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A GUIDE TO OVERCOMING TECHNICAL AND MUSICAL CHALLENGES FOR

THE OBOE USING EXCERPTS FROM ORCHESTRAL AND SOLO REPERTOIRE

by

Elliot Adam Eernisse

An essay submitted in partial fulfillment

of the requirements for the Doctor of Musical Arts

degree in Music in the

Graduate College of

The University of Iowa

August 2016

Essay Supervisor: Professor Kristin Thelander

Copyright by


2016

All Rights Reserved

Graduate College

The University of Iowa

Iowa City, Iowa

CERTIFICATE OF APPROVAL

____________________________

D.M.A. ESSAY

_________________

This is to certify that the D.M.A. essay of


has been approved by the Examining Committee for

the essay requirement for the Doctor of Musical Arts degree

in Music at the August 2016 graduation.

Essay Committee: ____________________________________________

Kristin Thelander, Essay Supervisor

____________________________________________

Courtney Miller

____________________________________________

William LaRue Jones

____________________________________________

Benjamin Coelho

____________________________________________

Christine Getz

ii

Acknowledgements

I would like to thank my outstanding committee members Dr. Kristin Thelander, Dr.

Courtney Miller, Dr. Christine Getz, Dr. William LaRue Jones and Professor Benjamin Coelho for

their invaluable wisdom and guidance during the time I spent at the University of Iowa. I would

also like to thank my wonderful husband Jacob for his unwavering support through the ups and

downs of completing this degree.

iii

Public Abstract

This document serves as a guide for college oboists who wish to improve their playing by targeting

technical and musical challenges with annotated excerpts from orchestral and solo oboe repertoire.

The contents of this essay are categorized by eighteen different performance challenges such as

intonation, little-finger agility, dynamic contrast through the full range of the oboe, half-hole technique,

phrasing, and rapid tonguing. Each chapter begins by identifying technical or musical difficulties and

provides advice on how to overcome it using excerpts from the oboe repertoire. Each chapter presents

two annotated orchestral excerpts and one solo oboe excerpt that targets the technical or musical

difficulty. The orchestral excerpts are selected from standard orchestral repertoire from the eighteenth

to the twentieth century. The oboe solo excerpts are selected from repertoire that is widely taught in

most universities. In conjunction with professional instruction, this guide may aid in improving an oboe

student’s performance abilities.

My goal in writing this guide is two-fold: to give aspiring oboists a task-specific tool to use as they

struggle with musical and technical impediments, and, at the same time, to familiarize them with

orchestral and solo oboe repertoire.

iv

Table of Contents

List of Tables .................................................................................................................................... v

List of Examples .............................................................................................................................. vi

Introduction ..................................................................................................................................... 1

Chapter I : Reinforcing Basic Oboe Techniques ............................................................................... 7

Chapter II : Intonation .................................................................................................................... 10

Chapter III : Half-Hole Technique ................................................................................................... 16

Chapter IV : Rapid Tonguing .......................................................................................................... 20

Chapter V : Dynamic Shaping Over Long Phrases .......................................................................... 24

Chapter VI : Endurance .................................................................................................................. 30

Chapter VII : Mastering Left F ........................................................................................................ 37

Chapter VIII : Voicing Intervals Throughout the Range ................................................................. 41

Chapter IX : Gaining Proficiency in the Extreme High Register...................................................... 46

Chapter X : Gaining Proficiency in the Low Register ...................................................................... 52

Chapter XI : Smooth Descending Slurs ........................................................................................... 56

Chapter XII : Developing an Awareness of Contextual Playing ...................................................... 60

Chapter XIII : Ornamentation ......................................................................................................... 66

Chapter XIV : Playing Extremely Softly........................................................................................... 72

Chapter XV : Care of Note and Phrase Endings ............................................................................. 77

Chapter XVI : Developing Technical Proficiency ............................................................................ 82

Chapter XVII : Rubato ..................................................................................................................... 86

Chapter XVIII : Little Finger Technique .......................................................................................... 90

Chapter XIX : Dotted Rhythm Precision ......................................................................................... 95

Bibliography ................................................................................................................................... 99

Appendix : Reproduction Permissions ......................................................................................... 102

v

List of Tables

Table 1 Oboe range in listed examples ..........................................................................................xiii

Table 2 Illustration of the parts of an oboe reed ............................................................................ ix

Table 3 Oboe Keys ............................................................................................................................ x

vi

List of Examples

EX. II.1 Samuel Barber, Concerto for Violin and Orchestra, movement 2, mm. 1-14. .................. 12

EX. II.2 Ludwig Van Beethoven, Symphony no. 7 in A Major, op. 92, movement 1, mm. 1-22. .... 13

EX. II.3 Vincenzo Bellini, Concerto in E-Flat Major, movement 1, mm. 1-38. ................................ 14

EX. III.1 Maurice Ravel, Le Tombeau de Couperin, movement 1, mm. 1-22. ................................. 17

EX. III.2 Johannes Brahms, Symphony no. 1 in C Minor, op. 68, movement 2, mm. 35-49........... 18

EX. III.3 Camille Saint-Saëns, Sonata for Oboe and Piano, op. 166, movement 3, mm. 57-73. ..... 19

EX. IV.1 Gioacchino Rossini, Overture to La Scala di Seta, mm. 22-56. ......................................... 21

EX. IV.2 Johann Sebastian Bach, Brandenburg Concerto no. 2 in F Major, BWV 1047, movement

3, mm. 79-101. ....................................................................................................................... 22

EX. IV.3 Benjamin Britten, Six Metamorphoses after Ovid, op. 49, movement 2, “Phaeton,” mm.

26-38. ..................................................................................................................................... 23

EX. V.1 Long tone exercise ............................................................................................................. 24

EX. V.2 Richard Strauss, Don Juan, mm. 232-314. ......................................................................... 26

EX. V.3 Ludwig van Beethoven, Symphony no. 3 in E-Flat Major, op. 55, “Eroica,” movement

4, mm. 339-382. ..................................................................................................................... 27

EX. V.4 Tomaso Albinoni, Concerto for Oboe in D-Minor, op. 9, no. 2, movement 2, mm.

17-34. ..................................................................................................................................... 28

EX. VI.1 Johannes Brahms, Concerto for Violin and Orchestra, op. 77, movement 2, mm 1-45. .. 31

EX. VI.2 Johann Sebastian Bach, Cantata no. 82, Ich Habe Genug, BWV 82, movement 1, mm.

1-37. ....................................................................................................................................... 33

EX. VI.3 Richard Strauss, Concerto for Oboe and Small Orchestra, movement 1, mm. 1-73. ....... 35

EX. VII.1 Piotr Ilyitch Tchaikovsky, Symphony no. 4 in F Minor, op. 36, movement 2, mm.

1-46. ....................................................................................................................................... 38

EX. VII.2 Ludwig van Beethoven, Symphony no. 3 in E-Flat Major, op. 55, “Eroica,” movement

3, mm. 203-258. ..................................................................................................................... 39

EX. VII.3 Benedetto Marcello, Concerto for Oboe in C Minor, movement 2, mm. 1-14. .............. 40

EX. VIII.1 Reed alone exercise ........................................................................................................ 42

vii

EX. VIII.2 Johannes Brahms, Symphony no. 1 in C Minor, op. 68, movement 1, mm. 15-39. ....... 43

EX. VIII.3 Igor Stravinsky, Pulcinella Suite, “Serenata,” mm. 1-10. ................................................ 44

EX. VIII.4 Robert Schumann, Three Romances for Oboe and Piano, op. 94, movement 1, mm.

25-54. ..................................................................................................................................... 45

EX. IX.1 Igor Stravinsky, The Rite of Spring, Second Part “Introduction,” rehearsal number

“80” to “85.” .......................................................................................................................... 47

EX. IX.2 Maurice Ravel, Le Tombeau de Couperin, movement 3, mm. 65-128. ............................. 49

EX. IX.3 Gilles Silvestrini, Six Etudes for Oboe, movement 4, “Sentier dans les Bois de Auguste

Renoir,” Final phrase after second fermata to the end. ........................................................ 51

EX. X.1 Serge Prokofiev, Classical Symphony in D Major, op. 25, movement 4, 1 measure before

rehearsal no. “53” to the 4th measure of rehearsal no. “54.”................................................ 53

EX. X.2 Nicolai Rimsky-Korsakov, Scheherazade, movement 3, mm. 1-51. ................................... 54

EX. X.3 Francis Poulenc, Sonata for Oboe and Piano, “Deploration,” mm. 15-27. ........................ 55

EX. XI.1 Camille Saint-Saëns, Samson and Delilah, opening cadenza, m.1. ................................... 57

EX. XI.2 Johannes Brahms, Symphony no. 2 in D Major, op. 73, movement 3, measures

218-240. ................................................................................................................................. 58

EX. XI.3 Carl Nielsen, Fantasy Pieces for Oboe and Piano, op. 2, movement 1, mm. 1-18............ 59

EX. XII.1 Ludwig van Beethoven, Symphony no. 3 in E-Flat Major, “Eroica,” movement 2, mm.

1-68. ....................................................................................................................................... 62

EX. XII.2 Gioacchino Rossini, Overture to La Scala di Seta, mm. 1-21. .......................................... 63

EX. XII.3 Carl Reinecke, Trio in A Minor for Oboe, Horn and Piano, op. 188, Movement 1, mm.

40-78. ..................................................................................................................................... 64

EX. XIII.1 Maurice Ravel, Le Tombeau de Couperin, movement 2, mm. 35-47. ............................. 67

EX. XIII.2 Claude Debussy, La Mer, movement 2, mm. 1-30. ......................................................... 69

EX. XIII.3 Wolfgang Amadeus Mozart, Concerto for Oboe in C Major, K. 314, movement 3,

mm. 1-18. ............................................................................................................................... 70

EX. XIV.1 Dimitri Shostakovich, Symphony no. 5 in D Minor, op. 47, movement 3, 1 measure

before rehearsal no. “84” through rehearsal no. “85.” ......................................................... 73

viii

EX. XIV.2 Claude Debussy, La Mer, movement 3, 4 measures before rehearsal no. “54”

through the 16th measure of rehearsal no. “55.” ................................................................. 74

EX. XIV.3 Ralph Vaughan Williams, Concerto for Oboe and Strings, movement 1, mm.

87-104. ................................................................................................................................... 75

EX. XV.1 Maurice Ravel, Le Tombeau de Couperin, movement 3, mm 1-28……………………………….78

EX. XV.2 Igor Stravinsky, Pulcinella Suite, movement 4, Variation 1a, mm. 1-32………………………..79

EX. XV.3 Camille Saint-Saëns, Sonata for Oboe and Piano op. 166, movement 2, mm.

62-70..................................................................................................................................….81

EX. XVI.1 Johannes Brahms, Variations on a Theme by Haydn, op. 56, Variation 3, mm.

127-145. ................................................................................................................................. 83

EX. XVI.2 Franz Schubert, Symphony no. 8 in B-Minor “The Unfinished,” movement 2, mm.

98-126. ................................................................................................................................... 84

EX. XVI.3 Wolfgang Amadeus Mozart, Oboe Quartet in F Major, K. 370, movement 3, mm.

103-115. ................................................................................................................................. 85

EX. XVII.1 Nicolai Rimsky-Korsakov, Scheherazade, movement 2, mm. 1-76. ............................... 87

EX. XVII.2 Nicolai Rimsky-Korsakov, Scheherazade, movement 3, mm. 119-141. ......................... 88

EX. XVII.3 Johann Wenzel Kalliwoda, Morceau de Salon, op. 228, mm. 81-106. .......................... 89

EX. XVIII.1 Sergei Prokofiev, Classical Symphony in D, op. 25, movement 2, 1 measure before

rehearsal no. “39” through the 7th measure of rehearsal no. “41.” ...................................... 91

EX. XVIII.2 Nicolai Rimsky-Korsakov, Scheherazade, movement 4, mm. 280-337. ........................ 92

EX. XVIII.3 Vincenzo Bellini, Concerto in E-Flat Major, movement 2, mm. 153-169. .................... 93

EX. XIX.1 Felix Mendelssohn, Symphony no. 3 in A Major “Scottish,” movement 2, mm.

1-88. ....................................................................................................................................... 96

EX. XIX.2 Franz Schubert, Symphony no. 9 in C-Major “The Great,” movement, 2, mm.

1-36. ....................................................................................................................................... 97

EX. XIX.3 Tomaso Albinoni, Concerto for Oboe in D-Minor op. 9, movement 1, mm.

42-80. ..................................................................................................................................... 98

ix

Table 1

Oboe range in listed examples

Pitch names are labeled according to the American Standard Pitch Notation System (also known

as Scientific Pitch Notation).1 The oboe’s range in the following excerpts encompasses B♭3 to

G#6.

1 Robert W. Young, “Terminology for Logarithmic Frequency Units,” Journal of the Acoustical Society of America 11, no. 1 (July 1939): 134-139.

x

Table 2

Illustration of the parts of an oboe reed

xi

2nd Octave Key

Half-hole Plate

1st Octave Key (on reverse)

A♭/G# Key

Low B Key

Low B♭/A# Key

Key Left F Key

E Key

Right F Key

D Key

D♭/C# Key

/

B Key

A Key

G Key

Left E♭/D# Key

Right A♭/G# Key

F# Key

Low C Key

Right E♭/D# Key

Table 3

Oboe keys

1

Introduction

Oboists spend their entire careers developing ways to overcome the technical and musical

challenges the instrument presents. This ongoing process is never completely realized. New students of

the oboe must surmount a myriad of hurdles in order to become successful musicians. Although etude

and method books can help students learn fundamentals, they do not always provide guidance on how

to overcome specific challenges. For example, a student wishing to improve voicing into the high

register of the instrument must scour etude books to find a relevant passage. Even if the student finds

such a passage or etude, it may not be annotated with practical advice for overcoming the difficulty.

Many oboists can only turn to their teacher for a solution, or resort to or inventing one on their own.

For a young musician, inventing solutions can often lead to incorrect habits in practicing.

