Always be more Dynamic
Dynamics! We talk about them so often but what are they and how do we do them?
They are the markings in the music telling us to play louder or softer and they are there to help us bring the music to life. The contrasts the dynamics create bring drama and character into the pieces and help us communicate the emotions in the music. We often don’t expand our dynamics enough and end up playing mostly mezzo piano to mezzo forte because to the person playing them it can feel like you are making a huge contrast between the dynamics. To the listener though the effect is always much smaller so for dynamics to be truly effective you have to feel like you have made the contrasts too large. Both ends of the dynamic spectrum have their challenges on the oboe and hopefully some of the ideas I will talk about will help you.
The tutor book I use with my students goes through the notes in a sensible order but there are aspects of it I really don’t like. Quite early on in the book it introduces dynamics which is not really ideal as you are still getting used to trying to get a steady sound out of the oboe. I certainly don’t try and get my students learning dynamics at this point as it is far more important to gain a controlled sound early on and then you will have more control for dynamics at a later date.
What a lot of students start doing is blow really hard to play loud and tightening the mouth to play soft. Now, we do need more air to play loud but it needs to be used in the right way. We don’t just blow as hard as possible as you will lose control of the sound and really you have only got a tiny hole in your reed so not that much air can go down it.
Playing soft should not involve tightening your mouth either as that restricts the vibrations in the reed. Do you find your tuning going sharp when you try and play softly? If so you are probably tightening your mouth rather than trying to play softly using breath control.
How should we do it then?
Well we have established what we probably have been doing and now we need to learn how we should do dynamics. This is the way I talk about it to my students as it gives them something to visualise for each dynamic which really seems to help.
First imagine a selection of straws. (Stay with me, it will make sense in a moment!)
We need to start with a massive fat milk shake straw. Then imagine a selection of straws getting thinner until you get to one of those tiny thin ones that you get attached to drinks cartons.
Now imagine that the fat milkshake straw is ff and the thinnest is pp and then the next one up is p, the next fattest is mp, the next one mf and the one nearly as fat as the milk shake straw is your f.
When playing softly imagine you are pushing the air through the tiny thin straw. There is no point blowing hard and pushing lots of air as there is no where for it to go, remember the tiny straw has a tiny hole in it. What we need to do is push a thin stream of air through the oboe really quickly. It is the speed of the air that is really important and will make sure the notes keep sounding d don't cut out. Remember to try not to tighten your mouth when you do play softly as this just restricts the vibrations on the reed so you will find it harder to make a really beautiful sound.
As you work your way up the dynamics you have to imagine the straw that you are blowing through gets fatter which means you can push more air through the oboe. Because you are imagining a fatter straw you start pushing more air through and this is what will make your sound louder. Remember the speed of the air will keep the sound controlled and won’t let it cut out but as you blow more air through and get louder and louder you don’t need to think as much about the speed of the air as there is so much air passing through the reed it should keep vibrating.
Now to play really loud, you are still pushing the air fast to create that lovely sound but you must also imagine that really fat milkshake straw. To play really loud we need to relax the embouchure a little which will allow the reed to vibrate more and allow lots more air to travel through the reed without it sounding restricted and without the tone becoming forced.
Keeping the sound controlled really is important at whatever dynamic you are playing and you will find that when you first start trying to do dynamics that your dynamic range is quite small. I start off getting my pupils to do hints of dynamics, they start playing a little louder and a little softer where the markings indicate and then as they improve these hints become full dynamics. The better your breathing and breath control, the better your dynamics will become.
How do you think about your dynamics?
Do you imagine something like I do with my students and the straws? If so let me know. It’s always great to know lots of different ways of doing things! Enjoy putting lots more dynamics in your playing, be expressive and have fun!
The video I have added for this post is amazingly dramatic. It is a performance of The Rite of Spring by Stravinsky. Please sit quietly and listen to this piece, think about how it makes you feel and about what it might represent. It was written as a Ballet and caused riots at its first performance, it is dramatic and exciting and a little scary for the 1st bassoonist who starts all on his own! I have set the video to start playing where the piece begins but if you want to know more about the piece go to the beginning as there is some information about the piece and the orchestra. Happy listening!