Born Again Oboe!

Hautbois, cure-Miracle-cure Oboe

2012-02-16T21:45:00.001-05:00

Blogger statistics has been showing people coming to this blog were looking for:

information on reed making, especially gouging machines
information on exercises to help sound and endurance
recording and music technology
pain conditions and treatment.

The topic I like to discuss the least is my own pain condition. After all, my oboe revival is the best medicine for me and the more I am musically active, the better I feel! Besides, over the past year and some, I have observed real improvement in many respects. So I don't want to present a sad story when the real story is encouraging!

But for the sake of all musicians, especially those of you who are on the verge of beginning a professional career, it is important that you understand them, because you are at high risk of living them yourselves. In my student days, I got tendonitis: it was one factor in my decision to quit music. But now I know that there were preventable reasons for my own problems, and others might benefit from this hindsight.

Les statistiques de Blogger montre que les visiteurs arrivent souvent suite à une recherche d'information concernant:

la fabrication des anches, surtout les machines à gouger
les exercices d'embouchure
l'enregistrement et et la technologie musicale
les conditions de douleur et leur traitement.

Ce que j'aime le moins discuter est ma collection de douleurs. Après-tout, ma renaissance hautboïstique est mon meilleur médicament et le plus je suis actif en musique, le mieux je me sens! De toute façon, depuis un an et quelque, j'aperçois une amélioration dans bien des sens. Je ne veux donc pas présenter une histoire triste: la vérité est encourageante!

Mais pour le bien des musiciens, surtout ceux d'entre vous qui entamez (ou presque) votre carrière professionnelle, il est important que vous compreniez que vous êtes à risque élevé de développer vous-même ces maux. Dans mes jours d'étudiant, j'ai eu la tendinite: ce fut un facteur décisif pour quitter la musique. Mais maintenant je sais qu'il y avait des causes sous-jacentes qui auraient pu éviter, et le monde peut bien bénéficier de mon expérience.

*List of Complaints and Treatments*	*Liste de conditions et traitements*
As I'm writing this, I realize there's enough material for a chronicle blog. Let's then just start with two lists: what's giving me trouble and what I can do about it. I'll give details about them in future posts. 1. FCFS : fibromyalgia and chronic fatigue syndrome (enigmatic) 2. DDD : disc degeneration disease (it's not a disease, it's a natural part of aging) 3. MF : myofasciitis and muscular shrinkage (enigmatic) DDD is a natural part of aging. Everyone who approaches the age of 40 likely has it, some more than others. The ugly thing is that not everyone suffers pain as a result and the degree of damage does not predict the degree of pain: in other words, some people can have bad cases and never suffer, some people can have moderate cases and have a hard time walking. Medical literature is at a loss to explain why.	Il m'est devenu évident qu'il y a assez de matière ici pour remplir une chronique. Commençons donc avec deux simples listes: ce qui me fait souffrir et ce que je peux en faire. Élaborations à venir dans les prochaines entrées. 1. SFFC : syndrome de fibromyalgie et de fatigue chronique (énigmatique) 2. DD : dégénération des disques (fonction naturelle de l'âge) 3. MF : myofasciite et rétrécissement musculaire (énigmatique) Tout le monde qui approche l'âge de 40 aura sûrement une mesure de DD, certaines personnes plus que d'autres. L'énigme est que le degré de dégénération n'indique aucunement le degré de douleur. La science médicale ne sait expliquer, mais un cas moyen peut débiliter tandis qu'une personne atteinte d'un cas avancé peut ne jamais le savoir.
*In Terms of Treatment*	*En termes de traitement*
1. medication (pain relievers, neuro-inhibitors) 2. physiotherapy and other physical therapies => in particular IMS: intra-muscular stimulation 3. athletic activity and physical fitness 4. rest, relaxation and stress-relieving practices 5. very careful attention to diet and allergic factors So far, the only real benefits have been from IMS, physical fitness and, very importantly, being as active a musician as I can be. In my case, IMS has not relieved fibromyalgia, but it has eliminated considerable pains in the arms and recurring headaches that were interfering with both my musical activity and my engineering career. IMS has allowed me to begin physical fitness, which is the best tool against fibromyalgia and chronic fatigue I have found yet.	1. médicaments (anti-inflammatoires, neuro-inhibiteur) 2. physiothérapie et autres thérapies physiques => en particulier la SIM 3. activité athlétique et maintien de la forme 4. repos, relaxation et réduction du stress 5. attention soignée la diète et aux facteurs allergènes Jusqu'à maintenant, les seuls vrais résultats positifs viennent de la SIM, travailler la forme physique et, très important, rester aussi actif musicalement que possible. Dans mon cas, la SIM n'a pas réduit la fibromyalgie comme telle, mais elle a éliminé des douleurs considérables dans les bras et réduit le nombre de maux de tête cycliques qui ennuyaient sérieusement ladite activité musicale ainsi que ma profession d'ingénieur. La SIM m'a permis de recommencer à travailler la forme physique, ce qui s'est montré le meilleur outil contre la fibromyalgie et la fatigue chronique jusqu'à maintenant.
*IMPORTANT:* IMS is a patented Canadian form of treatment () that, because it really works, earned Dr. Gunn the 2 highest honours a Canadian citizen can possibly get. I is NOT an electric current to stimulate muscle activity. It is a stimulation of the body's own healing and growth mechanisms by scratching offending parts of the muscle with medical-acupuncture needles. It must be recommended by specially trained and certified professionals (doctors or physiotherapists).	*IMPORTANT:* La SIM est un traitement Canadien breveté () qui, parce qu'il fonctionne pour vrai, a mérité au Dr. Gunn les 2 honneurs les plus élevés dont un citoyen Canadien peut être décoré. Ce n'est PAS un courant électrique pour stimuler l'activité du muscle. C'est une stimulation des processus naturels de guérison et de croissance du corps utilisant des aiguilles de type acuponcture-médical. Ça doit être recommandé par un spécialiste certifiés (médecin ou physiothérapeute).

Adult Masterclass : Rebirth of the Phoenix!

2012-02-08T22:52:00.001-05:00

Blogger statistics show that people have been searching for information about IMS and various pain-related questions. I’ll give an update on my progress next time and touch on why I think some people might consider the treatments don’t work, when in fact they do, to the extent they were intended to.

Frankenstein’s demise foretells a new birth!

Early last year, I wrote a blog post (Frankenstein's First Steps) with a title that essentially forecasted my whole oboe year. I hope this post will do the same.

I started this blog roughly 8 months after beginning to practice the oboe with some regularity, having left it nearly untouched for 10 years … well doing an average of 30 minutes a month… The blog was to motivate me to practice more seriously and to track my physical hurdles. Other people had similar stories to tell and sharing them on other venues had proven really comforting and encouraging, so I thought this blog might prove interesting.

During the 10 years of near abstinence, every time I picked-up the oboe produced mixed feelings:

sheer joy and a feeling of breathing fresh air after having held my breath underwater (swimming in the heavy burden of math and software assignments)
horrifying frustration at sounding as bad as a beginner, made much worse at remembering the recitals and concerts I did, including such difficult repertoire as Symphonie Fantastique and Prélude à l’Après-midi d’un Faune.

By the time I started the blog, I thought my playing was decent for an amateur, but recordings left me feeling really embarrassed, again mostly for the memory of how I used to play. Now, a few weeks ago (a touch over a year into my blog or a year and a half into my oboe re-birth), I participated in a master class for adult amateurs and played the 1st movement of the Saint-Saëns sonata… and I did so believing I could pull it off without insulting music.
…This alone means I made some very decent improvement.

Adult Master Class – Lesson of the Phoenix!

Huge credit is due to the organizers of the Ottawa Oboe Extravaganza. They had the incredible foresight and showed real community stewardship by inviting adult amateurs to play on stage to receive the tutelage of an excellent oboist, Susan Morris of the Ottawa Symphony Orchestra and Ottawa Youth Orchestra Academy. This activity really makes people feel like they belong to the musical world and it shows just how far one can get if we follow our dreams wholeheartedly.

It was only a week before the event I realized I could play in the master class. I was in the process of recording the last of 3 duets for 2 oboes by Nino Rota. So I only had time to practice excerpts from Petrushka, and only a little bit. On the night before the masterclass, I had to wait at the university for hours, so I found a spot to practice and a gut feeling told me to do something else: the Saint-Saëns would be a much better show off of my improvement in articulations and dynamics. I didn’t have the parts, but I had played it so much in the past that practicing from memory was not a problem.

Contrary to Expectations

The masterclass started and adult amateurs ranging from the very beginner to the much more experienced than myself went on stage. About 30 minutes before my turn, a cold draft ignited muscle spasms in my neck and fibro-fog set in: I was mortified to go on stage. I went anyway because I had made such a fuss with Chip to go… it would be really bad to back down. Chip had participants explain our musical stories and the fibro-fog created such confusion I could hardly speak with any coherence at all.

So I started playing the 1^st movement of the Saint-Saëns sonata. I would have expected notes to cack, articulations to fail, dynamics to freeze and so on… the usual! But instead, I was surprized that my slurring felt very smooth, my pp and ff dynamics seemed very distinct and solid and both the articulation and release of notes were in full control. Actually, even most of the rhythm and character was quite solid. What went berzerk was that nerves seemed to make me loose my embouchure, bite like a shark and therefore sound like tin can! … and naturally the fortissimo triplet arpeggios slipped and fell like Sandy Hill covered with freezing rain! (Ottawa winter applied to playing the oboe…)

This anxiety was very strange, because I never used to be nervous in concert…. at least, not enough to fear playing on stage. Exams and rehearsals used to mortify me, really intimidated about playing with my peers and betters. But public performance bliss usually trumped all anxiety.

My next steps as a musician…

Here is where the Phoenix comes in. The legend says that, at the end of its life, the Phoenix bursts into flames and is reborn of its own ashes. Well, if I did crash-and-burn at that masterclass, I hope is was a fire ignited by my year of blogging (practicing and recording) and that it ended the dark silent now past. I hope it means that now I can be reborn of those ashes and perhaps begin a new musical life with possibilities that I am as yet too inexperienced to imagine.

I must imagine that my next steps, as a musician, would be to overcome the anxiety I felt at the masterclass and regain my former performance bliss. I suppose, then, that I need to meet people and find the proper ensemble in a setting suited to my profession as a software engineer.

If the Almighty wishes it, then it will be and the Phoneix will fly in a beautiful blaze, its tears with the power to heal and wings capable of carrying even my dreams into reality.

Strasser Oboe and the Ottawa Oboe Event

2012-02-04T20:29:00.001-05:00

I wanted to write a few words about my own experience at the master class for adults of the University of Ottawa Oboe event, but I really want to mention the following first.

University of Ottawa Oboe Event

Two weeks ago took place a small, but memorable happening: the “University of Ottawa Oboe Event”. This is the continuation of an annual event, previously known as the “Ottawa Oboe Extravaganza” and has traditionally been organized by Angela Casagrande and Gary Armstrong Woodwinds with the important help of either the University of Ottawa or le Conservatoire du Québec à Gatineau. This year, and I gather for the past few years, Chip Hamann has shown increasing involvement and this year, along with Gary, was able to secure the sponsorship of the University and Lorée oboes.