Consequently, I have created a guide for aspiring oboists. It promises to help them find their way

through this difficult terrain. The guide consists of excerpts from orchestral and solo oboe repertoire

which target specific playing issues. I have personally tested a number of excerpts that can be utilized to

provide effective working solutions to technical and musical problems. The excerpts are annotated with

strategies which address specific playing difficulties. This guide offers a valuable tool for college oboists

and their teachers to use to help them with the plethora of trials they are likely to encounter. By

practicing these excerpts, students are able to confront musical challenges one at a time. The chapters

include playing challenges such as intonation, little-finger agility, dynamic contrast through the full range

of the oboe, slurring downward, half-hole technique, phrasing, and rapid tonguing. At the same time,

each chapter introduces students to a range of solo and orchestral oboe repertoire.

While this guide uses excerpts to target specific playing issues, its aim is not to prepare students for

orchestral auditions. Nevertheless, many of the examples can indeed improve the player’s musical

sophistication and give the oboist the opportunity to be more competitive in an audition setting. This

2

guide, however, has a different primary goal. In conjunction with professional instruction, it can be used

to improve an oboist’s abilities during the learning phase. The excerpts have been selected from solo

oboe repertoire widely taught in most universities. Most college level oboists will encounter many of

these pieces sometime in their academic careers. Orchestral excerpts have been selected from standard

orchestral repertoire from the eighteenth to the twentieth century. Many of them appear on audition

lists for major symphony orchestras. Exposure to these pieces during the learning process makes

students aware of the oboe’s magnificent possibilities, and can inspire a deeper commitment to the

instrument.

This guide does not address reed making fundamentals, but it does offer some practical advice.

Furthermore, it does not include extended oboe techniques, as there is already a body of literature on

this particular subject. In short, the intention of this guide is to augment the current instructional

literature for oboe players at the college level. Its unique systematic presentation enables them to

concentrate their energies upon each problem they are likely to encounter in the course of their study.

Related Literature

There are several well-known books of musical excerpts that oboists regularly consult. Excerpt books

are commonly utilized as a way to prepare for orchestral auditions or studio classes. Among them are

the Vade-Mecum of the Oboist, by Albert J. Andraud,1 the Orchestral Excerpts for Oboe with Piano

Accompaniment, by John Ferrillo,2 Orchestral Studies, 990 Difficult Passages from the Symphonic

Repertoire, by Evelyn Rothwell,3 and 20th Century Orchestral Studies, by John De Lancie.4 Only the Ferrillo

1 Albert J. Andraud, Vade-Mecum of the Oboist: 230 Selected Technical and Orchestral Studies for Oboe and English Horn, 9th ed. (San Antonio, Texas: Southern Music Company, 1958). 2 John Ferrillo, Orchestral Studies for Oboe with Piano Accompaniment (King of Prussia, PA: Theodore Presser Co., 2006). 3 Evelyn Rothwell, 990 Difficult Passages from the Symphonic Repertoire for Oboe and Cor Anglais (London: Hawkes & Son Ltd., 1953). 4 John De Lancie, 20th Century Orchestral Studies for Oboe and English Horn (New York: Schirmer Inc., 1973).

3

and De Lancie books are annotated with suggestions for working on particular excerpts. Ferrillo’s book

provides strategies with the stated goal of winning an audition. It presents practical advice, along with

useful tempo markings, and it contains simplified exercises for some of the ornamented and

rhythmically challenging excerpts. John De Lancie’s book is limited to excerpts from the twentieth

century. The annotations he provides are brief, and many excerpts contain no annotations at all. The

renowned American oboist John Mack released an audio recording that teaches oboe orchestral

excerpts.5 This is a valuable resource for any oboist and provides practical advice on how to approach

excerpts that often appear on oboe audition lists.

There are several dissertations concerning the use of excerpts for technical and musical practice.

Travis Andrew Bennett wrote his dissertation as a complete guide for horn. It addresses twenty-four

playing challenges. They include changing time signatures, breathing, endurance, technique, phrasing,

slurring into the low register, and intonation, among others.6 His guide is organized by technical and

musical challenges, and uses etudes, solo horn works, and orchestral excerpts chosen to demonstrate

problems inherent in each issue. It was inspired in part by Kristin Thelander’s 1994 article in The Horn

Call.7 This article offered practical solutions to playing challenges using excerpts from horn repertoire. In

Bennett’s dissertation, every chapter begins with remarks about an individual challenge. The chapter is

then structured around selected excerpts. Bennett’s dissertation has been a great inspiration for my

guide. I have utilized some of his insights where they apply to both the horn and oboe, and I am much

indebted to him for his overall concept of systematic instruction.

5 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD. 6 Travis Andrew Bennett, “A Horn Player’s Guide: Using Etudes, Solos and Orchestral Excerpts to Address Specific Technical and Musical Challenges” (D.M.A. diss., University of Alabama, 2003). 7 Kristin Thelander, “Selected Etudes and Exercises for Specialized Practice,” The Horn Call XXIV, no. 3 (May, 1994): 53-59.

4

Shen Wang’s dissertation focuses on basic preparation for oboe auditions using selected excerpts.8

Like Ferrillo, Wang addresses excerpt preparation with the intention of winning an oboe audition. It

points to several specific impediments oboists commonly face, and suggests excerpts to use for

overcoming them. Wang’s dissertation is comprised of four parts. Part one addresses the purpose of the

study, methodology, and review of literature. Part two focuses on technical preparation for fast-moving

passages, rapid tonguing, note releases, and melodic passages. Part three addresses performance

internalization for melodic and fast-moving passages. The final part focuses on reed preparation for an

audition. Although there are several useful exercises for mastering fast-moving and melodic passages,

the document does not supply a comprehensive list of playing challenges. It presents useful solutions to

only five musical problems. This guide, on the other hand, presents several excerpts and solutions for

eighteen technical and musical challenges.

Addressing performance difficulties through excerpts and solo repertoire is valuable to both oboe

students and their teachers. Young oboists can utilize this approach, which exposes them to orchestral

excerpts and solo literature while they are actually working on specific playing challenges. It also

provides appropriate excerpts for teachers to suggest to their students when they are targeting areas

that need improvement. As Travis Bennett’s dissertation has provided horn players with a useful

pedagogical resource, I hope this guide will be equally valuable to oboists.

Methodology and Limitations

This document substantially follows a methodology similar to that outlined in Travis Andrew

Bennett’s dissertation. I first identified specific playing difficulties that I wanted to include in this

document. Some of the playing challenges were selected from Bennett’s dissertation. I also included

8 Shen Wang. “Basic Preparation for Oboe Auditions by Using Selected Oboe Excerpts” (D.M.A. diss., University of Miami, 2009).

5

several of the oboe challenges that Shen Wang wrote about in his dissertation (rapid tonguing, extreme

register, melodic passage phrasing). In order to develop a more comprehensive list, I consulted books

like The Art of Oboe Playing9 and Oboe Secrets: 75 Performance Strategies for the Advanced Oboist and

English Horn Player.10 I also consulted my primary oboe teacher, Dr. Andrew Parker, and other expert

oboists to see what performance problems they suggest that I include. Although there are countless

playing challenges for musicians, I have limited my document to those most commonly confronted by

college oboists. My comprehensive list addresses a variety of technical and musical difficulties, including

the following:

I. Reinforcing Basic Oboe Techniques II. Intonation

III. Half-Hole Technique IV. Rapid Tonguing V. Dynamic Shaping Over Long Phrases

VI. Endurance VII. Mastering Left F

VIII. Voicing Intervals Throughout the Range IX. Gaining Proficiency in the Extreme High Register X. Gaining Proficiency in the Low Register

XI. Smooth Descending Slurs XII. Developing an Awareness of Contextual Playing

XIII. Ornamentation XIV. Playing Extremely Softly XV. Care of Note and Phrase Endings

XVI. Developing Technical Proficiency XVII. Rubato

XVIII. Little Finger Technique XIX. Dotted Rhythm Precision

For each technical and performance issue, I selected excerpts from standard solo and orchestral

repertoire. I used the oboe excerpt books by John Ferrillo, Evelyn Rothwell, John De Lancie and Albert J.

Andraud (cited above) to find excerpts that particularly apply to each challenge. In addition, I chose

relevant portions from standard solo oboe literature. Many of the solo excerpts are ones with which I

9 Robert Sprenkle and David Ledet, The Art of Oboe Playing (Evanston, IL: Summy-Birchard Company, 1961). 10 Jacqueline LeClaire, Oboe Secrets: 75 Performance Strategies for the Advanced Oboist and English Horn Player (Lanham, MD: Scarecrow Press Inc., 2013).

6

have struggled in the course of my studies. I have chosen each excerpt to target clearly the playing

challenge indicated in the chapter heading.

Two orchestral excerpts and one passage from solo oboe literature were selected for each chapter.

They are annotated with instructions geared to specific technical and musical difficulties. Occasionally,

these instructions are supplemented with references to other oboe works, which can be used by the

student for further study. Each chapter supplies excerpts of varying difficulty, to accommodate different

playing levels. This guide deliberately limits its scope to the solo and orchestral passages that present

technical and musical challenges commonly encountered by oboists at the college level, but it also

provides more challenging excerpts to students at the graduate level. However, it does not include

etudes, although in some chapters I have suggested the benefit of certain etudes for confronting a

particular problem. My goal in writing this guide is twofold: to give aspiring oboists a task-specific tool to

use as they struggle with musical and technical impediments, and, at the same time, to familiarize them

with orchestral and solo oboe repertoire.

7

Chapter I : Reinforcing Basic Oboe Techniques

This guide is intended for students with a general understanding of oboe techniques. The student

should already have proficiency with oboe tone production, fingerings, and reed adjustment.

Periodically reinforcing oboe fundamentals can correct bad playing habits that may have manifested

without the student realizing it. This guide is not a substitute for training with a master oboist. A private

teacher is required for introducing the student to the fundamentals of oboe reed making and

adjustment.

“Crowing” the Reed

The reed is the voice box of the oboe. “Crowing” the reed alone can reveal information on how the

oboe will sound after the reed is inserted. To “crow” the reed, position the lips just above the string and

gently increase the air speed until the reed makes a noise. With a little more air pressure, a balanced

reed should simultaneously produce another pitch an octave lower. At least two distinct pitches in

octaves should be audible, C5 and C6 or C#5 and C#6.1 A tuner will determine what pitch is being

sounded. An ideal reed will crow Cs that are at least five cents sharp (in balanced octaves), or C#s. A

reed that crows flat Cs or Bs will not be in tune throughout the full range of the instrument. Although

the student can adjust the embouchure on flat reeds to force the pitch up, it invariably leads to bad

habits such as biting and overexertion, especially in the upper range of the instrument (above A5). Many

young students “peep” their reeds (produce a high pitched sound on the tip of the reed) before inserting

it into the instrument, which should not be confused with “crowing.” Playing at the tip of the reed alone

may reveal if the reed is responsive but does not exhibit if the reed is balanced or if will play with proper

intonation.

1 Pitch notation and the full octave range of the oboe is provided in Table 1, on page ix.

8

The Embouchure

The oboe embouchure must remain round (with the teeth apart) for good tone production. To form

the embouchure, the lower blade of the reed is placed on the lower lip (in the general area where the

upper lip touches the lower lip when the mouth is closed). The lower lip is then rolled over the lower

teeth, causing the tip of the reed to be gathered into the mouth. The upper lip is simultaneously

stretched over the upper teeth, providing a cushion for the top blade of the reed. The corners of the

mouth (where the upper lips meet the lower lips) should also be gathered inward toward the reed.

Forming the lips to say the first syllable in the word “O-boe” demonstrates the proper embouchure

shape. A round embouchure keeps the teeth apart within the oral cavity, preventing biting. The lips

should surround the reed, providing an airtight seal. Each oboist’s physiology is different. Slight

adjustments must be made by the individual to facilitate a comfortable playing position. Embouchure

muscles require exercise through regular practice to maintain their strength. If the embouchure muscles

are not in good physical shape the student may unconsciously rely on biting the reed to maintain

control, which will lead to bad intonation and tone production. Biting the reed also interferes with the

strengthening of the muscles surrounding the corners of the mouth, preventing a round embouchure.

Supporting the Air Stream

The oboe also requires a fast and focused air stream to produce a good tone and proper intonation.

The air must be supported lower in the body with the “core” or abdominal muscles. These are the same

muscles that contract when coughing. When taking a breath, the lungs and the core muscles below the

ribs should expand. This gives the appearance of the stomach expanding outward. One exercise the

student can employ to perceive which muscles should support the air stream is to take a deep inhalation

through the nostrils with the mouth closed. With both hands placed near the navel, the oboist should

feel the stomach expand outward. With the stomach expanded the student should then cough, thereby

9

contracting the correct muscle group that will be engaged when supporting the air stream during oboe

playing. The core muscles remain solid and contracted while playing to achieve a well-supported air

stream. By relegating all support to the core of the body, the neck, shoulders and arms can remain free

of tension.

Adjusting the Embouchure from the Low to High Range

Playing the oboe requires some flexibility of reed placement within the embouchure to achieve

proper intonation when moving throughout the range of the instrument. If the student remains fixed

without adjusting the reed position while moving throughout the oboe’s range, the intonation and tone

quality will be poor. The famous twentieth century oboist Leon Goossens stressed that a variation in

“lip-pressure”2 was necessary for dynamic variation and to play in the oboe’s different registers. In

describing “lip-pressure” he said: “I do not mean biting the lip, but simply increasing the firmness of the

lips against the reed according to the dynamics and register which create extremes of response from the

instrument; i.e. the lowest notes require the least lip pressure, while the highest require the most.”3 The

oboe’s lower range (A#3 to D#4) requires less reed in the mouth and less “lip-pressure” on the reed. The

middle range (E4 to G#5) requires slightly more reed in the mouth with increased embouchure firmness.

The highest range (A5 and above) requires the reed to move even further into the mouth and for the

speed of the air stream to be increased to achieve good intonation. One exercise to improve intonation

in the upper register is to play A4 into a tuner while slurring up to A5 (without biting). The air speed and

embouchure firmness should be increased when slurring up the octave, and slightly more reed should

enter the mouth to ensure the A5 is in tune.

2 Leon Goossens and Edwin Roxburgh, Yehudi Menuhin Music Guides: Oboe (New York: Schirmer Books, 1977), 57. 3 Goossens, Oboe, 57.

