 | I offer lessons in:- Chamber Music Coaching
- Concert Band Conducting
- Orchestral Conducting
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Nobuo Kitagawa | Offering private lessons in
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| Reed Talk #12 – Knives for Shaping | Posted by Nobuo Kitagawa - August 4, 2008 - 1:02 PM
| | Gadget: Cutter Knives by OLFA or NT Cutter
Notes: When I moved to U.S., I was surprised to see my colleagues shaping cane with razor blades which looked very precarious. I grew up using hand-held knives what we call “sharp knife” or “cutter knife” in Japan. They are handheld knives with disposable blades with breakable sections (13). I found similar products here but blades weren’t as nearly as sharp. So, I used to have them sent from Japan or seek them out at Japanese bookstores in New York City. Thanks to internet, now I can order them with my heart’s content. One advantage of this kind of knife is that it’s far easier and safer to hold in the hand. Also, because the blades are narrower than safety razors, you can make a smaller radius that helps trace the “ears” (the top part) of the shaper tip far more accurately. I use the old blade for rough shaping, break off two sections, then finish it off with fresh sections of the blade. Shaping cane still requires a skill and concentration, but this type of knife should make your life easier.
There are two brands that are very similar: NT Cutter and OLFA. I believe NT Cutter is older but OLFA is more readily available here. Curiously, both companies are based in Osaka but I couldn’t determine their relationship. You can find OLFA knives and blades at OLFA site (olfablades.com) or from a variety of office supply stores. NT cutter products are also sold by many venders. Make sure to order the standard size knives not the heavy-duty ones. | |
| Reed Talk #11 – Razor Blade for Clipping Tip | Posted by Nobuo Kitagawa - August 1, 2008 - 7:02 AM
| | Gadget: GEM Personna safety razor by American Safety Razor Company
Notes: I didn’t know what a difference really sharp razors can make until Pedro Diaz introduced me to American Safety Razor Company’s GEM Personna safety razor blades. I can’t imaging clipping the tip with anything else. When I use this razor, the smallest of clipping seems to change the way the whole reed vibrates, not just getting a slightly shorter tip. They are so sharp that you can literally cut less than a hair’s width of cane with ease. They cut so precisely that, if you cut the tip at an angle, you can see the result clearly.
This particular razor is not always easy to find in brick-and-motor stores. I’ve only seen them at Duane Reade. Other chains sells ASR’s other GEM branded blades (such as Blue STAR or Industrial Blades) but they are far inferior. Don’t buy them. The package has to have the Personna moniker and the plastic casing is dark grey. If you cannot find them locally, you can try online retailers (Shenandoah Supply, planetrx.com, Amazon to name a few). | |
| Musicians’ Reference #2 – 150-Year Cycles | Posted by Nobuo Kitagawa - July 30, 2008 - 3:43 PM
| | Notes: Music history has a habit of going through (roughly) 150-year cycles. It’ll be quite a while before we know what to call our current period (assuming the same pattern works again). Stay tuned and get back to me in 90 years or so.
1450–1600: Renaissance
1600–1750: Baroque
1750–1900: Classical/Romantic
1900–2050?: ?? | |
| Oboe FAQs #4 – Wood or Plastic? | Posted by Nobuo Kitagawa - July 28, 2008 - 11:19 AM
| | Plastic Oboe
• Pro: Does not crack. Consistent quality. Last longer. Easy to maintain. No break-in period.
• Con: Doesn’t sound as good to the player. Some people may think you are not serious.
Wooden Oboe
• Pro: Better made and better sound on high-end models. Sounds better to the player.
• Con: Cracks. Inconsistent even among the same model. Constant care is needed. Instruments need to be broken in.
Notes
I generally recommend plastic oboes for beginners and wooden ones for more advanced players. One of the biggest drawbacks of wooden oboes is that they can crack. With proper repair, a cracked oboe can make a full recovery and sometimes it plays better. But it’s very traumatic and it often affects the resale value, not to mention the interruption in practice and performance schedule.
For the listener, usually there is very little difference between plastic and wooden instruments. But for the player, the difference is usually clear. When we hear a pleasant sound, we feel better, as a result, we tend to play better. For inexpensive instruments, plastic oboes are far more consistent in sound and over all reliability. However, there is nothing like a good instrument made of exceptional wood. Also wooden instruments are tended by more experienced hands. There are highly regarded professional plastic models (such as Yamaha), but the norm for high-end models is still wood.
To keep wooden oboes in good condition, they need to be played consistently. Unlike plastic instruments, neglected wooden oboes lose their value fast. I like to find used professional instruments for intermediate players, but, depends on how well they are kept, it can be very tricky to find good instruments. Also, brand-new oboes take 3 to 6 months to break in. When you try new instruments, you have to know that the sound you hear is not exactly the same sound a few months down the road. The sound generally opens up (for the better), but there is no guarantee.
As I understand, the top joint of the oboe itself vibrates very little. Rather, it mostly work as a resonating chamber. On the other hand, the rest of the instrument (particularly the bell) produces a great deal of vibration that affect the overall sound. As such, the combination of plastic top joint (which most likely to crack) and the rest in wood (many high-end makers offer that choice). If you are nervous about cracking but desire wooden instrument’s warm sound, it could be a choice to consider.
For further reading, Covey Oboe has a very good article on selecting instrument. | |
| Practice Tip #12 – Exercise as a Buffer | Posted by Nobuo Kitagawa - July 27, 2008 - 9:51 PM
| | Level: Intermediate to advanced
Applicable instruments: All instruments and voices
Descriptions: Benefits of incorporating stretching into practice is obvious, but it’s easier said than done in real life. What works for me is to have a set of exercises at the beginning of a practice session. When I have an hour or more to work, I make sure I’m all set (instrument/s out, reeds soaked, music, pencil, tuner, metronome, recorder all ready to go), then do a set of 5-6 minutes of various stretch exercises. Beyond the physical benefits, I find, with a good deal of attention paid to breathing, it works as a buffer between the chaotic everyday life and a quiet, sacred time of concentration. Lately, I added a few push-ups and sit-ups at the beginning of the routine, and it works wonders. A little exertion gives me the focus and I can enjoy the calming effect of stretching even more. Even after a stressful day, I find myself refreshed and ready to go. When I’m not sure whether I should practice or not (too stressed, etc.), I would at least do the routine. If I’m too tired or risk over-practicing, I’d know it right away. | |
| Essential Oboe Repertoire #2 – Bartók | Posted by Nobuo Kitagawa - July 13, 2008 - 4:23 PM
| | Level: Advanced
Applicable Instruments: Oboe
Notes: This is one of those pieces you play more often at auditions than in concert, but it’s well worth learning.
Concerto for Orchestra
• 1st movement – mm 155–175, 424–448
• 2nd movement – mm 25–44, 181–197
• 3rd movement – mm 10–22
• 4th movement – mm 5–12, 33–40, 62–69
• 5th movement – mm 188–195, 344–556 | |
| Essential Oboe Repertoire #1 – J. S. Bach | Posted by Nobuo Kitagawa - July 6, 2008 - 7:42 AM
| | Level: Intermediate to advanced
Applicable Instruments: Oboe, English horn, oboe d’amore
Notes: I decided to make repertoire lists for serious oboe players. Our first entry is works of Johann Sebastian Bach. Not only are they great pieces of art, but also they show up on audition lists.
[Oboe]
Cantata No. 12 “Weinen, Klagen, Sorgen, Zagen” – Sinfonia
Cantata No. 21 “Ich hatte viel Bekümmerniss” – Sinfonia and Soprano aria “Seufzer, Tränen, Kummer, Not”
Cantata No. 56 “Ich will den Kreuzstab gerne tragen” – Bass aria “Endlich, endlich wird mein Joch”
Cantata No. 82 “Ich habe genug” – Aria “Ich habe genug”
Cantata No. 102 “Herr, deine Augen sehen nach dem Glauben” – Aria “Weh Der Seele”
Cantata No. 140 “Wachet auf, ruft uns die Stimme” – Soprano/bass aria “Mein Freud ist mein, und ich bin sein!”