In terms of community stewardship, this event is top notch! Community in terms of assembling academic and professional circles from the National Capital Region (Ottawa and Gatineau) and also “ordinary everyday” citizens as both patrons and participants!

I met Angela a few years ago when she agreed to serve as “guinea pig” for a musical software project I had put together with my fellow engineering students. I must shamefully confess that I only recently met Chip (having been absent from any live concert for many years) thanks to common acquaintances.

Apart from her professional concert activities (including Musica Nova Ottawa) Angela is a teacher of oboe, sought after by students of all ages. She possesses a knack to help older people overcome the difficulties of the instrument and she has a reputation for adaptability with younger students.

Among many other musical activities, Charles “Chip” Hamann is principle oboe of the National Arts Centre Orchestra (NACO), professor of oboe at University of Ottawa. Being used to exaggerated marketing fluff, I took Chip’s NACO and University biographies with a grain of salt… but after this weekend and some e-mail correspondence, his dedication to music, people and the community have struck me as sincere and tireless! During the weekend, a connection between Chip and amateur participants was apparent.

Gary Armstrong, like myself, is a veteran oboist from le Conservatoire de Montréal. He has been operating a very successful business of sales and repairs of woodwind instruments for a good number of years now (he has a solid reputation for the difficult adjustment of the oboe). It was truly refreshing to converse with someone who knew the same professionals I did and could relate to the same stories! His collection of new and used oboes is unique for Eastern Canada, a real treasure: well worth making a trip to Toronto to try them! He changed a tennon cork and adjusted a few screws on my oboe: it played much better than before – on par with the work done by Laubin’s finisher!

This year, just because of scheduling constraints, the participation was not very big. But this actually helped create a very intimate and tightly-knit community event. Nonetheless, I highly recommend any and every oboe player of any calibre or activity to attend, at least as a spectator, and better yet as participants. A very open and enjoyable happening!

My Pick: Used Strasser Oboe

Christophe Patrix plays Bozza on a Strasser.

Two postings ago, I compared the oboes I tried at Gary Armstrong’s exhibit and I gave details mostly about the Lorées. The Lorée Royal and the Howarth XL are truly remarkable instruments. BUT, the single instrument that impressed me the most was the used Strasser (semi-pro line of Marigaux). The one I tried was old with really loose keywork: it had been marvellously re-padded and adjusted by Gary Armstrong such that the looseness had no impact at all on its response and technical fluidity.

I tried trick fingerings, bad embouchure and pulling out the reed half-way, the instrument always sounded really well! Choosing a Royal or XL would be a matter of taste, because the Strasser sounded easily a match! The entire range (up to altissimo A – two octaves above the staff) were very easy and fluid and blowing it was just comfortable, always a sensation of freedom with perfect stability. Responsiveness of articulation and dynamic range were just as good as the new Lorées and Howarths.

The video included is played on a current Strasser oboe: judge the sound for yourself! I still want to compare with the world’s most exclusive instruments, but so far I am really impressed with Marigaux!

Marigaux explained to me that Strasser is made by the same people and manufactured on the same principles as their actual Marigaux. The reason Strasser is a semi-pro is mostly due to missing keywork and some industrial secrets! Their current Strasser does have less hardware, but the one I tried (don’t know the age) only lacked the 3rd octave, mechanisms around the bell, perhaps the banana key, but not much else.

5-minute reed : experiment successful !

2012-01-29T22:13:00.001-05:00

I was going to write about the master class for adults at the University of Ottawa Oboe Event, but then I made this experimental reed that deserves blogging! Actually, at the end of the master class, prof. Hamann (Chip), mentioned group lessons where everyone is expected to make a good reed in 15 minutes, so it still fits the bill. My account of the master class next time.

Experimenting with shapes and lengths

Following my blog and/or the BBoard, people know I like to experiment with shapes and stuff in the hopes of making an easier reed that sounds more “baroque-esque”. Well try this one on for size. But 1st, repeat: this is an experimental reed, so yes there are flaws with it, but there are also some really cool things about it.

Bad stuff, good stuff

The picture above shows (and the video below sounds) the reed and another blank just like it. Because this is an experimental reed, I’m not worried about these 3 flaws:

it plays really flat (about 30 cents flat, so I guess A=435?)
it is unstable in the usual 1st octave-key notes
there is some buzz remaining in the sound

The buzz can be explained by the fact I spent only 5 minutes scraping it… more like 3, actually. The flatness and the instability can be explained by the measurements: it is 73.5mm in total length on a 45mm staple. This means it is very long cane compared to the norm, so stability might be better ensured with thicker cane than what I used (the usual 0.60mm). The shaper is also actually for oboe d’amore (Kunibert Michel 750), so really wide tip and really big belly. Finally, it is tied on Chiarugi #7 (really big … those of you who use Lorée staples would freak!).

Reed test–5 minute scrape.

But for the good part, if I can get the buzz out, this is starting to sound like my ideal. I’m curious to try this reed in a Marigaux: many people have stated that pretty much any reed will play with great stability. The dynamic range is great, it was really easy to scrape and the response is also great (with a rather thick tip). I’ll need to confirm if it still plays this well tomorrow, but here is what it sounds like: 3 minutes of scraping a freshly chopped blank!

Comparing many oboes!

2012-01-23T13:50:00.001-05:00

University of Ottawa Oboe Event

People don’t usually think of Ottawa (Ontario, Canada) as a hub of oboe activity (compared to Toronto, Montréal or New-York!), but U.of O. professor and principle oboe at the National Arts Centre Orchestra Charles “Chip” Hamann organized a really fantastic event. With the additional sponsorship of Lorée and Gary Armstrong Woodwinds and the presence of very noteworthy guest professionals, this turned out to be quite a memorable weekend.

This is intended as an annual event, it took place last year and before, and will hopefully take place again next year: I really recommend people to attend! There were 3 principle focus points: U.of O. students, local amateurs and fostering a spirit of “oboe community”. Normally, these events focus almost exclusively on the first point, and it’s a real credit to Chip and co-organizer Angela Casagrande for having the broad vision to incorporate the rest.

Many oboes to try!

There is SO MUCH that can be said about the event – especially a striking concert by all professionals who participated – that it would be too easy to ramble on for hours. For this post, I’ll limit myself to a precious opportunity afforded by the event: trying and comparing over a dozen oboes! Gary Armstrong Woodwinds of Toronto came over to offer repair services and exhibit some of their stock for sale. These consisted of mostly Lorée (used and new – including 1 Royal), a good number of Howarths (new – including 1 XL), a used Strasser, a used Buffet Green Line, a used Covey and 2 new English Horns, a Fox and a Lorée and even 2 oboes for youngsters!

Reeds, weather and Climate Control

I had purposely brought some good and mediocre reeds because I wanted to see how these instruments handle the varying quality. On the 1st day, that went fine and I made some observations that I wanted to confirm on the 2nd day…… problem, on the 2nd day all reeds had 2 phases:

In the morning, they were all rock hard, didn’t crow, didn’t wheeze, just hard!
After some warming up, they seemed to behave reasonably the same: near concert grade! This made it difficult to really make a clear difference between one oboe and another.

Furthermore, the hall where the exhibition took place seemed to play a huge role in how these instruments were behaving: on the 1st day, I had tried and was really impressed by the tuning of almost all instruments…. then I tried mine as a standard…. mine was playing much more in tune and with better character than usual! So here’s a case where a favourable hall for performance makes it difficult to find the faults in the instruments!

Observations: Lorée afresh and other wonders

The following are my own opinions, highly coloured by my lack of experience and lost mastery of the instrument. Other people can have very different opinions which are fully valid. I’ll limit my observations to the positive attributes, because I don’t think I had enough time with the instruments to really qualify any flaws. The new instruments (Lorée and Howarth) were all easy to play in the altissimo register). None of them left me with any “super sensational” feeling making me want to rush out and change my instrument.

Lorée:
1. All Lorées on exhibit seemed to … this is not a flaw at all … “frame” the sound. It is favourable to a consistent tone quality among different players. But it also makes me wonder why people feel they have more “freestyle expression” with it.
2. There was an A-series and a C series: their legendary reputation is well deserved! Light weight yet full body sound. Not the most beautiful thing to see, but who cares! Really easy to play. Absolutely worth the trouble to rejuvenate the mechanics, these instruments deserve to be heard in public!
3. The standard bore oboes were new or younger than the year 2000. Their tuning and stability were far improved compared to mine (1985).
4. There were used and new AK bores: these exhibit much less restraint on blowing while maintaining the Lorée character.
5. Royal: heavy, but that’s OK because it really “sits” its sound solidly. Extremely free blowing but dependable tuning throughout. It is superior to the standard models, but if money is an issue, the AK is really nice.
Howarth:
1. All of them were very free blowing: no feeling of congestion anywhere or at any time.
2. The little finger keys are especially comfortably positioned: I did not realize this had such an impact. You must try and compare to fully grasp the implications.
3. The XL has all the good qualities of the Lorée Royal – choosing a favourite between the two is not easy at all.
Covey:
1. A pleasant enigma. The repair work was fine for reselling, so everything played well, but more work on rejuvenating it would prevent misconceptions.
2. At first, I did not like a sense of resistance from it. But the more I played, the more that sense gave way to a kind of restful feeling.
3. It has a beautiful quality I don’t know how to explain: it very gracefully transitions between notes with more fluidity than any other instrument I have tried to this day.
4. Very light, yet fine sound and comfortable to play.
Strasser:
1. This was a very pleasant surprise. I was expecting a flawed “junior” model, but I really have no criticisms against it whatsoever…. and I tried many tricks to make it sound bad: it never did.
2. The one word that characterises it is “comfort”. Comfortable to blow, comfortable to hold, comfortable mechanisms.
3. My hands are big, this instrument might be designed for smaller hands. Nonetheless, I think I could play it very happily.
4. I think it is the ideal model for both beginner and serious students because you can sound fully professional with it.
Buffet Crampon Green Line:
1. I fully understand why people like this instrument.
2. I remember, on the 1st day, remarking that this instrument is very forgiving on reeds: my mediocre reeds played very easily and in tune.
3. Lorée players might not like it: difficult to explain, the 2 instruments “blow differently” – switching (alternating) between the 2 is not an easy task.
4. This one is the very definition of “free blowing”.
5. The tuning is fully dependable and it can sound almost any way you want.
Children’s oboes
1. There was a Cabard “petites mains” and a Howarth Junior oboe.
2. Both had exquisite sound and flawless tuning.
3. These are proof positive that oboes are NOT impossible instruments!!!

Surprize: instability on different notes!

Those of us who became solid players around the 1980’s and 1990’s were accustomed to special fingerings on most brands of oboe for the F# and G (sometimes the E-natural) with the 1st octave key. Some notes with the 2nd octave key might be flat or sharp or even unpredictable, but they would not “wobble” in the middle of a crescendo.

Strangely, some of the instruments I tried, I was very surprized that this “wobble” happened on either the 2nd octave key A or the “normal” F with the 1st octave key. Because my reeds all played more consistently on the 2nd day, I was not able to reproduce it, and I forgot which instruments. I just remember it was not the Strasser, the Royal or the XL.

