Performance
Exercises for Oboists
Citation: Carr, Tracy. Exercises for Oboists. The Instrumentalist, Dec. 2012, Vol 67 No. 5.
Article Title: Exercises for Oboists
Author: Tracy Carr
Instrument: Oboe
Magazine or Journal Title: The Instrumentalist
Summary:
Article Title: Exercises for Oboists
Author: Tracy Carr
Instrument: Oboe
Magazine or Journal Title: The Instrumentalist
Summary:
- Embouchure
- Fully curved over lips
- Described as whistle or kiss in reverse
- Exercises to develop embouchure; drinking straws
- Get them working on good support from the beginning
- Reeds
- Weak mouth muscles, so need lighter reeds
- Crowing the reed to make sure it vibrates properly
- Making a good sound on the oboe reed alone
- Adjusting the reed in the mouth for different registers
- Exercises that focus on different ranges of the oboe
- General Practice
- Can practice with just fingering and reading the music at first when their mouth muscles are getting tired
- 4 steps to learning the music
- Strategies
- Slow to fast practice
- Vary rhythmic patterns, articulation to create variety
- Improving the strength of the ring and pinky fingers
- Vibrato
- Practice abdomen pulsations in eighths
- Raise pitch with each pulse
- Avoid in younger students as they develop basic skills
Mozart and the Oboe
Citation: Haynes, Bruce. Mozart and the Oboe. Early Music, Oxford University Press, Feb. 1992. Vol. 20, No. 1, <http://www.jstor.org/stable/3127668.>
Article Title: Mozart and the Oboe
Author: Bruce Haynes
Instrument: Oboe
Magazine or Journal Title: Early Music
Summary:
Article Title: Mozart and the Oboe
Author: Bruce Haynes
Instrument: Oboe
Magazine or Journal Title: Early Music
Summary:
- Baroque Oboe
- smaller bore and tone holes
- Classical Oboe
- Basis for model of modern oboe
- “tamed” oboe
- Classical Music
- Same use of tonalities in solo works, but extending of the range upward
- Mozart’s Oboe Quartet: high range
- Viennese oboe
- More like modern oboe, many more keys
- Mozart
- Wrote 6 solos and 4 chamber works for oboe, along with obbligatos with voice and solos in ensemble pieces
- Friedrich Ramm, inspired oboe solos from Mozart
- Range was between C’-C’’’
- Viennese pitch was standard and most stable
- Flexibility in tuning oboe with ensembles