Cantata No. 156 “Ich steh’ mit einem Fuss im Brabe” – Sinfonia
Cantata No. 159 “Sehet, wir gehn hinauf gen Jerusalem” – Bass aria “Es ist Vollbracht”
Cantata No. 187 “Es wartet Alles auf dich” – Soprano aria “Gott Versorget Alles Leben”
Cantata No. 202 “Weichet nur, betrübte Schatten” (Wedding Cantata) – Aria “ Weichet nur, betrübte Schatten” and aria “Sich Üben Im Lieben”
Easter Oratorio – Adagio
Brandenburg Concerto No. 1 – Second movement
Brandenburg Concerto No.2 – Whole piece
Concerto for oboe and violin, BWV 1060 – Whole piece
St. Matthew Passion – Tenor/choir aria “Ich will bei meinem Jesu wachen”
Sonata in G minor, BWV 1030 – Whole piece
[English horn]
Cantata No. 1 “Wie schön leuchtet der Morgenstern” – Soprano aria “Erfüllet, Ihr Himmlischen Göttlichen Flammen”
[Oboe d’amore]
Magnificat – Soprano aria “Quia Respexit”
Mass in B minor – Aria “Qui sedes ad dextram Patris” | |
| Reed Talk #10 – Scranton and Nagamatsu #1 | Posted by Nobuo Kitagawa - July 5, 2008 - 9:23 AM
| | Gadget: Nagamatsu oboe shaper tip No. 1
Elevation: 800 to 1,400 feet
Temperature: 74ºF to 89ºF
Humidity: 46% to 77%
Notes: I had a chance to try my Nagamatsu no. 1 shape in Scranton, PA. As I suspected, it did better than in Weston, VT (ca. 1400 ft). The rehearsal was in a very hot (high 80ºF) and dry (high 40%) downtown Scranton (ca. 800 feet), and the performance was at a cooler (mid 70ºF), wetter (high 70%) outdoor venue at a higher elevation (ca. 1400 ft). The reeds maintained good pitch in the hot hall, and the higher altitude of the outdoor venue was mitigated by the higher humidity. The only problem at the rehearsal venue was that every one else was going up in pitch (particularly brass) and I had to push it up to keep up.
My reeds maintained good intonation and good sound, but they seemed unnecessarily stuffy and hard to tongue on the low register. Next time, I think I’ll try to gouge the cane slightly thinner (about .01 mm thinner) to see if it helps. | |
| Musicians’ Reference #1 – Numerical Prefixes | Posted by Nobuo Kitagawa - June 27, 2008 - 7:02 AM
| | Notes: The following is a list of number prefixes derived from Latin (L) or Greek (G), followed by commonly used examples.
½. semi- (L): Semitone (half step), semi-quaver (sixteenth note, British)
1. uni- (L), mono-(G): unison, monochord (used to demonstrate mathematical principals of musical sounds), monophonic
2. du- (L), di-(G): duet, diatonic
3. tri- (L/G): tritone, triad, triplet
4. quart- (L), tetra- (G): quarter note, quartet, tetrachord
5. quint- (L), penta-(G): quintuplet, quintet, pentachord, pentatonic
6. sex- (L), hexa-(G): sextuplet, sextet, hexachord
7. sept- (L): septuplet, septet
8. oct- (L), octa- (G): octave, octet
9 .nona- (L): nonet
10. deca- (G): decatet | |
| Repertoire ’n Things #2 – Reinecke’s Trio and The Lost Century | Posted by Nobuo Kitagawa - June 22, 2008 - 6:20 PM
| | Composer: Carl Reinecke (1824–1910)
Title: Trio in A minor, Op. 188 (1886)
Instrumentation: Piano, oboe, horn
Notes: Carl Reinecke’s trio is one of the rare late Romantic chamber work that uses oboe. While oboe was widely used in orchestra and opera throughout the 19th century, it nearly disappeared from chamber music of great composers of the time. Though Mozart and early Beethoven left great chamber music for oboe (octets, piano quintets to name a few), the vast majority of important composers in the 1800s left very few chamber work for the instrument. Schubert used oboes in his early chamber work but they are more of student compositions modeled after the Classical style. Schumann wrote one small work for oboe and piano (Romances) and Beethoven’s last chamber work with oboe was written in 1796. Wagner wrote a chamber work with oboe but it was more of a small orchestral work (due to space constraints) and Brahms wrote zero chamber music for oboe. While Reinecke was overshadowed by his younger contemporary, Brahms, he held professorship at Conservatorium in Leipzig and as the director of the Gewandhaus Orchestra, he premiered Brahms’ German Requiem. Also, he left a number of chamber music with wind instruments.
So, why was the 19th century the Lost Century for the oboe chamber music? There were plenty of pieces written by minor composers (Danzi, Reicha, et al) and performer/composer (Pasculli), along with a myriad of salon pieces. But none of the heavy hitters in the German tradition left much of oboe chamber music. One possible reason is that it’s in the very nature of Romantic music. Throughout the second half of the 18th century, the composers’ focus shifted from the counterpoint-oriented compositions, to harmony-centered ones. Whereas the Baroque counterpoint required instruments that can produce distinct lines, the harmony-centered Romantic writing demanded more blended sounds. Which meant instrumental groups that are more homogeneous (e.g. string quartet) or instruments that can blend with others well (e.g. clarinet and horn) became the predominant force. Oboe, with it’s strong odd-numbered overtones, excels at projection but not the best instrument to blend with others. Oboe was still well represented in orchestral work where it cut through the ever expanding string section, and in opera where it often represented vocal lines in overtures and played duets with vocalists on stage. When the late 19th century brought the strong reaction against anything Romantic, oboe came back with the vengeance. | |
| Repertoire ’n Things #1 – Françaix’s decatet "Seven Dances" | Posted by Nobuo Kitagawa - June 21, 2008 - 1:25 PM
| | Composer: Jean Françaix (1912–1997)
Title: Seven Dances from Les Malheurs de Sophie
Duration: 10–12 minues
Instrumentation: 2 flute, 2 oboe, 2 clarinet, 2 horn, 2 bassoon
Notes: The original ballet, “ Les Malheurs de Sophie” (“The Misfortunes of Sophie”), was written in 1935 and premiered in 1948 at Paris Opera. The ballet is based on the French children’s story about a mischievous 3 year old, Sophie, and her cousin Paul, and their misadventures. The arrangement for this chamber version was done by the composer himself and premiered in 1970 by Blaser Ensemble Mainz. It is a charming collection of seven of the dances, which is to be played one after the other. Unlike Françaix’s other daunting chamber work, this one is very approachable (a la Gordon Jacob). It’s much easier to work with a conductor, but it’s plenty doable without one given enough rehearsal time. Though not technically adventurous, every part gets fair share of solos; everyone has be on their toes. The piece is well within the reach of good high school wind ensembles, but it takes more advanced players to bring out all the subtleties of Françaix’s witty writing. | |
| Reed Talk #9 – Kinhaven and Nagamatsu #1 | Posted by Nobuo Kitagawa - June 18, 2008 - 5:54 PM
| | Tool: Nagamatsu Oboe shaper tip No. 1
Elevation: Circa 1,400 feet
Temperature: 62ºF to 76ºF
Humidity: 33% to 65%
Notes: I love using my Nagamatsu oboe shaper tips 0A and 0B. I use the narrowest 0A (zero A) for warm months on sea level. And I use the slightly wider 0B for the cold months on the sea level and most of the year in Lehigh Valley (ca. 400 ft. high). Every year when I go teach at Kinhaven Adult Chamber Music Workshop (at about 1,400 ft.), I have a very hard time making anything to work. This year, I decided to try a slightly wider shape with a slightly less open cane. I ordered Nagamatsu No. 1 shaper tip and I prepared a few reeds with cane with 11 mm diameter (I usually use 10–10.5 mm).