Nino Rota Duet for 2 oboes (2/3) … but 3rd recorded

2012-01-14T07:41:00.001-05:00

3rd duet for 2 oboes by Nino Rota

Here it is, the triptych is now complete!

This one is called “il Mulino”: the mill (wind-mill, grain-mill, saw-mill, river-mill) and it is easy to imagine the squeaky machinery rolling and turning! The cool thing about this one is the 1st oboe part being mostly in the altissimo register, usually between:

I have found that practicing this high actually improved my sound in the middle and lower registers.

Thank you Michele Mancaniello for re-introducing me to this fantastic composer and also for providing me with this very special music. The 3 duets were very enjoyable to play, funny to listen to but also really difficult to record the 2 parts together.

Reeds and Recording:

One thing I learned this year is that the entire process of recording influences the sound as much as (or more than) the reed! I’ll do a blog post about that and my thoughts on this recording next week.

What is “Allegro”?

This is a 12/8 movement marked allegro. The metronomes often indicate Allegro = [120, 160], but what is to be used as the beat? I think it’s important to put things in context, these words do not always denote speed (tempo) but often character:

Moderato : moderate speed
Allegro : happy
Vivace : lively
Presto : swift

… of course, these words can be interpreted differently, but in comparison to each other, this makes sense.

I played the 3rd duet at , but I don’t think anyone would say it’s too slow for an Allegro. It could be considered too fast, but slower just didn’t seem right… it was also much more difficult to play the rhythm and togetherness cleanly at slower speeds…. apparently, Franz Liszt once said he didn’t know his own etudes well enough to play them slowly!!!!

Physical Update: ouch

Just before the holidays, my physiotherapist scolded me for not doing my nerve flossing exercises. I told her it was because I never feel anything when I do them……. uuuhhhhh, now I feel a lot (ouch) when I do them!

The point of those exercises is to ensure mobility of the nerves to prevent irritation. Well, a few months of too much social networking (internet stuff) in front of the TV in the morning and evening has left its mark. Especially after having shovelled the snow last night, my shoulders are now rather bothersome, feeling as if I have strings inside my arms, neck and back that pull whenever I move.

…… ah well, back on the floor to do those simple exercises!!!!!!!

Also, if you do muscle strengthening exercises, the trainer I often see at my gym explained that the really easy exercises given by physiotherapists strengthen a set of small muscles. If you do the same exercises with heavier weights or stronger rubber bands, the bigger muscles will take over and the whole point of the workout is lost.

HAPPY 2012! (A year in the blog)

2011-12-31T10:25:00.001-05:00

A little over a year has gone by since this blog began: and a really exciting year it was! So many things have happened and so much has apparently changed.

I started, barely able to play the oboe without embarrassing myself.
=> Now, I have 11 recordings on You-Tube that show, I hope, some good progress.
I started this blog, without really thinking anyone would visit, it was supposed to be a self-motivating journal. 
=> Now, 23 thousand visits from 78 countries! 
=> and I have been added to several international double-reed Facebook groups.
I had actually left Facebook because my initial circle of friends published mostly rubbish. 
=> Now, the groups I participate with have opened doors to friendships with real professionals all over the world; creating the most captivating conversations.
I had started with only 2 or 3 oboists as reference points for style and sound.
=> Now, the You-Tubes of dozens of old and new soloists and orchestral oboists - shared by hundreds of people on Facebook - have really opened my horizons.
=> Now, I had the pleasure of many fascinating discussions with almost every oboe maker (my heroes).

A wonderful blessing in 2011
I am only an amateur and my age and situation won't really allow me to do much in music. But all the exchange with fantastic people all over the world through Facebook, the blog and the BBoard make me feel as excited about music like if I were a student again. A huge thanks is in order to these places have been a huge source of people visiting my own blog.

Patti Emerson Mitchell and her blog Oboe Insight
Bret Pimentel and his blog on playing all woodwinds
Mark Charette and his Oboe BBoard
Frédéric Moisand, Ivan Di Bello, Ambrogio Gentili, Sergio Mannu, Nicola Leone and Reynato M. Resurreccion Jr. for their fantastic Facebook groups.
Michele Mancaniello for re-introducing me to Nino Rota.

Hopes for the coming 2012:
I don't know if I'm competent and capable enough to play on stage yet, but it is certain that this cannot happen without first meeting people to play with. So I hope I can meet up with local musicians of my calibre and aspirations.

As much as my musical progress is exhilarating, it cannot continue without a body that will cooperate and a home that will encourage a diversity of life activity ... sitting in front of the T.V. and Facebook all night, every evening doesn't help.

Finally, I mentioned a few times my gratitude to my professional employment; I think I did well this year, as an engineer, and I need to continue to be useful and productive, exploring new opportunities so it can continue to support and encourage all the other aspects of my life... for example going places to try different oboe makers.

My New-Year Wishes to All:

Time and the resolve to use it wisely and fully.
Optimism, faith and the resolve to be part of the solution, not the problem in all things.

May the year 2012 see you all safe, healthy, happy and strong all the way to the year 2013!

Kaczynski and Nino Rota Duet for 2 oboes (3/3)… but 2nd recording made…

2011-12-27T23:09:00.001-05:00

Nino Rota : Vecchio Carillon: old music box

I wanted this recording out for Christmas, but at 30 minutes a day, it was just not possible. In fact, I did the 3rd duet before the 2nd because the rhythm in both cases is just plain murder, and the 2nd is the hardest! The oboe 1 and oboe 2 parts are easy enough, each by itself…. but putting them both together might just be the most difficult things I have ever played! I guess this is where it becomes really obvious that, if I was ever professional grade, I certainly am not anymore!

Multitrack Recording to correct rhythm trouble

For the past month, my 30 minutes a day consisted of long-tones to beef-up breathing and embouchure, then going straight to the recording device! Practicing these tunes with a metronome is just plain useless because it’s really hard to tell if I’m with the beat or not until I put the 2nd part on top of the 1st. With multitrack recording, I record the 1st part and play it (hear it) in my ear-buds while recording the 2nd part. My recording device has a metronome that I can hear in the ear buds while recording (the tac-tac-tac does not get recorded), but it still takes the 2 parts together to tell what part is going wrong and how. In fact, it took many, many, many sessions of listening to both parts through the speakers to really settle things down.

No friend, no cues…

I don’t know, but it is possible that recording myself playing with myself made things harder. I remember from my days of chamber music that my fellow players and I would look at each other a lot. We would feel each other’s breathing while giving and taking cues either explicitly or through body language. This allowed us to deviate from the beat quite a lot, but still manage to play in proper synchronization together. I don’t know if playing the Nino Rota duets with another living person of similar calibre would really make it easier or not… I hope I get to try sometime soon.

Czeslaw Kaczynski and Nino Rota : undervalued treasures!

As is likely the case for most Canadians and Americans – maybe even Europeans – my knowledge of Nino Rota was mostly limited to the movie music of the Godfather, Romeo and Juliet and so on. It was my piano teacher from the Conservatoire de Montréal, Czeslaw Kaczynski, who set me straight. Just before he left for a retirement in Rome, he blessed me with a private performance in his own home of Rota music for piano. That’s where I discovered that Nino Rota makes true “pure” music that needs no movies at all to touch the depths of artistry: there is now a You-Tube channel dedicated to the non-movie music of Rota.

Maestro Kaczynski is a Polish pianist who became director of the Conservatoire de Trois-Rivières and then took a semi-retirement, teaching piano 2nd instrument at Conservatoire de Montréal: I had the tremendous privilege to be his student. Strangely, he was not very well appreciated as a musician or as a teacher… this, I really cannot understand because I heard him play recitals of Chopin and Szymanowski with such soulful musicality and passion that NO OTHER RECORDING from any of the world masters has ever approached… many attendants of those recitals, regular patrons of the arts, agreed on that! One of these was among the first recitals played on the famous Bosendorfer piano of the Chapelle historique du bon Pasteur (Montréal).

I was blessed with many excellent music teachers, but Maestro Kaczynski was certainly the one who most strongly awakened the aesthetic artistry when playing music. I can go on for many blog posts telling of his genius as a teacher as well as a musician. I only hope his retirement in Rome paid proper tribute.

Nino Rota Duet for 2 oboes (1/3)

2011-12-03T20:23:00.001-05:00

20 000 visits to the blog!

Last week marked well over twenty thousand visits to this blog, from 78 countries – in less than a year!
I am really thrilled at this, and I still find it extraordinary to see Google searches that point specifically to my posts!
Thank you so much to all visitors!

Nino Rota: much more than movie music!

Tre pezzi per due oboi (1/3) : Vecchia Romanza

A few months ago, Michele sent me sheets for a rare duet for 2 oboes by Nino Rota. I say “rare” because I had never heard of Rota writing chamber music, but perhaps Italians play this all the time? At any rate, I take it as an honour to perform these and play both oboe parts using the multi-track recording system on my recording device.

This is a set of 3 duets written specifically for 2 oboes, and I actually wanted to wait to record all three at the same time, but I have to celebrate 20000 visits! The duets are not difficult BUT the first oboe requires good control of the altissimo register (3rd octave key) and the 2nd and 3rd movements are really tricky in term of rhythmic ensemble. I need more time to get it right. This is not the first time I am pleasantly surprised with Rota, but I’ll mention that with the next recording. In the meantime, I hope you enjoy!

Facebook International Oboe Groups – Michele Mancaniello

The groups on Facebook that join oboists and bassoonists from all over the world are simply fantastic. Apart from sharing videos, news, performance information, and many, many questions, the international exposure really expands our horizons.

A few participants have distinguished themselves as particularly generous with their expertise, and resources. One such notable participant is Michele Mancaniello, a professor of music in Montemilone, Italy. Whenever anyone in the world is looking for music sheets of known or obscure pieces, Michele is quick to reply in the wonderful group Oboe in the World. Michele studied music and composition with Nino Rota before completing his formal training as a composer and oboist in Italy. Michele has amassed a considerable library of solo pieces and study repertoire for oboe and is fully eager to share (as permitted by law) with anyone who asks, anywhere in the world. He very humble and friendly: he is Italian, but I would like to see more people like him in Canada too!

Romantic dog…

This one is called “Vecchia Romanza”, an “old romance”. As I practice it, the music seems to tell me what it wants…. and I don’t hear much romance there… UNLESS I don’t interpret it as “old tune of romance” but rather “old people feeling romantic”. As I get older too, everything in the tune makes sense: it’s not just about hormones, but they are there – it’s not just about passionate feelings, but they are there – and it’s just as much about the memory of romance as it is about feelings today.

This recording was not intended to be the one for You-Tube: it was a warm-up rehearsal and has notes out of tune and errors in rhythm. But if you listen closely, on the last note you will hear a faint howl: that’s my Chihuahua/Maltese dog Popcorn (on the left in picture below), lying on his side and singing with me! When that happened and I heard it on the recording, I HAD to keep it!

Winter reeds…

In a previous post (click here ), I had given 2 pictures of many reeds and said I would comment on them. The picture above is the one I used for this recording.

