(Okay, sometimes I also have this problem.)

The solution, in most cases, is quite simple.

Step 1: Use the correct voicing. For oboe it should be low and open, like blowing very warm air. This is usually the result:

Step 2: Use powerful abdominal breath support. Voilà:

I find that once voicing and breath support are balanced against each other, a good oboe with a good reed is one of the easiest woodwinds to play in tune, and responds easily in all registers.

This is, generally speaking, true of all of the woodwinds: solid breath support plus a stable voicing appropriate to the instrument are the recipe for reliable, in-tune notes from low to high.

Enjoy:

Joseph Robinson: Principal Oboe, New York Philharmonic

Find it on: Amazon | iTunes

Repertoire: Saint-Saëns Sonata, Piston Suite, Poulenc Trio, Nielsen Two Fantasy Pieces, Dring Trio, Shickele Gardens, Still Incantation and Dance, Martin Petite Complainte

Anthony McGill

Find it on: Amazon | iTunes

Repertoire: Poulenc Sonata, Debussy Premiere Rhapsodie and Petite Piece, Messager Solo de Concours, Rachmaninoff Vocalise and Rhapsody on a Theme of Paganini, Gershwin Three Preludes, Summertime, and It Ain’t Necessarily So

Judith Leclair: Works for Bassoon

Find it on: Amazon | iTunes

Repertoire: Saint- Saëns Sonata, Andres Chants d’arrière saison, Boutry Interférences, Glière Humoresque, Milde Andante and Rondo and Polonaise

Kenneth Tse: Saxophone

Find it on: Amazon | iTunes

Repertoire: Feld Sonata, Muczynski Sonata, Heiden Solo, Morosco Blue Caprice, Benson Aeolian Song, Kaufmann Meditation, Bernstein West Side Story Medley

Tammy Evans Yonce

Tammy is a former classmate of mine (go ‘Dawgs), and a flutist and educator to keep an eye on. Her blog, just a few months old, is outstandingly good: important topics, carefully thought out, and clearly and elegantly written. Tammy writes about flute performance and pedagogy, with a special interest in making practice time really effective. A must-read.

• Practicing: Measuring Progress
• Setting Expectations and Establishing a Culture

Also check out Tammy on Twitter, and at her other new blog, the collaborative Music Collective.

Robin Tropper (Born Again Oboe)

Robin’s quirky blog chronicles his renewed pursuit of the oboe, after finishing a music degree and then spending a few years working on other interests. Robin’s expertise in engineering shows through in his posts, which often describe his methodical, quasi-experimental approach to improving his playing, and sometimes include technical illustrations and schematics. Robin is a genuine polymath, and is also very open about his struggles with chronic pain.

• Reed Season! – New Repertoire.
• Reflections on Telemann – Home Acoustics

David Pierce (Dr. Pierce’s Bassoon Studio)

David teaches bassoon at Eastern Michigan University. He seems to use this blog mostly as a way of sharing good bassoon stuff with his students, but it’s a public blog, so you can pretend that you’re in Dr. Pierce’s studio, too. Quality pedagogical resources.

• Warm up pattern
• Weissenborn op. 8 on the IMSLP web site!

Doron Orenstein (Best Saxophone Website Ever)

Doron has chops and experience both as a saxophonist and as a web professional. His blog is polished and slick, but the most impressive thing is the participation of some of the genuine top pros in the saxophone-playing business. Saxophonists of the stature of David Liebman, Joe Lovano, and Walt Weiskopf have stopped by for interviews, some available in podcast form. Doron’s posts mostly take the position of a busy person with a day job, who approaches the saxophone as a serious creative outlet; topics include gear reviews, technique tips, and reflections on advice from great players. Note that Doron also features occasional posts from guest authors, which are by saxophonists of varying stature and expertise.

• Through the Eyes of Dave Liebman
• Category: Reviews
• And this one of course caught my eye: Do Saxophone Players Really Need to Double?

No clarinet love?

Missing from today’s list: a really excellent clarinet blog. There are a number of them in my feed reader, but none I’m in love with at the moment. Let me know if you’ve got something I should be checking out!

A few weeks ago, I replaced the bell tenon cork on this clarinet with a composite cork product, made from compressed cork bits. It’s cheaper than traditional solid cork, so I thought I would give it a try to see how well it compares. But the cork I used was too thin, and the bell was too loose. I’m going to try the experiment again with a thicker composite cork, but you can do this exactly the same way whether you’re using solid or composite. You can get either kind from MusicMedic.com.