The result was...very close. The reeds had nice enough sound with good intonation, but the low register was still a bit treacherous. Weston had an unusually warm and dry week this year; during one afternoon, my thermometer/hygrometer read 76ºF and 33% humidity! It is possible that during a typical wet, cold Vermont summer weather, it might have worked. However, I might try a slightly bigger staple (I used Pissoni Deluxe) or try a slightly wider shaper next year. Stay tuned. | |
| Reed Talk #8 – New York Times Article “The Shaping of Oboe Reeds: Maybe It Is Rocket Science” | Posted by Nobuo Kitagawa - June 6, 2008 - 12:50 PM
| | Title: The Shaping of Oboe Reeds: Maybe It Is Rocket Science
Author: Malcolm W. Browne
Publisher: nytimes.com
Notes: A very well written article about reed making, oboe players and a mathematician spouse. The article is over 10 years old but it is completely relevant today. A wonderful introduction for general audience about the insanity of oboe reed making. A must read for parents, boy/girl friends and spouses of oboe players. Enjoy.
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| Reed Talk #7 – Chudnow Oboe E. Staple | Posted by Nobuo Kitagawa - June 6, 2008 - 12:10 PM
| | Make/Model: Oboe E. Staple by Mark Chudnow Woodwinds
Rating: C
Pros: Beautifully constructed.
Cons: Unreliable opening. Difficult to hold the reed during scraping.
Notes: If you’ve seen a Chudnow Oboe E. Staple once, it’s hard to forget. But it’s very hard to describe it to someone who’ve never seen one. I’ve heard some people comparing it to Seattle’s Bank of America Tower. It has no cork or cork-substitute, but in its place, two o-rings (with supporting structure) seal the space between the staple and the oboe. A very fine oboe player I know from New York City used to carried a reed case entirely populated by this staple. He wasn’t completely enthusiastic about the staple but he had beautiful tone and I was fascinated by the staple and I decided try it when I could. And I finally did a few months ago.
But it didn’t work for me at all.
I had nothing but wonderful experience with Mark Chudnow in person and through his web site. Mark is a very conscientious and meticulous person and I had a high hope for this product. This expensive staple is a beauty to behold. The surfaces are nicely polished inside out and the measurement from staple to staple is extremely consistent. The seal is wonderful and it’s easy to take it in and out of the instrument. However, when I inserted a plaque into the reed after opening the top of the reed, there was very little pressure “grabbing” the plaque. I tried tying cane at different length in .5 mm increments, but no success. Since there was very little pressure at the top, the opening of the reed was very unpredictable. Although it did not leak from the sides, as long as I was very careful, the reed opened too wide at the top and it was very hard on the embouchure. With unreliable opening, it was impossible to produce reasonably easy reeds with a C (or higher) crow. It was simply too hard to play and when I scraped it down to where I’d feel comfortable, the balance of completely off.
Another quibble I had was, with the lack of cork on the staple, it was very hard to keep a good grip during scraping. I know some people use a mandrel for scraping and I had considered trying it. But without compelling reasons, I was not ready to change a well-established habit. After a few weeks of futile attempts, I had to abandon the experiment.
I could imagine much softer (and/or thinner) cane with narrower shape with ample humidity, it might be workable. During the cold, dry (humidity as low as 15%) months of northeast where a thicker gouge is needed to keep the reed from collapsing, a reed who does not close tightly at the top is very hard to control and susceptible to leak. I guess, in the temperate, humid California Wine Country, this might be just the right staple. I’m willing to give it another try. If you have a better experience and willing to offer me advise, it’ll be greatly appreciated. | |
| Reed Talk #6 – Rigotti Reed Knife | Posted by Nobuo Kitagawa - May 29, 2008 - 12:17 PM
| | Make/Model: Bevelled reed knife by Rigotti
Rating: A-
Pros: Produces good edge easily.
Cons: Took a while to get the blade set correctly. The blade is too thick to place the thumb over it for better control.
Notes: I bought a Rigotti bevelled knife from Midwest Musical Imports a few weeks ago and I’m very happy using it for general reed work (everything except delicate tip & blending work). The knife blade was not set correctly out of the box and it took me a while to set it up. Not only did the flat side of the blade need finishing, but also near the tip of the flat side was slightly raised that I had to either spend hours grinding down the whole blade or grinding down the bevelled side at a steep angle to make the blade narrower. I chose the latter. Now the blade is set, the medium hard steal produces nice consistent edge. I wish they ship the knife in better shape, but I suppose that’s a price to pay for a good knife at a reasonable price (I paid $29.00). Rigotti offers smaller version of the same knife for better control but MMI did not have a left-handed knife in that size. You might try other venders if you are left handed. I am a righty but I scrape reed with my left hand (a long story). | |
| Practice Tip #11 – Warm Up to Pentachord | Posted by Nobuo Kitagawa - May 27, 2008 - 8:52 AM
| | Level: All levels
Applicable Instruments: All wind instruments
Descriptions:
I am a big fan of using pentachord for warm-up exercises. Pentachord is a five-note segment of a scale, but for our purpose, I’ll define it as the first five notes of the scale. I find long scales too taxing for warm-up and for an instrument with limited range like mine (oboe), it’s not very practical to play all 24 keys with multiple octaves. Playing short segments with ample break is more effective in warming up muscles. Also, by playing fewer notes, it’s easier to focus on issues such as intonation, tone quality, air support, and legato playing.
I strongly recommend that you memorize all 24 pentachords (12 major + 12 minor). Knowing all your scales helps tremendously when you sight-read. And you can pay full attention to the sound and your body as you practice.
Directions:
1. Pick the most comfortable register of your instrument and play the following (C major) all slurred. Make sure that the sound is easy and full. Do not use metronome. Play as slow as you can maintain beautiful legato.
4/4 ||: CD, EF, GF, ED :|| C, rest, rest, ret ||
2. Move to G major (1 sharp) and repeat the same.
3.Move to D major (2 sharp) and go through the entire circle of fifth.
4.Once you get comfortable playing this simple pattern. Experiment with more complicated ones such as,
4/4 ||: CD, CD, EF, EF | GF, ED, C, rest :||
4/4 ||: CD, EF, GF, GF | GF, ED, C, rest :||
4/4 ||: CD, EF, GF, ED | CE, GE, C, rest :||
4/4 ||: CD, EC, DE, FE | GF, ED, C, rest :||
5. You can expand the pentachord by a note or two.
12/8 ||: CDE, DEF, EFG, FGA | GFE, FED, EDC, DCB :|| C, rest, rest, ret ||
12/8 ||: CED, FEG, FDE, CDB :|| C, rest, rest, ret ||
4/4 ||: CE, DF, EG, FA | GE, FD, EC, DB :|| C, rest rest, rest ||
4/4 ||: CB, DE, ED, FE | GA, FG, EF, DE :|| C, rest, rest, rest ||
6. For more variety, borrow from other instruments. Try Herbert L. Clarke’s Technical Studies for the Cornet, Seventeen Daily Exercises for the Flute by Taffanel and Gaubert, or steal any number of vocal warm-up patterns from choral directors. | |
| Gadget Talk #1 – Thermometer/Hygrometer | Posted by Nobuo Kitagawa - May 16, 2008 - 12:46 PM
| | Gadget: Thermometer/Hygrometer
Model/Make: Caliber III Thermometer Hygrometer by Western Humidor
Notes: I’ve been using the hygrometer of Intelli Thermo-Hydro Metronome/Tuner Combo but found it very unreliable (it is still a very handy machine). After a little research, I found a thermometer/hygrometer cigar enthusiasts recommend highly (they are even more obsessed about humidity than I am!). I’m so far very happy about the purchase. I have not done any scientific tests, but it seems very accurate and responsive. Just by picking it up in the hand, I can see a pretty quick rise in temperature and humidity. When I use a space heater in my basement studio, as the temperature rises the humidity goes down accordingly (relative humidity). Since the unit is made small enough to fit into a cigar box, it fits nicely into my oboe case. The back of the unit has a quarter-size metal piece and with the enclosed magnet with adhesive, you can mount it on most household surfaces. I attached the magnet on the utility tray on my music stand. So, while I’m practicing, I’m looking at the thermometer/hygrometer, and when I go out, it goes into whatever the instrument case I’m carrying. I paid $22.95 on Amazon.com. | |
| Practice Tip #10 – Double Tonguing | Posted by Nobuo Kitagawa - February 9, 2008 - 10:10 PM
| | Level: Intermediate to advanced
Applicable instruments: All wind instruments
Descriptions:
Double tonguing is a technique that uses the back of the tongue as well as the front of the tongue for tonguing. For single tonguing, you’d use the consonant “T”, but for double tonguing you’d add the consonant “K.” Usually, “T” and “K” are used alternately to make something like “T, K, T, K, T, K…” which gives you far greater speed once you master it. For those who have no problem single tonguing sixteenth notes at quarter=152, you don’t need to read the rest. However, for the rest of us, double tonguing is the only way to go after a certain speed short of adding cheating slurs here and there. Also, in real life of concert musicians, combination of reasonably fast single tongue plus occasional added slurs will do the job, but in orchestral auditions, there is no escaping without double tonguing.
