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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
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"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
Poem: Save the Moon
Oboe Brilliance update unaccompanied solo commission special Monday Black Cat Waltz/commission special Sounds and Emotional Health Oboe Brilliance: Technical Elegance lesson #1 "Leap Frog" Monday Trick or Treat Waltz Oboe Brilliance intonation lesson # 5 C Major Monday encouragement and patience Tears of Contrition Oboe Brilliance intonation lesson # 4 Monday Thinking and happiness September 2009 August 2009 July 2009 June 2009 May 2009 April 2009 March 2009 February 2009 |
Oboe Brilliance: intonation lesson # 4
© Kathryn Potter 2009 Like most Oboe Brilliance lessons, this one is a continuation of the preceding lessons. Using the techniques of the previous lessons, now practice with the A Flat Major Scale drone. This drone, like the others is available on the music page of my website and has the image of the white flower. This drone is designed to be more useful in practicing intonation with all the notes in the major scale. I’ve found that getting the A flat and the G in tune require extra attention and practice. Remember to use a double O embouchure, a fast supported air stream, and to practice very slowly while listening carefully. Playing in tune is like aiming a bull’s eye and in order to hit the target of playing in the center of the pitch, careful and consistent aim is imperative. As an oboist, the considerations of the constantly changing reed and the endurance of the individual embouchure keeps influencing the pitch, so even if great intonation is achieved in the first 5 minutes of warm ups, no oboist can safely assume that stellar intonation is a given for the rest of the playing period. If playing in an ensemble, it is best to tune oneself to the lowest pitched instrument of the ensemble which is hopefully in tune! Enjoy your practice. Musically Yours, Kathryn Potter |
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