Winter is only beginning to show up here: the worst will come in 2 months. But the effects on reeds is already starting to show: it was worse last week, but they are closing and the crow is much too smooth for my own liking. The reed I use here is shaped on an RDG –1 shaper (using my own gouge at ±0.60mm) and bound on a Stevens #3 thin-wall staple (46.5mm). The staple is very similar to Chiarugi 2+ and I find it really opens-up the expressiveness of the shape. I find (my experience – may be different for others) the RDG shapes can play with a really mellow tone, but the upper register gets much clearer: that is, the sound in the registers change a lot regardless of how the reed is scraped.

The ragged tip you see in the picture actually comes from using an old grenadilla plaque (bellied) which is worn-out: when scraping, the cane is not evenly supported and nicks happen that way. It plays really well nonetheless, only slightly resistant, but I don’t want to make it easier and loose the sound colour.

Reed Life Cycle (part 1) : long-term cycle

2011-11-19T13:03:00.000-05:00

O.K. a little over a month of intense computer work is now over!
Back to the oboe, if fatigue and a sore back doesn’t get in the way!

The bad season for reeds and reed making is coming quickly, so I have to try to finish as many reeds as I can as soon as possible before weather just confuses the difference between good and mediocre reeds.

It’s a reed’s life…

I’ve “irked” more than one professional and/or amateur oboist by saying that making oboe reeds is easy! I stand firm on that, but I must explain that a lot of the complaints I read are mostly due to misunderstanding how reeds behave over time. Reeds have 2 definite life-cycles and you can’t expect them to behave “perfectly” when they are not in the performance phase! The short-term cycle describes with the reed’s behaviour during one day and the long-term cycle describes it’s entire lifetime from first scrape to final rest. The short-term cycle MIGHT be more apparent in Euro (short) scrape reeds because the windows in American scrape theoretically eliminate the reed’s springy bounce-back. But the long-term applies to all scraping styles.

In my student days, I had a reputation of being able to scrape a blank in 15 minutes and be able to play a good performance on it. Nonetheless, the best reeds take weeks to scrape (having been tied months before). In a nutshell, my best results commonly follow this pattern:

On the first scraping, the reed should play all the notes relatively easily, nothing more. Trying to improve the sound or responsiveness at this point can very well ruin the reed.
A few days later, the reed will open much more to the point where it is almost unusable. At this point,
- first: close the reed with proper soaking and squeezing;
- second: the reed can be softened over a few days for sound quality and responsiveness (remove more bark in the back and/or reduce the tip, sides and heart), but not too much as this can make the reed very unstable.
- Note 1: squeezing the reed is more important than scraping for a few days. Playing the reed a little bit each day helps determine how much can be scraped.
- Note 2: at this point, the reed can tune the oboe very flat. I don’t fix that yet because I have found that the reed will naturally rise in pitch within a week.
Less than one week after the first scraping, the cane’s character should begin to show itself. The difference between concert grade, practice grade, strength builder or just plain no good!
About a week after first scraping, I will sometimes make dramatic changes to the reed: change the back, back-up the heart, chop the tip by as much as 2.5mm – sometimes, no change at all. The dramatic changes often take reeds I thought were awful and turn them into concert-grade reeds. Sometimes, even small adjustments take near-concert grade reeds and ruin them irreparably!
More than one week after the first scraping (a week and a half or 2 weeks), the reed will be at its best. This is where the final touch scraping can be done. A reed that needs scraping or any adjustment after 2 weeks (in MY experience – other people will have different opinions) usually means it is just no good.
The reed is actually best for performance after about one month after the first scrape. Reeds should be used at least every 2-3 days for 15 minutes to an hour to keep them ”alive”.

This kind of use typically keeps my reeds in concert grade for another couple of months…. but then again, I don’t play anywhere nearly as much as students or professionals!

I know the reed is at the end of its life when it becomes “too” easy to play, the sound brightens and becomes buzzy: dynamics will become more difficult, the pitch will rise (or drop) and articulation will become sluggish. No scraping will help anymore. Sometimes, cleaning with hydrogen peroxide and pipe-cleaners will extend the life for a few days to a week, but it is not a full restoration.

Nov. 11: Remembrance Day in many countries.

2011-11-12T08:55:00.003-05:00

Remembering the Gifts of our Fallen Comrades :
hope from the horrors of war.

( Each picture can be clicked for really good information.)

Because of increasing scandals and doubts concerning why countries go to war, we are tempted to hate everything to do with the military. It is true that it is always the innocent that pay for the greed of the powerful guilty. Any decent historian will admit that the people and soldiers in the armies of "the bad guys" were also misled and abused by a handful of truly evil people.

Nonetheless, what Julius Ceasar said "If you want peace, prepare for war" (Si vis pacem, para bellum) remains true and many of the freedoms and comforts we take for granted today, especially in Europe, can be traced to the horrors of many wars. I fully respect and admire Ghandi for saying that winning these can happen without war - admitting that there would be terrible suffering both ways - but how can we know what could have been? The only thing we can know is what we have today, and how far too many soldiers died (or worse) in order to secure it.

Three things should be clearly understood about the Canadian Military:

Canada invented Peacekeeing and the UN Peacekeeping Force.
(We were awarded the Nobel Peace Prize for it! )
ALL Canadian soldiers are volunteers: we have no compulsory service, no required registration.
By tradition and history:
1. we never initiate combat,
2. we keep away from hostilities as much as we can,
3. when we do engage in hostile operations, the first and last motive is to ensure peace and safety for the local people: NOT victory for any one country.

Yes, we have our share of war crimes (see here), but our military reflects our first and most important value: all people should be helpful and friendly good neighbours. I believe this is because of our winters: if you slip and fall on the ice, I don't care if you are white, black, Chinese, Indian with a feather in your hair or a dot on your forehead; I don't care if you're a man or a woman, Catholic or Jewish or Sikh or any variety of Islam; or even if you speak English, French, Suomi, Italian, Afrikaans, Urdu or Farsi: I will help you up because tomorrow I might need your help, should my plumbing freeze and break! We are implicitly multicultural and we manage to make it work reasonably well: and you will see all these people in our regiments wearing our uniforms together.

This picture shows all the regimental insignia I wore as part of my duties. I must confess that I was a reserves bandsman: in other words, I was a part-time soldier (weekend-warrior) and my trade was to perform music, sitting down on a stage or marching in the streets in all safety. However, I did real military training including Combat Leadership alongside people who did serve in combat roles, who did have bullets buzzing by their ears, grenades thrown at them and mortar fired at their vehicles. I can tell you that I have never met kinder or more generous souls than I did in these people; I did serve with people who were wounded in combat situations.

I also served as instructor on military training and I think I should tell this story. This was years ago and I forgot his name, but we had one recruit who was absolutely terrible on the parade square, he could not stand straight or keep still and was confused doing drill. However, when we went to do field training in the woods, he was the most quiet, sneaky and skilled soldier any of the instructors had ever seen! We asked him why and he told us his story:

He was an immigrant to Canada (granted full citizenship), having been a child-soldier in Libya! He said he thought the Canadian military was wonderful because we teach our soldiers to work together as a team and help each other: in Libya, his training had consisted of being given a rifle, sent to combat and he would get his Private's stripe if he survived! He saw his village get destroyed by guerrillas and I don't remember how he got out, but as a result, his greatest wish when immigrating was to join the Canadian Forces!

Stories like that, and people I know who actually lived in Tehran when Iraq bombed Iran for 10 years (well known and openly documented fact) show quite clearly that we, in Canada, the U.S.A. and much of Europe have no clue at all what are the horrors war: I pray we never find out - I pray we never cause anyone to feel like war is the only recourse left!

HAPPY HALLOWE’EN!!!

2011-10-30T15:05:00.001-04:00

I’ve been having a horrifying time at work these past few weeks, so I can’t record anything before few more weeks. In the meantime, in the spirit of fear and dread that go with this holiday, let me discuss the worst demon of our time, causing the most distress and ruining more lives in musicians and everyone that uses a computer: office posture!

IMS Update – good news:

My treatments are now once a month and things are going relatively well (my last recording shows how comfortable my fingers are playing). Now, after a treatment, I can get severely sore in the places treated during the afternoon. But the soreness does not last long.

This time I got some needles in the shoulder and lower back. IMMEDIATELY after the 1st needle on my left shoulder, it relaxed and dropped something surprizing – it felt wonderful! The right shoulder took 3 needles and the dropping was not as dramatic, but still great.

I get rather bad back pains, especially in the morning: I’ve been getting these for well over 15 years, so I always thought I have a bad back. In fact, X-rays over the past couple of years show disc-degenerative-disorder (including arthritis) in the back and neck. This is normal for my age, but I thought it explained the pain. Well, no it does not explain the pain, and that is the good news! My physiotherapist did a good examination and concluded that my pain is due to nerve compression caused by tight muscles: these can be stretched back into shape!

Real Demons Possessing us:
COMPUTER WORK!

Get it straight: sitting down all day is the single worst thing you can do to your body, period!

I’ll be drawing diagrams later to how seated posture is responsible for back pain in:

office workers
taxi, truck and bus drivers
heavy machinery operators
students and musicians.

In the meantime, here are some pictures to show how using the computer keyboard an mouse can injure your arms, cause horrible recurring headaches and seriously compromise your oboe playing! Here are also pictures to show the right way to use computer input devices so you won’t hurt yourself.

	WRONG way to sit at the computer! Shoulders behind the buttocks weakens the belly and causes compression on the lumbar nerves. Pressure from the keyboard tray on the wrists leads to carpal tunnel syndrome. Pressure of the chair arms irritates the arm nerves causing weakness and debilitating pain. Monitor below the eye-line causes you to move head forward and down which weakens the neck muscles and constricts cervical nerves. Leaning on the arms raises the shoulders which shorten the muscles and leads to severe headaches. Keyboard angled upward requires wrists pulling back the hand: extra force required to type.
	ABSOLUTE WORST: The whole weight of the body on the arms against the table corner lead to serious irritation of the nerves and carpal tunnel syndrome. Shoulders in front of the buttocks shortens the leg-lifting muscles which will cause a “beer belly” and curved back: serious back pain! The wrist rests for the keyboard and mouse restricts free movement of the tendons. Only way to make it worse still: have the elbows on the table: cause strain on the neck.
	*The single best posture:* Natural position and motion angles for elbows, fingers and wrists (see next image). Shoulders directly above buttocks keeps back straight and encourages strong belly. Keyboard just above the knees so elbows are in line with spine (encourage muscle relaxation), not forward, not back. Keyboard and mouse should *angle down* (like this picture) never up! See a study from Cornell University (click here). How to improve even more: Keep the monitor close and at eye level: favour an easy neck position. Remove the chair arms: prevent the temptation to lean on them – it’s really best to just let the shoulders drop.
	Opposing forces: This image shows how the need to keep the finger up creates extra force. So pressing the mouse means not only resisting against the mouse, but also fighting against the upward force. It is not only the finger that strains, but also the wrist and forearm, as those muscles participate in the lift: they shorten over time. Opposing forearm muscles participate in the click motion and must work even harder when the wrist is crooked this way. This principle is also applies to the elbows, shoulders and neck. Take some time to observe how your body strains and you will realize a great deal about how computer posture is the single worst contributor to pain in modern life!

