Reeds for Oboe - What Type of Reed Do I Use?

In one sense playing the oboe can be thought of as a partnership. The three components of that partnership are the oboe, the player and the reed. The three components have to be compatible or the end result is unlikely to be good. Obviously, all players are different and there are various types and makes of oboe. Similarly there are several different ways to make a reed.

I think of the reed as being the valve which joins the player to the oboe. As with any other kind of valve, if is inferior or faulty, the oboe will not work properly, - and it doesn't make a blind bit of difference how good or expensive the oboe is. So, this whole issue of reeds for oboe is a very crucial one for all players, beginners or professionals.

There are several different ways to scrape a reed. The 'scrape' is simply the name we give to the part of the reed where the bark has been removed. The three main types of scrape are the V-scrape, the W-scrape and the U-scrape. The letter names refer to the shape created by the removal of the bark. Some players prefer one type and some another. If you are unsure as to which one to use then simply try all three and settle for the one which is most comfortable and gives you the sound and facility which you are looking for. In the UK, the 'U' or 'thumbnail' scrape is the one most widely used. There tend to be national preferences in other countries around the world.

Another issue is the strength of the reed. The strength is basically defined by the thickness of the cane used. In my experience most professional players use a 'medium-soft' reed. Some players prefer a little more thickness and use a 'medium' reed. Soft reeds are often used by out-and-out beginners as they tax the lip muscles very little. It is possible to get reeds harder than 'medium' but I would not recommend them. The ideal reed is one which has enough thickness to give a good tone but without stressing the embouchure too much.

Once you have ascertained which type and strength of reed suits you best, assuming you are not making your own, where would you purchase good quality reeds. One over-riding piece of advice I would give here is to always, always buy reeds which have been handmade. In these days of online shopping, use your search engine to track down reeds made by specialists. If you do go into a music shop to buy reeds for oboe, always ask if the reeds are handmade. If the shop assistant can't or won't answer, take that as a "No!" The mass produced reeds are made on machines and come to you totally untested. They will cost you just as much as handmade reeds, often, in my experience, even more and 90% of the time they are complete rubbish!

As you become a more advanced player you will reach a point where you will be looking to make reeds for oboe yourself. This is the ideal as you can make the reeds exactly the way you like them. Your teacher will guide you in this. Very young players rarely make their own reeds as it does involve the use of sharp knives and other tools. It is not a difficult skill to learn but it will take time to master it.

So do remember that reeds for oboe are crucial to your success as an oboist. If your reed is old, shoddy or faulty, your playing will be hard work and will sound poor. Always try to stay ahead of the situation so that you always have spare reeds available. There is nothing more frustrating than having your favourite reed chewed by the dog the day before a concert when you don't have a decent spare reed to turn too.

How to Buy a Used Oboe

You don't need a brand new oboe to have a great oboe.

If you'd like to spend a little less, or are looking for an oboe that has already been 
broken in, then a used oboe is probably the way to go. A used oboe can be a perfect 
solution for students who know they need a better instrument than the plastic band 
rental but aren't quite ready for the cost of a new oboe, or can't wait for the time it 
takes to break in a new oboe well.

When looking for a used oboe, consult those you know. First ask your teacher if they 
know of any on the market. Ask your fellow students. Never buy an oboe, used or 
otherwise, from someone you do not know unless you have had a professional try 
the instrument for you first. This is especially true when buying from stores and/or 
people that do not not specialize in oboe-related products. Oboe shops that 
specialize in selling new instruments almost always have used ones for sale as well.

A good choice, and our favorite, is Carlos Coelho Woodwinds, in Indianapolis. Carlos 
sells Loree and other new oboes, and occasionally some used ones as well. You can 
rest assured that any oboe you get from Carlos has been checked and adjusted to 
the highest standards. All instruments are available on trial. Tell him Maryn sent 
you...

Yet another way to locate an instrument is through an ad. If you are a member of 
the International Double Reed Society and subscribe to their online service, you can 
place an online ad, or view ads of oboes for sale.

