Oboe Zen

Words of wisdom for students of the oboe. Gathered over 25 years, from many countries, genres and styles, the aim is not to express the views of any one particular school of playing. Rather to address those aspects of oboe playing which are universal to us all.

[oboezen-blog]

The A isn't your first solo of the day

The A isn't for you, it's for others. It's a reference tone for other players to listen to and tune (or ignore!). Play with a projected tone but without vibrato or dynamic variation. And always use a tuning machine or app.

If you're playing 2nd oboe it's usually a good idea to wait until the other woodwinds have tried their As before you tune. That way you won't confuse other players as to which tone they should listen to. And don't be tempted to play your favourite concerto excerpt or that tricky bit on p.3. Stick to As, Ds and Es to check your pitch and to check your reed sounds good in the ensemble.

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Grow up with your music stand

If you're still growing you may want to check your music stand is still at a good height for you.

It's common to have a music stand at home that remains set up from week to week, from month to month. As you grow, if you don't periodically raise your stand to match your height bad habits will develop: stooping over, rounding the shoulder, letting your chin sink into your chest. These can and do occur because of a poorly adjusted music stand. When you go to a lesson or a rehearsal be sure to adjust the stand to suit you so that you can maintain good posture either standing or sitting. Just watch your fingers - some stands have teeth!

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Scrapes vary but blank variables are constant

Reeds vary hugely in how they are scraped, but the variables for a blank reed are constant. No matter what school of playing you belong to, everyone wants consistent reeds, so be very particular about your cane, staples and how you tie on.

When making blanks keep the following variables constant for your style of reed and you'll give any piece of cane - which gets past your exacting selection process - a chance of becoming a No1 in your reed box.

Cane brand (Alliaud, Rigotti, Medir, Silvacane...)

Cane diameter (9.5mm, 10mm, 10.5mm, 11mm)

Gouge thickness (0.55-0.56mm, 0.57-0.58mm, 0.59-0.6mm)

Gouge profile (constant gouge, thinner at the sides)

Shape (there's a large range available, usually from oboe makers)

Staple brand, length and material (there a large range available)

Staple top/bottom dimensions (even quality brand staples vary)

Tie-on length  

Keep these variables as near to constant as possible and you'll have blank reeds which are consistent. If you want to experiment with a variable (a new staple or shape?) you can only gage the effect if all other variables remain put. 

[Cane hardness could be added to the list, but it's impossible to judge without an expensive machine like this.] 

[oboezen-blog]

Don't panic! Superglue will save you!

For oboe emergencies carry a small tube of superglue in your case.

Unfortunately the oboe is a delicate instrument, far less robust in construction than either the clarinet or flute. Its long rods are susceptible to knocks, as are the small pillars which hold them in place. However such problems are rare if the instrument is in a properly fitting case.

But problems with cork and pads are common and all it takes to render the oboe totally unplayable is for a small piece of cork under an adjustment screw etc to disappear. This can happen anywhere, at anytime and to anyone. Well maintained pads shouldn't pop off, but it does happen. In both cases, if you can't get to a repairer, your superglue will save the day!

If you can't find the missing piece of cork, then a substitute can usually be made by shaving a little cork from the cork of staple (for which you need a sharp craft knife). This may sound involved, but unless you have a spare instrument, you probably don't have any other option unless you're planning on missing the concert or rehearsal.

Pads need to be seated in the cup of the key in correct alignment with the hole - which is a job for an experienced repairer. If you have to glue one back in place, you may need to rotate the pad a couple of times to get an adequate seal with the hole. As soon as the emergency has passed, you'll need to get the pad professionally replaced.

Superglued fingers can also render the oboe unplayable, so do be careful! 

[oboezen-blog]

Spikey staccato sticks out

The oboe's staccato can tend to be more like other instruments' staccatissimo. In orchestra and chamber groups be careful that it's not too short nor too aggressive.

In a passage like Mendelssohn's Scherzo from a Midsummer Night's Dream, it's important listen to the articulation across the orchestra and moderate your articulation to match the ensemble's.

When you see a staccato dot try thinking "light" instead of "short", especially in music from the baroque and classical period. 

[oboezen-blog]

Flying fingers go nowhere fast

If your fingers fly high above and away from the keys when you play you will struggle unnecessarily with quick passages. And in slower passages a lack of accuracy may also be apparent.  

Keep your fingers close to the keys as you lift them. That's where they need to be to move swiftly and accurately. Observe yourself playing in a mirror to keep a check on how you're doing, and notice which fingers (the pinkies??) like to wander off. Be sure not to tense your hands trying to keep your fingers under control because that's a path to more problems. Relaxed and ready should be your watch words. 

[oboezen-blog]

Fast passages have feelings too

When there are lots of notes it's very easy to spend all your concentration on your fingers and lose the music. Without any phrasing underpinning the dots you're no longer playing music, but merely a rapid succession of pitches.

Practice studies and passages at a slow enough tempo that the notes are not problematic and focus your attention on the phrasing. In this way you'll train your ear to expect and insist on the phrasing. 

"La Api" (The Bee) by Pasculli performed by Omar Zoboli demonstrates that even the most extreme molto perpetuo can be brilliantly executed and characterfully shaped.    

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It all starts with the out-breath

Before you begin to play breathe out before you breathe in.

This makes sure you empty your lungs of used air before refilling. And when taking a breath during a passage, it's usually good to breathe out to expel any remaining used air before breathing in again.

The lungs can quickly fill with oxygen-depleted air and "top-up" breathing will leave you filling full of air but short of breath. Once your brain gets less oxygen your concentration and your stamina rapidly go.