First peel off the old cork.

Remove as much of the old cork and glue as possible, so the new cork will be smooth and even.

Measure a piece of the old cork to see how thick it was. A small sliding caliper is handy for this, if you’ve got one.

Find a new piece of cork that’s the right thickness. In this case, I’m intentionally going a little thicker than the old cork.

Cut a strip to the right width for the groove in the tenon, long enough to wrap around plus a little extra. Since the cork is crumbly, especially the composite cork, you need a very sharp blade to get a clean cut. I’m using a new razor blade.

At one end of the strip, sand one side to make a ramp.

Wipe off any leftover cork dust from the sanding. Apply a very thin coat of contact cement to the ramp, to the entire back side of the strip, and to the groove in the clarinet tenon.

Wait a few minutes until all the glue is completely dry.

Starting from the ramp end, press the cork into the groove on the tenon. The ramped side faces up. The dry contact cement bonds instantly, so take your time and make sure everything is lined up right. Sort of massage the cork into the groove with your fingers, to make sure as much surface area of the cork as possible bonds to the wood.

Wrap the cork all the way around, and up onto the ramp. Pay special attention to where the cork overlaps onto itself, and make sure it’s securely bonded.

Trim away the excess cork, and sand the seam smooth.

With the composite cork, the seam is practically invisible if you do a good job with the sanding.

Generously apply a quality cork lubricant.

Assemble carefully.

That’s it!

I’m pleased to share some audio from my Delta State University faculty recital a few weeks ago.The big event of the evening was the premiere of Sy Brandon’s Divertissement for multiple woodwinds and piano, which seemed to be well received. It’s gratifying to be involved in the creation of a piece that fills a gap in the small multiple woodwinds repertoire—something than can be played by a woodwind doubler, without having to bring in a concert band, a truckload of electronics, or obscure instruments. The audience seemed to enjoy the derring-do of the final movement, which involves six instruments.

I’ve studied the Bonneau Caprice en forme de valse in the past and have had students perform it, but this was the first time I played it in public myself. Since I’m trying to balance a half-dozen or more instruments, I tend to shy away from pieces that seem too technical, and, in that respect, this was the riskiest piece on the program. I was mostly pleased with how it turned out.

All of Poulenc’s woodwind sonatas are on my short list of favorites. I learned the oboe sonata from scratch for this recital. The clarinet sonata I have performed in bits and pieces, and, having spent a good part of the summer focused on the clarinet, I wanted the clarinet sonata to be essentially the finale of the program (the Ray Pizzi piece being a sort of programmed encore). The clarinet sonata ended up being the performance that I was least satisfied with—there were a number of mistakes, several of which were total surprises, and my sound on that instrument still isn’t what I want it to be.

Ray Pizzi’s Ode to a Toad has been on my to-do list for a while now, and it was a hit with the audience. Finishing the program with an unaccompanied piece, and on the bassoon to boot—an instrument that is still in many ways outside my comfort zone—wasn’t a choice I made lightly. But after the recital I could hear people humming it in the lobby, so I’m calling it a success.

Time to starting thinking about next year’s program!

• The oboists don’t have anything Baroque yet.
• The clarinetists don’t have anything by Weber yet.
• The bassoonists don’t have the Mozart concerto yet.
• The saxophonists don’t have the Glazunov concerto yet.

I think I found some great recordings to fill those voids. As a diversity bonus, three of the four are talented women, and one of those is a native Israeli.

Here are the selections:

Ray Still: A Chicago Legend: Baroque Oboe Sonatas

Find it on: Amazon | iTunes

Repertoire: Bach Sonata in G minor, Handel Sonatas nos. 1 and 2, Telemann Partitas 2, 5, and 6, Vivaldi Sonata no. 6

Sharon Kam: Works for Clarinet and Orchestra

Find it on: Amazon | iTunes

Repertoire: Mendelssohn Konzerstücke, Spohr Concerto No. 4, Rossini Introduction, Theme, and Variations, Weber Concertino

Kim Walker: Mozart/Hummel/Wolf-Ferrari

Find it on: Amazon | iTunes

Repertoire: Mozart Concerto, Hummel Concerto, Wolf-ferrari Concerto

Debra Richtmeyer: Extravaganza for Saxophone and Orchestra

Find it on: Amazon | iTunes

Repertoire: Glazunov Concerto, Strauss Oboe Concerto, Ott Concerto, Rachmaninoff Vocalise