10

Chapter II : Intonation

Intonation is arguably one of the most important aspects of oboe playing. To achieve good

intonation an oboist must be flexible and know the intonation tendencies of the instrument. Flexibility

in the embouchure is needed to slightly roll more reed into the mouth as the player ascends into the

upper register. If no adjustment is made by rolling in, the oboe’s upper register will be flat. Conversely,

as the oboist goes from high to low, the reed should be slightly withdrawn from the oral cavity to

achieve proper intonation. Being in tune is also contextual, depending on the note’s place within a chord

and the pitch center of the surrounding musicians. Since the oboist is responsible for providing the

tuning pitch for most American orchestras at A=440 Hz., it is important to develop practice habits that

maintain intonation at that pitch.

The first factor to consider in successfully playing in tune is to have a working instrument and a

responsive reed that is up to pitch. One can objectively deduce whether the reed will play in tune

without even trying it in the instrument by “crowing” it.1 Playing on reeds that crow flat will force the

oboist to bite to force the pitch up. This can lead to bad embouchure habits that can potentially

interfere with the ability to play with good intonation throughout the oboe’s range. This habit can also

result in a restrictive tone that actually causes the student to play sharp on many notes. Squeezing the

reed closed with the embouchure can force the pitch to rise above the A=440 Hz. level. Many young

students are so accustomed to playing on flat reeds that they become accustomed to playing certain

notes on the oboe sharp. The notes on the oboe that are notoriously sharp are half-hole C#, half-hole D,

E and F# (C#5, D5, E5 and F#5).2 Flat notes on the oboe include the second octave A and low C# (A5 and

C#4).3

1 For instructions on “crowing” the reed see Chapter 1. 2 Leon Goossens and Edwin Roxburgh, Yehudi Menuhin Music Guides: Oboe (New York: Schirmer Books, 1977), 89. 3 Robert Sprenkle, and David Ledet, The Art of Oboe Playing (Evanston, IL: Summy-Birchard Company, 1961), 17.

11

When playing with other musicians, it is also important to have an awareness of the key in which the

ensemble is playing in order to play contextually and with “just intonation.” Just intonation is defined as

“A system of intonation and tuning in which all the intervals are derived from the natural (pure) fifth and

the natural (pure) third.”4 For example, if the oboist is playing the third of a major chord it is necessary

to play that note somewhat flat to sound in tune to the human ear. It has been shown that major thirds

should be lowered by thirteen cents (thirteen percent of a half step) to achieve just intonation.5

Conversely, if the oboist has the fifth of the chord they may have to play slightly sharp. The root of the

chord should be as close to correct equal temperament as possible, but one must always defer to the

pitch center of the surrounding musicians. Thus, musicians who play into a tuner for every pitch during

rehearsals are often out of tune with the ensemble because they are not considering their place in the

chord or the intonation of other musicians.

When practicing alone, it is advisable to develop good intonation habits by using a tuner and learn

how to keep the pitch consistent with A=440 Hz. A good test for intonation is to practice a phrase that

ends on a half-hole D (D5). Have a tuner on, but don’t look at it right away. Play through the phrase to

the final D5, and glance at the tuner. Many students find that they are at least ten cents sharp on this

note. Another useful exercise is to play D minor arpeggios slowly with a tuner. Pay particular attention

to keeping the D5 low enough, and the A5 high enough.

4 Harvard Concise Dictionary of Music, s.v. “Just intonation.” 5 Christopher Leuba, A Study of Musical Intonation (Vancouver, Canada: Prospect Publications, 1962), 8-10.

12

[Andante ♩ = 84]

EX. II.1 Samuel Barber, Concerto for Violin and Orchestra, movement 2, mm. 1-14.

Copyright © 1942 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Used by Permission.

This first excerpt from the second movement of Samuel Barber’s Concerto for Violin targets the

exceptionally sharp notes E5, F#5, and the flat A5. This excerpt also tests the player’s endurance.

Although the score marks the tempo at quarter note=84, John Ferrillo suggests the more comfortable

tempo of quarter note=92.6 As oboists tire, the tendency will be to go sharp. Keep the embouchure

open and round when practicing this excerpt especially on the E5, F#5 and G#5. Open the embouchure

by dropping the jaw and stretching the upper lip over the upper teeth, which will cause the nostrils to

stretch into ovals, rather than circles. This will indicate that the teeth are separated to prevent biting,

which can cause the pitch to be sharp. To keep the tone from sagging or spreading, increase the air

speed, focusing the air stream by raising the tongue to allow the embouchure to stay round while

playing with good intonation and focused air. Pay special attention to measure ten. Decrescendo on the

F#5, but be sure to avoid going sharp. Try to decrescendo by gently pushing the reed against the upper

6 Ferrillo, Orchestral Excerpts for Oboe, 26.

13

lip, while still maintaining an open embouchure and focused air. This will help the B5 that follows from

sounding too low. This excerpt can also be used as a good exercise in pacing long phrases dynamically.

EX. II.2 Ludwig Van Beethoven, Symphony no. 7 in A Major, op. 92, movement 1, mm. 1-22.7

This excerpt from the first movement of Beethoven’s Symphony no. 7 begins on an A5, which

requires fast and focused air on a reed that is up to pitch. Use the embouchure to roll a little more reed

into the mouth on second octave notes, and slightly roll a little reed out of the mouth when descending

to the E5 and C#5 that follow. Be sure to keep the pitch down on the half-hole D (D5) in measure 7. This

will ensure the A5 in measure 9 is not flat. A significant challenge in this excerpt lies in the forte-pianos

in measures 1, 3, 5, and 7. The note must be accented with fast air and then the diminuendo must be

executed suddenly, without letting the pitch rise. To achieve a pianissimo dynamic without biting the

reed or lessening the air stream, try to keep the air moving fast, and slightly push the reed against the

upper lip as a dampener to the sound. This leaves the bottom blade free to vibrate, but keeps the pitch

stable and allows for a soft dynamic. To practice playing softly and in tune, try to engage more of the

upper lip of the embouchure for volume control.

7 Ludwig Van Beethoven, Symphony no. 7 in A Major, op. 92, (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://conquest.imslp.info/files/imglnks/usimg/9/94/IMSLP36607-PMLP01600-Beethoven-Op092.Oboe.pdf

http://conquest.imslp.info/files/imglnks/usimg/9/94/IMSLP36607-PMLP01600-Beethoven-Op092.Oboe.pdf

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[Larghetto ♩ = 76-80]

EX. II.3 Vincenzo Bellini, Concerto in E-Flat Major, movement 1, mm. 1-38.8

This excerpt from Bellini’s Concerto in E-flat Major requires oboists to keep their pitch down as

they tire. Special attention should be paid to the E-flat major triad in the first measure. If the excerpt

8 Vincenzo Bellini, Concerto in E-Flat Major, (Alexander Gagarinov: Creative Commons, 2011) Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/5/5c/IMSLP90841-PMLP85653-Bellini_-_Oboe_Concerto_Big_Orchestra_-_Oboe_Solo_-_2011-01-21_1343.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/5/5c/IMSLP90841-PMLP85653-Bellini_-_Oboe_Concerto_Big_Orchestra_-_Oboe_Solo_-_2011-01-21_1343.pdf


15

does not begin with good intonation the rest of the movement will continue with poor intonation. Much

of the first movement is in the higher range of the instrument, causing us to play with more reed in the

mouth. It is important to be flexible and pull more reed out of the mouth while descending; otherwise,

the lower notes will have a tendency to be sharp. An example of this can be found in measures 31-33.

Pay particular attention to the half-hole D (D5) to C5 in measure 29. The D5 will have a tendency to be

sharp as a result of fatigue. The C5 may sound too flat if the D5 is sharp.

16

Chapter III : Half-Hole Technique

Half-hole notes on the oboe can present difficulties when playing highly technical passages. The

half-hole notes on the oboe include C#5, D5 and D#5. As Mark Weiger wrote in Teaching Woodwinds,

“The half-hole is the first technical difficulty the young oboists encounter and, unfortunately, usually the

last thing they learn to do well.”1 Difficulties with the half-hole are not limited to beginning oboists.

Many advanced players continue to struggle with clean half-hole technique. Scales and arpeggios may

aid in developing half-hole technique, but a critical ear is mandatory. Half-hole technique is easy to gloss

over and difficulties may not be addressed for years. The main problem with the half-hole is that the

player does not uncover the hole in time, thereby sounding the lower octave, or sounding an unclear

pitch. The pitch of the note may sound in the correct octave, but the clarity of the note is not achieved.

This can fool the player into believing that success has been achieved, but it rarely fools an audition

committee. A critical ear is essential to distinguish whether clarity has been achieved on the half-hole

notes when practicing the following excerpts.

A useful exercise for strengthening half-hole technique was written by Jacqueline LeClaire in her

book Oboe Secrets: 75 Performance Strategies for the Advanced Oboist and English Horn Player. She

suggests writing an etude in quarter notes that alternates between a half-hole high D to non-half-hole

notes throughout the range. With a metronome set to 52, she suggests pivoting the left index finger off

the half-hole one sixteenth note before the other fingers move.2 Moving the left index finger early

affords the advantage of not moving late when returning to playing the half-hole notes in time.

1 Mark Weiger, Jerry Kirkbride, Hal Ott, and Craig Whittacker, Teaching Woodwinds: A Method and Resource for Music Educators, ed. William Dietz (Boston: Schirmer Books, 1998), 271. 2 LeClaire, Oboe Secrets, 40.

17

[Vif ♩. = 92]

EX. III.1 Maurice Ravel, Le Tombeau de Couperin, movement 1, mm. 1-22.3

The opening of Ravel’s Le Tombeau de Couperin challenges the player to exhibit proficient half-hole

technique, particularly in measures 5-9. This excerpt is also useful for developing fluidity in the low

register and rhythmic accuracy when incorporating ornamentation. Use a well-supported air stream to

reinforce the dynamic swell of the phrases. Begin playing this excerpt extremely slowly, paying particular

attention to the alternation between half-hole notes and non-half-hole notes in measures 5-9. Try

playing these measures as slow quarter notes, implementing LeClaire’s strategy of moving off the half-

3 Maurice Ravel, Le Tombeau de Couperin, (Paris: Durand, 1919), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://hz.imslp.info/files/imglnks/usimg/8/88/IMSLP48031-PMLP80671-Ravel-Tombeau.Oboe.pdf

http://hz.imslp.info/files/imglnks/usimg/8/88/IMSLP48031-PMLP80671-Ravel-Tombeau.Oboe.pdf


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hole notes one sixteenth note early. After mastering this technique, increase the tempo. Students

should keep their attention focused on maintaining fluid finger movements with no tension.

[Andante sostenuto ♩ = 58-60]

EX. III.2 Johannes Brahms, Symphony no. 1 in C Minor, op. 68, movement 2, mm. 35-49.4

This excerpt from Brahms’ Symphony no. 1 is particularly useful since its slower tempo facilitates

careful listening for the fluidity of half-hole note alternations. This excerpt can also be utilized for

developing control of the left hand little finger. As in the Ravel excerpt above, use a focused air stream

to retain intensity through the whole phrase. Focus on achieving a smooth alternation between the B#4

and D#5. Keep the fingers close to the instrument when playing the B#4s. Pay particular attention to

moving the left hand index finger a fraction of a second before bringing the rest of the fingers smoothly

down for the half-hole notes in the excerpt. No sixteenth note should stand out from the texture. Work

on smooth and even phrasing, concentrating on uniformity of sound between more open notes and

covered notes.

4 Johannes Brahms, Symphony no. 1 in C Minor, op. 68, (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/7/7d/IMSLP37946-PMLP01662-Brahms-Op068.Oboe.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/7/7d/IMSLP37946-PMLP01662-Brahms-Op068.Oboe.pdf

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[Molto allegro ♩ = 138-144]

EX. III.3 Camille Saint-Saëns, Sonata for Oboe and Piano, op. 166, movement 3, mm. 57-73.5

The third movement of the Saint-Saëns Sonata for Oboe and Piano contains a rather difficult phrase

that tests the clarity of the oboist’s half-hole technique. In addition to providing an opportunity to

develop half-hole technique, this excerpt challenges the player to develop technical proficiency with the

left F key. Practice this excerpt slowly. It is beneficial to invent various rhythms to develop technical

proficiency. For example, play the first note in each group of four sixteenth notes as an eighth note

followed by three sixteenths. Next play a sixteenth-eighth-sixteenth-sixteenth for each group of four

sixteenths notes. Then play a sixteenth-sixteenth-eighth-sixteenth, and so on. This will give oboists a

chance to carefully listen for the clarity of the half-hole notes within the passage. As in excerpts III.1 and

III.2, pay particular attention to the left hand index finger. Do not allow the finger to be sluggish; it

should feel as if the left index finger is anticipating movement before the other fingers.

5 Camille Saint-Saëns, Sonata for Oboe and Piano, op. 166, (Paris: Durand, 1921), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/7/74/IMSLP71557-PMLP14974-Saint-Saens_Sonate_Op_166_Durand_Oboe_scan.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/7/74/IMSLP71557-PMLP14974-Saint-Saens_Sonate_Op_166_Durand_Oboe_scan.pdf


20

Chapter IV : Rapid Tonguing

A flexible reed is vital to articulating fast passages. If the reed is unresponsive, playing will take more

physical effort and the tongue will slow down. If the reed is unresponsive, check to see if the very tip

(the last 1/2mm) is as thin as possible. After inserting a plaque in the reed, the knife should not make a

clicking sound as it glides over the very tip of the reed onto the plaque. Excessive wood in the “corners”

of the reed (the sides of the reed where the tip is separated from the heart), will also create difficulties

with articulation.1 Assuming the reed is free enough and in good working order, rapid passages are an

exercise in coordination.

Difficulties in playing an excerpt such as Rossini’s La Scala di Seta (EX. IV.1) often result from a lack

of coordination between the fingers and tongue. The remedy for this is extremely slow practice.

Maintain a well-supported air stream. Relax and use a smooth legato articulation. Play with expressive

dynamics over the phrases. This will ensure that when the tempo is increased, the phrasing will be built

into the excerpt.

Instead of conceptualizing the following excerpts as rapid tongue exercises, think of them as rapid

releases. To “tongue” the reed implies that the tongue is aggressively thudding against the reed. In

actuality, the tongue should gently lift from the reed, allowing the supported air to flow freely through

the reed. The tongue should be in position on the reed with the air support already flowing to make the

reed sound. Gently lift the tongue from the tip of the reed and lightly replace it to interrupt the air

stream. Try not to block the whole aperture of the reed. Focus on lightly replacing the tongue on the

very edge of the lower blade of the reed.

