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> > OBOE WOES - CHALLENGES FACING THE OBOIST
> > 
> > by Andrea Newhouse Fedele
> > 
> >  
> > 
> > The author demonstating
> > common problems with an
> > oboist's use while playing
> > 
> >  
> > 
> > The author demonstrating
> > a more free, poised
> > use while playing
> > 
> > > > > > > I wouldn't be surprised to find someday in a dictionary under the
> > > > > > > word 'tight' a phrase such as "the state of the oboist" or "the
> > > > > > > state of most anatomical parts of the oboist". The challenges
> > > > > > > facing the oboist are considerable and the tendency to face these
> > > > > > > with painful tension is a common problem. As an oboist and an
> > > > > > > Alexander Technique teacher, this concerns me directly. My
> > > > > > > doctoral dissertation was written on the possible use of the
> > > > > > > Alexander Technique as a basis for oboe playing and teaching. In
> > > > > > > preparation I conducted a survey of oboe teachers in the United
> > > > > > > States and did many interviews with oboists who have had Alexander
> > > > > > > lessons and with other Alexander teachers who are oboists as well.
> > > > > > > There were three intentions behind the survey: to find out how
> > > > > > > oboists think about certain aspects of oboe playing such as
> > > > > > > "posture", the hands and arms, embouchure and the jaw, breathing
> > > > > > > and support, articulation, and practicing; to learn what
> > > > > > > percentage of oboists experience pain or discomfort while playing,
> > > > > > > where the pain occurs, and what might be causing it; to find out
> > > > > > > how familiar oboists were with the Alexander Technique and whether
> > > > > > > they thought lessons in the Technique may or may not be useful in
> > > > > > > addressing various aspects of oboe playing. To make a long story
> > > > > > > short, 71% of the oboists who returned their surveys experience
> > > > > > > pain or discomfort while playing and 58% of responses specified
> > > > > > > arm or hand pain, usually on the right side. Most oboists answers
> > > > > > > also seemed to indicate that their arm or hand discomfort was
> > > > > > > related to a form of misuse. Additionally, most of those surveyed
> > > > > > > had heard of the Alexander Technique and thought it could be
> > > > > > > helpful to the oboist.
> > > > > > > 
> > > > > > > As Alexander teachers, we would approach teaching an oboist the
> > > > > > > same way we would teach anyone else, beginning with the general
> > > > > > > use of oneself, since one's general habits have an affect for good
> > > > > > > or bad on every single aspect of oboe playing. However, the
> > > > > > > Alexander teacher may also appreciate information regarding some
> > > > > > > of the peculiar challenges and requirements facing the oboist.
> > > > > > > This may provide some familiarity with where oboists are coming
> > > > > > > from and some of the thought processes that are behind some of the
> > > > > > > really weird things that we do with ourselves.
> > > > > > > 
> > > > > > > The sound of the oboe is produced by blowing air through the reed
> > > > > > > and causing it to vibrate. The oval-shaped opening of the reed is
> > > > > > > extremely small, about 7-8 mm wide and 1 mm high in the center.
> > > > > > > This small opening has had a couple of results that are unique to
> > > > > > > oboe playing. First, the amount of air going through the reed is
> > > > > > > very limited and therefore the oboist can play for an unusually
> > > > > > > long time on one breath. Many composers have taken advantage of
> > > > > > > this unique fact and written very, very long phrases (30 - 60
> > > > > > > seconds is common) for the oboist that she is expected to complete
> > > > > > > without any break in the phrase. Second, unlike other wind
> > > > > > > players, the oboist is never able to empty her lungs of air by
> > > > > > > playing; the air in the lungs becomes "dead" before it is anywhere
> > > > > > > near being expelled. When coming to a rest in the music, no matter
> > > > > > > how short, she therefore needs to first exhale the dead air before
> > > > > > > inhaling in order to continue playing. Third, the structure and
> > > > > > > small opening of the reed results in a fairly strong resistance
> > > > > > > that the oboist must neutralize with air pressure in order to
> > > > > > > play. Oboists will create air pressure in any way possible,
> > > > > > > usually squeezing with the abdominal muscles or chest and probably
> > > > > > > many other places.