Ghouls and Monsters in the “free world”:

Keeping a good posture that encourages your strength is a very simple issue. Apart from a good keyboard tray, no expense is needed. Be very careful: marketing people are really good at convincing health benefits of new gadgets that can actually cause pain and injury.

By definition, capitalism rewards people who have the most capital with even more capital (wealth). The dark side of capitalism is that there is no reward for actually helping people – if people get better, they don’t need to buy more gizmos! Marketing makes its companies look like good Samaritans who really want to help you; they will incorrectly quote studies that were incorrectly conducted to begin with: all for the soul purpose of making money, not helping people in pain!

This is precisely why lawyers quote the principle “caveat emptor”: buyer beware!

Happy Hallowe’en!

Tribute Recording of Gratitude!

2011-10-10T21:24:00.001-04:00

HAPPY THANKSGIVING (Canada) !

Thanksgiving is a great holiday in terms of faith. It reminds us to reflect on the fact that, though many things are wrong in the world and need correcting, in virtually every circumstance there are always aspects that lend really good helping hands in life that provide hope for the potential of fulfilment. In my opinion, people who complain “How can an all powerful God allow such horror in the world” are guilty of reading only what they want from the Bible and other religions… they fail to realize that the troubles in this world come from people much more than God, and that people are also the biggest hope and potential for beauty and grace! Maybe that’s the actual purpose of our existence in this world…

The origins of the holiday are contended (see Wikipedia), but 2 things remain clear:

The name suggests gratitude,
it is celebrated at the end of harvest time.

#2 explains why we celebrate it in Canada a month and a half before the U.S.A. Being “The true North, strong and free”, our harvest ends much sooner than down south… does it ever actually end in Florida or Texas?

In terms of home, there are many things I am grateful for, that will remain at home. In terms of the oboe, the focus of this blog, there are 3 things for which I am really grateful this year:

physical therapists and fitness professionals,
social media on the Internet,
a good job and God’s blessing for apparent job security!

These have been really instrumental in motivating me to practice diligently and strive for the sound, technique and musical expression I know I am capable of. Right now, I cannot play as many hours in a day as I would like, but what I can play, the only obstacle remaining seems to be concentration: as long as I keep diligent with physio. exercises, I can re-train my technique to play as fast as I need. My mind keeps interrupting my fingers, but my fingers are capable again!

Facebook, You-Tube, Twitter, the Blog and the BBoard

I cannot overstate my appreciation for Mark Charette (at the BBoard – visit here) and the creators of Facebook groups (in order of when I joined them), Ivan Di Bello (visit here), Sergio Manu + Ambrogio Gentili (visit here) and Frédéric Moisand + Shi Li (visit here) for starting amazing communities where we can all share opinions, tips and tricks and examples of our favourite performances: I dedicate this recording to you! (I hope I do you justice!)

Thank you BBoard and Facebook people!

Such interaction, sharing and exposure to the greatest musicians was not available when I was a student. It really increases our panoramic perspective of how a piece of music can sound like and what can be done with our fantastic instrument! What a wonderful thing to live!

Thanksgiving Recording

In keeping with my observation of the last couple of posts, I did this recording without really feeling ready for it. But apart from lacking maturity, the single worst thing was a wandering mind: the more comfortable I get playing, the more my mind wanders and the worse I mess-up. This is nothing new: I also experienced it in the best of my days. But somehow, playing with others in concert sort of removed most of the problems. Playing with a recording of myself – with nothing at all when recording the 1st part – the mind is free to wander! In a concert, exam or audition, I would be told to have trouble with technique, but in fact, the faults in rhythms and fingerings here is due to concentration problems (and fatigue…).

Playing with myself (OBOE!!!)

2011-09-26T06:11:00.001-04:00

Playing the 2 parts of the duet myself.

Here is one movement of the Telemann Flute Duet in A major (without continuo). I’ll do artistic reflections in the next post.

I think this went pretty well. I had never played this piece at all before and have been practicing less than 30 minutes a day for about a month because work has been rather demanding. I think the sound quality is much better than before:

the microphone position in the room really helped quite a lot
I think the season is helping me play with a better sound and develop more discriminating ears
I think Facebook discussions have developed more demanding ears, requiring me to breathe better in order to achieve that sound I seek.

I am amazed at how much the Oboe BBoard, Facebook and You-Tube have helped me develop musically and artistically. This was simply impossible back in the days I was a music student and beginning pro, unless you were wealthy and could travel often overseas. This is truly an exciting time to be a budding musician!

Nerves while recording

Recording this required 2 runs at it:

The first time, before lunch, I had to do many, many takes because I was always making silly mistakes that I just could not hide in any way. So I just stopped with one merely half-decent take.
The second time, after a lunch break in front of the TV, I felt more relaxed and did everything just right on the first try! I fact, oboe 1 and oboe 2, I did two (relatively) fine full recordings without stopping or repeating anything. Though the recordings still have flaws, I decided to stop here while I was happy with the work.

Conclusion:

I stopped the first run completely discouraged and feeling ridiculous. This is NOT a difficult piece and when practicing, it always goes fine. Yes, it does need to mature: the 1 month I have gained its acquaintance is not enough to really feel its flow, but I have still been playing it with feeling from the very first reading. Different takes should be to change a phrasing, not because of mistakes.

During the second run, I was motivated and just enjoyed the energy of the piece while playing. Maybe I was hungry before and needed some energy and a break. But I think the mental aspect was the worst of it. I think I need to do more recordings, more often, and not care if they sound well or not. The exercise of recording and showing on You-Tube might act as a surrogate for live performance, challenging stage fright and allowing me to focus more on the musicality.

Rare wired reeds!

2011-09-18T20:12:00.001-04:00

Changing the background because the seasons have definitely changed here!

Telemann Flute Duets and metronome recording…

I have a couple of movements from Telemann’s flute duets coming, but there is a bit of difficulty in playing with myself….. mostly in terms of stable rhythm. I need to work with the metronome more because I rush some groupings and slouch on others… not in an artistic fashion either!

My solution is simple: the Zoom H4n has a built-in metronome that I can hear in my head-set when recording, but does not sound when playing back. The movements I chose sound fine in strict tempo – lots of room for dynamic expression – so I will do that for the experiment.

Wired Reeds… me?

I have tried several times in my life to use wire for my reeds to help control opening, stability, ease of playing and so on. My conclusion has always been that wire just doesn’t work. Well, things have changed!

Two of my reeds were “slipping” (sideways offset) quite horribly. I was going to break them, except they played rather well…. apart from choking as a result of slipping… I decided to try using wire around them: for the first time in my life, this actually saved the reeds! Note that the purpose was to save already good reeds, wrecked by slipping: not to try to fix bad reeds!

European (short) Scrape – adaptive method

I read more and more questions about European scrape (I combine German, French and other short-scrapes because I explain the differences with methodology). Over the next several months, I hope to explore these questions and hopefully provide solid guidance. I am NOT Albrecht Mayer, I am NOT François Leleux and I am NOT the best reed maker to be found but I have done enough experiments to provide beginning guidelines for stable, well sounding and flexible reeds that are also easy to play.

(Click on the images below to open the REALLY big original pictures!)

To start off with, here are some pictures of very different reeds. They play differently, sound differently look different and this will help a discussion on how to get what you want with respect to the cane you are using. Be careful not to judge on what you see: later I will give sound clips on them and you might be surprized.

High-definition pictures:
much more revealing than backlighting!

Taking pictures of reeds is difficult! I have a fantastic high-definition (1080p) web-cam, but I can’t get as good pictures as my wife: she can handle lighting much better and faster to show the smallest details in the grains. I find this shows flaws in my scraping much more clearly than backlighting. If I can setup my web-cam to take good pictures, that will help my reed making quite a lot!

The really big images (on my wife’s Flickr account) shows scraping trends which you might think give horrible reeds… but all these reeds play very well. You might also think that the differences are so great I used different techniques or get really different results… actually, some that look the same play more differently!

In subsequent posts, I will provide crowing and sound tests on these reeds, compare the sounds, say what I like and dislike about them and perhaps “adjust” a few.

Microphone Geometry

2011-09-11T21:07:00.001-04:00

I followed the advice of Craig Matovitch on microphone placement and put my recording device on a cheap tripod which I put on my desk. This way, the desk table is not blocking out half the sound waves! I found the experiment very much worth while: it really helps create a more living sound, even in my stuffy study/studio.

The following observations pertain to recording the oboe at home. If you record voice or another instrument, or if you have a sound engineer working in a studio or concert hall, all these observations might be completely useless.

1-2 microphones & different ranges of sound capture:

There is a lot to know about microphones (basics of it here)… too much for the home-recording amateur! Still, a few simple considerations can spare a lot of wasted time and frustrated efforts:

How many microphones on your recording device?
What is the area coverage (capture angle) of the microphone (or set of microphones)?

Good quality recording devices are practical because they contain the microphone, recording and playback capabilities all in one gadget: no computer, no cables, nothing cumbersome to carry. The better ones have 2 microphones for stereo sound capturing (better approximate what we hear with 2 ears). There are different types of microphone and there is a full vocabulary to describe them. In a nutshell, and in common language, we can think of 3 considerations:

close and far range sensitivity,
wide area coverage or focussed point sound capture,
different ranges of frequency sensitivities.

The frequency sensitivities can be understood as follows: some microphones are better suited to percussion, others to tubas, others to piccolos and others for voice. In fact, the best web-cams for tele-conferencing focus on clear spoken voice, but they are terrible for recording the oboe!

For range and coverage, this table should explain well enough; click on the image for more explanations.

Angle for true oboe sound and the atmosphere of a lively hall.

The last consideration for home-recording is how to capture the truest sound of the oboe and get a lively atmosphere. For this, I can only say that pointing one microphone directly to the oboe will get the right sound and the other microphone will pick-up room reverberation for the atmosphere. It is difficult to say whether it is best to point the other microphone points forward, up, down or backwards, the results will change according to the room layout, proximity to walls and so on. A few minutes of sound sampling is a worthwhile experiment. I have also found that the microphone below or behind the instrument adds a lot of buzz to the recording. Otherwise, the following images should be clear enough.

Reed Season! – New Repertoire.

2011-08-21T14:00:00.001-04:00

Physical update first:

Because my physiotherapist is on vacation, I’m actually skipping a month of treatments. Increased activity at the gym is a mixed blessing: I do feel generally more awake, but I do get extra sore the morning after. Every fitness and therapy person I speak to agree that it’s a matter of doing too much too fast. Right now, I can’t do much in the pool and too much time in the hot tub appears to seize my neck muscles resulting in passing headaches and pinched nerves.

Oboe-wise: my fingers are feeling great! I don’t get the fatigue and the soreness in the fingers themselves anymore (“Mashala”, as they say: “God made it so!”). These past few days, however, I’ve been getting those twinges in the forearm and shoulder that remind me of tendonitis. They are not tendonitis, I’m sure, but either a pinched nerve in the neck or a few tight muscles. I know this for sure because my fingers are playing just as smoothly as they have in these past few months, which is more than ever in my best days.

Reed Season:

I’m starting to think that there is something special about the end-of-summer / beginning-of-autumn season for reeds. In the past couple of weeks, my reeds have been much easier to make than usual and showing clearly if they are good or bad; that is, a bad reed shows it has no hope so I can break it without regret and the good ones clearly show what they need to become their best. My reeds have also been sounding generally better than usual…. that is, they can sound bright or dark, but there is no doubt as to their character.