1 For an illustration of the different parts of an oboe reed refer to Table 2 on page x.

21

[Allegro = 120-126]

EX. IV.1 Gioacchino Rossini, Overture to La Scala di Seta, mm. 22-56.2

This excerpt is on nearly every orchestral audition because it clearly displays whether the candidate

can articulate swiftly and cleanly throughout the oboe’s range. John Ferrillo suggests learning to double

tongue if the oboist is unable to play the excerpt cleanly at half note=120. He also warns of the tendency

for oboists to rush the repeated notes in measures 39, 40, 48, and 49.3 With a balanced reed, it is

possible to play this excerpt with a single tongue, if it is worked up to tempo slowly. Work on evenness

and not straying from the pulse. Shen Wang suggests singing the last two measures of the violin tutti in

one’s head before beginning the excerpt. This will ensure that the player enters in tempo, and will help

to keep the pulse consistent.4 In measure 44, play the ascending passage with a legato articulation.

When the excerpt is up to tempo it will sound clear and even. There may be a tendency when playing

this excerpt for tension to creep into the upper body. A low, grounded and supported air stream should

be ever present. When descending in the final scale, keep the embouchure round and supported. While

2 Gioacchino Rossini, Overture to La Scala di Seta, (New York: Edwin F. Kalmus, 1937), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://petrucci.mus.auth.gr/imglnks/usimg/f/f2/IMSLP50258-PMLP48518-Rossini-La_Scala_di_Seta_oboe-1.pdf 3 Ferrillo, Orchestral Excerpts for Oboe, 73. 4Shen Wang. “Basic Preparation for Oboe Auditions by Using Selected Oboe Excerpts” (D.M.A. essay, University of Miami, 2009), 57.

http://petrucci.mus.auth.gr/imglnks/usimg/f/f2/IMSLP50258-PMLP48518-Rossini-La_Scala_di_Seta_oboe-1.pdf

22

descending, slide the reed out of the embouchure slightly, thereby playing on the tip of the blades with

an open embouchure. This will ensure that the low notes are in tune and speak freely.

[Allegro assai ♩ = 108]

EX. IV.2 Johann Sebastian Bach, Brandenburg Concerto no. 2 in F Major, BWV 1047, movement 3, mm. 79-101.5

Bach’s second Brandenburg Concerto tests the oboist’s ability to articulate at a fast tempo. Instead

of articulated notes that move in stepwise motion as in the previous excerpt, skips of thirds are

scattered throughout. The quarter note should equal about 108, but may be played slightly faster or

slower depending on the conductor's preference. Using the forked F fingering in measures 81 and 82 is

also practical, and will aid in keeping the focus on tongue and finger coordination. Preparation for this

excerpt should also start slow and legato, as with the previous excerpt. The slightest leaning on the

downbeats of measure 81 and 83 will aid in stabilizing the articulated descending fifths. No dynamics are

indicated, but I suggest following the contour of the sequential phrases to add in a steady dynamic

increase to the A5 in measure 87. Think of using the tongue to lightly release the reed throughout this

excerpt, instead of “tonguing it.”

5 Johann Sebastian Bach, Brandenburg Concerto no. 2 in F Major, BWV 1047, (Boca Raton: Edwin F. Kalmus, 1987), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://ks.imslp.info/files/imglnks/usimg/8/83/IMSLP37610-PMLP82078-Bach-BWV1047.Oboe.pdf

http://ks.imslp.info/files/imglnks/usimg/8/83/IMSLP37610-PMLP82078-Bach-BWV1047.Oboe.pdf

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[Agitato ♩. = 152]

EX. IV.3 Benjamin Britten, Six Metamorphoses after Ovid, op. 49, movement 2, “Phaeton,” mm. 26-38.

Six Metamorphoses after Ovid, Op. 49 by Benjamin Britten © Copyright 1952 by Hawkes & Son (London) Ltd. Reprinted by permission.

The second movement from Britten’s Six Metamorphoses after Ovid is an exercise in rapidly

tonguing a technical passage. Any deviation from a consistent tempo is immediately audible. When

practicing this excerpt, oboists must keep his ear trained on even execution. Start this excerpt extremely

slow and legato, gradually increasing the speed with a metronome. When the tempo of dotted-

quarter=120 is achieved, it is advisable to articulate with a bit more of an aggressive tongue. Always

keep the triplets subdivided when performing this excerpt. Whereas the previous two excerpts call for a

light staccato, this excerpt requires a more aggressive articulation.

24

Chapter V : Dynamic Shaping Over Long Phrases

The ability to pace dynamic levels from soft to loud (or loud to soft) over long phrases is an

invaluable musical skill to develop. Proper phrasing keeps the listener engaged and reinforces the

concept that music is never static but always in motion. Long tone practice is essential for developing

this skill, as are dynamic exercises. One exercise for developing the pacing of dynamics is to set the

metronome to quarter note = 60. Choose a comfortable note such as the tuning A (A4). Play six legato

quarter notes starting pianissimo, piano, mezzo-piano, mezzo-forte, forte and arriving at a true

fortissimo (without the sound spreading) on the sixth count. Re-articulate the fortissimo sixth count, and

count backward, decreasing the volume for each successive note. Next, remove the articulation and

gradually increase the volume over six counts using long tones. After becoming adept with the tuning A

(A4), incorporate other notes throughout the range of the instrument. Pay particular attention to which

notes on the oboe need more work to achieve varied dynamics. This exercise will offer students an

honest assessment of their ability to produce dynamic variation throughout the oboe’s range.

EX. V.1 Long tone exercise

25

Another way to enhance the effect of playing louder or softer lies in the intensity of the vibrato. A

more active vibrato can give the impression that a loud passage is even louder. Conversely, a

nonexistent vibrato can give the impression that a soft passage is even softer. Intensifying vibrato while

getting louder on long tones can aid in expanding the limits of the oboist’s dynamic range. This can be

particularly helpful within the second and third octaves of the oboe.

Each musical phrase is a sentence. It can either be inquisitive or declarative, an antecedent or a

consequent. In every musical sentence there is a peak, or a particular note that is emphasized. The notes

leading to the peak of a phrase should gradually intensify toward the peak, becoming louder or softer,

depending on what the composer has written. Sequential notes in a phrase should rarely be played at

only one dynamic level. The peak of a phrase can be expressed dynamically, with an accent, or with a

variation in the vibrato speed. When looking at an excerpt or solo passage it is important to identify

where the phrases are and where they peak. As in the exercise above, there should be a minute

difference in dynamics and tone color between each sequential note. The following excerpts are useful

for pacing the dynamics of a phrase, arriving at a peak, and then gradually tapering to the phrase’s end.

26

[Tranquillo = 76]

EX. V.2 Richard Strauss, Don Juan, mm. 232-314.

Copyright © 1889 by Josef Albi Musikverlag. Copyright © 1932 by C.F. Peters Corporation. All Rights Reserved. Reprinted by permission.

This excerpt clearly illustrates where to incorporate dynamic variation over long phrases. Some

possible pitfalls of this excerpt include peaking dynamically too early, and dragging the tempo. When

attempting to play more expressively, guard against unconsciously slowing the tempo. Begin practicing

this excerpt with a metronome to keep the pulse consistent. The first phrase of the excerpt (from

rehearsal letter “L” to four measures before rehearsal letter “M”) should be played softer than the

second (one measure before rehearsal letter “M” to the eighth measure of rehearsal letter “M”). One

way to illustrate a softer tone color on the oboe is to use a less active vibrato. Ferrillo suggests to not

“push your luck” with too quiet an entrance on the initial D4.1 Keep enough reed out of the embouchure

1 Ferrillo, Orchestral Excerpts for Oboe,78.

27

and avoid biting the aperture of the reed while attempting a softer dynamic. It is acceptable to begin the

excerpt at a mezzo-piano dynamic. Disguise the volume of the initial mezzo-piano D4 with a less active

vibrato. The first phrase should climax to a healthy mezzo-forte dynamic level on the downbeat of the

fifteenth measure of rehearsal letter “L.” In order to get the climactic B5 to project more (in the

fifteenth measure of rehearsal letter “M”), increase the speed of the vibrato gradually. A useful fingering

to achieve a more projective B5 is to add the low C-key and the low B-key to the standard B5 fingering.

Avoid allowing the phrase to peak dynamically before the B5 in the fifteenth measure of rehearsal letter

“M.”

[Poco Andante ♪ = 108]

EX. V.3 Ludwig van Beethoven, Symphony no. 3 in E-Flat Major, op. 55, “Eroica,” movement 4, mm. 339-382.2

Beethoven offered clear dynamic markings to illustrate how to phrase this excerpt. The downbeat of

measure 356 is the peak of the phrase and should be set up by a gradual crescendo and an increase in

vibrato on the two B♭5s that precede it. The entire excerpt should be executed in one breath to keep

the phrase uninterrupted. It was John Mack’s view that if a breath were to be taken in measure 356, it

2 Ludwig van Beethoven, Symphony No.3 in E-Flat Major, op. 55, “Eroica,” (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/5/5b/IMSLP35366-PMLP02581-Beethoven-Op055.Oboe.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/5/5b/IMSLP35366-PMLP02581-Beethoven-Op055.Oboe.pdf

28

would ruin the effect of the phrase’s diminuendo to measure 357. Mack also advised that the crescendo-

decrescendo in measure 358 is typical of Beethoven, and should reach its dynamic peak by the second

eighth-note pulse.3

[Adagio ♩ = 58-60]

EX. V.4 Tomaso Albinoni, Concerto for Oboe in D-Minor, op. 9, no. 2, movement 2, mm. 17-34.

The first portion of this excerpt can be broken into two separate five measure phrases (measures

17-21 and the anacrusis to measure 22-26). Each phrase increases in volume and intensity of vibrato and

peaks in the third measure. After the peak of each phrase in the third measure, gradually decrescendo to

the fifth measure, ending each phrase at a pianissimo dynamic. To pace each phrase, it may be helpful

to subdivide into eighth notes. Gradually increase (or decrease) the volume with each eighth-note pulse.

Beginning with the anacrusis to measure 27, there are two separate four measure phrases (the anacrusis

to measure 27-30, and measures 31-34). Measure 27-30 is an antecedent (or question) phrase, and

3 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD.

29

measure 31-34 is a consequent (or answer) phrase. The antecedent phrase should be played at a softer

dynamic level, and the consequent phrase should be played more assertively.

30

Chapter VI : Endurance

Endurance issues can be overcome with a combination of muscle training through daily practice and

breathing strategies. The following orchestral excerpts can be incorporated into a daily practice regimen

to strengthen the embouchure. When targeting endurance issues, select a reed that is stable and

flexible. Playing on reeds that are too resistant often results in difficulties with endurance. When

practicing the following excerpts, students should stop immediately if they find they are biting the reed

as a result of tiring. Biting the reed leads to bad embouchure habits that will interfere with other aspects

of oboe playing. If students are unable to play through the following orchestral excerpts, they should

wait until they have adequately strengthened their embouchure through daily practice before

attempting the Strauss Oboe Concerto excerpt (VI.3.) Jacqueline LeClaire called oboe playing an “athletic

endeavor.” She explained that muscles in the embouchure are very small, thus they can gain in strength

rather quickly. Conversely, embouchure muscles also lose strength rapidly without regular practice.1

Playing long, taxing phrases will bring some embouchure discomfort, and this is not something that

necessarily needs “fixing.” LeClaire advises that ignoring embouchure discomfort and focusing on the

music will help oboists play well.2

Awareness of how the air is supported within the body must also be cultivated. As oboists tire,

muscle tension can manifest in the arms and shoulders in an attempt to maintain control. Keep the air

supported lower in the body by the “core” or abdominal muscles. These are the same muscles that

contract when coughing. By relegating all tension to one’s core, the upper body may remain free from

tension. Guard against any tension that is creeping into the chest, shoulders or neck during practice. If

students begin to feel this sensation, they should stop, take a deep relaxing breath, and take a break for

1 LeClaire, Oboe Secrets, 80. 2 Ibid., 81.

31

a few minutes before returning to the oboe. Extraneous tension in the body exacerbates difficulties with

endurance.

As a result of the small aperture of the reed, oboists often have lungs full of stale air by the time

they reach a place to take a breath. An exhalation of old air is therefore required before an inhalation of

new air. In the following excerpts, there are places where a breath is used for an exhalation only. At first

it may feel unusual to use the breathing place to exhale only, but there will still be enough old air in the

lungs to perform until the next breathing place to inhale. By alternating breathing places with

exhalations and inhalations, endurance can be extended for longer durations.

[♩ = 69-80]

EX. VI.1 Johannes Brahms, Concerto for Violin and Orchestra, op. 77, movement 2, mm 1-45.3

3 Johannes Brahms, Concerto for Violin and Orchestra, op. 77, (New York: Edwin F. Kalmus, 1956), Petrucci Music

Library, International Music Score Library Project. Accessed March 7, 2016, http://ks.imslp.info/files/imglnks/usimg/a/a0/IMSLP43064-PMLP06518-Brahms-Op077.Oboe.pdf

http://ks.imslp.info/files/imglnks/usimg/a/a0/IMSLP43064-PMLP06518-Brahms-Op077.Oboe.pdf

32

This excerpt from the second movement of the Brahms Violin Concerto tests the oboist’s endurance

and intonation. Do not allow the tempo of this excerpt to gradually slow, as this can lead to tiring. One

way to prevent dragging is to set the metronome to sound once per measure (half-note = 35-40). Ferrillo

suggests keeping the tempo moving to preserve the basic architecture of the excerpt.4 This facilitates

the use of rubato at the ends of phrases, which will aid in endurance.

In devising a breathing strategy, Ferrillo suggests, “Exhale on the downbeat of measure 9 and inhale

on the sixteenth rest after it, or exhale on the sixteenth rest and inhale just before the down beat of

measure 11. There are comparable points for breathing after the first eighth note in measure 24 and on

the following downbeat.5 Keep the embouchure round for the C6 in measure 11 to prevent biting. Biting

may give a false sense of endurance, but it does not strengthen the embouchure muscles and leads to

other performance problems.

