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When learning a new étude or repertoire piece, it’s common to practice at first with focus on the notes, often playing them at a slow tempo and/or divided into chunks. This is a good approach for mastering the needed finger technique, but it may neglect one of the crucial parts of a performance: breathing.
In some music, it’s obvious where to breathe. But in a page of nonstop sixteenth notes, it’s harder to find the right places, and to execute them gracefully. Adding to the problem, I find that when I am nervous or playing under pressure, my breathing is one of the first things that falls apart: I start breathing in unaccustomed places, or skipping breaths that I know I really need.
I recommend establishing a breathing plan early in the process of learning new music. That way you can practice the breaths just like you practice the notes—they become a part of your muscle memory, and will happen automatically even under pressure.
The first step for a wind player should be to mark in the musical breaths, the ones that demarcate phrases. These are breaths that you will take (or possibly fake) regardless of your need for oxygen, because they serve the music. How exactly to do that is beyond the scope of this post, but here are a few quick tips:
- Beware breathing at bar lines. They look like nice stopping points, but often don’t make musical sense. (They are there only for your convenience in counting.)
- Background in music theory helps a lot, but you can also use your ears to help you figure out intuitively where a phrase comes to rest, or steal ideas from a good recording.
- To go deeper, consider studying phrasing, perhaps from a book like David McGill’s. (Put that one on your wish list if you haven’t read it already!)
Once the breaths required by the music are in place, you may decide you need more, perhaps because you haven’t worked the piece up to its full tempo yet (or because the piece isn’t written with sensitivity to your desire to survive). Mark in-between “survival” breaths as needed, perhaps in parentheses so you remember which ones they are. Put them in the best places you can find, and execute them as musically as you can, but as your tempo increases you may be able to skip them. If so, be sure to erase them so your marked-in plan stays up to date.
Choosing places for survival breaths is a trial-and-error process. Mark some in and give them a try, then adjust as needed. If you feel uncomfortable while playing, this can lead to panicked decisions on stage, so choose breaths for your comfort.
Particularly for the oboe, you may find you need some “breaths” where you can actually exhale stale air. Mark these clearly, too.
Always update your pencil marks if you decide to change the plan at all, so that your plan is 100% clear and you can practice it in a consistent way. You can change your mind later, as long as you change your marks.
To summarize:
- Start early in the process of learning a new piece.
- Mark in musical breaths, which you will observe even if you’re capable of playing longer without stopping.
- Mark in survival breaths, if necessary. Use trial and error to get them right.
- Practice the breaths just as diligently as you practice the notes.
- As you get closer to the performance, you might alter the breathing plan as your interpretation evolves, or as you no longer need some of the survival breaths.
- Be strict about keeping the markings current, and about playing just what is marked.
Well-planned, thoroughly-practiced breaths contribute to a relaxed, musical performance.
Yup. A pro horn is an investment. A lifetime investment. So, take your time and try a bunch out. And don’t be swayed by “brand names”. If you are looking for an Oboe, don’t assume you are going to get a Loree, try ALL them out.
Value is highly subjective. Here is an example: I learned saxophone on a 2933 Selmer Super Saxophone tenor, which I bought from the original owner in 1958. In about 1994, I had a chance to buy a Mid 1960’s Selmer Mark VI alto, to replace a 1920 “stencil” Martin I had bought in a pawn shop. I paid $4000.00 for the Mark Vi, and it was a great instrument. BUT, in five years of playing on it, I never did get used to the left hand pinky finger plateau system. Whenever I went for any note requiring the left hand pinky, I was never sure what key I was going to press. In 2005, I had a chance to trade it to someone for a 1932 Selmer “cigar cutter” alto. Normally, that instrument would only be considered to be worth about $1500.00, because it has been relacquered. But to me, because I can play on it, it is worth more than the Mark VI.