> > > > > > > 
> > > > > > > The weight of the oboe, which is not more than two pounds, is
> > > > > > > supported entirely by the right thumb. The thumb rest is located
> > > > > > > about halfway down the back of the oboe and rests at the base of
> > > > > > > the right thumbnail. The left hand is placed above the right hand
> > > > > > > on the oboe and the fingers of the left hand provide a
> > > > > > > counterbalance that keeps the oboe from tilting forward. At all
> > > > > > > times there is at least one finger of the left hand pressing a key
> > > > > > > and providing that counterbalance to the right thumb. The right
> > > > > > > side is, however, supporting the entire weight of the oboe. A neck
> > > > > > > strap can take part of the weight of the oboe and a support system
> > > > > > > called "Phred" takes the full weight of the oboe but can only be
> > > > > > > used if the oboist is sitting. A strong reluctance to use these
> > > > > > > tools is still very common among oboists and the supports are
> > > > > > > usually only considered after the oboist begins to hurt.
> > > > > > > 
> > > > > > > The shape of the hands as they dangle by one's side is similar to
> > > > > > > the shape the hands can have when placed on the oboe, with the
> > > > > > > fingers spread more apart. The oboist can explore the half dozen
> > > > > > > thumb rests that exist in order to find the one that does the best
> > > > > > > job of encouraging a lengthening and free hand for her. The keys
> > > > > > > can be pressed with a very light, lengthening touch, as long as
> > > > > > > the oboe is mechanically sound. The temptation, however, is to
> > > > > > > squeeze the oboe, pull the fingers back toward the hand like a
> > > > > > > claw, pull the hand back toward the wrist, pull the arms and oboe
> > > > > > > in toward the body, collapse and squeeze the chest, poke the head
> > > > > > > out to meet the reed, then blow really hard against all the
> > > > > > > resulting tension by gripping with the abdominal muscles and
> > > > > > > squeezing the torso. Needless to say, the Alexander teacher has a
> > > > > > > lot to offer to the oboist here! Additionally, the oboist is
> > > > > > > required to play for hours in this relatively fixed position, so
> > > > > > > another challenge for the oboist is to find ways to avoid being
> > > > > > > fixed and to free up as much as possible.
> > > > > > > 
> > > > > > > Endurance can be a challenge for the oboist, as for any musician.
> > > > > > > Knowing how to release quickly the higher level of muscle tone
> > > > > > > that is required for playing oboe and to return to a state of
> > > > > > > minimal tension for a moment allows the oboist to maximize the
> > > > > > > benefits of even the shortest rests in playing and increase her
> > > > > > > endurance. The idea of having a "neutral" to return to was
> > > > > > > mentioned in my interview with Jim Mitchell, an oboist in Chicago
> > > > > > > studying the Alexander Technique with John Henes, who said he
> > > > > > > takes every possible chance to "back up, let go".
> > > > > > > 
> > > > > > > When the oboist is in the process of trying to eliminate some of
> > > > > > > her habitual, excess tension, she may feel she has lost some "air
> > > > > > > support." The idea of breath "support" is a confusing idea, and
> > > > > > > difficult to pinpoint. It is difficult to identify "support"
> > > > > > > because it is a concept rather than a concrete physical reality.