When trying some used oboes, be sure to get the oboe's history. Ask if and when 
and where it has cracked, and be sure to see if it has been pinned correctly and 
cosmetically. You can tell the age of Loree oboes by the serial number on the back 
of the instrument. For every year an oboe ages, you want to subtract $100 from the 
current selling price of a new oboe. The price may be negotiable for a used oboe, 
but it should be in line with the age and condition of the oboe. Ask the seller how 
much the instrument was played, and for what purpose. A 3 year old instrument 
that was played day in and day out for three years may be noticeably different than 
the 3 year old oboe that sat in someone's close for two of those years.

Finally, try the instrument out...

Notice how the oboe plays, and if all the notes speak. Occasionally, the instrument 
will have gotten out of adjustment during shipping, so if you find something that 
doesn't work, but you really like the feel and tone of the oboe, don't be 
discouraged. Often just a turn of a screw, by someone that knows what they are 
doing will make it feel like a different oboe.

If you are trying oboes sent to you through the mail, they should be sent to you in 
tip-top adjustment condition. Sometimes, however, rough shipping will knock the 
adjustment out just enough to fool you into thinking it is a bad instrument. If that's 
the case, just get a second opinion to be sure.

Notice the way the oboe sounds and feels in all of the different registers. Try playing 
some music. Then get out your old oboe and compare the way the two feel and play. 
If you are used to a plastic student model oboe and are trying a professional model, 
there are going to be some differences. The pro oboe, if it is wood, will be heavier 
and will have some extra keys that the student model does not have (like the low Bb 
key and pad, side F and F resonance). Also, most pro oboe models will have a "ring" 
on the key that your fourth finger of the right hand uses. So, when you play a low D 
on the pro oboe, for example, it may not speak if you are not used to having that 
finger be very picky about how it covers that hole. Adjusting to this difference will 
take some time, but don't think there is something wrong with the instrument if you 
have trouble getting the note out.

There may also be a third octave key near the back octave that you have never seen. 
The third octave is useful, but not necessary. It may need to be opened with a screw 
driver slightly to really work. Overall, the oboe you are trying out should feel and 
sound a lot better than you are used to. If it doesn't, don't despair. Just try some 
other oboes.

If you have a private teacher or know a professional oboist it is strongly suggested 
that you get their opinion BEFORE buying an oboe, new or used. They may or may 
not like it for themselves, but you want to find out from them if the oboe is working 
properly or if it has any major issues they can see or feel. As long as you are in the 
clear with those issues, and the price is fair, the final choice is up to you.

You're the one that will ultimately be living with it and playing it. If you are a 
student and your teacher is helping you pick an oboe, however, their opinion may 
mean a little more to you. They might be able to tell which oboe would be better for 
you, depending on how you play and the way your reeds are. Or they might tell you 
that once the instrument is broken in, it will feel a lot different. All of these personal 
preferences matter, so keep them in mind.

If you know you are getting a good instrument, don't worry too much. You are never 
"stuck" with your instrument. If in a year you really don't like something about the 
oboe, sell it! There is always somebody looking for a good used oboe.

Now, onto the practical side of either buying or selling an oboe. If you are buying 
from a dealer, they may trust you and send you a few oboes to try. When you have 
decided on one and are clear on the price (including the shipping cost it took to get 
it to you), pay for it as soon as possible. Pack the remaining instruments back up in 
the box, as securely and as carefully as you can. Ask the seller how they would like 
them to be shipped, and send them back immediately.

It is probably wise to insure them for the return trip and send them in such a way 
that you can confirm their arrival. It would not be fun to be responsible for 3 oboes 
that have gotten lost in the mail.

Now, if you are buying from a private person, they may well ask for a check for the 
full amount before the oboes are even shipped to you to try. This is standard, and 
upon choosing one your check will be cashed. If you decide not to buy, your check 
will probably be sent back to you or destroyed. This obviously protects the buyer if 
they are selling to someone they don't know. If you decide not to buy, you are also 
responsible for all shipping costs. These are general buying/selling rules. Always 
check with your seller first before assuming anything.

