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.

Learning Oboe - 5 Essential Techniques

As with the studying of any musical instrument, learning oboe is all about technique. There are a number of technical aspects related to playing the oboe which need to be understood and applied if you are to become an oboist. The human body was not designed to play musical instruments. Instrumental technique is, therefore, the way in which we overcome the body's resistance to what we are forcing it to do.

This article is aimed especially at oboe for beginners and will explore five particular areas which need to be carefully developed. These are Posture, Breathing, Embouchure, Tonguing, and, finally, Hand & Finger Position. Both the understanding and application of these aspects are vital when learning oboe.

Posture Good posture is the basic foundation on which everything else is based; - bad posture = bad oboist! Good oboe technique requires that the feet are about shoulder-width apart with the weight evenly distributed. The head should be upright and the oboe raised to an angle of about 60 degrees.

Breathing This is the most important single technique of all, especially as we are looking primarily at oboe for beginners. Breathing must always be from the diaphragm, not the chest, and breaths should always be taken through the mouth, not the nose. Shoulders should remain level and relaxed throughout and not lifted. Slight dizziness is experienced by some young oboists as their bodies get used to the deep breathing so important to oboe playing.

Embouchure This is the term we use for the way we form the mouth when playing. The oboe embouchure always looks very tight to the unknowing eye, but, in fact, is very relaxed around the reed. The pulling back of the lips is simply to bring the muscles around the edge of the mouth into contact with the reed. The oboe reed cannot be controlled with the red part of our lips. Beginner oboe players often experience a slight burning sensation in their cheeks. This is just muscle tiredness.

Tonguing Tonguing on the oboe produces a clear and precise start to each note. The tongue touches the tip of the reed and interrupts the air flow. As the tongue pulls away, as if pronouncing a "Tuh", it allows the air to rush into the reed making the cane vibrate and producing the sound.

Hand & Finger Position This is very important for young oboe players when their hands are still rather small. If you let your hand hang passively at your side you will see the hand at its most relaxed with the thumb straight and the fingers slightly curved. This is the shape we are trying to replicate when playing.

So, as with any instrument, learning oboe requires a methodical approach which puts the acquisition of good technique first. Although this article gives a brief outline of the basics of playing the oboe, I would recommend a proper course of oboe tuition with an experienced oboe teacher. This is especially important for young oboists.

If you can develop fully the techniques necessary and learn to play the oboe well, you will have a skill which will enhance your life as a player of one of the most beautiful of all musical instruments.

Helpful Oboe Tips and Stories!

The oboe can be a very difficult instrument to play. This is because it changes on a daily basis. For example, if you are used to playing in warm rooms, and you suddenly must play in a cold one (and visa versa), adjustments must be made. Here are a few (hopefully) helpful tips I have come across in my experience playing. These tips are assuming you have a decent familiarity of the oboe and how it works.

Do Not Over-Soak Your Reed!

When I was about 12 years old I remember a perfect example of what you are not supposed to do. My private instructor was the instructor of about 15 other students on different instruments. Once a season we would have a recital showcasing what we were taught. I had not been playing the oboe for long, and while she told me warned me of this exact tip, I still was unaware of how long I was actually soaking my reed. It was my turn to perform. I believe I was playing an excerpt of Marcello's concerto. The accompanist started, and when I came in it was just awful. I looked over at my instructor but continued to play the entire piece. I could see the look in her eyes -- pity. My reed was so over-soaked it barely made a noise, just enough of a noise to be considered playing. Luckily, the lesson was learned there and not in, say, an orchestra rehearsal. The point is, in many cases, do not soak your reed for more than 5 minutes. Of course, reeds will vary, some soaking faster than others.

Breathe With the Beat

A common hardship of the oboe is making a good entrance. If there is not enough breath support when it is your time to come in, the sound will be delayed and/or sound sloppy. One way to combat this and ensure you are coming in with the right tempo is to simply breathe the last beat of rest before you enter. Also, showing your breath allows others to see, and everyone will be more likely to enter correctly and simultaneously. What I mean by "show your breath" is move when you breathe. Make sure everyone around you sees your breathing but without looking over-the-top.

You Can Never Swab Your Oboe Too Often

Swabbing your oboe when you are not playing is key to not having your keys filled with water (technically it is spit, but people just like the nicer version -- "water"). Some novice instrumentalists think that swabbing your instrument out should only be done when you are putting it away for the day. This is simply not true. Swabbing your oboe out wipes away that trickle of water that could lead right to a key hole. Sometimes, oboist use a huge feather as a swab. This works well in orchestra conditions because it tends to be a faster method. Silk swabs are preferred otherwise because little pieces of feather can sometimes get stuck and silk swabs produce little to no lint.