I have recently made excellent reeds on rainy days, so the notion of sunny days are necessary to making good reeds is now demolished. However, this is pretty much the opposite season to February, which typically gives the worst sounding and behaving reeds. So I think the notion of seasons and climate is well evidenced.

New Repertoire: copy-cat or comparison?

I received a shipment of Music Minus One (MMO) material last week. I got some really good baroque repertoire for oboe, recorder and flute (that will all be played on the oboe) and discovered a baroque composer I did not know before: Veracini. I also got some straight-forward jazz and Brazilian repertoire for flute. These will be interesting because they really use the high register of the flute. I will need to practice note in the following range:

Telemann, Son. G-Dur mvt.1

Included in that shipment is a collection of Telemann duets for flute with no continuo. The MMO CD has a flutist playing flute 2, but the sheet music has both parts. I thought it might be nice to record some of these with the flute on CD and with myself playing both parts. By Murphy’s law, someone had done this and posted it on the BBoard! That someone is Craig Matovich, whom I respect quite a lot as an oboist and as a person: we disagree on some aspects of reed making and tooling, play very differently, but we share many ideals including:

Telemann, Son. G-Dur mvt.2
Pursuing oboe performance for the sheer joy of it to spite any difficulties.
Using technology as an ensemble when we can’t get people to play with.
Sharing our experience in the hopes it benefits and/or encourages others.
Exploring classical, world-folk, jazzy and fusion of musical styles.
Telemann, Son. G-Dur mvt.3
The love of music and life overall and hope for peace, understanding and caring in the world.

I had intended to work on another sonata, but Craig agreed that it might be interesting to compare the same work with our different sounds and styles. I personally think he did a remarkable set of recordings. So while I prepare for mine, here they are his. His knowledge, experience and tooling (hardware and software) are far superior to mine, but still accessible to the amateur home-producer.

Mental obstacles to technique

Reading through these have been very enlightening in terms of how my body reacts to technical passages. I know from my old repertoire that my technical abilities are decent… for example, I have shown in a previous post that I can paly Telemann sonatas well enough. But when I read a new Telemann piece that is of equal technical skill, I fail miserably. I observed that my mistakes mostly come from 2 mental processes:

Expecting notes and rhythms that are not actually what is written.
Not knowing what to expect and therefore fumbling at every note grouping.

So, improving technique for me, at least in baroque repertoire, is essentially training the mind more than the fingers. I have to see if the same is true with Saint-Saëns, Poulenc and others.

Reflections on Telemann – Home Acoustics

2011-08-06T19:58:00.001-04:00

A week has passed now since I posted my recording of Telemann’s Sonata in A minor for oboe and I have received kind compliments, thank you so much!

After listening to it over and over again, there are a few remarks that should be made:

Obviously, I still need more stability, especially on that 1st octave-key E-natural. My dynamics are inhibiting the tuning, but they are supposed to help each other out. I hope that a few more months of practice will take care of that. Although the hot humid weather did affect my reed, I cannot blame it nor my Lorée as both were definitely good enough for the task.
There are some very strange sound effects happening – on my word, I did not tweak the oboe part with software! – and a little acoustic analysis might help explain them.
As for stability of rhythm… yep, needs work… let’s just not talk about it!

Interpretation style:

The original Ensemble Arion.

Over 15 years ago, I had the immense privilege of being taught by 2½ members (the 3rd was a coach at a master-class) of the Ensemble Arion: one of Canada’s most pioneering ensembles that really ushered-in baroque performance practice on replicas of period instruments. These remarkable musicians, extraordinary teachers passionate about their work and simply really fine people flourished into what is now the Arion Baroque Orchestra.

The Ensemble Arion practiced one type of baroque interpretation they retrieved from their research-teachers in Europe during the 1970-80’s (I think it was this time). They emphasise the discordant notes and the rhythms in motion rather than the destination/resolution notes. They once said in a master-class that Baroque music savours the musical journey whereas Romantic music must emphasise the ends of phrases because they’re glad it’s over! Yes, they got huge laughter and applause! This is how I approached the first and last movements in the sonata. The two middle movements sort of told me how they wanted to be played.

Home Acoustics: be careful!

In the few weeks preceding this recording, I had found that playing in the dining area gave a more living sound than cooped-up in my dry muffled studio. In my first few recordings, where I placed the microphones adds buzz and makes the sound ridiculously bright. But I found that as long as I keep it beside me, one microphone pointing at me, the other one backwards, then the recorded sound is truthful. However, the dining area (open to the kitchen, the entrance, the living room and even to the floors above and below) has its own quirks.

In the 2nd movement (especially), there are really parts that sound like 2 oboes are playing in unison.
There are places I moved my body closer to and farther away from the microphone in order to emphasise crescendi and diminuendi…. this backfired making the fortes sound muffled and the dolces sound harsh.

For the double-sound, I really think it has to do with the echo and the double-microphone (stereo) used by my recording device. Possibly (but I’m not certain), when compressing the stereo oboe track into a mono track to have the piano sound more to the left and the oboe sound more to the right, the software I used might have accentuated that echo that I did not hear when plugging my head-set into the recording device directly.

The first image shows where I chose to set-up my recording device. It is to the side of the oboe with one microphone pointing backwards because experimentation showed that this prevents buzz and gets the most realistic sound from my instrument. The two other images show potential sources of echo where the 2 microphones might have actually bee recording different sources.

The issue of the dynamics is much easier to explain: the microphones were lying flat on a table and I was standing very close to that table:

We naturally want to move closer to the microphone to make fortes stronger and move away to soften dolces. But the top image shows that in my setup, the exact opposite happened: turning towards meant the table blocked a lot of the sound and turning away meant the entire room bounces even more sound to the microphone.
When breathing-in, fully using the diaphragm and abdomen makes my back bellows which naturally curves me downwards. So the most powerful fortes puts my bell below the table… crescendo broken!

There are other issues: the microphone too far adds buzz to the sound, but too close gives a stuffy sound with all the key-clicks and other sounds the audience should not hear. So more experimentation with home acoustics is definitely required!

Telemann, Sonata in A minor

2011-07-30T10:40:00.001-04:00

The whole world by now should know the tragic shooting and bombing in Oslo, Norway. I remember the shooting at École Polytechnique de Montréal (I had started the Conservatoire), I remember the shootings at Columbine and Virginia Tech.: as terrifying as these were, as much as they stirred society and destroyed our sense of safety in this world, the recent shooting in Oslo was far worse.

This is not expected anywhere in the developed world, but when it hits a country that won “top country” to live in for nearly 10 years (taking over from Canada which held it for nearly 8 years), there is just no describing how that shakes our perception of the world.

There is very little that can be said about such wasteful horror. For sure, the perpetrators’ goals will backfire as the world, and Norwegians in particular, deplore their actions.

Anniversary Recording

Here it is, that “baroque sonata” I mentioned in the past few posts. It took longer than expected because, well, I am an hobbyist! Apart from lacking endurance, work and projects for my wife and I have been more involving than usual, so there was just no way to record more than one movement a day. And, naturally, when one day’s recordings are not satisfactory, an extra day is required! And the last couple of weeks, very hot and very humid (calculated “feels like” of 117° Farenheit or 47° Celcius) means that my best reeds were not as stable as they were 2 months ago… (see previous post)

All this means I wanted to delay the recording again, especially since I have a 3-day weekend to make reeds (and clean-out the garage!), but new reeds are never good for performance anyway and I have a few things to celebrate:

well over 11 thousand visits since the blog began last Christmas!
a little over 1 year since my oboe was revoiced,
a little over 1 year since my oboistic revival began: more seriously practicing an average of 30-45 minutes a day.
the 3rd birthday of our first house-dog Popcorn!

So I decided to go ahead. The final recording is probably the best representation of my current abilities after one year of revival. I ended up using the “gold reed” from this previous post.

… a difficult joy!

Telemann, Sonata A-, 1st mvt.

In a previous post and other places, I said that the music of Telemann and Haendel is just as difficult to play as it is beautiful. In the case of Haendel, there is something in the ease of the melodic patterns that just requires every ounce of musical understanding and artistic soul the performer is capable of conjuring.

In the case of Telemann, there is just no end to the possibilities in the music! I’ve been practicing (anew) Telemann’s sonata for oboe in A minor for 2 or 3 months now, and seriously, every time I sit down to one of the movements, I discover something else; either a better way to phrase a lick, or simply a different and equally beautiful way to perform it.

Telemann, Sonata A-, 2nd mvt.

Choosing one style and staying with it becomes difficult - besides, I’m lacking the finger and sound control for some of the styles I would have wanted: they sounded “grotesque” in the literal sense… perhaps these styles require period instruments or maybe I need to experiment with microphone positioning more!

Recording & Production:

I did not make a video this time because I wanted to try out a new microphone layout in the dining room for a better sound quality.

Telemann, Sonata A-, 3rd mvt.

It would have been too much hassle to set-up my computer with the web-cam on the main floor near the entrance to capture the video. I think the sound impression of a recital hall is much better, but there is still much to discuss and experiment.

Also, I had mentioned that with the Free Recording software Audacity, all kinds of effects can be done in conjunction with multi-track recording.

In this case, I used it to tweak the piano accompaniment obtained from Music Minus One (MMO): I changed the piano track and then recorded my performance on another track while listening to the modified piano part.

Telemann, Sonata A-, 4th mvt.

I hope to discuss some reflections on the recording next week. For now, some remarks about each movement:

In a couple of places, you might hear a “hhussshhh”: that’s the background noise from the piano part getting much louder. The piano player gave a very academic and simplistic performance, one that matches what can be expected of most 1st year university oboe students. In some places, there was a soft p “echo” where I preferred to emphasise the repeat. So I made that piano segment louder… unfortunately, that included the “white noise” from the MMO recording!
I sped-up the piano part because I just felt it was not lively enough. Listen closely and you will find a few blips, but generally the technique is not so bad. My arms still tenses up when playing as a result of doing too much at the gym too fast. Furthermore, on these recording days, I neglected stretching and such: the resulting strain shows in the technique and the sound control.
If you think the piano sounds Honky-Tonk, that is because I slowed it down. The accompaniment was too fast for the atmosphere I wanted to portray. The pitfall to this: a kind of inner-echo is produced, making it sound like an old silent-movie piano.
Starting to play before the recorded piano (even with 4 metronome taps) makes it really hard to play in time with the piano! Predicting when the piano will start playing took a lot of practice, especially at the grand pause before the re-exposition!

At the beginning of movements 2 and 4, it almost sounds like I am playing two oboes at the same time. I have absolutely no explanation for this. It can’t even be explained by copy-pasting things in Audacity: to do so would either have no effect (same track pasted twice) or sound really bad (different tracks overlapping). I can only guess that I had turned my body relatively to the walls in such a way that the echo would be picked-up by the microphone pointing away from me. I will discuss this in the next posting.

IMS Update and Performance Endurance

2011-07-20T21:15:00.001-04:00

A little note on recent observations because people have been coming to this blog have been Googling “IMS” and such.

