The solution to be able to play the oboe with a greater degree of comfort.

Author: Edmon Elgström.

One of the main problems that prevent the oboist from being able to show all his musical potential and, at the same time, to play comfortably, is to make an incorrect use of the body and, consequently, of the breathing during the execution. As an oboist, having researched for years on these aspects that affect the execution of the oboe and, having seen different methods of corporal education, having worked with specialized doctors and physiotherapists; I have come to the conclusion that the best solution to improve in the study and practice of the instrument, if any of the problems described earlier are present, is to go to the consultation of a physiotherapist, who can evaluate the individual situation of each person and give him an appropriate solution in each case. I consider this as a fundamental aspect to advance in the domain of the instrument and, therefore, should be given the attention it deserves to give an answer to the problems that often arise.

The physiotherapist, if possible specialized in body posture and breathing, is the most suitable professional for this purpose. A professional will be able to check whether body posture and muscle usage are what they should be, if the breath is performed in a correct manner and the air is propelled in an appropriate way and, consequently, you will know if you are using your body in the most efficient way possible, attending to the physiological and biomechanical criteria of human body functioning for this activity.

Through an examination of our body in the first term and, after observing how it is used when playing, the physiotherapist will be able to detect, if any, the existence of bad practices, establish a diagnosis and at the same time offer us the possibility of carrying an individualized rehabilitation program. The application of this therapy, if necessary, will offer the possibility to learn how to use the body correctly when playing, increase our degree of proprioception and help us to generate the breath in the most natural and easy way possible, aspect that will revert in our degree of comfort in playing and basically in the result of our instrumental performance.

To know more about the theme …….

I propose the reading of the article (available in Spanish) titled “La evaluación del uso del cuerpo en el estudio de los instrumentos de viento: una oportunidad para reflexionar, detectar y corregir problemáticas a tiempo”, which you can find in the magazine of the Association of Oboists and Bassoonists Of Spain (Asociación de Oboístas y Fagotistas de España — AFOES) of the year 2016, number 5, on pages 34-36. Link to content provided by the author here.

About the author.

Edmon Elgström studied at the Barcelona Conservatory of Music, where he earned the degree of Oboe Professor, at the Conservatoire of Schaffhausen (Switzerland), with Emanuel Abbühl, and at the University of Barcelona, where he obtained a doctoral degree in Music Education. He has been oboe teacher in several conservatories. At the moment he is professor of Music Education at Barcelona University, where he investigates on body posture and breathing in the execution and teaching of woodwind instruments, especially oboe.

Contact: edmon.elgstrom@ub.edu