Faculty Recital
Delta State University Department of Music
Recital Hall, Bologna Performing Arts Center
Tuesday, August 30, 2011
7:30 PM

Program

Divertissement for multiple woodwinds and piano
Sy Brandon (b. 1945)
World premiere

1. Intrada
2. Nocturne
3. Valse
4. Marche
5. Romanza
6. Galop

Caprice en forme de valse for alto saxophone
Paul Bonneau (1918 – 1995)

Sonata for oboe and piano
Francis Poulenc (1899 – 1963)

1. Elégie
2. Scherzo
3. Déploration

Sonata for clarinet and piano
Francis Poulenc

1. Allegro tristamente
2. Romanza
3. Allegro con fuoco

Ode to a Toad
Ray Pizzi (b. 1943)

Notes

Sy Brandon’s Divertissement for multiple woodwinds and piano (an adaptation of a prior work for oboe, percussion, and piano) was written in fulfillment of a Co-op Press Commission Assistance grant award, and is presented tonight in its world premiere performance. It is one of few existing works that features a woodwind musician playing multiple instruments. The composer says about this piece:

The Intrada [for flute] is energetic and playful with a lot of interplay between instruments. The Nocturne [for saxophone], being a night piece, is both lyrical and mysterious. The Waltz [for bassoon] is in a flowing waltz tempo with occasional shifts away from three beats in the measure. The Marche [for clarinet] is not a piece that would be used in a parade. It is a march that exists in the mind of a child who is playing with toy soldiers; therefore there is playfulness and humor that would not occur in a functional march. Lyrical lines and expressiveness are the predominating features of the Romanza [for oboe]. The piece comes to a rousing close with the Galop [for multiple woodwind instruments], which is a “perpetual motion” type of movement with a lot of rhythmic variety.

Paul Bonneau wrote the Caprice en forme de valse for seminal French-school saxophone soloist Marcel Mule in 1950, and it remains a favorite of saxophonists and audiences today.

Among composer Francis Poulenc’s final works is an incomplete set of sonatas for woodwind instruments with piano. The sonatas for oboe and for clarinet, presented tonight, are frequently performed, as is the flute sonata; a planned bassoon sonata was never begun. The oboe and clarinet sonatas were written within a few weeks of each other, and dedicated to the memories of two of Poulenc’s departed friends and musical colleagues, the oboe sonata to Serge Prokofiev and the clarinet sonata to Arthur Honneger.

Ray Pizzi is best known as a virtuoso jazz artist and studio musician on several instruments, and one of few to distinguish himself as a bassoonist in jazz and commercial music (some of his unique bassoon sounds can be heard in movie soundtracks like Return of the Jedi and Predator 2, as well as television shows like Family Guy). He describes Ode to a Toad as a “whimsical swamp blues.”

—Bret Pimentel

Detailed review follows, but here is the quick summary:

Price

Current street price on both the single reed case and the double reed case  seems to be about $20. This includes one Reed Vitalizer pack. If you choose to use the Reed Vitalizer packs on an ongoing basis, they go for about $5 apiece, and Rico says you will need a new one every 45-60 days (so, up to around $40/year, not counting tax or shipping).

Looks

These are basically good-looking cases. They are plastic, but an appealing plastic with a vaguely leather-like finish. The single reed case is black, and the double reed case is a sort of coppery brown. I can’t see any reason for them to be different colors, and I guess I would prefer for both to be black, since I like to keep my accessories low-key on stage, and I’m more likely to fuss with my double reeds than my single reeds during a concert. Both feature a raised “silver” (plastic) badge that says “Rico,” and a raised blue insignia for the humidity control system. The logos don’t bother me visually, but do cause another minor problem (see “Design,” below).

Humidity

I live in a very humid climate, and my instruments live in an older building that tends to be a little on the damp side. I find that I can generally leave reeds sitting around without any kind of case and not suffer any ill effects. I have also lived in very dry climates, where I found it absolutely necessary to use some kind of humidification system, but using any of those previous methods here has resulted in thriving and colorful mold colonies.

I kept clarinet, saxophone, oboe, and bassoon reeds in the cases over a period of several weeks, playing them regularly. I used the “73%” Vitalizer packs that came packaged with the cases (58% and 84% are also available). Rico claims these packs provide a “2-way” humidification system, which I presume means that the packs can either raise or lower the case’s humidity as needed.