4 Ferrillo, Orchestral Excerpts for Oboe, 43. 5 Ibid., 43.

33

[Aria ♪= 80-88]

EX. VI.2 Johann Sebastian Bach, Cantata no. 82, Ich Habe Genug, BWV 82, movement 1, mm. 1-37.6

This famous cantata by Bach presents long phrases without indicated rests for breathing. It tests the

oboist’s ability to maintain embouchure control. Breaths may be taken after tied notes as needed (such

as the downbeat of measure 19). Alternating inhalations and exhalations will aid in endurance by ridding

the lungs of old air. A deep inhalation can be taken in measure 7. Use the downbeat of measure 15 to

exhale some of the old air. Another inhalation can then be taken on the down beat of measure 19. Take

full advantage of the two eighth rests in measure 24. Exhale during the first eighth rest and inhale a

breath during the second. This should allow the oboist to complete the excerpt with enough endurance.

6 Johann Sebastian Bach, Cantata no. 82, Ich Habe Genug, BWV 82, (Markus Müller: Creative Commons, 2014), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/4/44/IMSLP315137-PMLP149584-BWV82Oboe.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/4/44/IMSLP315137-PMLP149584-BWV82Oboe.pdf

34

[♩ = 84-96]

6

10

14

18

21

24

27

30

35

EX. VI.3 Richard Strauss, Concerto for Oboe and Small Orchestra, movement 1, mm. 1-73.

Oboe Concerto by Richard Strauss © Copyright 1947, 1948 by Hawkes & Son (London) Ltd. U.S. Copyright Renewed. Reprinted by permission.

The exposition of the Strauss Oboe Concerto is a challenging test of endurance. Maintaining enough

energy to complete the exposition requires that the embouchure muscles are in excellent shape. When

first attempting this excerpt, break it into smaller sections to aid in strengthening endurance and

technique. Be on guard for elevated tension in the hands and shoulders. Once each section is played

with relaxed control, the entire excerpt can be reassembled. As with the previous excerpts, devise a

breathing strategy of inhalations and exhalations. As in Bach’s Ich Habe Genug (EX. VI.2), breathing may

occur after tied notes, as needed.

33

36

39

43

47

50

55

36

Oboists should beware of expending all of their stamina on the more resistant notes of the second

and third octaves, such as in measures 6, 8, 16 and 43. The first crescendo is not indicated until measure

24, so play the opening of the solo at a softer dynamic to conserve energy. The first breath can be taken

in measure 10. If needed, another breath can also be taken in measure 14 after the F5. Place a slight

ritardando in measure 22, to allow time for an exhalation and inhalation at the end of the measure.

Begin the next phrase in measure 23 a tempo. A quick exhalation and inhalation can occur at the end of

measure 26 to set up the subito piano in measure 27. Breaths can then be taken in measure 30 and 33

after each first quarter note. Use measure 33 to exhale and measure 34 to inhale after the quarter

notes. This will ensure the oboist has enough energy for the leap to the D6 in measure 35. An exhalation

can occur on the third beat of measure 37, with an inhalation on the second beat of measure 38. Take

full advantage of the eighth rests in measure 40. Use the first eighth rest to exhale and the second to

inhale. Utilize measure 43 to exhale after the dotted half note, with two deep inhalations in measure 44.

In measures 47 to 50, break the ties before triplets when necessary for breaths. From measure 51 to 59,

delay the crescendo to the C#6 in measure 56 to conserve energy. Take full advantage of the sustained

B♭5 in measure 54 to take a final breath.

37

Chapter VII : Mastering Left F

A full conservatory model oboe has three separate fingerings for F (F4 or F5). They are the “right F,”

the “forked F,” and the “left F.” Many young oboists begin playing on instruments that do not include a

left F key. This may present later technical challenges when upgrading to a professional oboe. Without

the aid of a left F key the student often learns to rely on the forked F fingering. The forked F generally

has a “stuffier” tone color when compared to the right F or left F fingering.1 The left F was designed to

offer a more uniform tone color whenever a player is approaching from the half-hole notes to F (or visa-

versa). There are oboists who use the left F to an excessive degree, and completely reject the use of

forked F under any circumstance. Jaqueline LeClaire observed that if oboists are struggling to play

cleanly because of an avoidance to forked F, where the use of the forked F would not be detrimental to

a performance, then forked F is acceptable.2

The tone color of forked F can sound out of context in melodic passages where a right F was

sounded shortly before the forked F. An example of this can be seen in the following excerpt from

Tchaikovsky’s Symphony no. 4. The beginning of the excerpt starts with two right Fs in measure 2. In

measure 6, it is extremely awkward to slide from D♭ to a right F fingering. A player unused to left F

might be tempted to play the easier forked F. The problem with this approach is that on most oboes

there will be an audible tone color change between the forked F and the Fs played in measure 2.

In addition to regular practice of the following excerpts, one way to overcome the avoidance of left

F is to create an etude for daily practice. Alternate from the half-hole notes C#, D, and D# to left F,

rearticulate the left F and then play the reverse. Try the same exercise an octave lower starting with C#4

below the staff. With daily practice, left F technique can be mastered rather quickly.


38

[♩ = 58-63]

EX. VII.1 Piotr Ilyitch Tchaikovsky, Symphony no. 4 in F Minor, op. 36, movement 2, mm. 1-46.3

The excerpt from Tchaikovsky’s fourth symphony can be used to gain mastery of alternating

between the right F and left F fingerings. John Mack observed that F4 to F5 encompasses the range of

this solo.4 The left F key should be used for the F5s in measures 6, 15, and 20. This will ensure that they

match the right F keys that are used in measures 2, 5, 10, 13 and 14. Take special note of measures 14

and 15 in which two successive right Fs must be followed with a left F. This is mirrored by the two

successive right E♭5s followed by a left E♭5 in measures 16 and 17. In measure 15, after moving from

the left F5 to the right E♭5, replace the right E♭ fingering with the left E♭ fingering. This will free the right

little finger to sound the following D♭5. Try to make the E♭ fingering alternation as inaudible as possible.

This same E♭5 fingering switch occurs in measures 19 and 20.

3 Piotr Ilyitch Tchaikovsky, Symphony no. 4 in F-Minor, op. 36, (New York: Edwin F. Kalmus, 1960), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://ks.imslp.info/files/imglnks/usimg/f/f6/IMSLP38504-PMLP02735-Tchaikovsky-Op36.Oboe.pdf 4 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD.

http://ks.imslp.info/files/imglnks/usimg/f/f6/IMSLP38504-PMLP02735-Tchaikovsky-Op36.Oboe.pdf

39

[Scherzo = 116]

EX. VII.2 Ludwig van Beethoven, Symphony no. 3 in E-Flat Major, op. 55, “Eroica,” movement 3, mm. 203-258.5

This passage from the third movement of Beethoven’s Symphony no. 3 begins with the left F5

fingering (measure 211) to facilitate the following D5, a half hole note. All of the Fs in this excerpt should

be played with the left F fingering since they are followed by half-hole notes. This excerpt must be

played smoothly, without any particular note projecting out of the texture. F5 is a note on the oboe that

can project more when compared to the surrounding notes in this passage. Adjust the volume of the left

F5s to sound in correct dynamic context with the notes that surround them. To facilitate this, John Mack

emphasized using good support, not by “blowing hard,” but by firmly holding the air so that the varying

degrees of resistance of the notes in the passage do not create technical issues.6 For instruction on

supporting the air stream see Chapter 1.

5 Ludwig van Beethoven, Symphony No.3 in E-Flat Major, op. 55, “Eroica,” (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/5/5b/IMSLP35366-PMLP02581-Beethoven-Op055.Oboe.pdf 6 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD.


40

EX. VII.3 Benedetto Marcello, Concerto for Oboe in C Minor, movement 2, mm. 1-14.

The excerpt from the second movement of Marcello’s Oboe Concerto in C Minor incorporates the

use of left F, right F and forked F. The slow tempo requires the use of left F on the longer melodic notes

following the half-hole notes. In measure 6, after playing the D5, the left F should be used. In the faster

moving florid passages it is acceptable to use the forked F fingering to facilitate ease of technique, such

as in measure 10. However, the final F5 in measure 10 should be played with the left F fingering because

it is sustained. Measure 11 contains three F5s. The first should be played forked for ease of technique,

the second should be played with the right fingering, and the third should be played as a left F to

facilitate the following half-hole E♭. As a general rule for the remainder of the movement, use forked F

on the sixty-fourth and thirty-second notes that move to half-hole notes, and left F on sixteenth notes.

41

Chapter VIII : Voicing Intervals Throughout the Range

For woodwind players, “voicing” is the shaping of the oral cavity during performance.1 For oboists,

the position of the tongue in the oral cavity and the amount of the reed in the embouchure alters

intonation and tone quality.2 Voicing intervals correctly on the oboe requires flexibility of the

embouchure, tongue and reed position. Moving to lower notes requires the oboist to pull more reed out

of the mouth, and to slightly lower the back of the tongue in the oral cavity. Conversely, moving to

higher notes requires an adjustment of more reed into the mouth and to slightly raise the back of the

tongue. For example, if oboists are required to leap up an octave from A4 to A5 they would not play the

leap with a fixed, immovable embouchure position. The position of the reed and tongue must be slightly

adjusted to achieve accurate intonation. A small amount of reed must be adjusted into the mouth when

leaping to the higher note. The back of the tongue should also be slightly raised within the oral cavity to

focus the air stream. This ensures that the A5 will be in tune.

Young oboists often adjust their reed and embouchure position naturally when moving from the

instrument’s low to high range. However, when moving from the high to low range, many students

remain fixed in position for the high notes, with more reed in the mouth than is needed. As a result,

notes in the middle range are too sharp, and notes in the lower range do not speak properly. Playing

arpeggios and alternating intervals with a fixed “droning” pitch can aid in intervallic ear training.

Practicing with the reed alone can reveal where the embouchure should be placed on the reed

when playing throughout the full range of the oboe. Choose a balanced reed that crows a sharp C. Form

1 Julie Schlafer, “A Linguistic Analysis of the Use of Vowels to Affect Voicing on the Bassoon” (D.M.A. diss., Arizona State University, 2006), iii. 2 LeClaire, Oboe Secrets, 36.

42

the embouchure, and with the reed alone (not attached to the oboe) play into a tuner. The notes the

oboist will attempt to achieve on the reed alone are A♭5, B♭5, C6, and D♭6.

EX. VIII.1 Reed alone exercise

Each note mirrors the embouchure adjustments that are made to properly voice from the oboe’s

lowest to highest range (A♭5 being lowest range and D♭6 being highest). Begin with the A♭5. The A♭5 is

achieved by playing at the very tip of the reed with an open, round embouchure. Adjust the placement

of the reed in the embouchure and lower the back of the tongue until the tuner registers an A♭5. The

A♭5 embouchure position on the reed alone illustrates where the lips need to be placed for the oboe’s

low register. Slightly adjust more reed into the embouchure to play a B♭5 (which represents the middle

register of the oboe). Move the reed into the embouchure a bit more, without biting, to achieve a C6,

which represents the higher register. Slightly raise the back of the tongue and focus the air speed,

inserting a little more reed into the embouchure to register a D♭6. The D♭6 position is where the lips and

tongue will need to be positioned for the oboe’s highest range. The oboist can begin this exercise with

the aid of his hand to guide the reed in and out of the embouchure. After successfully achieving the

desired pitches, try to make the same pitch adjustments with the embouchure muscles and tongue

position alone (without using the hand).

43

[Un poco sostenuto ♪ = 104-112]

EX. VIII.2 Johannes Brahms, Symphony no. 1 in C Minor, op. 68, movement 1, mm. 15-39.3

This famous excerpt from the first movement of Brahms’ Symphony no. 1 requires the oboist to

properly voice intervals throughout the range of the oboe. The increasing size of the intervals requires

flexibility of the position of the reed in the embouchure. If the initial G4 in measure 29 does not begin

with good intonation, the rest of the intervals in the excerpt will not be in tune. Keep the embouchure

round on G4, and apply a little pressure with the reed to the upper lip to achieve a softer dynamic. John

Mack insists that the G4s should sound “dark and rich,” and this can only be achieved with great air

support and a round embouchure.4 Maintaining an open embouchure on the initial G4 assures a proper

start to voicing this excerpt with good intonation. Mack suggests forming the embouchure with which

one would achieve a D4 and using that embouchure position to achieve a “dark and in tune” G4 and C5.5

In the “reed alone” exercise mentioned above, the embouchure position on the reed for the G4 Mack

suggested would be the A♭5 position. Make sure the half-hole D5 at the end of measure 30 is low

enough so that the octave leap to the D6 is in tune. After playing the D6 in measure 31, it is important to

make the correct embouchure and tongue adjustments when voicing down the scale by gradually

withdrawing more reed out of the mouth.

3 Johannes Brahms, Symphony no. 1 in C Minor, op. 68, (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://javanese.imslp.info/files/imglnks/usimg/7/7d/IMSLP37946-PMLP01662-Brahms-Op068.Oboe.pdf 4 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD. 5 Mack, Orchestral Excerpts for Oboe, CD.

http://javanese.imslp.info/files/imglnks/usimg/7/7d/IMSLP37946-PMLP01662-Brahms-Op068.Oboe.pdf

44

EX. VIII.3 Igor Stravinsky, Pulcinella Suite, “Serenata,” mm. 1-10.

Pulcinella Suite by Igor Stravinsky © Copyright 1924 by Hawkes & Son (London) Ltd. U.S. Copyright Renewed, Reprinted by permission.

The excerpt from Stravinsky’s Pulcinella Suite allows the oboist to voice throughout the low, middle,

and high registers of the oboe. Be sure to withdraw enough of the reed out of the embouchure when

voicing the recurring C5 to C4 downward octave leaps. This will ensure the C4s in the passage speak with

good intonation. Keep the half-hole D5s low enough in measures 4 and 5 by withdrawing enough reed

from the embouchure. This will ensure that the following G4s are not too sharp. Make adjustments with

the embouchure and reed position when voicing the C6s in measures 8 and 9, without biting. Proper

intonation of the C6s can be achieved with a round embouchure, focused air speed, and more reed in

the mouth. In the “reed alone” exercise mentioned above, this would be the D♭6 embouchure position

on the reed.