One thing to remember is double tonguing sounds a lot more impressive to others than to you. For that reason, recording double tonguing practice is highly recommended. You might be surprised to learn how much better it sounds when it’s recorded. Double tonguing produces a lot of commotion inside the mouth, but what comes out of the instrument tends to be much cleaner than you think.
When you prepare actual pieces of music, it is very important to map out tonguing very carefully as string players fuss over bowing. Even while you are practicing the piece at a very slow tempo, stick with the tonguing that you are planning to use for the concert tempo. Double tonguing often introduces additional problems you need work out ahead of time—such as articulation, dynamic, and register related problems—careful planning is crucial.
Directions:
1. Set the metronome at 80 and pick a comfortable note, then practice the following with plenty of rests in between. Make sure to achieve uniform sound for both attack and release (comma separates each beat, use the simple vowels of Italian or Spanish unless it’s marked with umlaut).
4/4 ||: Ta, rest, rest, rest | Ka, rest, rest, rest :||
2. Repeat the same pattern on the next note on the scale. Note that the consonant or vowel may not be exactly “Ta” or “Ka” dependent on the register or the instrument you play; they could be “Ta, Da, Ti, To, Tü, Dü, Ga, Ngu,” etc. Explore and find the one that work with particular note you are working on.
3. When you can do the steps 1 and 2 comfortably, try the following exercises. Make sure the both patterns sound identical. Also, pay particular attention to how the shape of the mouth changes and how that affects the sound while you are using either part of the tongue. Experiment and find a way to make both sounds identical.
4/4 ||: Ta, rest, Ka, rest | Ta, rest, Ka, rest :||
then
4/4 ||: Ka, rest, Ta, rest | Ka, rest, Ta, rest :||
4. When you are ready, proceed to the next pattern. Use the rests to consciously relax the tongue and the surrounding muscles.
4/4 ||: Ta, Ka, Ta, Ka | Ta, rest, rest, rest |
Ka, Ta, Ka, Ta | Ka, rest, rest, rest :||
5. When you are ready, use eighth notes.
4/4 ||: TaKa, TaKa, TaKa, TaKa | Ta, rest, rest, rest |
KaTa, KaTa, KaTa, KaTa | Ka, rest, rest, rest :||
6. Proceed to triplet eighth notes. Make sure the release on the second and the fourth bar notes are natural and identical.
4/4 ||: TaKaTa, KaTaKa, TaKaTa, KaTaKa | Ta, rest, rest, rest |
KaTaKa, TaKaTa, KaTaKa, TaKaTa | Ka, rest, rest, rest :||
7. Finally, work with sixteenth notes. Pay attention to the consonants and vowels you use. You may have to change them as you play faster patterns.
4/4 ||: TaKaTaKa, TaKaTaKa, TaKaTaKa, TaKaTaKa | Ta, rest, rest, rest |
KaTaKaTa, KaTaKaTa, KaTaKaTa, KaTaKaTa | Ka, rest, rest, rest :||
8. Once you can play step 7 comfortably, bring up the metronome speed gradually.
9. After that, practice pentatonic scales (first five notes of the scale). For instance (in C major),
4/4 ||: C (TaKaTaKa), D (TaKaTaKa), E (TaKaTaKa), F (TaKaTaKa) | G (Ta), rest, rest, rest |
G (TaKaTaKa), F (TaKaTaKa), E (TaKaTaKa), D (TaKaTaKa) | C (Ta -a), rest, rest, rest :||
4/4 ||: C (KaTaKaTa), D (KaTaKaTa), E (KaTaKaTa), F (KaTaKaTa) | G (Ka), rest, rest, rest |
G (KaTaKaTa), F (KaTaKaTa), E (KaTaKaTa), D (KaTaKaTa) | C (Ka), rest, rest, rest :||
Additional Hints:
Practicing on the mouth piece or the reed alone is very effective. It makes it harder to achieve evenness but it’s well worth the effort. When I’m stuck in traffic on the way to a rehearsal, I love working on the tonguing exercise in the car. It’s nice to know that I’m not completely wasting my time, and I’m all warmed up by the time I get to the hall. I cannot emphasize the importance of rests in practicing double tonguing enough. Double tonguing uses a lot of muscles in unfamiliar ways. In order to acquire a natural, reliable technique, having enough rests throughout the practice session is essential. Finally, the experimentation with consonants and vowels is very, very important. When you have a long passage spanning several registers, you may have to modulate them to achieve optimum results. And different articulations require different consonant/vowel combinations. | |
| Practice Tip – An Update | Posted by Nobuo Kitagawa - February 3, 2008 - 11:00 PM
| | Taking My Own Medicine
It’s been seven months since I moved to Lehigh Valley. I’ve been thinking a lot about practice techniques since my move and blogging on this site has helped me tremendously in formulating them. I have finished the second solo recital in the area last week, and I now have two recitals, one concerto and one orchestral audition (no, I didn’t get the job) under my belt. And I’ve been explicitly using the techniques I advocate on this page. Good news is, ladies and gentlemen, they work! It’s hard taking my own medicine but they do work as advertised. I’ll be writing more about these tips but please know that I test them my self. As always, I welcome requests on subject matters to be covered or any kind of comments. | |
| Oboe FAQ #3 – Why Does the Oboe Give the Tuning A? | Posted by Nobuo Kitagawa - February 1, 2008 - 8:56 AM
| | I believe it’s closely tied to the history of the orchestra itself. By the late 18th century, the wind section of many court orchestras consisted of two oboes and two horns (with oboists doubling on flutes on occasion). Also, by the late 17th century, thanks to the instrument makers like the Hotteterres, oboe became the must-have instrument throughout Europe. While opera orchestras employed many kinds of wind instruments, none had oboe’s projection; recorders and traverse flutes were used often but they lacked the strong sound of modern instruments, clarinet was a novelty, and the brass instruments were not terribly reliable. Also, the rule of tuning is that flexible instruments tune to less flexible instruments. So, it must have been natural for strings to tune to an instrument which was always around, had a more penetrating sound, and rather inflexible in tuning. The reason the tuning note became A is probably because all orchestral string instruments have an open string that’s tuned to A. Ironically, A is not a very stable note on the oboe. You can bend it any which way you want. As a result, we oboists have to work very hard to produce that familiar tuning A. | |
| Practice Tip #9 – Mirror, mirror… | Posted by Nobuo Kitagawa - January 23, 2008 - 10:55 PM
| | Level: All levels
Applicable instruments: All (including voice)
Descriptions:
Make sure to have a mirror where you practice (and teach). A full-height mirror is nice but any size will do.
