what you are doing to achieve them


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Practice Prescription for today: list the time you anticipate to spend on each of these segments, specific pages or sections to learn, main ideas to concentrate on, metronome speeds, etc.
Warm Up:

Technical Studies:


Etudes:

Solo Repertoire:


Ensemble music (chamber and large ensemble):


Other:

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Assessment:record a short portion of your practice session (1-5 minutes). What did you learn from listening to this? What are you most proud of? What needs the most work? Practice the segment then record again.  Have you noticed any improvements?  How will this inform your next practice session?


***************************
Reflection: take a few minutes to think about how your practice session went.  Assess what went well, better or worse than expected? How will this inform your next practice session?

Before you end your practice session, use what you’ve learned from the reflection to fill out your practice prescription for tomorrow.

Day 5:
New ideas from last lesson:

Short Term Goals— for the next few weeks and what you are doing to achieve them:


Long Term Goals—over the semester and years and what you are doing to achieve them


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Practice Prescription for today: list the time you anticipate to spend on each of these segments, specific pages or sections to learn, main ideas to concentrate on, metronome speeds, etc.
Warm Up:

Technical Studies:


Etudes:

Solo Repertoire:


Ensemble music (chamber and large ensemble):


Other:

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Assessment:record a short portion of your practice session (1-5 minutes). What did you learn from listening to this? What are you most proud of? What needs the most work? Practice the segment then record again.  Have you noticed any improvements?  How will this inform your next practice session?


***************************
Reflection: take a few minutes to think about how your practice session went.  Assess what went well, better or worse than expected? How will this inform your next practice session?

Before you end your practice session, use what you’ve learned from the reflection to fill out your practice prescription for tomorrow.

Day 6:
New ideas from last lesson:

Short Term Goals— for the next few weeks and what you are doing to achieve them:


Long Term Goals—over the semester and years and what you are doing to achieve them


***************************

Practice Prescription for today: list the time you anticipate to spend on each of these segments, specific pages or sections to learn, main ideas to concentrate on, metronome speeds, etc.
Warm Up:

Technical Studies:


Etudes:

Solo Repertoire:


Ensemble music (chamber and large ensemble):


Other:

***************************
Assessment: record a short portion of your practice session (1-5 minutes). What did you learn from listening to this? What are you most proud of? What needs the most work? Practice the segment then record again.  Have you noticed any improvements?  How will this inform your next practice session?


***************************
Reflection: take a few minutes to think about how your practice session went.  Assess what went well, better or worse than expected? How will this inform your next practice session?

Before you end your practice session, use what you’ve learned from the reflection to fill out your practice prescription for tomorrow.

Day 7:
New ideas from last lesson:

Short Term Goals— for the next few weeks and what you are doing to achieve them:


Long Term Goals—over the semester and years and what you are doing to achieve them


***************************

Practice Prescription for today: list the time you anticipate to spend on each of these segments, specific pages or sections to learn, main ideas to concentrate on, metronome speeds, etc.
Warm Up:

Technical Studies:


Etudes:

Solo Repertoire:


Ensemble music (chamber and large ensemble):


Other:

***************************
Assessment:record a short portion of your practice session (1-5 minutes). What did you learn from listening to this? What are you most proud of? What needs the most work? Practice the segment then record again.  Have you noticed any improvements?  How will this inform your next practice session?


***************************
Reflection: take a few minutes to think about how your practice session went.  Assess what went well, better or worse than expected? How will this inform your next practice session?

Before you end your practice session, use what you’ve learned from the reflection to fill out your practice prescription for tomorrow.

What questions/comments/observations do you have for your next lesson based on your week of work?



Keep your practice prescriptions in a binder and place the daily prescription on your stand next to your music. That way your goals will always be right in front of you and you'll have a place to write down ideas and questions as they arise. Over time the prescriptions will become like a sort of diary that traces your learning and improvement.

I hope you find this helpful for your progress. Now go get awesome!


Oboe and out,

The Oboist
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The Musician in Training: Some advice for the new school year.

August 14, 2013, 2:40 pm
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Summer is sadly winding down,  but many of us are looking forward to a new semester.  I always think the new academic year in early fall is a time of great excitement and renewal, and for me is like   most people'sNew Year's Day on January 1st.  It's a time to reflect on past accomplishments and consider how we want to improve ourselves and our careers. With that in mind,  I thought I'd write a post to all of you music students out there with a little advice on being a student.

(I got to the "22nd grade" as a doctoral student,  so I had lots of experience!)


  • First and foremost, remember that you are both a student scholar and a  musician in training. Keep your goals in mind with all that you do.