45

[Moderato ♩ = 100]

EX. VIII.4 Robert Schumann, Three Romances for Oboe and Piano, op. 94, movement 1, mm. 25-54.6

Schumann’s first Romance requires the oboist to voice large intervals throughout the instrument’s

range. In measure 29, make sure to withdraw enough of the reed from the embouchure to facilitate the

leap downward from the F5 to C#4 to ensure that it speaks. In measure 31, keep the pitch of the half-

hole C#5 (a sharp note on most oboes) low enough before ascending into the high register. The key to

voicing this excerpt is to ensure that the pitch is low enough on the notoriously sharp notes such as half-

hole C#5, D5, and E5. This can be achieved by placing the lips on the reed in the “B♭ position” as

mentioned in the “reed alone” exercise at the beginning of the chapter. Use a focused air stream and

adjust the position of the reed in the embouchure without biting. This will ensure good tone quality and

intonation in the high register.

6 Robert Schumann, Three Romances for Oboe and Piano, op. 94, (Saint-Maurice, QC: Productions du Moliantegok, 2013), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/7/76/IMSLP343595-PMLP39688-SCHUMANN-Drei_Romanzen_Op.94_hautb-pno_-_Oboe.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/7/76/IMSLP343595-PMLP39688-SCHUMANN-Drei_Romanzen_Op.94_hautb-pno_-_Oboe.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/7/76/IMSLP343595-PMLP39688-SCHUMANN-Drei_Romanzen_Op.94_hautb-pno_-_Oboe.pdf

46

Chapter IX : Gaining Proficiency in the Extreme High Register

Many students have an aversion to the highest register of the oboe (C#6 and above). The fingering

combinations are more complicated and minute embouchure adjustments must be made to ensure

good intonation. As the repertoire for the oboe has expanded over the centuries, so has its highest

range. The oboe’s third octave has become increasingly utilized by composers since the beginning of the

of the twentieth century. The following excerpts from Igor Stravinsky, Maurice Ravel and Gilles

Silvestrini are representations of the extension of the oboe’s range. Oboe students are often exposed to

the extreme high register before they have the proficiency to perform technically challenging wind band

music. This early exposure can lead to stress and tension as the student struggles to rapidly employ the

third octave’s complex fingerings. As oboists begin to expand their range into the third octave it is

important that they do so gradually, without extraneous tension.

Jaqueline LeClaire wrote a chapter on high notes in her book Oboe Secrets. She remarks that “of all

the wind instruments the oboe is best equipped to play high notes, because of its tiny reed and narrow

bore.”1 Although the high notes on the oboe require more air pressure and embouchure adjustment,

LeClaire asserts that high notes can still be played with ease if they are performed with the same relaxed

approach as low notes. In the book, she offers an exercise beginning with C4. From C4, she instructs the

student to leap to E6, maintaining the same relaxed approach. She observes the difference between

playing the C4 compared with the E6, is that the oboist is “gripping the reed with the embouchure

muscles more, moving the embouchure in, somewhat increasing the air pressure for the E, and changing

the fingering.”2


47

When expanding their range, students should incorporate scales that encompass new third octave

notes into their daily practice. Slowly work on one scale at a time for a week. For example, begin the

first week with an F-major scale and play two octaves (F4 to F6). Perform the transition between the D6,

E6 and F6 smoothly, and without tension. Begin the next week with a two-octave G major scale (G4 to

G6). This scale encompasses the third octave E6, F#6 and G6. Next play A-flat major, two octaves (A♭4 to

A♭6) and so on. To gain proficiency in every key, students should play extended scales in keys that they

already know, gradually increasing their range. For example, if oboists are unable to play up to a C7 in C

major, they should begin with a C major scale that only extends to E6, F6 or G6. Students should extend

their range gradually, releasing any tension in the hands, shoulders or neck.

[Largo ♩ = 54-60]

EX. IX.1 Igor Stravinsky, The Rite of Spring, Second Part “Introduction,” rehearsal number “80” to “85.” 3

3 Igor Stravinsky, The Rite of Spring, Second Part, (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky%20-%20Rite%20of%20Spring%20(Oboes).pdf

http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky%20-%20Rite%20of%20Spring%20(Oboes).pdf

http://petruccilibrary.us/Scores/scores/Stravinsky_Igor_1971/Stravinsky%20-%20Rite%20of%20Spring%20(Oboes).pdf

48

Stravinsky’s Rite of Spring utilizes the extension of the oboe’s range in twentieth century

orchestral repertoire. This particular excerpt is not very exposed within the orchestra, but it is still useful

for practicing slow descent and ascent in the extreme high register. Slow practice in the extremities of

the oboe’s third octave can contribute to developing a fluid technique. This will aid in playing other

repertoire in the high register at faster tempos. In this excerpt, focus the intonation throughout,

especially in the leap down from D♭6 to G5 one measure before rehearsal number “83”. Slowly

practicing this excerpt with a tuner will also assist in developing good intonation in the third octave. This

excerpt is also a good exercise for developing intonation in the third octave with the second oboe, as the

oboes move independently from the rest of the orchestra.

49

[Allegro moderato ♩ = 120]

EX. IX.2 Maurice Ravel, Le Tombeau de Couperin, movement 3, mm. 65-128.4




50

This excerpt from the third movement of Ravel’s Le Tombeau de Couperin requires the oboist to play

lightly and at a soft dynamic level in the third octave. Begin playing this excerpt one octave lower, at a

soft dynamic level with no tension. Play as lightly and dolce as possible. Then, play the excerpt as

written, at the same soft dynamic level and lack of tension. Guard against biting the reed in the highest

register and do not let any tension enter the hands, shoulders or neck. John Mack and John Ferrillo were

in disagreement about the fingering for the grace note E6. Ferrillo suggested using the easier trill

fingering, (half-hole plus left hand middle finger).5 John Mack instructed the oboist to use the full E6

fingering. Mack insisted that grace notes should be unhurried and “explicit” in French music.6 If the trill

fingering for E6 is stable it is acceptable to use, however, it must match the tone color and intonation of

the E6 (full fingering) in the sixth measure of rehearsal number “9.” The final G6s in the second measure

of rehearsal number “15” should be played lightly and slightly separated. Try non-tongued attacks for

the G6s with the embouchure resting just above the string of the reed.

5 Ferrillo, Orchestral Excerpts, 70. 6 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD.

51

[Très doux, calme ♪=76]

EX. IX.3 Gilles Silvestrini, Six Etudes for Oboe, movement 4, “Sentier dans les Bois de Auguste Renoir,” Final phrase after second fermata to the end.

© Used with permission from Phillippe Rigoutat and Gilles Silvestrini. All rights reserved.

The fourth etude of the Six Etudes by Silvestrini requires the oboist to enter the extremities of the

third octave. Although technically an etude and not a solo piece, the Six Etudes are widely performed at

oboe recitals as solo pieces. As with the previous excerpt, practice down an octave before playing it as

written. Focus on maintaining relaxed fingers, arms and shoulders when playing as written. Be attentive

to the intonation between the wider intervals. The slow tempo of this excerpt facilitates the ability to

play with expression and beauty in the third octave. Oboists should keep focused on smooth transitions

between the notes. Have a tuner available to check the intonation of sustained notes. When descending

from the G#6 to the lower range, slightly pull the reed out of the embouchure to avoid sharpness (as

was discussed in the Chapter 8 “reed alone” exercise).

52

Chapter X : Gaining Proficiency in the Low Register

The oboe’s low register encompasses the notes B♭3 to E♭4. The primary challenge of the low

register is that most or all of the fingers are engaged. Each finger must completely seal the tone holes or

the notes will not speak. The adjustment screws on the oboe should also be checked regularly to ensure

the instrument is sealing. If the oboe is out of adjustment the low notes will not speak properly. This can

lead to finger tension since many students will attempt to press the keys down harder to get the low

notes to sound. The little finger must also do a fair amount of sliding when playing technical passages in

the low register. For example, the little fingers have to slide when going from B3 to B♭3, or C#4 to C4.

Practicing the B major, G-sharp minor, and G-flat major scale exercises in the Vade Mecum may aid in

developing technical proficiency with sliding in the low register.1

Playing softly is also a challenge in the oboe’s low register. Low notes are comparatively louder than

notes in the middle and upper range of the oboe. Playing in the low register requires the embouchure to

be round and open, with the lips positioned nearly at the tip of the reed (see the “reed alone” exercise

in Chapter 8). If too much reed is in the mouth, it will interfere with volume control in the low register.

Many young oboists try to achieve a soft dynamic by biting the reed. This causes low notes to “squawk,”

or to be overblown up an octave. The embouchure must stay round with the teeth apart. Forming the

lips to say the first syllable in the word “O-boe” demonstrates the proper embouchure shape. Playing

softly should not be interpreted as lessening air support. Low notes on the oboe must be well supported

to ensure that they speak.

In addition to improperly supporting the air stream, an unfinished reed can also interfere with the

execution of low notes.2 One experiment that reveals whether the reed is balanced enough to play

1 Andraud, Vade-Mecum of the Oboist, 6. 2 See Chapter 1 on supporting the air stream.

53

freely in the low register is to play a D4 at a piano dynamic. Begin with the tongue on the reed. The

embouchure should remain in the “A♭5 position” as described in the “reed alone” exercise presented in

Chapter 8. The D4 should speak freely when gently withdrawing the tongue, without any resistance or

squawking. If the reed still feels resistant (not responsive or not freely vibrating) in the low register,

adjust it by taking a small amount of cane out of the back of the reed, at the bottom of the “windows”

(see Table 2, Parts of an Oboe Reed). Another way to adjust an unresponsive reed is to remove a small

amount of cane from the “corners,” where the tip meets the heart. Also check to see whether the spine

of the reed is clearly defined and thin enough. Sometimes an unresponsive reed can be corrected by

lightly “dusting” the knife up the length of the reed and along the sides of the spine, staying out of the

center.

[Molto vivace ♩ = 144]

EX. X.1 Serge Prokofiev, Classical Symphony in D Major, op. 25, movement 4, 1 measure before rehearsal no. “53” to the 4th measure of rehearsal no. “54.”

Classical Symphony in D, op. 25 by Serge Prokofiev © Copyright 1926 by Hawkes & Son (London) Ltd. Reprinted by permission.

This excerpt from Prokofiev’s Classical Symphony aids in developing articulation in the low register,

at a piano dynamic. Prokofiev featured the oboe in the low register throughout many sections of this

symphony. Setting a metronome to sound once per measure (at quarter note = 72) will reveal whether

or not the student is rushing the re-articulated notes throughout the excerpt. Utilize the accents on the

downbeats of the fourth, sixth and eighth measures of rehearsal number “53” to maintain a consistent

54

tempo. Dynamics are often contextual, meaning they are relative to the volume of the notes that occur

before or after. If the downbeats are accented loudly enough, the notes that follow will sound soft

enough. Hold the C# key down in place of the C3 key when playing the B3s in the fourth and fifth

measures of rehearsal number “53” to avoid sliding. Use the right G# key three measures before

rehearsal number “54” to avoid sliding the left little finger from the B3.

[♩. = 52]

EX. X.2 Nicolai Rimsky-Korsakov, Scheherazade, movement 3, mm. 1-51.3

The excerpt from Rimsky-Korsakov’s Scheherazade challenges the oboist to descend to the low

register while maintaining good intonation. In the orchestra, this passage is played in unison with the

cellos. Therefore, it is important to play this excerpt at a soft dynamic level to blend with the cellos. Do

not bite the reed to achieve a piano dynamic level. Instead, reduce the amount of vibrato (or play senza

vibrato) to achieve a softer dynamic. Maintain proper air support and ensure enough reed is withdrawn

from the embouchure so that each note speaks freely. The C#4 is often flat, so keep the pitch “up” to

maintain good intonation with the cellos. To raise the pitch of the C#4, slightly lift the back of the tongue

3 Nicolai Rimsky-Korsakov, Scheherazade, (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://ks.imslp.info/files/imglnks/usimg/f/fd/IMSLP40969-PMLP04406-Rimsky-Op35.Oboe.pdf

http://ks.imslp.info/files/imglnks/usimg/f/fd/IMSLP40969-PMLP04406-Rimsky-Op35.Oboe.pdf


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within the oral cavity to focus the air. Give a slight accent to the F#4 in the fourth measure of rehearsal

letter “A” so that the B3 does not sound like the emphasized note in the phrase.

[Très calme ♩ = 56]

EX. X.3 Francis Poulenc, Sonata for Oboe and Piano, “Deploration,” mm. 15-27.

Sonata for Oboe and Piano Music by Francis Poulenc © Copyright 1963, 2004 Chester Music Limited. All Rights Reserved. International Copyright Secured. Printed by permission of Chester Music Limited.

This excerpt from Poulenc’s Sonata for Oboe and Piano challenges the oboist to achieve wide

dynamic contrast in the low register, from fortissimo to pianissimo. Preceding this excerpt, in measure

14, a leap occurs from E♭6 at the end of measure 14 to B♭3 at the downbeat of measure 15. Practice

sustaining the E♭6 before beginning the excerpt. An embouchure adjustment from the “C# position” to

the “A♭ position” will ensure the B♭3 speaks freely in measure 15 (see the “reed alone” exercise in

Chapter 8). The first four measures of rehearsal number “2” are played fortissimo. Adding an active

vibrato will make this passage sound louder. For the pianissimo passage in the fifth measure of rehearsal

number “2,” reduce the volume and play senza vibrato. This will give the impression of playing even

softer.

56

Chapter XI : Smooth Descending Slurs

Smooth descending slurs on the oboe are more challenging when slurring large intervals. This is

especially true when attempting to play a leap downward at a soft dynamic level. There are several

factors that can contribute to difficulties with descending slurs. The most common issue is that the leap

is not approached with proper air support (see Chapter 1 for proper air support instructions). As

previously stated, the “core” of the body must support the air to establish correct playing habits. The

engagement of the abdominal muscles for proper air support will benefit every other aspect of oboe

playing. As John Mack said, “different notes on the oboe have different levels of resistance.” In order to

successfully play slurred intervals, air support must be maintained so that the different resistance from

different notes do not prevent some pitches from speaking.1

Another factor that can contribute to problematic descending slurs is inflexibility of the

embouchure. As was presented in Chapter 8, “Voicing Intervals throughout the Range,” the embouchure

must remain flexible when voicing in different octaves. The reed placement in the mouth should remain

flexible enough to make quick adjustments to either push more reed in the mouth, or to pull more reed

out. If the embouchure remains fixed when attempting to slur either downward or upward, the interval

will not be in tune, and may not even speak. The changes in reed placement in the embouchure are

subtle and do not require major adjustments (see the “reed alone” exercise in Chapter 8). Slurring

downward smoothly usually requires a minute adjustment of the reed being pulled out of the

embouchure to ensure good intonation.