[Correct posture]
This one is obvious. I won’t enumerate the benefits of good posture; however, what’s important is that you look natural and relaxed in your own body. Don’t try to imitate a particular posture because you think that’s how you should look .
[Dramatic presentation]
I am not a singer and I have no experience in dramatic music making (opera, musical, etc.), but I can only imagine how important the mirror must be. I’m sure the look alone doesn’t make the music, but it’s good to make sure your look does not get in the way. As Michael Connolly suggests in his article, video taping should be great, but it’s nice to have immediate visual feedback any time you want.
[Detect tension]
When there is bodily tension, often you see it in the mirror before you can feel it. While you are busy learning new notes, you could be busy creating new bad habits. A mirror can stop that in a hurry. Also, when you see excessive movement while you play (or sing), it often tells you that you are trying to compensate for something you cannot achieve with your instrument or voice. I’m all for natural movement during performance but when you see more movement than usual, it’s worth investigating.
[Be your own visual coach]
When I have a trouble finding a way to phrase a passage or having a technical problem that I can’t fix any other way, I try choreographing what I’d like hear. I’m no dancer, so all I use are simple gestures (mostly conducting-related gestures) using my upper body. Over the years, I’ve used a number of gestures to explain musical ideas and techniques to students. For example, to help them understand the concept of relaxed crescendo, I make a big yawn gesture while they play a long tone (It is very effective. I recommend it to anyone who teaches winds or voice.). Lately, I started doing the same thing to myself; I would sing the phrase the way I want to hear and reinforce it with relevant gestures. Much to my delight, it works. The other day, I had a hard time putting accents in the middle of a very fast passage. But when I used a gesture indicating a kind of “popping” accents while singing, it just happened with no mechanical machinations. In the meantime, pay attention to see if you use any gestures while you teach. You might be surprised to discover that you have a repertoire of gestures you use routinely. And it’s worth importing them back to your own practicing using the mirror.
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| Reed Talk #5 – Humidity and Reed | Posted by Nobuo Kitagawa - January 16, 2008 - 6:15 AM
| | Reed Opening:
Higher humidity –> More open
Lower humidity –> Less open
Overall Pitch:
Higher humidity –> Lower
Lower humidity –> Higher
Intonation:
Higher humidity –> High register can be dramatically flat
Lower humidity –> Sharper overall
Attack:
Higher humidity –> Easy on the low register and hard on the high register
Lower humidity –> Easy on the high register and hard on the low register
Descriptions:
As soon as you start playing the reed, the exterior of the reed begins to dry. As the outer part of the cane shrinks and the inner part remains the same, the imbalance of the forces causes to reduces the curvature of the blade (translation: flattens the blade). The key thing to remember is how big the difference is. The bigger the difference, the more closed the reed becomes. When you play in the middle of winter in Minneapolis, the indoor humidity can be 15% or lower and the reed refuses to open; during summer months in New England, the outdoor humidity can be above 90%, and the reed remains very open.
The difficulty is, in real life, humidity is only one of three main environmental variables; the others are temperature and atmospheric pressure (influenced by barometric pressure and elevation). Also, when one changes, the other often changes dynamically; when the temperature goes down, for example, the relative humidity goes up automatically (I’ll explain this later). Please keep in mind that the above formula is only the basic tendency. When it’s so humid and the reed opens like crazy, I often end up over-working and the fatigued, tight muscles produce higher pitch even though it starts out low. While trying very hard to get low notes in a dry climate, you could loosen the embouchure so far that you may end up playing flat. In fact, when it gets really, really dry, even though you might soak the reed every chance you get, the reed could leak so badly that it becomes unplayable.
On top of all this, the environment can change during the performance so much that you are forced to react. A good example is summer out-door concerts. The rehearsal is often held during relatively dry, hot afternoon, and as the evening performance wears on, it gets colder and more humid simultaneously. It’s not unusual for me to change reeds during a performance like this. Moreover, as it gets colder, your brass colleagues will gradually go lower (especially less busy brass such as low horns) while strings creep up. It’s not rare to start a solo at one pitch (playing with violins, for instance) then lower it quite a bit at the end (say, the last note becomes a part of a French horn chord).
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| Practice Tip #8 – Record, record, record | Posted by Nobuo Kitagawa - January 13, 2008 - 1:27 PM
| | Level: All levels
Applicable Instruments: All (including voice)
Descriptions:
I’m a big believer in using a recording device. As far as I’m concerned, everyone should use a recorder in their every day practice. In my studio, every time I play the oboe, I make the point of hitting the record button. I usually listen to very little of what I record; however, when I have any sort of questions about what I’ve just played, I can always go back and listen. I have a 2GB SD card installed in my digital recorder. And I erase the whole card once in a while and record over. Only when I have something memorable, I copy the sound files to my computer. Thanks to the digital technology, no matter how many time I rewrite it, there is no loss in sound quality. Every lesson I give at home is also recorded. Only when I find it worthwhile, I email the file to the student in MP3 format.
Recording rehearsals
When I was in a very active chamber group (lots of concerts and competitions), we set up our recording gear (Sony DAT recorder and Acoustic Research self-powered speakers) every time we sat down to play. Before we had started taping, only “good-enough” ideas were put to test and it limited our exploration. After taping was instituted, the rule was, no matter how stupid the idea seemed, we’d give it a try for the tape once. Sure enough, many of those silly ideas turned out to be real gems. Rehearsing this way not only saved a ton of time but also raised the standard of our playing considerably (we were practicing in a recording studio after all). It kept our artistic conflicts at bay and it was such a joy to have instant feedback. We had the real sense of accomplishment after every rehearsal.
Essential creative tool
When I have a crazy idea about practice or performance, I make sure the recorder is on; then, I go to town. There are so many ideas I dreamed up that would not have seen the light of day were it not for the recorder. It allows me to experiment on far-fetched ideas, many of which eventually turn into practical tips. I can’t think of a more helpful tool.
Make reeds with it
For an oboe player, a recorder is a real boon for reed making. You do need time to learn subtle differences between how it sounds to you while you’re playing at home, how it sounds recorded at home, and how it sounds where you perform. But once you know what to expect, it can be a life saver. I’m in the habit of ordering new batches of cane every year to test the vintage. I found some surprising differences among batches through recorded sound. The way a reed sounds to you while you are playing is very different from how the same reed sounds “out there.” Your mic might be only a few feet away, but when your skull is vibrating and the brain is busy processing all kinds of sensation in you mouth and beyond, it’s hard to get an objective reading.
Equipment
For a long time, the gold standard was Sony’s Walkman Pro. It was affordable, portable, and it came with respectable internal stereo microphones (albeit some internal noise). But, alas, thanks to the digital revolution, cassette tapes (have you seen one lately?) were no more, and there was a big hole in the high-quality, consumer-level portable recorder category. I used a Sony DAT player for a while. Though it had very high quality sound but the tape was very finicky and the equipment was rather expensive. Friends suggested Mini-Disc players but I wasn’t crazy about the media format, and micro cassette players were never good enough for music. After years of looking through e-bay postings in vain, I found Zoom H-4. It gives you, in my opinion, the best bang for the buck (about $260 street price). The tiny button makes the navigation frustrating at times, but it’s cheaper and more feature-rich than the competition. The internal microphones sound surprisingly good, and thanks to all-digital setup, there is no internal noise to worry about. And the best of all, you don’t have to carry anything else at all when you go out. Taking along a simple stand, headphone, and the external power cable will make your life easier, but two AA batteries can carry on for good many hours (I haven’t actually measured). The included SD card is too small, but you can get a 2GB SD card now for under $20 and some merchant will suggest that you add it to the purchase. If you invest in descent external microphones (it supports phantom power), you can produce high-quality demo CDs. I am planning to use the unit for student audition recordings. I cannot imagine my musical life without it.