A Guide to Buying an Oboe For Oboe Players

Learning to play a musical instrument can be an exciting adventure. Whether you're the one who's on the musical journey or you are witnessing your child go through this path, finding the right instrument is integral to playing beautiful music. If your mission is to buy a new oboe for yourself or for your child, then this concise oboe buying guide may be able to help you. An oboe buying guide is not only helpful to oboe students who are purchasing their first oboe-even if you are a professional who is looking for your fourth oboe, a little guidance can always help.

A look at the lever

It's important to consider the level of the player when buying an oboe. For instance, if your child is just about to start his first oboe class, it may not make sense to buy a ten-thousand dollar professional oboe. In the same thread, an intermediate player who is seriously developing in his or her skills may be restrained by a beginner's oboe.

Wood or plastic?

One of the most important factors to consider when buying an oboe is the material. Although wood is the customary material used for crafting oboes, there are now many plastic oboes that can equally produce a good sound. You may also look the pros and cons of each substance when choosing between wood and plastic. Although wooden oboes can produce good sound quality, you will have to spend ample time in caring for your instrument to make sure that it doesn't break. However, wooden oboes will inevitable crack or become worn out after several years despite the care you devote to it. Wooden oboes may produce simple sounds, but they are more durable and can last for a longer period of time.

How to Teach an Oboe Lesson

Any lesson on any subject must be planned. This is just as important for lessons on musical instruments. So what are the main components of a good oboe lesson? What messages do we need to get across to students?

In one sense an oboe lesson is an overseen oboe practice session. The format of the oboe lesson in itself should teach the student how to practise at home between lessons. I don't recommend a rigid structure to be followed in absolute detail every week, but there are certain things which should always be covered.

As a generalisation, we could say that a lesson should contain work on two particular areas; - these are technical and musical. I reiterate that this is a generalisation as all playing will involve facets of both. When working on scales or studies, which is primarily technical work, musical issues will inevitably arise. Just as when we are working on pieces for performance or examinations, which we would tend to look on as primarily musical work, technical issues will be encountered. The two facets can never be totally separated.

In both lessons and practice, I would always recommend beginning with technical work which can be used also as a warm-up. Scales and finger exercises are great for this. If a student has encountered a particular technical issue I like to invent a little exercise to tackle it which can be used as a warm-up at the beginning of each practice session. This makes the necessary few minutes of getting the reed and oboe working properly a constructive time.

The most demanding work being practised should always be done early in the lesson when the student is both mentally and physically fresh. (However, this work should never been done as a warm-up) There is no point in tackling such work at the end of a lesson when the student's concentration is waning and the lips are getting tired. This particular aspect of the lesson might be a new scale, a difficult section in a study or an awkward passage in a piece.

Other aspects of an oboe lesson might include such activities as sight-reading, improvisation or aural work of one kind or another. It is never going to be possible to cram a bit of everything into a lesson so planning ahead is crucial to cover issues which need to be covered over a specific period of time.

Work on pieces being studied will tend to take up the majority of time in most lessons. I also like to work in some duet playing with a student (possibly oboe trios or quartets if you are in a group teaching situation). It is always good for students to hear the teacher playing so that they can try to copy the tone.

Demonstration is one of the most important factors of any instrumental lesson and should underpin all good oboe teaching. This can be used to help a student to sort out a tricky rhythm or an awkward fingering, but always helps to give the pupil an aural sense of what they are trying to achieve. I have found that many students pick up vibrato by simply copying my playing, almost without realising it. If their technique is sound they will end up doing it correctly too without actually being taught how to do it.

So, in conclusion, an oboe lesson should include an effective warm-up, technical work early in the lesson when the student is still fresh and work on pieces (solo and/or ensemble playing). The whole lesson should be bound together with demonstration and explanation by the teacher. At the end of a lesson a student should always feel that they have moved forward in some way; - nothing motivates a student more than a feeling of progress.

Oboe Fingering - The Little Fingers

All instruments have their tricky 'corners', areas of the instrument where technique is tested to the full. With oboe fingering, and, indeed, on many other instruments too, any busy playing which involves the little finger and ring finger on either hand is one of these areas. These two fingers share a single tendon and always want to work together. Of course, when playing there are occasions when they can't! So, let's look at the problems associated with each hand in turn.