  •  You'll likely have some auditions at the beginning of the school year for ensemble placement. This isn't a test to see how you match up with others in your studio or school. This is an opportunity to test YOURSELF to see how much you've improved. Don't compare yourself to others or be jealous if someone gets a better placement than you. Only compare your playing to where YOU want to be. And I don't mean who gets first chair, etc. That's petty stuff that no one cares about in the really big picture. Think about skill attainment, improvement on  specific techniques,  repertoire that you want to master, opportunities to seek out, etc. Then go get it! 

  •  Get organized! Write out your schedule in a weekly calendar. Know when your classes are and then WRITE in the times that you plan to STUDY and PRACTICE and MAKE REEDS. Then stick to it. 

  •  No really, I mean it. Stick to your schedule. That way you'll look back on the day with a sense of accomplishment instead of feeling behind. 

  • Find a quiet place to study, away from the music building, reed room, or any other distractions. The school library is built for this! Use that time to really study and learn all that your classes have to offer. Turn off your cell phone. As a scholar in training, your study time is yours alone.
  •  If your teacher asks you to purchase specific music and reed materials, do so!  If some of the materials are too expensive for you,  be honest and TELL your teacher that you have financial constraints. They can often help you come up with an alternative plan or order fewer supplies, etc. But if you don't tell the teacher and don't show up to reed class or lessons with the proper music/supplies,  it will just seem like you're not interested or unorganized. For music, order it through interlibrary loan until you can buy your own. Find a way to work around your problems.
  •  Realize that your teacher has your best interests in mind. When your teacher gives you an assignment that you don't like,  don't whine or avoid it. Your teacher was a student at one time too, but they also know from direct experience what it takes to get a job. Listen to what they have to say and do what they assign.

  • If you don't understand what your teacher is teaching you, ASK for clarification. Even if you think you'll feel/ look "dumb." You only look "dumb" if you DON"T ask,  because then you'll surely not   understand the concept. Teachers are here to help you and usually like to know when they need to clarify a point.

  •  Never be afraid to stop in a professor's office hours. Stop in for extra questions and help. Really,  PLEASE! I can't tell you how many times I've had no students stopping in during office hours even though I KNOW some students are struggling. Office hours are YOUR time that you've PAID for as a student.  

  •  Minimize distractions while practicing. Turn off your cell phone. If there's a window on the practice room door, either put paper over it or turn your back to it so you don't see other students in the hall. Resist the urge to chat half of your practice away with others in the practice room areas. You can't count that time as practice! And let your friends know that when you're practicing, to not disrupt you. When you are in the practice rooms......practice.

  • Get enough sleep. You're probably thinking,  "yeah right!  I'm a busy music major! We don't sleep!!" If you have a schedule, stick to it, and still don't have time for everything you do,  then do less. Cut out the extra clubs, gigs, etc until you have a sustainable life. Remember that this is YOUR time as a musician in training to learn as much as you possibly can.

  •  Eat well. The junk food you've eaten as a teen won't sustain you very well as a musician in training. You're an adult now.  Eat veggies and fruits and only consume as little caffeine as is necessary (it can really affect nerves/performance anxiety). Foods with lots of sugar and fat will only make you feel lethargic and unfocused. So very not fun.

  •  Get some exercise. Add it into your schedule. As a college student you likely have a recreation center/pool/fitness classes that are really affordable. Use these resources to become a strong, healthy scholar musician in training. This will have important benefits for years to come. At the very least, take short practice breaks by taking a walk. Get out of that music building and breath some fresh air. The exercise will clear your mind and help you focus on your next endeavors as a scholar and musician in training.

  • Your fellow students are your colleagues NOW and are your FUTURE colleagues/contacts in our great profession after you graduate. Be supportive of one another and learn from each other! You'll be amazed at how many doors can open to you by being a good person and reliable colleague NOW. That big job you apply for just might have a former classmate on the hiring committee. They'll likely remember you, so make sure it is a positive memory. 

  • Form study groups with the strongest students. Learn how they learn. Take mini lessons from older students whom you admire. Learn how they learn.

  • Be kind to those struggling; they may not have had the advantages you've enjoyed. Share with them what you know and teach them how to succeed.
  • Work hard, but enjoy the process. Have fun with your fellow classmates and make some great music!


That's all for now. I'm SURE I'll have more to share soon.

Oboe and out,

The Oboist





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UWEC Double Reed Day is Sunday, October 27th!