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| Reed Talk #4 – Physics Lesson for Dummies | Posted by Nobuo Kitagawa - January 11, 2008 - 11:24 AM
| | Before I talk more about different aspects of reed making, a quick physics lesson is in order. Items covered here do help understand actual issues associated with reed making. However, if you want to know whys, go find someone who actually knows physics.
First, you have to know the following before we begin.
1. Law of equilibrium: For some mysterious reasons, the nature hates unevenness. When there is a difference in air pressure in adjacent spaces, for instance, nature tries to correct it by doing things to make them even again.
2. When air moves, the internal pressure of that mass of air decreases.
The following is how the air causes reed to vibrate (as far as I understand).
1. Before you start blowing, the air pressure of outside and inside the staple are equal (no differential), and there is no movement.
2. As you blow air into the reed, the pressure inside the staple decreases.
3. Now that the exterior air pressure becomes greater than the interior pressure, the exterior air pushes blades of the reed inward (equilibrium at work).
4. Which causes the opening of the reed to narrow and inhibits the air flow; thus slowing down the air. That, in turn increases the pressure inside the staple (less differential).
5. In the mean time, as the blades are pushed farther, the resilience of the cane “tries” harder and harder to push back.
6. At a certain point, the blades win over and spring back, and the whole process starts all over.
More physics-related stuff to remember.
• The longer the staple, the lower the pitch.
• The fatter (larger diameter) the staple, the lower the pitch.
• The faster the air flows, the higher the pitch.
• The smaller the cane diameter, the more open the reed.
• The wider the shape, the more open the reed.
• The thicker the reed (more mass), the harder to play (requires more energy).
*If you are versed in physics, I welcome any corrections and suggestions. Please leave me a message.
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| Practice Tip #7 – Practice Letting Go | Posted by Nobuo Kitagawa - January 10, 2008 - 5:41 AM
| | Level: Intermediate to advanced
Applicable Instruments: All (including voice)
Descriptions: This technique is based on Mindfulness-based Cognitive Therapy. The ideal is to reduce stress through learning to let go of bodily and mental sensations through non-judgmental observation. What happens in stressful situations is that we tend to over-react to our own otherwise natural mental/physical reactions. And this creates cascading chain reactions (or a feedback loop) that eventually leads to panic. When this technique is practiced regularly, you can reduce (not eliminate) stage fright and bodily harm while increasing concentration and enjoyment.
Directions:
Step 1- Basics
1. Sit comfortably on a chair and put a raisin in your mouth.
2. As you slowly chew and swallow, observe every aspects of your sensation. Try not to judge each sensation but to observe as accurately as possible. Pay particular attention to how they change over time.
3. Repeat 1–2 twice more.
4. Practice this once a day for a week.
Step 2 - Expand on Basics
Use your everyday situation to further what you have learned in Step 1. Some examples are
• When you have to drink a bad tasting beverage (as in pit-stop coffee during long drive), diligently observe sensations.
• Walk by someone who makes you very uncomfortable (bully, boss, your crush), then sit in a quite corner and observe mental/bodily sensations and see how they change over time.
Step 3 – Practice Break
Take a five minute break during a practice session and lay down (if not possible, sit comfortably) and observe sensations. Observe your mental sensations as objectively as your bodily sensations. If possible, see how a particular emotion affects which part of the body and how. Try your best not to judge or interfere.
Stage 4 – Every-Day Practicing
Create many short breaks during practice sessions (as in “Rule of Three”), and learn to apply this technique quickly and efficiently. Once you become proficient, all you need is a few seconds to let go of your sensations.
Stage 5 – Grace under Pressure
Incorporate this technique into more stressful situations. See if you can incorporate this process, in your own way, into performance, auditions, recording sessions, etc.
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| What’s on My iPod? #2 – Grammar Girl | Posted by Nobuo Kitagawa - January 9, 2008 - 9:01 AM
| | Kind: Podcast
Title: Grammar Girl
Descriptions: One of the joys of listening to podcasting is you end up learning something you’d never learn otherwise. I can’t imagine diligently following a grammar related website or reading a grammar book even if someone pays me. But the podcasting by Mignon Fogarty is so delightful that I’m always looking forward to her latest podcast. Her corky humor and well-written short podcasts (around 8 minutes) are as much fun as they are informative. She is so good at what she does that she’s now the owner of an expanding company of 7 podcasts (including Might Mommy, Legal Lad, Traveling Avatar, and Get-It-Done Guy). Even for my short blog entries, I find writing extremely difficult. I’m amazed how many mistakes I manage to cram into short spaces and I’m constantly finding errors after I post them. I can’t say Grammar Girl made me a better writer. But when I find a mistake, now I can say why it’s wrong. | |
| Oboe FAQ #2 – Why Should I Choose Oboe? | Posted by Nobuo Kitagawa - January 7, 2008 - 7:35 PM
| | Short Answer: No one needs to choose oboe.
Long Answer:
First, you have to like the sound of oboe. You can go hear a local symphony orchestra or a traveling Broadway show that have an oboe. If you can identify the sound of oboe already, TV music and movie tracks are full of beautiful oboe solos. You can buy single tracks of oboe pieces on iTunes Music Store. I received 150 hits for “oboe concerto” the last time I tried. Of course, you can always ask me to send you, ahem, my demo CDs with no obligation. However, if the sound does nothing to you, read no further.
Second, once you become a reasonably good player, you’ll always be in demand. Orchestras, symphonic bands, church music directors, and local theater productions are always looking for a good oboist. Also, it looks great on your college application; there are enough football players and cheer leaders in the world but not enough oboists.
Finally, if you maintain your chops over the years, oboe will give you a life-long enjoyment. Once you are know as a good oboe player, people will seek you out wherever you go. There are so many chamber music camps for adults nowadays, and I have met many accomplished non-vocational oboe players. They are doctors, teachers, business people by day and oboists by night. In fact, many of them seem to have more fun than I do.
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| Oboe FAQ #1 – Is Oboe Hard to Play? | Posted by Nobuo Kitagawa - January 7, 2008 - 6:53 PM
| | Short Answer: It is a hard instrument to get started.
Long Answer: I’ve heard some people call oboe one of the most difficult instruments to play. Maybe it is. In fact, it is very hard to play any instrument well. Once you have a good instrument, learn the basic technique, and secure a steady supply of reasonable reeds, oboe is no more difficult than other wind instruments. Oboe fingering is a bit complicated on the high register but you don’t have to learn as many notes as others; you learn 26 notes (2 octaves and 2 notes), and you are in business. It is a hard instrument to start without a teacher. But, once you get to the point where you can play simple slow solos with nice tone, you are a star; tell that to the flute players.
