 
|
|
Dear Guests, Welcome to my blog which I treat like a creative garden where I regularly plant and change this and that be it poetry, philosophy, an Oboe Brilliance lesson, an essay of some kind, or a journal about composing. Visit every Monday for oboe coaching which is also helpful for many melodic instrumentalists. Musically yours, Kathryn
|
|||
|
"How do you compose?" That is the most commonly asked question I hear.
This blog is a window into my creative process and philosophies as a composer and instrumentalist. At times it may contain music, photos, and poetry as well. May you enjoy, return, and benefit!   My Archives  September 2010 August 2010 July 2010 June 2010 May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 October 2009 September 2009
Oboe Brilliance: intonation lesson #3
Sirens and the Sea timing and atmosphere of listening Oboe Brilliance: intonation lesson #2 Last day of summer Music and integrity Oboe Brilliance: intonation lesson #1 new blogging schedule Music loft August 2009 July 2009 June 2009 May 2009 April 2009 March 2009 February 2009 |
Oboe Brilliance: intonation lesson # 1 © Kathryn Potter 2009 www.kathrynpotter.com
In order to develop an ear for playing in tune, I am making specially created drones along with instruction available for musicians on line. Playing alone, or with drones without instruction is almost always insufficient for developing a strong ear liberating the musician to play in tune!!!! Much to my great dismay, most student musicians (and too often professionals) who think they are playing in tune with a fixed provided pitch are in fact playing out of tune! YIPES! (@_@ ) How can this be? Well, it is most common for a musician to “float” right above the pitch so he/she can hear him/her self along with the fixed pitch. Superb intonation is a constant focus and supreme responsibility of an oboist!!! It is achieved through consistent aim, careful listening, and constant practice. Also, oboists need to keep up their chops so they don’t “bite” when their embouchure gets tired, thereby raising the pitch. Also, reeds change from minute to minute so an oboist can never safely assume playing in tune. An oboist has to always listen! (As always remember to use double “O” embouchure and a supper fast air stream, and consistent diaphragmatic support.) If an instrumentalist can hear both the fixed pitch and themselves, chances are, they are off the center of the pitch, and probably, sharp. When sounds merge so that the two separately created pitches sound like ONE note or one instrument with colorful overtones, not two sound producers, the chances are high that intonation is achieved successfully : ). When two people playing one pitch for instance look at one another wondering if the other dropped out, then they are finally in tune! In “La minor drone” (available on the music page) I have provided the pitches A and E (tonic and dominant) along with visiting guests of the A natural minor (not melodic) scale. Ascending and descending are comprised of the same pitches in this scale: la, ti, do, re, mi, fa, sol, la. PRACTICE: 1) Listening to this La minor drone, play A until you believe is in perfect tune, then – VERY SLOWLY - bend the note sharp(raised), back in tune, then flat (lower), then back in tune. You may notice that what you think is in tune disappears when you begin to lower it. Once you stop hearing yourself clearly, then you’re probably in the center of the pitch. (How sharp and flat you can make the note?) 2) Repeat this skill with E, and then as you wish, do your best to play the scale up and down. This provided drone is 5 ¼ minutes long. Once you’ve practiced this scale through, then I encourage you to... 3) improvising in A natural minor to your heart’s content. Go ahead. Spill your guts, pour out your heart, play melodies that would make angels weep or dance for joy. FEEL the individual character of every note and play as if it’s the last time you’ll ever play. 4) Sometimes, it helps to just listen to your instrument as if it is your best friend telling you a secret, and so you listen intently to the private character of your instrument as it sings each note. That is also a wonderful way to develop oneself as a musician. Have fun! All the best and musically yours, Kathryn Potter |
||