Have More Than One Good Reed

Reeds come and go quickly if you practice and perform a lot. Having more than one backup is best. In fact, some oboist prefer to have 3 to 4 equally good reeds that they rotate evenly. This tends to make them all last longer. On the other hand, some performers tend to have a reed for every occasion. For instance, I know people who have a "2nd chair reed," a "soft reed," a "loud reed," and a "solo reed." Regardless of which choice is best for you, keep many reeds on hand. Who knows what could happen? A careless clarinetist could side-swipe the stand where your reeds are laying and could send them flying towards the principal flautist!

Oboe Sound

The oboe sound is one of the most easily recognised of all orchestral instruments. When played well it has a clear, sweet sound but one which carries well over all but the strongest of textures. This makes it an ideal instrument for the exposition of tunes within the orchestral setting. Composers have used its quality for the sounding of some of the most famous themes in the whole of the orchestral repertoire.

The sound, however, does vary slightly from country to country. This is dictated partly by the type of reed used. In Europe we have the full, slightly wooden sound of the German school of playing as well as the much lighter and reedier tone of French oboists. The English sound is a sort of hybrid of the two, having a fairly full sound but with a lighter timbre than the German tone.

What we often refer to as the "English sound" is usually accredited to Leon Goossens, the great player of the mid-20th century. This tone was passed on through his many outstanding students such as my teacher, Sidney 'Jock' Sutcliffe. Goossens was taught by a German oboist and he took the full German sound but lightened it to create the sound many British oboists try to emulate today. In his day, Goossens was also highly regarded in the USA where many players were influenced by his tone. Other countries have their particular sounds which can be traced back through their great national players of the last few decades.

Within the woodwind family, the oboe is usually scored below the flute and above the clarinet, with the bassoon beneath all three. If you look at a standard orchestral score you will see this order reflected in the layout of the score. Within the woodwind section the oboe sound can either blend with the other instruments or stand alone in a solo capacity. The oboe's closest relative within the woodwind family is the bassoon as both have a double reed and a conical bore.

The oboe sound is produced and controlled by establishing a balance between the pressure of the diaphragm (breathing muscle) and the embouchure (lip muscles). Getting this balance right is the real secret of oboe playing. The diaphragm does most of the work with the embouchure providing the finer adjustments. This makes it essential to have a good breathing technique, an issue which underpins all other techniques. This is not just true of the oboe but of all other wind instruments too. When played well, with a good breathing technique, the tone of the oboe is a delight. When played with poor technique, the sound can be positively painful to listen to.

Apart from its use in the orchestra, the oboe has been widely used in all other fields of music. There are many fine chamber works including the oboe; - the standard 'wind quintet' is made up of Flute, Oboe, Clarinet, Bassoon & Horn. In recent years, the oboe has also been much used in the fields of TV and film music. Composers over the years have been attracted to the oboe sound and produced many excellent Sonatas and Concerti for the solo instrument.

Oboe Pieces - A Review of Solo Repertoire

The oboe has been around as a significant solo instrument since the Renaissance and so it is not surprising that there is a very substantial repertoire of oboe pieces available. There is a massive repertoire of Baroque solos for the instrument and there has been another burst of activity in the last century or so. In between, during the Classical and early Romantic periods, there were far fewer solo pieces written. However, the pieces that were written tend to be particularly good.

In this article I will draw your attention to solo oboe pieces from across the centuries which are particular favourites of mine.

Pretty well all the great Baroque composers produced solo works of great quality. Here are some of my favourites.

- George Fredrick Handel wrote both Sonatas and Concerti for the oboe. Amongst his many works the three Sonatas in C minor, G minor and F are all favourites of mine along with the Concerto in Bb. There is also a delightful little Sonata called "The Fitzwilliam Sonata" in the key of Bb.

- Georg Philipp Telemann was a Baroque composer with a massive output. Much of his music was written as "Tafelmusik" (literally "Table Music") which was composed as background music for banquets; - a kind of live Muzak. He wrote for just about every genre of his time. Many people tend to feel that because he wrote so much music it must be second rate; - nothing could be further from the truth. Some of his solo oboe pieces are wonderful. His Sonata in A minor is a piece I have performed many times. I enjoy playing it and audiences enjoy listening to it.

- Antonio Vivaldi (of "Four Seasons" fame) provided a significant number of pieces to the early oboe repertoire too. His Concerto in A minor is a lovely, if rather challenging piece.