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| Reed Talk #3 - The Mind Trick | Posted by Nobuo Kitagawa - January 3, 2008 - 2:01 PM
| | Level: Intermediate to advanced
Symptom: Difficulty in evaluating reeds objectively
Descriptions: My mind plays a sneaky trick when I am evaluating reeds (instruments also). Especially when I have a lot invested in a particular batch of cane (high price, reputation, or how hard I worked to obtain it), my expectations color my judgment. I find myself trying a reed in such ways to emphasize its merits and hide shortcomings. I unconsciously test it just to prove its worth; I’d play only low solos when the reed has bad high register or play only legato passages when it has response problems. And the whole process happens so naturally, so quickly that only on hindsight can I identify it. So, lately when I test reeds, not only do I pay attention to what I hear, but I also examine how I’m testing them. I constantly ask myself “what am I trying to hide from me?” With all the years of experience and knowledge, the mind does a remarkable job of producing the results I so desire. And doing so, I end up making reeds that play great at home but fall short at rehearsals. | |
| Practice Tip #6 – Give It to the Keyboard | Posted by Nobuo Kitagawa - January 1, 2008 - 7:16 AM
| | Level: Intermediate to advanced
Applicable Instruments: All non-keyboard instruments
Directions: When you are practicing tonally tricky pieces, practice them on the keyboard before you pick up your main instrument. If you have any sort of keyboard skills, the process teaches your ear how it should sound. And the ear, in turn, guides the learning process on the main ax. The reduction of time, stress and mistakes can be significant. I find this tip works great when I’m learning atonal work or Broadway shows. Atonal work often involves tricky rhythm and quick dynamic changes. Sorting them out before I pick up my instrument is a big time saver. The use of metronome is critical here. Broadway shows often involve very simple material but they look intimidating on the page with million accidentals and meter changes. Once you firmly lodge the key phrases in your brain, it takes very little time to learn shows (except for that pesky few phrases that take years to learn). It might take a leap of faith to try this, especially when you are faced with a tight deadline, but it’s well worth a try. It could make a real difference on your next gig. | |
| Performer’s Tip #1 – Playing Well is Not Enough | Posted by Nobuo Kitagawa - December 26, 2007 - 2:45 PM
| | Level: Advanced
Applicable Instruments: All (including vocal)
Descriptions: I was watching an interview of Jun Shibata (a Jpop singer/song writer) and something caught my attention. While she was unsuccessfully trying to break into music business, a judge in an audition told her, “I see that you are trying hard to sing well. But singing well is not how you move people.” Shibata says it was when she realized that she had to sing her own material and it forced her to write. After that, she says, everything seemed to click into place. I was struck what a great advise it was. She was obviously a talented, hard working performer who was keep trying despite rejections. But something was missing. And this judge was able to articulate it so well. How a performer goes beyond merely play well is, I believe, a deeply personal process. Hard work is essential, but when you can drop the notion of doing it well (or right), something takes over and the player can have a real chance of reaching the audience. This something is the subject of the intense discussion in All the Mornings of the World (see the blog entry below). Once on stage, after years of hard work, the process of letting go the notion of doing it well, I believe, is a key ingredient in making a mere good performance into a truly memorable one. | |
| Reed Talk #2 - Stuffy vs. Dark | Posted by Nobuo Kitagawa - December 26, 2007 - 7:33 AM
| | Level: Intermediate to advanced
Symptom: Confusing stuffy reeds with dark reeds
Descriptions: This is one of my pet peeves and I constantly find myself caught in it. When a reed needs a bit more work to vibrate fully, I’d stop working because it is sufficiently dark. In my own studio, I’d convince myself that a reed has a real potential and stop working only to find out it’s a stuffy, unusable, reed at work. Unless the reed is really, really new, I find it better to get it going at home and find out what it’s made of (to a point) than to get myself embarrassed on stage. When the setup (gouging, shaping, dimensions, etc.) is working, it’s my job to discover how best it wants to vibrate. If a piece wants to sound dark, it will. If it doesn't, there’s little I can do. There are, however, ways to make it sound a bit darker or mellower but I cannot fundamentally change the quality of its unique sound. Also, when a piece of cane has a really beautiful sound, I’d know it within 10 minutes of scraping. When I find myself fussing over a potentially great reed for a long time, chances are, it isn’t. Things are a lot more forgiving when it comes to bigger reeds; the smaller the reed, the fussier it is. I like to compare oboe reeds to sushi (the raw material has to be great) and English horn reeds to stew (there are a lot more you can do to improve later on). | |
| What’s on My iPod? #1 – Tripod Baby by m-flo | Posted by Nobuo Kitagawa - December 21, 2007 - 5:12 PM
| | Genre: Jpop
Group: m-flo
Title: Tripod Baby
Album: Beat Space Nine
Notes: A 2005 hit by the heavy weight Jpop group m-flo. They are very a talented duo of DJ/MC/producer/composer/collaborators. They could be described as a combination of Timbaland, Eminem, Quincy Jones and Beck. They are know for their collaborative work and some of their re-mixes easily overshadow the originals. This is their typical hyper-kinetic pop-dance-rap number and it’s my favorite auditory caffeine. The lead vocal is Lisa who was once a member of the group but here she works as a collaborative artist. It’s been almost a year since I started listening to it, but I’m yet to get tired of it. The lyric is also their usual bilingual acrobatics that I had to read it more than a few times to really get it. But the tune is so catchy and fun that you don’t need to understand a word of Japanese to enjoy it. You can buy it on iTunes Store; make sure to get the shorter (5:01) version.
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| Reed Talk #1 – My Specs (Oboe) | Posted by Nobuo Kitagawa - December 21, 2007 - 9:24 AM
| | Before I delve deep into the geeky reed stuff, I decided to disclose my own specs. I hope this will give you some ideas about where I’m coming from and you can adjust your expectations accordingly. Please keep in mind that, thanks to my unstoppable urge to experiment, this list will be changing constantly (I’ll try to be good about updating). Also, just because one setup works for me or my students, it doesn’t mean it’ll work for you. I will discuss certain reed making principles, but they are more like metaphors than scientific descriptions. Please take everything with a big grain of salt.
Oboe Shaper Tips: Nagamatsu 0A and 0B, Harold Gomberg
Nagamatsu 0A is great for sea level with sufficient humidity (late spring to early fall). During the dry winter season in Lehigh Valley (300–400 ft.) , 0B works well. Gomberg tip is very wide, but it sounds great in Denver (over 5,000 ft.) and higher. I’m thinking about trying Nagamatsu 1 for Kinhaven (about 1,300 ft.) with very large diameter cane; stay tuned.
Staples: Nielsen (large and medium) and Laubin French
For Nagamatsu 0A (narrowest tip I own), the Nielsen large tubes keep the pitch from going too high. I need to use the smaller Laubin French tubes when I use the wider 0B to keep the high register from sagging. For evening outdoor concerts in the humid summer weather, I often use Nielsen medium staples with Nagamatsu 0A to control the opening.
Craw: Between C and C#
Most of my good reeds craw somewhere between C and C# (never below C).
Instrument: Laubin
I replaced some of the original skin pads with harder ones and replaced a few with cork. As a result, the instrument sounds a bit brighter but it has a better response and flexibility.
Gouging Machines: Ross and RDG
I sharpen the blade and set up the Ross machine myself. The center of the cane measures about 0.60–0.62 mm and sides at about 0.47–0.48 mm. I use an old RDG machine to gouge the pregoued cane, so by the time I use the Ross machine, all it requires is a few strokes. This minimizes the wear and the tear on the finishing blade.
Knives: Nielsen double beveled (left-handed)
I use a new Nielsen double beveled knife for rough scraping and two old ones (at least 15 years old each) for finishing.
Sharpening Stones: EZ-Lap diamond stones (medium and fine), India stone (fine), ceramic stone
Both diamond stones and India stone are for honing. When honing is needed, I first try the India stone, then the fine diamond, finally the medium diamond stone. I never use oil on the India stone. Once in a while, I use the fine diamond stone to grind the ceramic stone to remove unevenness.
Razor Blade for Clipping Tip: GEM by Personna (American Safety Razor Co.)
It is very important to use very sharp blades for clipping the tip of the reed.
Razor Blade for Shaping: Olfa™ Slim Jim Snap-Blade Knife
It's a lot easier to use Olfa knife than holding a safety razor when shaping.
*Links on this page are for your information only. I receive no benefit of any kind from the linked merchants. Consult with your own teachers before you make any purchases. | |
| Checklist for the First Oboe Lesson | Posted by Nobuo Kitagawa - December 19, 2007 - 6:31 AM
| | 1. Your instrument and all the accessories.
2. Whatever the music you own and working on, including band/orchestra music.
3. All the reeds you own. Make sure to soak a few prior to the lesson.
4. A spiral-bound note book. If you have one from the previous teacher, bring it instead.
5. Any reed making equipment you own.
6. Prepare to play two short segments (one slow, one fast). | |
| Beginning Oboists' Check List | Posted by Nobuo Kitagawa - December 18, 2007 - 11:12 AM
| | 1. Soak Your Reeds: Soak your reeds 10–15 minutes before you have to play.