Practice Endurance vs. Performance

I’m at the point now, where I can practice (alone) for about 2 hour “straight”. Seeing as I’m just about ready to record a short 4-movement baroque sonata, I figured I should be able to play all movements from beginning to end. Uuuuhhhh, no! No such luck. I can do the 2nd movement, though loosing the musical character, and my face just blows out half way through the 3rd.

More endurance is definitely required for a performance than practice, when we stop and retake and rest in between. I suppose, then, that Cooper Wright’s advice was well given (see comment from here). Also, I’ve noticed that:

when the mouth gets tired, the shoulders and hands tense up;
when the arms gets tired, the face tenses up.

I don’t know if this is just me (because of fibromyalgia) or if it’s a general rule for everyone, but I think young musicians should pay attention to this.

IMS treatment, one month later

I am now seeing my physiotherapist every month instead of every 2 weeks. The last few times (still bi-weekly) the needles did not hurt anymore, hardly felt any twinges at all. But this time, the reaction was similar to approximately the 6th treatments… that is, not too much pain, but still a lot of reaction (sweats, soreness, fatigue). My physiotherapist was pleased to explain that it wasn’t because of more time between treatments, but because I had begun swimming and training: I am challenging my body and it is reacting to it. This is good because pushing the limits and treating the symptoms will help improve.

She did emphasize that blips between the notes when playing is bad news: it means I am not taking enough care of nerve mobility. My nerves are still constricted, so I need to do her exercises more. The exercises I presented in a previous post are far, far, far too advanced for me. She said, if I can comfortably do those, I don’t need physio anymore! However, the roller foam exercises for myofascial release are excellent and important. Now, I do those with a rolling pin where the huge roller can’t easily reach, and I have noticed more relaxation and control of the pedals when driving!

She fully agreed with the trainer at my gym that I should not work on building the body quite yet, rather, I should stretch muscle groups that are almost always problematic in people who sit at a computer (or reed making table). Once I have gained enough flexibility in the legs and nerve mobility in the arms, then my body will be able to build muscle mass without risking anything.

Knife Sharpening, part 2 – Affûtage, 2e partie.

2011-07-17T10:33:00.001-04:00

Physical Update
My shoulder, elbow and wrist are doing much better than last week: the flossing and reduction in speed of activity definitely helped. But I want to give one more week before recording the sonata…. IT’S HARRY POTTER’S LAST MOVIE THIS WEEKEND!
I still think the 1st was the best!

État physique en bref.
Mon épaule, coude et poignet vont beaucoup mieux: les exercises physiothérapeutiques et la réduction d’activité ont définitivement aidé. Mais je veux donner une autre semaine avant d’enregistrer la sonate…. C’EST LE DERNIER DE HARRY POTTER CETTE FIN-DE-SEMAINE!
Je pense toujours que le 1er était le meilleur!

The secret to good reeds:
It has become a common saying that: “The 2 secrets for good reeds are: 1. sharp knives, 2. sharp knives.” …. well, I would like to amend that to 4 secrets of good reed-making: 1. good cane, 2. sharp knives, 3. good cane, 4. sharp knives!
MANY oboists have witnessed that you can do almost anything to a good piece of cane and it will play well, no matter how badly you handle it (and there’s nothing to be done with a bad piece of cane). However, the devastation caused by an improperly sharpened knife is undeniable and once you’ve used a well sharpened knife, nothing else will do.

Le secret des bonnes anches:
C’est devenu monnaie courante de dire que le secrèt des bonnes anches est d’abord un couteau bien coupant et ensuite un couteau bien coupant! Je voudrais bien modifier en disant: 1. bon roseau, 2. bon tranchant, 3. bon roseau, 4. bon tranchant!

BEAUCOUP de hautboïstes attesteront qu’on peut faire presque n’importe-quoi avec un bon roseau et il jouera bien (à l’inverse, rien à faire avec un mauvais roseau). Par contre, le dommage causé par un couteau mal affilé est indéniable et lorsqu’on en a utilisé un bien affûté, rien d’autre ne fera l’affaire.

Click on the YouTube icon for full-sized video.

Cliquez sur l’icône YouTube pour le vidéo à pleine-grandeur.

Bevelling a blade.

Sharpening a hollow-bevel knife.

Re-edge and fine-honing.

Get my free book here.

Trouvez mon livret gratis ici.

The secret to sharp knives:
expensive stones!
Last time I only introduced stones and some knife designs, so here are the real demonstrations of sharpening. This technique is simple, basic, but used almost universally to achieve excellent results. Depending on how badly the edge got rounded, it’s just a matter of progressing from a coarser stone to a finer one.
High quality (usually expensive) stones are a must. You get these stones from specialized woodworker shops, not your local hardware store. Cheap imitations just don’t do it and whatever miracle gizmo that comes out on the market has yet to prove reliability.

Le secret des bons couteaux:
les pierres dispendieuses!
La dernière fois, j’ai fait l’introduction des concepts de couteaux, alors voici les vraies démonstrations. La technique est simple, mais utilisée presqu’universellement pou obtenir les meilleurs résultats. Selon le degré de rondeur du bord coupant, il ne s’agit que de passer d’une pièrre plus rude à une pierre de plus en plus douce.
Les pierres de haute haute qualité (habituellement dispendieuses) sont absolument nécessaires. Vous les trouverez dans les magasins spécialisés dans l’ébénisterie, pas votre caincaillerie du coin. Les imitations peuchères ne font simplement rien de bon et les bidules miracles qui arrivent sur le marché ont encore à prouver leur valeur.

Anniversary Recording + Knife Sharpening part 1

2011-07-13T21:29:00.001-04:00

Last weekend marked 2 major milestones: Ten thousand visits to my blog: really surprised and happy (71 countries)! One year since I got my Lorée back from revoicing work at Teitelbaum Doublereed: and it still plays like a dream compared to before!	La fin-de-semaine dernière à marqué 2 étapes majeures: Dix mille visites à mon blogue: vraiment surpris (71 pays)! Un an depuis le retour de mon Lorée de sa mise-à-niveau chez Teitelbaum Doublereed: et il demeure une merveille à comparer à avant son départ!
I was planning to celebrate by recording a full baroque sonata, but last week’s post explained that starting the gym and pool have backlashed with some disappointing results on the oboe. 2 weeks ago, there were no blips between the notes at all, now there are many. 2 weeks ago, I had more evenness and fluidity in technical passage than I ever had in my life, but beginning to work the muscles seems to have constricted my nerves and tensed my muscles and that fluidity is gone.	Je comptais célébrer en enregistrant une sonate baroque complète, mais l’article de la semaine dernière a expliqué que débuter des activités au gymnase et piscine on entammé des résultats fâcheux. Il y a 2 semaines, belle fluidité technique sans entre-notes, maintenant, bien le contraire. L’écoulement des notes était sûrement meilleur que jamais auparavant, mais le travail physique semble avoir pincé des nergs et tendu des muscles de sorte à briser cette fluidité.
Actually, that sad story was last weekend, when I would have recorded the sonata. Since the weekend, I have been working with the roller foam, stretching machine and nerve flossing as per my physiotherapist, and things are looking much better, despite strain around the wrists and elbows. In fact, I am close to someone who has had severe arthritis in the spine and neck for many years. A few years ago, it was actually debilitating, but she undertook a lot of swimming and baths in salt water and has since recovered remarkably. In my case, I have to care for my nerve mobility before I can work out the arms, but her story echoes others I have encountered and so I am very encouraged.	À vrai dire, cette histoire triste était la fin-de-semaine passée, quand j’aurais voulu enregistrer cette sonate. Depuis ce temps, je me suis entraîné avec un rouleau à masser, des machines à étirements et les exercices de ma physiothérapeute. Résultat, je me sens déjà mieux, malgré des serrements aux coudes et poignets. Je suis proche de quelqu’un qui souffre d’arthrite sévère au dos et au cou. Il y a quelques annés c’en était débilettant, mais elle a entrepris la natation et les bains dans l’eau salée pour témoigner d’une récupération admirable. Dans mon cas, le problème est neuropathique, mais son histoire et celle d’autres reste encourageant.
Basic Knife Sharpening	Affûtage de base des couteaux
With any luck, next week I should be well enough to record the sonata to the best of my current abilities. In the mean time, I still read comments, questions and frustration over sharpening knives, so I thought it would be a good idea to present a few things. Important: I use techniques for testing sharpness that can cause serious injury if done improperly. Do not do them without expert supervision! I accepts no responsibility of any kind for any incident resulting from misusing the information in the videos here included.	Avec un peu de chance, la semaine prochaine ira assez bien pour enregistrer cette sonate au meilleur de mes habiletés actuelles. Entretemps, je lis assez de commentaires, questions et frustrations au sujet de l’affûtage des couteaux que j’ai cru bon de faire quelques démonstrations. Important: j’utilise des techniques pour vérifier la lame qui peuvent causer des blessures sérieuse si mal employées. Je n’admet aucune responsabilité d’aucune sorte en cas d’incident qui résulte de l’utilisation de l’information dans les vidéos ci-dessous.
These techniques are basic and you would be well advised to read more advanced references. Still, these are essentially all I do (progressing from coarser stone to smoother stone) to get my best results.	Ces techniques ne sont que la base et vous seriez bien avisés de lire d’avantage à ce sujet. Toujours est-il que c’est avec ces techniques (passant à des pierres toujours plus douces) que j’obtiens mes meilleurs résultats.
It turns out, even the basic considerations produced lots of videos, so I will only give half of them this time and the other time in another post. For a “crash-course” You can start with video [1], but the whole series should prove worth the time.	Même si uniquement la base, les démonstrations ont fini par être assez nombreuses pour devoir les partager etnre deux articles. Pour un cours-éclair, passez au vidéo [1], mais la série entière devraît en valoir la peine.
Click the YouTube icon to see full size.	Cliquez sur l’icône YouTube pour voir à pleine taille.

[0] Safety Concerns – Mise en Garde

[1] WRONG way explained.

[2] Intro. stones – pierres.

[3] Intro. knife design.

[4] Other stone, soft metal blade.

Physical update – exercise: a double-edged dagger

2011-07-06T06:14:00.001-04:00

Last week my wife and I took an enrolment in a local gym+pool. An orientation session was a real revelation, but the results have not all been positive. In fact, evenness of note flow while playing is not as easy, my neck nerve is pulling again and I’ve started feeling that scratch around my wrist and back-of-hand again…. not good!

I had asked my physiotherapist if I was ready to start going to the pool and she said it was fine, but gave many restrictions on what I could do: essentially, no straining of the arms …. how do you move in the pool without using arm strength? I started with back crawl (that was too much) and then just walking while using the arms to move away the water…. still too much. And also, using the hot-tub seems to have worsened the neck-strains that cause headaches. I’ve been getting headaches much more frequently, not so painful, just so annoying normal daily activities are difficult.

On the positive side, the trainer explained why I have a “dip” in my lower back which bulges my belly and also what is increasing constriction on the sciatic nerves, which results in weak legs and sciatica. Essentially, having spent too many years doing mostly computer work and math sitting at a desk really wrecked it for me. Good news, this gym has special machines that increase the effectiveness of key stretching movements that would not work half as well at home, on the couch.