- Tommaso Albinoni is not the best known of the Baroque writers, although his "Adagio" is often heard. He wrote some real gems for solo oboe with a whole series of concerti as well as some delightful double concerti too. His concerti in D major (Op.7 No.6) and Bb major (Op.7 No.3) are the two which are probably most commonly heard.

- There are many other composers of the Baroque era who contributed to the rich repertoire of works for solo oboe. Search the catalogues to find them.

In Classical times, many composers seemed to focus more on the emerging clarinet and on the flute when writing solo woodwind works. However, Mozart wrote two of the greatest works in the whole of the oboe repertoire at that time, the "Concerto in C" and the "Oboe Quartet". Both these works are fairly demanding but are well worth the practice to master them. There is also a Haydn Concerto in C, - the problem here is that we now know it wasn't actually written by Haydn. None-the-less, it is a really fun piece to play.

In the late Romantic era, composers began to return to the oboe as a solo instrument with works such as "Three Romances" by Schumann and "Sonata" by Saint-Saens. These are both very fine compositions.

In the Twentieth Century came a range of new compositions for solo oboe. The Concerto by Richard Strauss is a great challenge to oboists. There are also solo works by such composers as Vaughan Williams, Gordon Jacob & Malcolm Arnold. The unaccompanied "6 Metamorphoses after Ovid" by Benjamin Britten is one of the most original compositions in the whole of the oboe repertoire. I also love performing "Sarabande and Allegro" by French composer Gabriel Grovlez.

This contemporary repertoire is growing all the time. You will find new techniques and extended range in many of the newer works which can be very challenging to players of any standard. Not all contemporary composers, however, are turning to these new approaches to playing, some are writing oboe pieces using traditional techniques and creating pieces which can be enjoyed by players and audiences alike.

Beginner Oboe - Choosing an Instrument

For a beginner oboe player, the first step in the learning process is a rather obvious one, - to purchase an instrument to play on. There are a number of issues to consider in making the ideal choice. These could probably be divided into three main issues; - the type of instrument, the cost of the instrument and the make of instrument.

THE TYPE OF INSTRUMENT: There are two main fingering systems for the oboe. These are the "Thumb-Plate System" and the "Conservatoire System". Most of the fingerings are identical but there are just a few differences around the C & Bb fingerings in the middle of the instrument. I am not going to go into further detail over this here. Your best bet is to consult a player who will be able to demonstrate the two systems. In the UK the vast majority of players use the Thumb-plate system whereas on the Continent of Europe most use the Conservatoire. Each country tends to have its own 'school' of oboe playing which will focus on one or other of the systems. Ultimately, it doesn't really matter as both systems have their strengths and weaknesses. You will find that people who play on the Conservatoire system claim that it is the better one and those who play on the Thumb-plate make a similar claim. If you are having lessons with a teacher let he/she guide you.

Some of the popular professional oboes now have a combined system which incorporates both finger systems on the one instrument. If you are a beginner oboe player, you are highly unlikely to be playing on such an oboe.

There is also the issue of the instrument quality to take into consideration. Some of the pointers here will be covered by the sections below, but there are different levels of instrument, i.e. - student models, intermediate models and full professional models. The difference between the cheapest of these and the most expensive runs into thousands of pounds/dollars.

THE COST OF THE OBOE: This is a tricky one as the Oboe is significantly more expensive than either the flute or clarinet. Instruments in the UK range in price from around £1000 for a good student instrument to about £7000 for a professional instrument. Always go to a reputable oboe or woodwind specialist to purchase an instrument and not just go for the cheapest oboe you can find on eBay or you are likely to end up with an instrument of highly dubious quality. The oboe is demanding enough to play even when you have a good instrument. If your oboe is poorly made it will be a nightmare to play.

Many of the specialist retailers will have hire schemes of one kind or another which will allow you to try out an oboe for a trial period before making the final purchase. Until you start to play you can never be sure whether you will take to the instrument or not. There will also be financial arrangements to allow you to spread the cost. Schemes such as this will only usually be available through the 'good' specialist shops. These arrangements can be very helpful to a beginner oboe player.

THE MAKE OF INSTRUMENT:The makes of oboe you will find available will depend on where you are in the world. Here in the UK we have, Howarth of London, who manufacture a whole range of instruments from student to full professional. Their instruments are excellent. Other oboes readily available in the UK are Loree, Marigaux, Ward & Winterbourne, Buffet and Yamaha, all of which are quality instruments. If you live elsewhere investigate available instruments and check their relative merits.

A final word on the purchase of an oboe, if you don't know exactly what you need then ask someone who can give you informed and unbiased advice. For a beginner oboe player you simply must have a good instrument to start on or you will find the whole experience of learning very dispiriting.