2. One is not Enough: Always soak more than one reed.
3. Crack Prevention: If you have a wooden instrument, always warm it up from outside. Never blow warm air into a cold instrument. It’s a sure way to crack it.
4. Keep it Warm: When you know your instrument will be exposed cold weather, put a plastic bag over the case. An extra layer, however thin, can make a difference.
5. Remove Your Reed!: Every time you set down the instrument, always remove the reed. If a reed falls to the floor, there is a good chance it will survive. If someone brushes a reed ever so slightly while it’s attached to oboe, chances are, it’s gone.
6. Use Your Eyes: Every time you have a trouble playing a note, make sure to check your fingers. Many oboe keys have a whole in the middle. A slightest leak from there can ruin a note. It’s nice to have a mirror where you practice (a window pane works in a pinch). | |
| Ensemble Tip #2 – Crescendo and Diminuendo | Posted by Nobuo Kitagawa - December 17, 2007 - 7:39 PM
| | Level: All levels
Applicable Instruments: All (including choir)
Directions: When a large group of musicians makes crescendo simultaneously, it’s better to let the higher voices start crescendo sooner than the lower voices. And on diminuendo, let the lower voices diminish sooner than the upper ones. Since the lower sounds already have their own higher overtones, if you let the low section leads crescendo, it tends to overpower the upper parts as they get louder. Likewise, by letting bass go sooner, you can make a smoother transition during diminuendo. Another benefit of this is, since higher pitched instruments (which often play the lead part) tend to have a narrower dynamic range (there are exceptions) than the lower ones, layering the lower section in and out makes the upper voices sound like they have a greater dynamic range than they actually do. | |
| Ensemble Tip #1 – Together First, In-Tune Later | Posted by Nobuo Kitagawa - December 17, 2007 - 8:50 AM
| | Level: All levels
Applicable Instruments: All (including choir)
Directions: When multiple players play a chord together, make sure they come in together first, then worry about the pitch. It would be ideal if they all come in together perfectly in tune. But in real life, togetherness comes first. Human ear is incredible attuned to time delays (that’s how it determines the location) but it takes quite a bit longer to determine whether what's being heard is in tune or not. Also, players can adjust the pitch after they start playing the notes. With training, they can learn to find the pitch more quickly (I’ll cover more on this in Practice Tips).
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| Practice Tip #5 – Don’t Take a Big Breath | Posted by Nobuo Kitagawa - December 17, 2007 - 8:26 AM
| | Level: All levels
Applicable Instruments: All (including voice)
Directions: Just about anyone will tell you to take a big breath when you are tense. Don’t do it. When you force inhalation when you are nervous, it could make your body even tighter. A better way is to exhale and let the air come in naturally. So, a big sigh is a lot more effective than a big breath in. Also, if you want to relax and expand the chest cavity, try a big yawn and let go.
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| Practice Tip #4 – Sing/play, sing/play | Posted by Nobuo Kitagawa - December 17, 2007 - 7:54 AM
| | Tools: Metronome, recording device (optional)
Level: Intermediate to advanced
Applicable Instruments: All
Directions:
1. With the metronome on, sing the phrase you are working on until you can sing it just right. Explore different possibilities until you find one that feels right to your ear. Don’t worry about voice quality or pitch too much. No one needs to hear you sing.
2. Play your instrument immediately after a successful singing.
3. Repeat the process at least three times before moving on. You can use the “Rule of Three” (see Practice Tip #1).
4. If you are using a recording device, check the progress once in a while.
Notes:
I understand that this is a common brass technique. The important thing is to play right after a good singing. Try not to analyze your playing too much. If done right, your playing will automatically imitates whatever you sing; and it feels like you are being a mere observer to the process.
This technique is very effective on slow, expressive, solo parts where you want to spin them in your own way. It’s great for solo parts in ensemble pieces, solo sontatas and slow movements in concertos.
This also works on baroque ornaments. Obviously, some ornaments are un-singable. Use metronome and make sure you can really sing it before you play it on the instrument.
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| Practice Tip #3 – Give It to Someone Else | Posted by Nobuo Kitagawa - December 11, 2007 - 7:28 PM
| | Tools: None
Level: Advanced
Applicable Instruments: All
Directions:
1. Pick a slow passage you are having a hard time phrasing.
2. Pick a favorite artist of any instrument (voice included), preferably not your instrument.
3. Imagine how he or she would phrase that passage.
4. Try to see if you can incorporate what you’ve learned from the imaginary session.
Notes:
You cannot expect to incorporate everything you hear in your imaginary recital, but it often gives you a new insight into the phrase.
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| Practice Tip #2 – Coffee Shop Practice | Posted by Nobuo Kitagawa - December 11, 2007 - 5:43 AM
| | Tools: Metronome, earphone or headphone for the metronome, pencil
Level: Advanced
Applicable Instruments: All
Directions:
1. Go to your favorite coffee shop or bookstore where you feel very familiar and comfortable. If you are working on very complicated music, pick a well-lit seat.
2. Order your favorite beverage (and snack, if you’d like).
3. Set the metronome at the speed you are working on.
4. Practice everything as you’d practice on your instrument except do everything mentally.
5. Incorporate any additional aspects of the venue: acoustical characteristics, smell of the hall, audience/judges, etc.
6. When you observe any physical or mental tension, relax and let go. Strive to achieve the optimal sound and bodily sensation in your imagination.
7. Take notes on whatever you noticed for later (on-the-instrument) practicing.
8. Repeat the same session twice more before the performance.
Notes:
It’s very important to imagine everything as precisely as possible: sound, bodily sensations, smell, view, etc. This technique is particularly effective when you are very close to performance and you are in danger of over-taxing your body.
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| Music and Movies #1 – “Tous les Matins du Monde” | Posted by Nobuo Kitagawa - December 7, 2007 - 5:32 AM
| | Title: Tous les Matins du Monde (All the Mornings of the World)—1991
Director: Alain Corneau
Cast: Jean-Pierre Marielle (Colombe), Gérard Depardieu (Marais), Anne Brochet (Colombe's daughter), Guillaume Depardieu (young Marais)
Music: Jordi Savall
Comment: Based on the biographical novel about the life of the reclusive 17th century French viol player/composer, Monsieur de Saint Colombe, and his one-time student Marin Marais. The movie was a phenomenal success with 2 million tickets sold in the first year and nearly a half million soundtrack album sold. Not only is it an exquisitely made film, but also it is one the best movies about master/apprentice relationship in music. One of my favorite scenes is when the student (Depardieu) takes his last lesson from the dying master. After they play their duets, the teacher asks the ultimate musical koan (Zen question): what is music? After all of Marais’ flowery conjectures are rejected, the master corners the student until he confronts his own life and comes up with his own answer from the depths of soul. You have to see the movie to know what the answer is. Though some complained about actors’ fake playing, being a non-string player, it was not an issue for me. The music of Savall with authentic period instruments is simply sublime. There is a scene where a large band of court musicians playing Lully’s Turkish march in full regalia. The glorious music is so strikingly different from the stern, soulful music of Colombe.
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| Practice Tip #1 – Rule of Three | Posted by Nobuo Kitagawa - December 6, 2007 - 11:58 AM
| | Tools: Metronome, pencil
Level: All levels
Applicable Instruments: All instruments
Directions:
1. Pick a technically challenging passage.
2. Break it down to manageable segments (usually 2 bars or smaller).
3. Find a tempo in which you can play each segment (not the whole passage) comfortably.
4. Try to play each segment 3 times correctly.
5. After each successful try, take a few seconds to let go of any physical or mental tension.
6. If there are more than 2 mistakes between good tries, restart counting.
7. If still unsuccessful, slow down the tempo.
8. Repeat the process until you cover the entire passage.
9. When it’s done, write down the metronome mark on the music.
10. Speed up the metronome a notch and repeat steps 1–9.
Notes:
The little break after each good try is extremely important. During the break, try not to review or analyze what have just happened. You give the brain time to process the information and by being completely relaxed, you program relaxation into the passage.
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