September 4, 2013, 3:25 pm
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Come join us for a day of double reed-filled fun in the Haas Fine Arts Center at the University of Wisconsin, Eau Claire! All ages, levels, and backgrounds of oboe and bassoon players are welcome to attend. The day will begin with UWEC double reed faculty performing a short recital to welcome everyone to the day. Then we’ll break into smaller groups with sessions of specific interest for bassoonists and oboists. After lunch we invite all of you to participate in the rehearsal for massed double reed ensemble led by Dr. Stewart, UWEC director bands. After the rehearsal the UWEC faculty will lead masterclasses for both oboe and bassoon. The day concludes with our massed double reed ensemble concert. Throughout the day specialists from Midwest Musical Imports (mmimports.com) will have new instruments to try, as well as tools and accessories for purchase.

We hope to see you there!  Don't forget to register by Oct. 15. You can register by emailing me:
garveycn(at)uwec.edu


Oboe and out,

The Oboist







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Are you avoiding articulations?

September 23, 2013, 12:01 pm
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Hi All-

After a year sabbatical,  I'm back teaching. I'M SO HAPPY TO BE BACK AT SCHOOL WITH MY UNIVERSITY OBOISTS!  They're great people and I learn SO MUCH from them!

In our first week of lessons,  my students inspired me to produce numerous  blog topics, including vibrato (this will be a multipart post coming up), resonance, beginning notes from silence, and avoiding articulations.  So much inspiration, so LITTLE TIME. I'll get to all of these topics and more,  but please be patient since I'm inundated with teaching oboe, aural skills courses, an American music course, chamber music, performing recitals, having great rehearsals with colleagues, attending meetings, meetings, meetings, and grading, grading, grading, grading.  It's all good stuff,  but...

But here's the first gem: Avoiding articulations.

So a lovely new student was playing a Barret etude in her lesson and it was quite good. Except, most of the articulations were ignored. This got me thinking:

Just like there are people in the world who press the SNOOZE button and those who never do,  there are oboists who either ALWAYS play the correct articulations, or others who seem to make articulations up as it pleases them.  And you know who you are, dear readers!

So, the question is: WHY do some oboists avoid articulations.  It's easy to just think that it is a matter of not noticing,  but I believe the issue is usually much deeper. I think it is actually a matter of AIR USE.
Now stay with me here.

As a student is learning to play oboe,  most are not taught that articulated notes on the oboe need really good air support. If there is inadequate air support,  the reed will usually fight back, either making a resistant sound, not sounding at all, or squawking. By increasing one's air pressure through the reed and maintaining good support, then this will go away. You also must make sure that the reed is not too resistant, etc.

But,  if you never really learn this, you'll likely not have consistent and clean articulations. So it sounds better to slur notes instead. And hey,  your band director probably won't notice anyway, because there's 10 million other things on their plate.

So you've just instilled a habit:  avoiding articulations because it sounds better and is easier if you don't have good air support.

The next question is how to replace this habit, right?
Awareness is the first step. Notice if you are consistently avoiding articulations. Then go back and read my posts on air support and breathing:

air assignment #1
breathing--the nuts and bolts

Then,  BLOW MORE CONCENTRATED air through your oboe. Really fill the instrument with a big, resonant sound. Then make just one articulation. Notice how much easier it was with adequate air use?  Cool, huh?

Then try articulating multiple notes. Not so hard anymore, right?  Now, go back to your practicing and ENJOY every opportunity for articulation that your music provides.

Enjoy,

The Oboist



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So excited to meet new oboists this Sunday

October 22, 2013, 7:56 pm
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Hi All-

Taking a quick break from grading midterm exams to write a quick note. I just have to share HOW EXCITED I am about our upcoming Double Reed Day at UW-Eau Claire this Sunday, Oct, 27th!
I'm really looking forward to meeting new oboists, presenting a masterclass, and performing some music together.

I'm also really IMPRESSED with my UWEC oboe students.  When I  asked them if they'd like to lead short presentations on a topic of interest, I had NO IDEA they'd be so enthusiastic to suggest presenting on topics such stage presence, air use, reed care and selection, how to practice, instrument care, etc.  They just kept coming with good ideas! Our students are so very busy,  but it's really heartwarming to see their enthusiasm to share their expertise with other oboists as well.  They've carefully honed their presentations and have great information to impart. Yay to my great students!

And,  thanks to the suggestion of OboeForEveryone member Elias from Syria, who asked that we video record and share the day with everyone,  please know that we'll be recording the day and will upload the videos for akk to watch. Thanks for the suggestion and inspiration.

We have a good number of attendees pre-registered, but also know that if you'd like to register at the door, just show up to the Haas Fine Arts building (located at 121 Water St)  between 9:15-9:45 am on Sunday.  Feel free to email me with questions.

Hope to see you there!

Oboe and out,

The Oboist


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