> > > > > > > Oboists are always told to "use more support" or "support the
> > > > > > > air", and everyone agrees that support is necessary, but
> > > > > > > identifying what this means is challenging. Comments about breath
> > > > > > > support in the responses to my survey varied greatly. There was
> > > > > > > some confusion about the diaphragm and the need to "use" it or to
> > > > > > > "support from the diaphragm." Some oboists maintain that support
> > > > > > > is simply the inward and upward push of the abdominal muscles, but
> > > > > > > one is able to do or overdo this push and get an unsupported
> > > > > > > sound. Others oboists in the survey talked about air pressure,
> > > > > > > speed, focus, or direction in reference to support. It seems
> > > > > > > "support" has something to do with all of these ideas together,
> > > > > > > and that the lack of a sufficient amount or efficient use of any
> > > > > > > of them - pressure, speed, focus, direction, or involvement of the
> > > > > > > abdominal muscles - can result in an "unsupported" sound. When all
> > > > > > > of these are in balance, a feeling of "support" results, which
> > > > > > > seems to imply that support is an effect of playing well. An
> > > > > > > interesting definition of "support" is proposed by Michael
> > > > > > > McCallion: "To put it simply, it is the refusal to collapse."(1)
> > > > > > > 
> > > > > > > The "embouchure" is the arrangement of the lips, tongue and teeth
> > > > > > > while playing a wind instrument. The typical shape of the
> > > > > > > "American school" oboist's embouchure is similar to the shape one
> > > > > > > has when whistling, with the lips a little more rolled into the
> > > > > > > mouth. Articulation, or "tonguing," is the action of briefly
> > > > > > > touching the tongue to the reed to interrupt the vibration of the
> > > > > > > reed and can be simulated by saying "tee, tee, tee," or "dee, dee,
> > > > > > > dee." In response to my survey, the most doubt was expressed by
> > > > > > > oboists concerning the relationship between "posture" and the
> > > > > > > embouchure, jaw, and articulation. Likewise, of all the
> > > > > > > possibilities listed of areas in which the Alexander Technique may
> > > > > > > be able to benefit the oboist, more people expressed doubt
> > > > > > > regarding the helpfulness of the Technique to the embouchure, jaw,
> > > > > > > and articulation, than to any other aspects of oboe playing. Those
> > > > > > > with more experience of the Technique were clear that there is a
> > > > > > > connection. For the oboist, the embouchure or jaw often ends up
> > > > > > > either compensating for a breathing mechanism that isn't
> > > > > > > functioning optimally, fighting against other unnecessary tensions
> > > > > > > the oboist is producing in herself, or fighting against an
> > > > > > > inadequate reed. The reed should be balanced and tuned in such a
> > > > > > > way as to allow the oboist to play with a released jaw rather than
> > > > > > > requiring pressure to be applied to the reed by "biting" or
> > > > > > > closing the jaw in order to reduce the opening of the reed.
> > > > > > > 
> > > > > > > Regarding articulation, the student oboist is often taught to
> > > > > > > prepare for beginning to play by placing the tongue on the reed,
> > > > > > > setting the embouchure, building air pressure behind the reed, and
> > > > > > > then releasing the tongue from the reed to allow the air to
> > > > > > > vibrate the reed. Oboists in my survey were asked how they prepare
> > > > > > > to articulate in order to find out how prevalent this method was.
> > > > > > > More than half of the oboists described this method or something
> > > > > > > similar that indicated "getting set" or "holding" in preparation
> > > > > > > for the articulation. Most of the rest of the oboists seemed to be
> > > > > > > describing a method that indicated the tongue, embouchure and air
> > > > > > > are involved fairly simultaneously, without "getting set" or
> > > > > > > "holding". The whispered "ah" applies nicely to the moment when
> > > > > > > the oboist begins to play, by asking her to begin playing when the
> > > > > > > resulting inhale turns back around to another exhale, rather than
> > > > > > > holding or getting set. For the more experienced oboist, knowing
> > > > > > > what is required in the music will determine an immediate and
> > > > > > > appropriate formation of embouchure and use of the tongue, air,
> > > > > > > and everything else. Many oboists clearly find the first method of
> > > > > > > "getting set" to play to be effective, however, and may be quite
> > > > > > > attached to that method, as was one oboist whom I interviewed.
> > > > > > > Alexander principles are therefore used by that oboist to be
> > > > > > > careful not to induce any undue tension while preparing to
> > > > > > > articulate in this way.
> > > > > > > 
> > > > > > > Oboists are probably almost as well known by the public for being
> > > > > > > hunched over whittling a piece of wood for hours on end as for
> > > > > > > giving the tuning "A" in an orchestra concert. Oboists have so
> > > > > > > much invested in reed-making and relying on their success at
> > > > > > > making reeds that they literally tie themselves up into knots in
> > > > > > > an effort to make the perfect reed, or at least a reed that is
> > > > > > > good enough. Oboists' bad habits related to making reeds are
> > > > > > > possibly even stronger than those related to playing the oboe and
> > > > > > > are probably considered by them to be relatively unimportant.