THE LEFT HAND: The left hand little finger works the G# key. This involves finger changes where the little finger sometimes has to work in conjunction with the ring finger and sometimes alone. This means that the two fingers sometimes have to work as one single digit and sometimes as two separate digits. This left little finger also has three other keys to contend with, the long D#/Eb and the two bottom notes of the oboe, B & Bb. These three keys, sometimes called the Feather Keys (because of their similarity to the Prince of Wales feathers) require more of a stretch than the G#. Young hands often find these a bit difficult to use at first. (On some oboes there is the additional long C#/Db key which is also worked with the left little finger, but this is not an issue that young oboists are likely to encounter)

THE RIGHT HAND: The right hand little finger works the C# & D# keys as well as the bottom C key. These tend to be less of a problem than the left hand keys but can be a little testing for small hands. Changing from C# to bottom C is awkward as it involves zipping the finger from one key to the other; - especially tricky when slurring. This manoeuvre can be achieved either by sliding or by 'rocking' the finger from one key to the other. (This is a bit difficult to explain. You need an experienced oboist to show you how to negotiate this bit of oboe fingering!)

So what advice can I offer to help overcome the problems which these particular oboe fingerings pose? Well, first of all, it is vital to keep the little fingers above the key work at all times and never tuck them away underneath. This is an issue which often arises when the young oboist has previously played recorder. The left little finger is the one finger which has no hole to cover on a recorder so many young players, as the finger is never used, have a tendency to tuck it underneath to help support the instrument; - they shouldn't actually do this, but, unfortunately, many do!

Good oboe fingering requires the fingers to hover over the keys ready for when they are needed; - this applies to all the fingers including the little fingers. Indeed, it could be said that it is more important for the little fingers than any others, as a good little finger position will tend to spread the hand nicely and bring all the other fingers into their correct positions.

One other thing which will further enable a good use of the little fingers is having a good posture, standing with a straight back, with the head up and the oboe held at an angle of at least 60 degrees. Holding the oboe at too low an angle will impinge on oboe fingering significantly and make reaching for the little finger keys more difficult.

How to Practise Oboe Scales

To practise oboe scales regularly is an important part of learning the oboe. They are an important part of learning any other instrument too. Scales teach us correct fingerings for each key signature, they help us to develop finger sequences and train us to use the appropriate alternative fingering where there is a choice. As we learn and extend our range they are the perfect way to incorporate the high and low notes into our practice so that we can cope with them when we meet them in pieces. As we become more advanced, scales can also form the basis of work on all aspects of technique.

There are four crucial issues which need to be addressed when practising scales. I will deal with each of those issues in turn.

1) Know the key-signature of the scale you are practising. This may seem obvious, but it is amazing how many students I have taught over the years just tried to 'bumble' their way through without thinking first. As a fellow oboe teacher I worked with many years ago used to tell his pupils, "How do you expect to be able to play in any key where are the notes are jumbled up if you can't play them in simple step order?" This may be a bit simplistic, but it is a good point. So, to reiterate, you cannot possibly practise oboe scales effectively if you are at all unclear about the key-signature.

2) If you are playing scales which use the octave keys, make sure that you are using the right key at the right time. Oboes made for young students usually have separate Octave Keys. The back key is used for the notes E to G# in the second register; the side key is used for top A to top C. If you use the wrong one, or both at once, the notes will be out of tune. However, on an oboe with Semi-automatic Octave Keys, you can keep the back key on whilst adding the side octave key. The very high notes in the third octave are a different issue which I won't deal with here.

3) The use of correct fingerings is also very important in the practice of oboe scales. The oboe does not have many alternative fingerings, especially when compared with the clarinet or bassoon, but the ones we do have must be used when required. Trying to cheat and avoid using them will ultimately backfire on you. As you develop your playing you will find, more-and-more, that you encounter problems which cannot be overcome by cheating. The two principal alternatives we meet on the oboe are the 'Forked-F' and the 'Long D#/Eb' key. Persevere with these alternatives from the start and you will make life much easier for yourself in the future.

