- OBOE TECH 2015
Instructor: Fredric T. Cohen
Office Hours: By appointment
Oboe Student Blaine Edlefsen ISBN 0-7579-8289
(available from the instructor or Amazon.com)
A good beginning method
Week 1 Pass out oboes, contracts, reeds and syllabus, embouchures. Chapters 1-8
Week 2 Brief history of oboe, learn notes G, F#,E,D,B,Bb,C,half-hole, D, Low C,C# and Eb, also breathing techniques (C,F, D scales) Where to Get Oboes and Supplies Chapters 9-15
Week 3 demonstration of English horn, oboe d' amore) and their reeds and the differences, learn back octave key, Ab, side octave key, F, Low B, left Eb (G, Bb,Eb and A scales) How to start a beginning student. Chapters 16-27
Week 4 alternate fingerings, harmonics, high C#, D, D# and E, begin playing musical pieces, E and Ab scales, chromatic scale Chapters 28-30
Week 5 Chapters 31-32, Basic Technique sections
Week 6 learn pieces from which final exam will be chosen, chromatic scale, written exam.
Week 7 review and practice for final proficiency exam, notebook, final exam. text for the oboe student.
You are required to keep a notebook for this course.
The notebook will count for 30% of your grade.
A final playing exam will count for 50% of your grade.
A final written exam will count as 20% of your grade
Final Exam will be Wednesday March 11, 2015
My approach to this course is to give the student a realistic experience in beginning oboe study as well as giving them the materials to help them with oboe issues in their ensembles. Since this course is a double instrument course, the oboe section of the course will end on 3/11/15. This day is the day of the final exam. The following Friday will be the first day of the Bassoon Tech class.
Range: c' to c'''
Beginners should be able to assemble the oboe without causing injury to the bridge joints.They should have a clear understanding of how to hold the oboe when putting it together and taking it apart, as well as how to store it when it is not being played (keys should not be facing down as water will travel into the tone holes).They should also clearly understand how to handle the reed.
Beginners should have a grasp of hand positions, finger placement, and the posture of the torso for best production of tone.
While most beginners cannot spell the word, they should be able to establish an embouchure and describe how it is done.Try a three point embouchure to start: Place the reed on the lower lip with the tip of the reed just touching the top lip when the mouth is closed.
Open the mouth keeping a round formation by saying "Ew" to cause the lips to curl naturally.
Close the opening of the "Ew" by bringing the lips together.
The concept of the double action breath (expelling air before taking in air) should be reinforced regularly.This will, in turn, create greater endurance.While beginners may find long tones difficult, they should aim to do long tones at 10 second intervals for each note. Eventually they should be able to build their lung capacity to play a long tone beyond 60 seconds.In the beginning, however, 45 seconds may be their best. Dynamics should be limited to mf-f.
Beginners should be able to manage the Bb and C major scales two octaves as well as D, Eb, F, G, A for one octave, and the chromatic scale for two octaves.While none of these will require any alternate fingerings, the chromatic scale requires pivoting from low Bb to B (if the oboe has a low Bb key) and from low C to C#. Beginners should also be aware of which notes use half-hole, thumb octave, and side octave within the two octave range.
At this stage, the forked-F and regular F should be introduced and employed with understanding.The low Bb to B and
low C - C# pivots should be introduced for the chromatic.
Range: b-flat to e-flat'''
All of the above elementary concepts should be reinforced and checked throughout their development. At this level, long tones should be easier and freer. Playing a pitch for 45-60 seconds should be more approachable. Intermediates should be able to locate sensible places for breaths and should be able to map out an effective breathing approach for the solos and etudes they are studying. Dynamics should be more widely explored to include pp to ff.
Intermediate students should be encouraged to practice standing.The use of a mirror should be a regular tool. At this stage they should be learning to police themselves on the basics.
These should include the two F fingerings and the left-F (if the oboe is so equipped), left Eb, right Ab, the employment of the double Ab/Eb, the C# and D trills as well as the Ab to Bb trill. As the range expands, the new notes (high C#3, D3, Eb3, and possibly E3 and F3) should be addressed. Students should have a clear understanding of when alternate fingerings are needed and employed.
Intermediate players should be able to manage two octaves on the major scales of Bb, B, C, D, Db, Eb, E, and F.The following
minor scales should also be manageable at two octaves: b, c, d, e, and f.
The following should be introduced and utilized: mixed and compound meters, trills, some moderate ornamentation (graces, appoggiaturas, cadential trills), quintuplets, the double sharp/flat, intonation compensation techniques, general concepts in distinguishing between good and bad reeds, general ideas about determining the level of pieces (easy to hard), and the execution of several different articulation styles (legato-slurred, legato-tongued, marcato,
staccato, sforzando, accented).Vibrato should be introduced. Intermediate students should also understand some of the more common terms and abbreviations (accel., Allegro vs. Adagio, animato vs. animando, morendo, etc.) and should be able to figure the subdivisions of rhythm and meters.
Range: b-flat to g'''
Advanced players should be able to manage full pieces with little endurance difficulty.The double action breath should be a natural occurrence rather than a studied practice. Some advanced players may be able to develop the practice of circular breathing. Dynamics should be mastered throughout the range from ppff.
All major and minor keys should be manageable.The use of half-hole, the two (possibly three depending on instrument model) octave keys, alternate fingerings, and trill fingerings should be firmly understood and well under control throughout the range up to at least G3.
Subdivision of compound rhythms and meters should be competently executed
At least six different styles of articulation should be adopted and competently executed throughout all the ranges. Some
players will be able to develop the practice of double and triple tonguing.