Work the nerves, not just the muscles!

The physiotherapist had given me really simple exercises to do from the very beginning. I had also been neglecting these from the very beginning, mostly because they appear so simple and it’s hard to immediately see the benefits. Here is a video that explains the process, what I had to do was only one: lye on my back with arms out to the side and raise/lower them – that’s all!

Now, with the resumption of pain and blips when playing, I think I better understand why she gave me these exercises.

On another positive note, I had been wanting to ask for (and need to pay for) IMS in the legs as well as in the arms because I had been complaining for over 20 years of weak, sore legs, despite my proficiency on a bicycle and alpine skiing.

Luckily, the gym trainer gave me other exercises that just might work better: IMS is for neuropathic problems, my legs might be simply muscular concerns. He showed my how to use foam rollers to essentially roll-out knots in my muscles like a rolling-pin on a pie-crust…… it HUUUURRRRRTS!!! just as bad as IMS! But apparently the pain stops as the muscles get better. Strangely, when my wife does the exercise, she feels no pain at all while I literally sob from it! But the strain in my calves is likely reducing the depth of my sleep, so fixing that is really important.

So, for the next week, I’ll pay more attention to what the physiotherapist said, do her exercises and concentrate on my legs at the gym. Hopefully, musical fluidity will return quickly.

Big Reed, Big Sound – À la taille de l’anche, l’ampleur du son!

2011-07-01T10:09:00.000-04:00

Happy Canada Day! – Bonne Fête du Canada!

The real O Canada pour vrai!	We miss you Roger tu nous manque!
Those of us who are old enough to remember Roger Doucet and Hockey Night in Canada can never like any other version of the national anthem more. This is it!	Ceux d’entre nous qui sommes assez vieux pour se souvenir de Roger Doucet à la Soirée du Hockey ne pourrons jamais aimer une autre version de l’hymne nationale!
Reed/Recording Surprize! I think I discovered the secret to Albrecht Mayer’s amazingly big and playful sound…. HIS REEDS! Of course, the instrument does play a huge role, but here is why I think his reeds might have even more to do with it.	Surprise sur prise avec les anches! Je crois avoir découvert le secret de la sonorité merveilleusement ample et joviale d’Albrecht Mayer… SES ANCHES! Bien sûr, l’instrument y joue un énorme rôle, mais voici pourquoi je pense que les anches y sont pour encore plus.
I was actually preparing some quick web-cam demonstrations of knife sharpening (fixing up the videos is longer than I expected), when I came upon this reed experiment completely by surprise. I took out a big reed that I decided to shorten a bit because I really hated the sound that came out of it: super-buzz! I couldn’t figure out why it was so buzzy even after backing-up the heart and chopping the tip 1.5 mm (resulting in a thicker tip). *Surprize:* when recording it, the playback was nowhere near as buzzy as what I heard when playing – even when placing the microphone in the worst possible position (in front and under the bell). The only thing I didn’t try was to reproduce the setup for my 1st recording in the dining-room.	J’étais en train de préparer des petits vidéos avec ma web-cam sur l’affûtage des couteaux (les préparer prend plus de temps que je ne l’aurais cru), quand je suis tombé sur une expérience avec cette anche qui m’a carrément bouleversée. J’ai décidé de raccourcir cette anche parce que sa sonorité ultra nasillarde me rendait fou! Même reculer le coeur et enlever 1.5 mm (ce qui donne un bout plus épais) n’a pas aidé. *Surprise:* en enregistrant, l’écoute n’approchait nullement le buzz que j’entend en jouant; même en plaçant le micro à la pire des positions, devant et sous le pavillon. Seule position qui reste: dans la salle à dîner comme pour le 1er enregistrement.

Buuuzzzzzzz: what I hear

Mic in normal “best” position.

Really good crow.

Another thing, as I played more on it, the sound in the recording would get even better. It still sounds buzzy to my ears, though deeper and darker, but still buzzy. The crow is just plain fantastic! Almost perfect stability, I don’t need to use any compensatory fingerings at all on my Lorée.	Une autre chose, plus je la joue, plus le son s’adoucit. Ça reste nasillard, mais plus rond et riche. Quand je fait crier l’anche, elle paraît simplement formidable! Stabilité presque parfaite, je n’ai besoin d’aucun doigté de compensation du tout sur mon Lorée.
The video on the left has the microphone in the worst place to show what I hear from the reed. The middle one has the microphone in the normal “best” place (on the table beside the instrument) and the one on the right is just a long crow.	La vidéo de gauche met le micro au pire endroit pour montrer ce que j’entend de l’anche. Celle du milieu met le micro à la meilleure place (sur la table à côté de l’instrument) ce qui donne normalement le son le plus fiable. La vidéo de droite montre comment l’anche crie.
Projection Test One thing noticed by some participants at the IDRS 2011 convention was that what the oboist hears locally can be radically different from “50 feet away” (at the back of the concert hall). I have no way to test this in my row-house. Maybe if I put the recording device in my front entrance and play in the basement TV room (very open stair case and dining area all the way). Such an experiment might yield interesting results…	Vérifier la projection sonore. Une chose notée par quelques participants à la convention de l’IDRS 2011 est que ce que le hautboïste entend sur place peut être fort différent de ce que l’on entend “à 20m” (en arrière de la salle). Je ne sais pas comment vérifier cela dans ma maison-rangée. Peut-être si je mets l’enregistreuse à l’entrée et que je joue dans la salle de télé. au sous-sol (aire ouverte tout le long). Une telle expérience devrait se montrer révélatrice…

Reflexions on Video #2

2011-06-22T20:56:00.000-04:00

So a little time has passed since my You-Tube of O Souverain and the following reflections should be made:

My fingers move with much more fluidity and even rhythm than ever before, even in the best of my days and even though my physical condition is much worse than back then: thank IMS for that! I still have to regain speed and re-learn all scales, but I'm struggling much less than I ever used to.
30 minutes a day is not enough to build real endurance.... or if it is, it'll take more than the one year I spent on it.
Strangely, I can practice for hours, but this relatively easy piece tired my lips enough to sag notes at the end of crescendi: baroque repertoire (especially the technical runs) seems easier.

During the winter, I had challenged myself to do one (small) recording per week, just to motivate myself to practice more and push to better quality of playing…. well….. that didn’t work out! No matter what, as soon as I hear the recordings, I notice “small things” that can be fixed with just one more take, then just another knife stroke on the reed, then another take!
Conclusion: recordings take time away from practicing and making reeds!

Video Production:

Making a good looking video is hard! Lighting is a huge deal and... well... let's just say I won't argue with my wife anymore when she tells me to use wrinkle cream under my eyes!

I bought an expensive web-cam because I thought it best to stream directly into the computer (not possible with affordable handi-cams)... I was wrong. I don't know if I need more RAM or if high-definition is just too much for Windows 7 (I must try Linux now). The choppiness in the video would have not happened with a handi-cam and I could still mix the audio track and synchronize easily enough with Windows Live Movie Maker (Macintosh has the equivalent and Linux is supposed to also): this would allow me to continue to do multi-track recording and use my special recording device.

What has improved:

My sound quality (tone colour) is much deeper and more open, generally better than it has ever been, even in the best of my days. Is this due to better reed making and materials (staples, shaper, scrape technique) or is it due to my oboe being revoiced? This is difficult to say as it could also be due to better attention to what I hear and how I practice.
My general sense of phrasing: articulation and dynamics were probably better years ago, but they have definitely improved since my 1st recording in February and I have definitely refined my sense of short and long term direction for the melody compared to 15 years ago.

What remains to work on:

General sound control and finger technique. My rhythm is more even, but I still tend to anticipate the beat a lot, especially when doing a crescendo or running short on breath.
Better breathing-in: the exhaling is fine, but my abdomen seems tight and I think this contributes to the fatigue.
Learn to fully relax lips in just a few beats of rest.
Acoustics: recording in a room with more reverberation!
This could mean moving my desktop computer to my dining room… need to try!

Born Again Oboe!

Hautbois, cure-Miracle-cure Oboe

Adult Masterclass : Rebirth of the Phoenix!

Frankenstein’s demise foretells a new birth!

Adult Master Class – Lesson of the Phoenix!

Contrary to Expectations

My next steps as a musician…

Strasser Oboe and the Ottawa Oboe Event

University of Ottawa Oboe Event

My Pick: Used Strasser Oboe

5-minute reed : experiment successful !

Experimenting with shapes and lengths

Bad stuff, good stuff

Comparing many oboes!

University of Ottawa Oboe Event

Many oboes to try!

Reeds, weather and Climate Control

Observations: Lorée afresh and other wonders

Surprize: instability on different notes!

Nino Rota Duet for 2 oboes (2/3) … but 3rd recorded

Reeds and Recording:

What is “Allegro”?

Physical Update: ouch

HAPPY 2012! (A year in the blog)

Kaczynski and Nino Rota Duet for 2 oboes (3/3)… but 2nd recording made…

Multitrack Recording to correct rhythm trouble

No friend, no cues…

Czeslaw Kaczynski and Nino Rota : undervalued treasures!

Nino Rota Duet for 2 oboes (1/3)

Nino Rota: much more than movie music!

Facebook International Oboe Groups – Michele Mancaniello

Romantic dog…

Winter reeds…

Reed Life Cycle (part 1) : long-term cycle

It’s a reed’s life…

Nov. 11: Remembrance Day in many countries.

Remembering the Gifts of our Fallen Comrades : hope from the horrors of war.

HAPPY HALLOWE’EN!!!

IMS Update – good news:

Real Demons Possessing us:COMPUTER WORK!

Ghouls and Monsters in the “free world”:

Happy Hallowe’en!

Tribute Recording of Gratitude!

HAPPY THANKSGIVING (Canada) !

Facebook, You-Tube, Twitter, the Blog and the BBoard

Thanksgiving Recording

Playing with myself (OBOE!!!)

Nerves while recording

Conclusion:

Rare wired reeds!

Telemann Flute Duets and metronome recording…

Wired Reeds… me?

European (short) Scrape – adaptive method

High-definition pictures: much more revealing than backlighting!

Microphone Geometry

1-2 microphones & different ranges of sound capture:

Angle for true oboe sound and the atmosphere of a lively hall.

Reed Season! – New Repertoire.

Physical update first:

Reed Season:

New Repertoire: copy-cat or comparison?

Mental obstacles to technique

Reflections on Telemann – Home Acoustics

Interpretation style:

Home Acoustics: be careful!

Telemann, Sonata in A minor

Anniversary Recording

… a difficult joy!

Recording & Production:

IMS Update and Performance Endurance

Practice Endurance vs. Performance

IMS treatment, one month later

Knife Sharpening, part 2 – Affûtage, 2e partie.

Anniversary Recording + Knife Sharpening part 1

Physical update – exercise: a double-edged dagger

Big Reed, Big Sound – À la taille de l’anche, l’ampleur du son!

Reed/Recording Surprize!

Surprise sur prise avec les anches!

Projection Test

Vérifier la projection sonore.

Remembering the Gifts of our Fallen Comrades :
hope from the horrors of war.

Real Demons Possessing us:
COMPUTER WORK!

High-definition pictures:
much more revealing than backlighting!