The final impediment to slurring downward smoothly is inaccurate finger technique. Often this

occurs as a result of raising the fingers too far from the keys when changing notes. Care should be taken

to develop “finger legato,” which is the relaxed movement of fingers between two consecutive notes,

1 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD.

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eliminating extraneous finger movement. The fingers must stay very close to the instrument, and should

move with only as much force as necessary. A loud “clacking” of the keys should not be audible when

changing pitches in technical passages. One way to practice “finger legato” is to play in front of a mirror.

Memorize the portions of the following excerpts in which there is a downward slur over a wide interval.

While performing in front of the mirror, observe how the fingers move. Are the fingers tense? Are they

relaxed? Are the fingers centered comfortably over the keys? How high do the fingers travel when

raising each key in a particular scale? Is there an audible “clacking” between changing notes?

[Cadenza- ad libitum]

EX. XI.1 Camille Saint-Saëns, Samson and Delilah, opening cadenza, m.1.2

The cadenza at the opening of Saint-Saëns’ Samson and Delilah is useful for developing smooth

downward slurs at increasingly wide intervals. A common performance mistake is to begin the dotted

eighth-sixteenth passage too fast. Do not leave the dotted eighth note until the fingers are ready for the

following note. Keep the left hand little finger close to the G# key for the slur fromE5 to G#4. If the little

finger is not ready, there will be an audible interruption of the passage. A gradual diminuendo should be

employed from dotted rhythms until the end of the excerpt. Do not let the diminuendo decay too

quickly, as this will cause the downward slurs to cease speaking. Maintain proper air support to ensure

the final downward slur from E5 to A4 speaks at a soft dynamic.

2 Camille Saint-Saëns, Samson and Delilah, (Manchester: CAOSManchester, 2013), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://ks.imslp.info/files/imglnks/usimg/a/a1/IMSLP283743-PMLP48364-oboe_cor.pdf

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[Allegretto grazioso ♩ = 100-104]

EX. XI.2 Johannes Brahms, Symphony no. 2 in D Major, op. 73, movement 3, measures 218-240.3

This excerpt from the third movement of Brahms’ Symphony no. 2 contains only one dramatic

downward slur. It is found in measure 228 from the B♭4 to the C#4. Care must be taken to arrive softly

on the C#4. This will assist the gradual crescendo to the F#4 in measure 31. To achieve a delicate

downward slur from B♭4 to C#4, imagine vocalizing the expression “oh-ah.” The “oh” will occur on the

B♭4, and the “ah” will occur on the C#4. This expression naturally drops the jaw into position for the

C#4. Another way to ensure a smooth downward slur is to adjust the embouchure from the “B5

position” (for the B♭4) to the “A♭5 position” (for the C#4) as presented in the Chapter 8 “reed alone”

exercise.

3 Johannes Brahms, Symphony no. 2 in D Major, op. 73, (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://imslp.nl/imglnks/usimg/2/22/IMSLP37959-PMLP01697-Brahms-Op073.Oboe.pdf

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[♩ = 69-72]

EX. XI.3 Carl Nielsen, Fantasy Pieces for Oboe and Piano, op. 2, movement 1, mm. 1-18.4

The first movement of Nielsen’s Fantasy Pieces for Oboe and Piano provides many opportunities to

practice downward slurs. The initial downward slur from D5 to G4 recurs several times in the

movement. Do not bite the reed to achieve the piano dynamic in the third measure as this will prevent

the G4 from speaking clearly. Maintain a round embouchure and proper air support. Be sure to cover

the half-hole quickly when changing from the D5 to the G4. If the half-hole is not covered in time the G4

will not speak properly. If oboists are having trouble covering the half-hole in time for the downward

slur, they should refer to Jacqueline LeClair’s half-hole exercise presented in Chapter 3. A downward slur

also occurs from G5 to C5 in measure 6. Maintain enough volume at the beginning of the diminuendo in

measure 17 so that the downward slur from the D5 to G4 speaks.

4 Carl Nielsen, Fantasy Pieces for Oboe and Piano, op. 2, (Copenhagen: Wilhelm Hansen, 1891), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/2/2d/IMSLP224170-SIBLEY1802.16900.8c25-39087004903672oboe.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/2/2d/IMSLP224170-SIBLEY1802.16900.8c25-39087004903672oboe.pdf

http://burrito.whatbox.ca:15263/imglnks/usimg/2/2d/IMSLP224170-SIBLEY1802.16900.8c25-39087004903672oboe.pdf

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Chapter XII : Developing an Awareness of Contextual Playing

Playing within an ensemble contextually requires the oboist to have an awareness of how each

musician’s part fits into the musical texture. To play contextually, oboists must also know when their

voice should be dominant, and conversely, when it should be supportive. The oboe has often been

employed by composers as a solo instrument. The tone color of the oboe is distinct and can often be

heard even within a thickly scored texture. Some of the choicest melodies are given to the oboe in the

orchestral repertoire. One example can be found in the second movement of Beethoven’s Symphony

no. 3 in E-Flat Major (EX. XII.1 mm. 8-16). In these measures it is important for the oboist to play out as a

soloist, and to be the dominant voice. There are several ways to achieve this, including louder dynamics,

increased vibrato speed, and even a slightly raised pitch. In Christopher Leuba’s book A Study in Musical

Intonation, he asserts that there is “ensemble intonation” and “solo intonation.”1 He goes on to say that

“if the nature of the player’s role is primarily “solo,” i.e., the intention is to “stand out” in contrast to the

accompanying environment, adjustments (i.e., “going sharp”) might be made.2 Although this is not

considered playing “in tune,” in the equal temperament sense, it is a tool the oboist can use, in

moderation, to stand apart within a musical texture.

Oboists must also know when their instrument must take a supportive role. In the case of the

second movement of Beethoven’s Symphony no. 3, the oboist transitions from solo voice to a

supportive voice. An example of this can be found with the tied G5 (mm. 43-44), where the bassoon

becomes the dominant voice. The oboist must hold the G5 softly, and allow the bassoon’s color to

emerge before reemerging from the texture in the following measure (m. 45).

1 Christopher Leuba, A Study of Musical Intonation (Vancouver, Canada: Prospect Publications, 1962), 33. 2 Leuba, A Study in Musical Intonation, 33.

61

To understand when the oboe takes precedence and when it is supportive the oboist must first

study the score and know what the piece sounds like. Just because the word “solo” appears in an

individual part does not necessarily mean it is the most important voice in that particular texture. While

listening to recordings with a score, it may be helpful to take note of which voices are playing

simultaneously with the oboe part at any given time. This can be a useful skill to develop for the

preparation of rehearsals or auditions, as it will demonstrate a deeper understanding of the music to the

director or audition committee.

Score study also provides context regarding what chords are being sounded at any given time. For

example, studying the score can reveal the oboe is not just playing an E5, but that the E5 is functioning

as the third of the chord. With this information the oboist can ensure that the E5s pitch is low enough to

achieve good intonation within the context of the chord (see Chapter 2 Intonation). The following

excerpts highlight examples in which the oboe must transform from soloist to supportive voice within

the space of a few measures.

62

EX. XII.1 Ludwig van Beethoven, Symphony no. 3 in E-Flat Major, “Eroica,” movement 2, mm. 1-68.3

The second movement of Beethoven’s Symphony no. 3 challenges the oboist to exhibit contextual

awareness of where the oboe should be the solo voice, an equal voice, or a supportive voice. John Mack

observed that the reason this piece appears on so many auditions is because “it tells an awful lot about

the player’s understanding of the music.”4 The excerpt begins with the oboe as the solo voice. Begin at a

soft enough dynamic level to accommodate the crescendo over the tied A♭5 half-note in measure

fourteen. The bassoon takes the lead for just two measures (mm. 43-44). Decrease the volume

dramatically after sounding the sforzando C6 in measure 42 to prepare the sustained G5. Play the G5

softly without including a crescendo, as it only serves as a supportive voice under the bassoon. The

sustained G5 should also be played senza vibrato. The oboe and flute then emerge to take the melody

(mm. 45-46) as equal partners. Neither instrument should overtake the other in volume or intensity to

avoid intonation discrepancies. It will help students to meet with other musicians with which they share

3 Ludwig van Beethoven, Symphony No.3 in E-Flat Major, op. 55, “Eroica,” (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/5/5b/IMSLP35366-PMLP02581-Beethoven-Op055.Oboe.pdf 4 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD.


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solo lines before rehearsal. This will afford the opportunity to match intonation, dynamics, breathing,

articulation and style.

[♩ = 58-60]

EX. XII.2 Gioacchino Rossini, Overture to La Scala di Seta, mm. 1-21.5

The opening of Rossini’s Overture to La Scala di Seta changes the contextual role of the oboe from

solo voice, to supportive voice, and finally to an equal voice with the flute. Take full advantage of the

tied half notes throughout the excerpt by adding a slight crescendo into the following measure. This will

call attention to the oboe’s tone color as it emerges from the texture. The anacrusis to measure six

introduces the oboe as the solo voice. The contextual role of the oboe changes, however, in measures

10 through 13 where melodic material is shared with the flute. The flute is the solo voice in measures 10

and 11. The oboist can demonstrate his contextual awareness by decreasing his volume dramatically

and allowing the flute to be the dominant voice for these two measures. In measure 18 the second oboe

joins, so pay particular attention to the intonation. At this point the flute plays a duet an octave above

5 Gioacchino Rossini, Overture to La Scala di Seta, (New York: Edwin F. Kalmus, 1937), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://petrucci.mus.auth.gr/imglnks/usimg/f/f2/IMSLP50258-PMLP48518-Rossini-La_Scala_di_Seta_oboe-1.pdf

http://petrucci.mus.auth.gr/imglnks/usimg/f/f2/IMSLP50258-PMLP48518-Rossini-La_Scala_di_Seta_oboe-1.pdf

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the oboe for the rest of the excerpt. As with the previous Beethoven excerpt, attempt to blend the tone

colors of the flute and oboe to sound as if they are one instrument.

[Allegro moderato ♩ = 108]

EX. XII.3 Carl Reinecke, Trio in A Minor for Oboe, Horn and Piano, op. 188, Movement 1, mm. 40-78.6

Chamber music can be invaluable to the development of contextual awareness of how to play in

equal partnership with other musicians. In this excerpt from Reinecke’s Trio in A Minor for Oboe, Horn

and Piano, the oboe changes from a dominant to a supportive role. The challenge for the oboist is to not

allow the oboe’s intonation to rise above that of the piano when the oboe is playing a supportive role, as

this will cause the tone color of the oboe to stand out in the texture.7 From measures 45 to 50, the oboe

is the lead voice and should play at a full dynamic level. The whole notes (mm. 51 and 53) are

considered the main melodic material and should emerge from the texture by employing a gradually

increasing vibrato and adding crescendo. Conversely, the tied whole note (mm. 55-56) should be played

piano, to allow the voices of the horn and piano to take the lead. In addition to playing softly, try to keep

6 Carl Reinecke, Trio in A Minor for Oboe, Horn and Piano, op. 188, (Leipzig: Breitkopf & Härtel, 1900), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://hz.imslp.info/files/imglnks/usimg/8/8a/IMSLP09610-Reinecke_Trio_op188_piano_parts.pdf 7 Leuba, A Study of Musical Intonation, 33.

40

51

62

http://hz.imslp.info/files/imglnks/usimg/8/8a/IMSLP09610-Reinecke_Trio_op188_piano_parts.pdf

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the intonation of the sustained G5 slightly under the piano and horn, which will facilitate the emergence

of their voices. Finally, all three musicians should play at an equal dynamic level in measures 57 to 61.

66

Chapter XIII : Ornamentation

A substantial body of orchestral and solo oboe works employs ornamentation. The greatest difficulty

with ornamentation is maintaining the rhythmic integrity of the ornamented passage. Students often

allow ornaments to alter their tempo or rhythm. Many young oboists mistakenly make the ornament

the focal point of the phrase. Most of the time ornaments do not serve as the subject of a phrase, but

are simply a flourish to decorate or embellish a small section of the passage.

One way to begin approaching ornamented sections is to first play through the phrase without

including the ornaments. After gaining proficiency with the rhythmic and melodic structure, the

ornaments can then be reincorporated. It is important to have the over-arching structure of a passage

fully absorbed so that the ornaments merely embellish the passage, and are not its focal point.

Studying ornamentation from different periods (Baroque, Classical, etc.) is also helpful in gaining an

understanding of the correct execution of ornaments. Versuch, a treatise written by J. J. Quantz in 1752,

gives instruction on how to successfully execute ornaments from the Baroque period. Although the

treatise mainly concerns the flute, it is a valuable resource for all musicians.1 The Complete Method for

Oboe by A.M.R. Barrett also gives explicit instruction on how to approach various ornaments and

provides many etudes for practice.2 Careful listening to recordings of master musicians can prove

invaluable to the process of internalizing the subtle nuances of performing ornamented music. To

become proficient with Baroque ornamentation, it is also helpful to practice and listen to quality

recordings of Bach’s cantatas. For classical ornamentation, listening to opera singers like Renée Fleming

or Joyce DiDonato perform Mozart opera arias can also be helpful.

1 Johann Joachim Quantz, Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752/R, 3/1789/R) [various edns and trans. incl. On Playing the Flute, translated with notes and an introduction by Edward R. Reilly. - 2nd ed. (Faber: London, 1985)]. 2 Apollon Marie-Rose Barrett, Complete Method for Oboe (London: Lafleur and Son, 1862), 9-10.

67

[Allegretto ♩. = 96]

EX. XIII.1 Maurice Ravel, Le Tombeau de Couperin, movement 2, mm. 35-47.3

Each movement in Ravel’s Le Tombeau de Couperin can be considered a study in ornamentation.