As far as I can tell, the humidification system had no effect on my reeds. This includes a conspicuous absence of mold. I do think that it would be worthwhile to test these in a climate where dryness and warpage are real issues, and I welcome comments below from anyone who has tried these cases under those conditions.

On the other hand, the Vitalizer packs are unobtrusive and don’t add any significant bulk to the cases, so for me there’s no harm in keeping them in there. They are optional, and the cases work fine as ordinary cases without the Vitalizers.

The single reed case keeps the reeds on a fluted surface, presumably to allow some airflow around the reeds. The double reed case has fluted mandrels, which should allow some air to get inside bassoon reeds.

Design

While my overall impression of these cases is positive, I do think there are some design issues that  could use a little tweaking.

First of all, if you have to provide printed instructions on how to open the case, then it’s not designed in a user-friendly way. Even having read and fully understood the instructions, I still occasionally (and embarrassingly) fumbled with these cases trying to get them open. It’s not difficult, just not natural or intuitive.

The eight-single-reeds capacity should meet most clarinetists’ and saxophonists’ needs, but a five-reed case will be unsuitable for some double reed players, particularly oboists. Oboe reed cases sometimes have a capacity of two dozen or more reeds, to allow for reeds in various stages of completion plus possibly English horn reeds. (I chose to try the five-reed case as part of a personal quest for more focused and quality-over-quantity-oriented oboe reedmaking, and may continue to use it for that purpose.)

Doron at bestsaxophonewebsiteever.com reviewed the single reed case recently, and complained of a problem breaking saxophone reed tips against the rubber band that secures the reeds in place. While I haven’t broken any yet, I did come close a couple of times. I also find that the case’s latch slightly blocks access to the two center reed slots unless you lift the reed tray.

The raised logos on the outside of the case protrude by a couple of millimeters, which means that the cases don’t stack tidily. I think I would find this vaguely annoying if I were using two or more in an instrument case.

Rico includes a set of labels with the cases, so that you can indicate what kind of reeds are contained within, but for some reason the label spot is on the bottom of the case. (I suppose you can put the stickers anywhere you want, but a clear label-sized area is marked out on the bottom.) And both the single reed case and the double reed case came with this set of labels:

My biggest gripe about the Rico cases is wasted space. I like my reed cases as slim and trim as possible, to conserve valuable real estate in my instrument cases’ accessory compartments, and to slip easily into a pocket before heading out on stage. Rico has designed these cases to fit a variety of reeds, with a result that is unnecessarily bulky. I think these cases would work better designed for individual instruments. (I believe Rico originally offered a clarinet reed case and an alto saxophone case, though now they offer only the multi-instrument cases.)

Here’s what the single reed case looks like loaded up with clarinet reeds:

As you can see, without changing the outer form factor of the case, the inner tray could easily be redesigned to hold five reeds across (ten total), or be narrowed to hold four across without the extra space. There is also significant wasted space above the reed tips, which gets fully used only if you are storing baritone saxophone reeds.

The double reed case suffers a similar problem, being designed to hold either oboe or bassoon reeds:

The mandrels are conical, so they accommodate both oboe and bassoon reeds, but the oboe reeds have to sit up fairly high on them. The bassoon reeds sit lower on the mandrels, but leave unused space beyond their tips. The mandrels are spaced to allow for the width of bassoon reeds, leaving wide gaps between the oboe reeds—at least six, possibly seven oboe reeds could fit here.

I don’t see much use in having multi-instrument reed cases. Although I’m part of the minority of musicians that plays both oboe and bassoon, I would rarely have any reason to store the reeds together—it seems this design is for Rico’s convenience, not for the reed players’. Storing, say, clarinet reeds and E-flat clarinet reeds together, or soprano saxophone and alto saxophone reeds, seems like a slightly more likely scenario, but the single reed case is still too large.

Verdict

I think these cases have a number of positive qualities, and the humidification system seems potentially useful for those that live in a climate that demands it. But the design issues, stemming primarily from trying to make multi-purpose cases, are significant enough that I’ll be keeping my eyes open for some other options.

The United States Library of Congress’s National Jukebox project makes American recordings from the days before microphones available for streaming online. This is a fantastic resource for recordings—classical, jazz, and more—from the turn of the 20th century until the mid-1920′s.

These recordings are not in the public domain, like you might think; Sony, the owner of the recordings, has given the Library of Congress special permission to stream them.