> > > > > > > However, the way the oboist uses herself while making and testing
> > > > > > > reeds could have an affect on how the reeds are balanced. Testing
> > > > > > > a reed while collapsed into a little ball is going to affect how
> > > > > > > the reed subjectively feels. Therefore resistance the oboist feels
> > > > > > > may not be resistance from the reed, but from herself. As Jim
> > > > > > > Mitchell said, "you could be making reeds that abet the tension."
> > > > > > > At the very least, the oboist may appreciate a way to be
> > > > > > > comfortable while making reeds rather than feeling strained and
> > > > > > > sore from making reeds. This would be particularly helpful for
> > > > > > > oboists who sell reeds and who therefore spend even more time
> > > > > > > making reeds than the average oboist does.
> > > > > > > 
> > > > > > > Like other musicians, an oboist is often very attached to the
> > > > > > > feeling of her mannerisms and her habitual tension. She equates
> > > > > > > the feeling of tension with expressiveness and feels that a loss
> > > > > > > of this tension would eliminate her individuality and ability to
> > > > > > > communicate the music. This is clearly not true; she is expressing
> > > > > > > the music despite the tension she is feeling, not because of it.
> > > > > > > If she rids herself of habitual misuse and the associated
> > > > > > > excessive and unbalanced tension, she will become freer to choose
> > > > > > > how she uses herself and therefore freer to express her
> > > > > > > individuality through the oboe and the music she is playing. When
> > > > > > > she does not have to attend to the difficulties of playing the
> > > > > > > oboe that arise from misuse, she can instead give her attention to
> > > > > > > playing the music, not the oboe.
> > > > > > > 
> > > > > > > (1) Michael McCallion, The Voice Book (London: Faber and Faber,
> > > > > > > 1989), page 3. The Voice Book, and a great many other books,
> > > > > > > videos and DVD's relating to the Alexander technique - including
> > > > > > > several of special interest to instrumentalists and singers - can
> > > > > > > be found at The Alexander Technique Bookstore
> > > > > > > 
> > > > > > > ***
> > > > > > > 
> > > > > > > Andrea Newhouse Fedele pursued her Bachelor of Music degree in
> > > > > > > oboe performance with Marion Arthur Kuszyk at the University of
> > > > > > > Missouri - Kansas City, graduating in 1995.She received her Master
> > > > > > > of Music degree in 1997 from Indiana University in Bloomington
> > > > > > > where she studied with Marc Lifschey, and began to study the
> > > > > > > Alexander Technique with Jeff Tessler.Andrea then went to Urbana,
> > > > > > > IL, to pursue both a Doctorate of Musical Arts (DMA) degree with
> > > > > > > Nancy Ambrose King, and an Alexander Technique teaching
> > > > > > > certificate.In 2000, Andrea completed the three-year training
> > > > > > > course at the Urbana Center for the Alexander Technique with
> > > > > > > teachers Joan and Alex Murray and became a certified teacher of
> > > > > > > the Alexander Technique.She graduated from the University of
> > > > > > > Illinois at Urbana-Champaign in 2003 with a DMA degree after
> > > > > > > completing her thesis entitled, "The Alexander Technique: A Basis
> > > > > > > for Oboe Performance and Teaching." Andrea has played oboe and
> > > > > > > English horn in numerous orchestras, including the Indianapolis
> > > > > > > Symphony, the Indianapolis Chamber Orchestra, the Chicago Civic
> > > > > > > Orchestra, and the Kansas City Symphony. She has also participated
> > > > > > > in many music festivals such as the Banff Centre for the Arts, the
> > > > > > > American Institute of Musical Studies in Graz, Austria, the
> > > > > > > National Orchestral Institute, and the Sarasota Music
> > > > > > > Festival.After completing her DMA, Andrea moved to Minnesota where
> > > > > > > she was Oboe Instructor at the College of Saint Benedict and Saint
> > > > > > > Cloud State University for ten years, and taught the Alexander
> > > > > > > Technique. Now living in Texas, Andrea teaches the Alexander
> > > > > > > Technique in Houston and Spring and maintains a private oboe
> > > > > > > studio as well.Website: andreafedele.com Email Telephone:
> > > > > > > 713-817-9100
> > 
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