4) A number of oboe scales require the player to begin on the lowest notes of the instrument which is often a problem for many. To explore this particular issue in depth would take several pages, but, to state the basic issue, it is all a question of the balance between the air pressure (Diaphragm) and the lip pressure (Embouchure). To sum it up in simple terms, it is all a question of 'more push and less bite!' You need the air pressure to activate the reed, whereas too tight an embouchure will actually stop the reed from vibrating; - result a hiss and no note!

Most aspects of technique can be tackled when you practise oboe scales. During scale practice it is possible to focus on issues such as posture, tone, intonation, etc. etc.

Practising scales can be quite a boring business at times, so the technique most oboists use is the 'little and often' approach. We are told that the human brain much prefers information in 'bite-sized pieces'. Information delivered in this way tends to produce a better response and sticks in the memory better. Rather than trying to practise oboe scales for half an hour at a time, spread 5 or 6 minute 'bursts' of scale work through your practice sessions. I have always found this works very well, both for me and for my students.

So, in conclusion, to practise oboe scales is an essential part of your learning of the instrument. If you avoid them you will stunt your development as an oboist. Perseverance is a critical quality here as the work is never as interesting as playing tunes. Apply the advice above and, hopefully, you will develop a good playing technique which will carry you through all the tricky passages you will meet in your oboe playing life.

Oboe Trills - How To Play Them

Trills are one of the most common 'ornaments' in music. They are extra notes which add interest to a tune. It is important to know how to play trills if you are to perform music correctly. There are a number of issues associated with oboe trills, both musical and technical. I have itemised these below.

- What does a trill look like? Trills are normally written as "tr" over the note to be trilled. In the case of a long note this "tr" may have a wiggly line after it.

- What do you do when you find a trill written in the music? All you do is alternate quickly between the written note and the note above; - think of the wiggly line I mentioned above. This process is obviously done slurred and not tongued. If the "tr" has an accidental marked either above or after it, this affects the note you are trilling to and not the written note.

- There are places on the oboe where it is impossible, for one reason or another, to perform a trill effectively. One of these is across the break between the lower and upper register. To use the normal fingering would require flapping 5 or 6 fingers simultaneously. So how do we get around this? For this we have to thank the developers of the oboe over the years who have added to the instrument special keys which enable us to perform oboe trills in this area with relative ease.

- Exactly which of these keys you have available will depend on the make and type of instrument you are playing. Let's look first at the notes we might need to trill which are impossible without trill keys. The trills between C & D, B & C# and C & Db are all across the break of the instrument. To overcome the problem here all oboes are equipped with appropriate trill keys.

- On a student oboe the D trill key (C-D change) will probably be found on the top joint for use with the left hand. On more advanced instruments you will probably have another D trill key for use with the right hand too. B - C# or C - Db trill on a student instrument will usually have to be done by trilling with the first finger of the left hand, whereas more advanced instruments have a second trill key for the left hand on the same bit of key work as the D trill key. Consult a fingering chart to see exactly where these particular keys are on your oboe. It is a bit hard to actually describe positioning in an article.

- One other issue where special fingerings are required is where a trill would normally involve trilling with the thumb. This is not advisable as the thumb is rather hefty for such delicate work. To overcome this, trilling is either done with the side key (banana key as it is often known, - for obvious reasons) which you will find under the curve of your right index finger, or, if you have a Conservatoire or Gillet system, you would trill with the first finger of the right hand. These fingerings will give a much smoother and more controlled trill than using your thumb.

- There are one or two other places where oboe trills require alternative fingerings. A trill between F & G is performed by trilling with just the first finger of the right hand and keeping the other fingers still. This applies for Forked-F fingering too. The trill from Ab to Bb is achieved on an open-holed oboe by trilling with the banana key again and on the covered-hole system by trilling with the left hand middle finger. If you are faced with a trill from C# to D# the procedure here is to hold down the left hand D# key whilst trilling with the right hand C# key. This is not the easiest of manoeuvres as little finger trills are always a bit tricky.

These are the main alternative fingerings that we use to perform oboe trills. There are a number of other alternative fingerings on the oboe which we use in very specific situations at the extreme ranges of the oboe. I have not dealt with them here. Trills are not particularly difficult if you know how to do them correctly.