Naturally, I’ve been searching the National Jukebox for woodwind players, and here are a few of my favorite discoveries. Some of the gems include oddities like the Heckelphone and bass saxophone, and there are a few woodwind doublers in there, too. Take note of how woodwind playing, like recording technology, has changed over the past century!

To kick things off, here’s a nice tour of the woodwind section of the Victor Orchestra in 1912:

• Instruments of the orchestra

Flutists

• Clement Barone (of the Detroit Symphony and the Houston Symphony)
• John Lemmoné (musician and manager for Nellie Melba)
• Darius Lyons (of the Sousa band)
• George Schweinfest (early studio musician)

 Oboists

• William Adams (see also his English horn listing)
• Alfred Doucet (of the Philadelphia Orchestra)
• Ross Gorman (of the Paul Whiteman band; a woodwind doubler, heard here playing some jazz Heckelphone! See also his clarinet and saxophone listings.)

Clarinetists

• Matthew Amaturo (of the Edgar Benson band; see also his saxophone listing)
• Louis H. Christie (of the Sousa Band)
• Ross Gorman (of the Paul Whiteman band; see also his oboe and saxophone listings)
• A. C. Mignella (of the Three Vagrants)
• Nathaniel Shilkret (of the New York Philharmonic, New York Orchestra, and Metropolitan Opera, but mostly playing lighter fare here)
• Larry Shields (of the Original Dixieland Jass Band)
• Leon Witkowski (polka band leader)

A bassoonist

• William Gruner (of the Philadelphia Orchestra; )

Saxophonists

• Matthew Amaturo, soprano and alto (of the Edgar Benson band; see also his clarinet listing)
• Hale Byers, alto and tenor (of the Paul Whiteman band)
• William Foeste, bass (of the Edgar Benson band)
• Ross Gorman, alto and bass (of the Paul Whiteman band; see also his oboe and clarinet listings)
• Chuck Moll, alto and bass (of the Henry Halstead band)
• Thomas Thatcher, tenor (of the Edgar Benson band)
• Rudy Wiedoeft, C-melody (popular saxophone solo artist)

Why do orchestras tune to the oboe?

Well, because it’s tradition, I suppose. But, realistically, in a professional group the pitch standard is likely determined in advance, and the oboist will use an electronic tuner to be sure they are giving precisely the correct pitch, so it could just as well be anyone.

But the principal oboist is almost always the keeper of the A. It seems like there are a lot of theories floating around as to why, none of which make the slightest bit of sense. I found all of these professed as gospel truth in less than five minutes of Googling:

• Because the oboe can’t be tuned. Firstly: hogwash. (True, the oboe doesn’t have a built-in tuning slide. But an oboist can “tune” by switching reeds, and can humor individual notes sharper or flatter on the fly, just like any wind player.) Secondly: if we tune to the principal oboe because it can’t be tuned, then what is the second oboist expected to do? Or the harpist? Or the pianist?
• Because the oboe’s pitch is the most reliable. More reliable than, say, the glockenspiel? Given a high-quality instrument, an excellent reed, a fine oboist, and a 72.0°F room, then yes, the oboe’s pitch ought to be pretty solid. But on a stage full of trained musicians, I can’t see any reason to expect it to be more reliable than anyone else’s.
• Because the oboe can be heard better through the group, because of its volume or tone or something. If that’s the criteria for selecting a tuning instrument, then I suggest that we consider the trumpet, or perhaps the piccolo. The Wikipedia article on the oboe, incidentally, mentions both stability and “penetrating” tone as reasons for oboe tuning, but cites an online article that no longer exists.
• Because the oboe warms up to pitch faster than the other winds. This could be true, but how much longer does it really take to warm a flute or clarinet or trombone up to pitch? Hopefully the other musicians aren’t tuning before their instruments are thoroughly warmed.

An additional theory, reported in New Grove and citing Vogt and Fétis’s 1837 Manuel des compositeurs:

• Because the oboe has a narrow bore, temperature variations have a lesser effect on its pitch. I welcome comments from the scientifically-inclined on this one, or from those who have read Vogt and Fétis in the original, but, if I’m not mistaken, smaller masses are actually more susceptible to temperature change.

There’s a historical explanation of the oboe-tuning phenomenon on the Rockford (IL) Symphony website that is, at face value, about the most reasonable one I’ve seen. However, the supposedly historical background is unsourced, and certain assertions (like concert B-flat being the “natural” tuning note of B-flat instruments?) lead me to believe that the article has not been rigorously researched.

What’s your theory?