This excerpt contains three ornamented notes (F#5, B5, D#5). On the first page of the oboe part, Ravel

gives explicit instructions that ornaments are to be played on the beat. The ornaments in this excerpt

must be performed quickly and cannot interfere with the rhythmic integrity of the phrase. With a

metronome, first play through the excerpt without ornaments. This will aid in internalizing the tempo,




68

articulations and dynamics. After gaining proficiency with the excerpt’s structure, reincorporate the

ornaments. The first ornament on the F#5 will be late if a breath is not taken early enough. Inhale a

breath during the rests, one full measure before the second ending. This will ensure the first ornament

is placed exactly on the beat. For the second ornamented B5, hold the preceding C#6 for its full value.

The ornamented B5 must also be executed on the beat. For the last ornament on the D#5, keep the left

D# key down until the end of the excerpt so that the technique of the little-finger does not interfere

with the tempo.

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[♪=144-152]

EX. XIII.2 Claude Debussy, La Mer, movement 2, mm. 1-30.4

The second movement of Debussy’s La Mer contains only two grace note ornaments; however, their

placement and execution are extremely important. As with the previous excerpt, play through the

passage without the ornamented grace notes to gain familiarity with the key, rhythm, dynamics and

articulation. After becoming proficient with the basic structure of the excerpt, incorporate the grace

notes. John Ferrillo suggested keeping the A♭ key depressed (as with a C#/D# trill), to make the grace

note ornaments easier in the fifth and sixth measures of rehearsal number “17.”5 According to John

4 Claude Debussy, La Mer, (Miami: Edwin F. Kalmus, 1985), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://hz.imslp.info/files/imglnks/usimg/8/89/IMSLP36717-PMLP06033-Debussy-LaMer.Oboe.pdf 5 Ferrillo, Orchestral Excerpts for Oboe, 46.

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Mack, ornamented D#6s must be “strong and on the beat.” Mack also instructed the oboist to

emphasize the resolution on C#6 after the D#6 grace notes. This is because the following B#5 has a

tendency to sound more strident and may overpower the notes that precede it. The C#6s after the grace

notes must also be low enough in pitch that its resolution to the B#5 is a true minor second. Mack insists

on stressing the appoggiaturas on C#6 both times.6

[♩ = 90]

EX. XIII.3 Wolfgang Amadeus Mozart, Concerto for Oboe in C Major, K. 314, movement 3, mm. 1-18.7

The third movement of Mozart’s Oboe Concerto serves as a useful exercise in practicing Classical

period ornamentation. Avoid taking the tempo too fast too soon, as this may result in uneven technique

with the trilled sixteenth notes (mm. 5, 6, 17 and 18). First practice this excerpt without the trills at a

slower tempo (quarter note =45). Maintain even technique to ensure that the sixteenth notes are not

compressed. After becoming proficient with the rhythm at a slower tempo, incorporate the trills and

gradually increase the speed. Each trill begins on the main note and should contain only two

6 John Mack, Orchestral Excerpts for Oboe with Spoken Commentary, Summit Records DCD 160, 1994, CD. 7 Wolfgang Amadeus Mozart, Concerto for Oboe in C Major K 314, (Alexander Gagarinov: Creative Commons, 2011) Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://petrucci.mus.auth.gr/imglnks/usimg/8/8c/IMSLP90789-PMLP76266-Mozart_Oboe_Concerto_Partitura_-_Oboe_Solo_-_2011-01-20_2114.pdf

http://petrucci.mus.auth.gr/imglnks/usimg/8/8c/IMSLP90789-PMLP76266-Mozart_Oboe_Concerto_Partitura_-_Oboe_Solo_-_2011-01-20_2114.pdf

http://petrucci.mus.auth.gr/imglnks/usimg/8/8c/IMSLP90789-PMLP76266-Mozart_Oboe_Concerto_Partitura_-_Oboe_Solo_-_2011-01-20_2114.pdf

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alternations of pitch. Release any tension in the right hand ring finger, as this will interfere with the

ability to move that finger fast enough for the D5 sixteenth-note trills (mm. 5 and 17).

72

Chapter XIV : Playing Extremely Softly

The oboe is capable of extensive dynamic contrast. It can cut through the texture of a thick

orchestration, and yet it can also play extremely softly. Oboists must endeavor to expand their dynamic

range beyond mezzo piano to arrive at a true pianissimo. Playing very softly on the oboe is achieved by

using the embouchure to slightly stifle the reed’s vibrations. The reed must be withdrawn from the

mouth far enough to ensure that the embouchure surrounds the very tip of the reed. One way to

achieve a softer dynamic level is to slightly angle the bell of the instrument closer to the body creating a

thirty-five to forty-five degree angle. Many oboists in the learning phase try to achieve a soft dynamic

level by reducing air support. This is not an effective strategy for achieving pianissimo because it distorts

tone quality and intonation. When playing pianissimo, the air support should remain constant.

Playing at a true pianissimo dynamic takes practice. The embouchure must remain round and open,

while the upper lip is used to dampen the reed’s vibration. Often the upper lip is neglected by oboists.

This results in the muscles of the embouchure not having the strength to fully roll the upper lip over the

upper teeth. Many young students bite the upper lip to keep the embouchure in position. Biting the

reed will cause the pitch to rise and also results in the embouchure not being round and open, with

teeth apart. If left uncorrected, this bad habit invariably has a negative effect on tone quality. Another

way to practice the extension of dynamic range is to incorporate long tones into daily practice (see

Chapter 5 Dynamic Shaping over Long Phrases).

Mastering the skill to play extremely softly with good intonation is required to effectively play much

of the oboe’s orchestral and solo repertoire. The following excerpts require the use of a very soft

pianissimo while still being expressive. Each phrase should begin with a slow or non-existent vibrato. If

the excerpt requires a growth in dynamic level, a subtle amount of vibrato can be added provided that

the pitch of the pianissimo note is stable and in tune.

73

[Poco piu mosso ♩ = 72]

EX. XIV.1 Dimitri Shostakovich, Symphony no. 5 in D Minor, op. 47, movement 3, 1 measure before rehearsal no. “84” through rehearsal no. “85.”

Symphony no. 5 in D Minor, op. 47 by Dmitri Shostakovich © Copyright 1939 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Oboe 1 part, Movement 3 mm. 84-85. Reprinted by permission.

The third movement of Shostakovich’s Symphony no. 5 can be used to practice playing within a

piano dynamic expressively. The first C6 must have good intonation and be in tune with the second

violins. Therefore, do not bite the reed in an attempt to achieve a softer dynamic level. Begin the

excerpt with a non-tongued attack on the initial C6. A slight amount of vibrato can be added to the half

notes throughout the excerpt; however, the vibrato should not be too active. An active vibrato has the

effect of making notes sound louder. Each note in the phrase should remain within a true piano dynamic

range, without any notes emerging stridently from the texture. In the eighth and ninth measures of

rehearsal number “84,” decrescendo while ascending to the D6 and E♭6 respectively. These quarter

notes also need to be held full value to connect with the half notes that follow.

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[Animé et tumultueux = 56-60]

EX. XIV.2 Claude Debussy, La Mer, movement 3, 4 measures before rehearsal no. “54” through the 16th measure of rehearsal no. “55.”1

The third movement of Debussy’s La Mer challenges the oboist to play within the pianissimo range

delicately and with good intonation. It is important to maintain good intonation throughout this excerpt

since so much is shared with the flute. Although the flute and oboe have different articulation markings

for this section, their pitches are in unison. Another challenge lies in the length of the excerpt and in

maintaining embouchure control while sustaining a soft dynamic level. Articulate the entire excerpt

legato, tonguing the reed lightly. Use the upper lip to dampen the reed’s vibration to achieve a softer

1 Claude Debussy, La Mer, (Miami: Edwin F. Kalmus, 1985), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://hz.imslp.info/files/imglnks/usimg/8/89/IMSLP36717-PMLP06033-Debussy-LaMer.Oboe.pdf



75

dynamic level. This will ensure that notes in the lower range do not project more than notes in the

higher range. Follow each crescendo with a dramatic subito pianissimo in the ninth and sixteenth

measures of rehearsal number “54.” Maintain an open embouchure throughout the excerpt without

biting.

EX. XIV.3 Ralph Vaughan Williams, Concerto for Oboe and Strings, movement 1, mm. 87-104.

Concerto for Oboe and Strings, by Ralph Vaughan Williams © Oxford University Press 1947. Extract reproduced by permission. All rights reserved.

This piano tranquillo excerpt from the first movement of Vaughan-Williams’ Oboe Concerto,

commonly played at quarter note = 69-72, exhibits a complete shift in character from the louder

previous section. For the initial piano G5, F#5, and E5, it may be of help to add the low B-key to stabilize

the pitch. The excerpt should be played expressively, however, guard against an active vibrato before

the seventh measure of rehearsal letter “G,” as this will make this section sound too loud. If the excerpt

increases in volume too soon, it will reduce the effect of the dramatic crescendo to forte in the seventh

measure of rehearsal letter “G.” Utilize air support throughout the excerpt to prevent the recurring C5s

76

from sounding flat in relation to the recurring C6s. Use non-tongued attacks on the C6s in the fifth and

seventh measure of rehearsal letter “G” as in the Shostakovich example above (EX. XIV.1). Work on

gentle entrances and long releases, holding each note for its full value.

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Chapter XV : Care of Note and Phrase Endings

Phrases are musical sentences, and as in speech, a sentence communicates both a message and an

inflection. All sections of a musical phrase (beginning, middle and end) are of equal importance in

communicating an idea. Students often give much attention to how a phrase begins and develops, but

less attention to how a phrase ends. Often students carelessly cut the last note of a phrase short. In

music, the notes that precede silences are just as important as the notes that begin a phrase. Jacqueline

LeClaire states that “Every note needs a beginning, a middle and an end, a transition to what follows.”1

Phrases that end softly may prove challenging for young oboists. Many times the final note of a

phrase stops abruptly and is not held for its full value. This is often a result of lessening the air support in

an attempt to reduce volume. If the air support does not remain constant the reed will stop vibrating.

Another factor in abrupt phrase endings can be a result of endurance issues. After playing a long phrase

the need to inhale can cause the note before the breath to end abruptly (see Chapter 1 for instructions

on breath support).

One exercise for gaining control of phrase endings is to incorporate long tones into daily practice

(See EX. V.1). The goal is to end the last count softly, at full rhythmic value, without allowing the reed to

abruptly stop vibrating. Try to decrease the final note to nothing, maintaining good intonation. Finally,

return to the phrase in the solo piece or excerpt ending with the decrescendo. Pay particular attention

to the last note of the phrase. The oboist should observe what physical adjustments his body made to

achieve a delicate phrase ending at full rhythmic value.

1 LeClaire, Oboe Secrets, 11.

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EX. XV.1 Maurice Ravel, Le Tombeau de Couperin, movement 3, mm 1-28.2

The third movement of Ravel’s Le Tombeau de Couperin challenges the oboist to delicately end each

phrase at full rhythmic value. There are three note endings in the oboe part to care for that occur before

a rest in this excerpt: the G4 in measure four, the F4 in measure eight, and the D5 in measure twenty-

four. Before playing the excerpt, use the long tone exercise described in chapter 5 (EX. V.1) on the notes

G4, F4, and D5. When ending each phrase softly, guard against biting the reed, as this will cause the

intonation to be sharp. If difficulties persist with ending phrases at full rhythmic value, play more toward




79

the tip of the reed and increase the air support. Angle the instrument downward so that the bell of the

oboe is closer to the body.

EX. XV.2 Igor Stravinsky, Pulcinella Suite, movement 4, Variation 1a, mm. 1-32.

Pulcinella Suite by Igor Stravinsky © Copyright 1924 by Hawkes & Son (London) Ltd. U.S. Copyright Renewed. Reprinted by permission.

The excerpt from Stravinsky’s Pulcinella Suite provides many opportunities to practice releasing

phrases before rests. The first phrase ending occurs with the D4 in the fourth measure of rehearsal

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number “77.” The second appears one measure before rehearsal number “78” on the A4. The phrase

ending on C5 one measure before rehearsal number “79” also requires extra care. Add a slight

decrescendo from the D5 to the C5 in the measure before rehearsal number “79,” taking care to not

allow the reed to stop vibrating on the C5. From rehearsal number “79” to rehearsal number “80” there

are three successive two-measure phrases. The final two four-measure phrases occur from rehearsal

number “80” to the end of the excerpt. Each phrase ending should be approached with a slight

decrescendo from the penultimate note. The A6s in the first and 5th measures of rehearsal number “77”

should be held at full rhythmic value, without allowing the reed to abruptly stop vibrating. In the

second, fourth, and sixth measures of rehearsal number “79,” slightly decrease the volume of the notes

occurring after each trill. Use the eighth rests in the second and fourth measures of rehearsal number

“79” to breathe. Exhale old air during the eighth rest in the second measure of rehearsal number “79,”

then inhale fresh air during the eighth rest in the fourth measure of rehearsal number “79.”

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EX. XV.3 Camille Saint-Saëns, Sonata for Oboe and Piano op. 166, movement 2, mm. 62-70.3

The second movement of Saint-Saëns’ Sonata for Oboe and Piano allows the oboist to end phrases

freely (ad libitum). The phrase endings in this cadenza occur at the end of each slurred passage. A slight

vibrato may be added to the final notes of each phrase and each phrase should decrescendo to a softer

dynamic level. The use of the long tone exercise in chapter 5 (EX. V.1) aids in achieving delicate phrase

endings for this excerpt. For the first, second, and third phrases, it is advisable to hold the final quarter

notes longer than the penultimate quarter notes. For example, if the second to last quarter note is

played with a subdivision of two even eighth notes, then the final quarter note can be stretched to the

duration of a half or even a whole note. Approach phrase endings slowly and without rushing. This

cadenza does not need to be performed in strict time. The penultimate notes of phrases should also be

louder than the final notes of each phrase. The final notes of each phrase should slowly decrescendo.

3 Camille Saint-Saëns, Sonata for Oboe and Piano, op. 166, (Paris: Durand, 1921), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/7/74/IMSLP71557-PMLP14974-Saint-Saens_Sonate_Op_166_Durand_Oboe_scan.pdf



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Chapter XVI : Developing Technical Proficiency

Developing technical proficiency on the oboe requires slow practice and patience. If students can

successfully play at a slower tempo, they can gradually play it faster. One mistake many young oboists

make is to impatiently play music at a faster tempo than they are capable. Although students may not

have an awareness of how sloppy their technique sounds, the listener does. LeClaire presented two

concepts to aid with slow practice. The first concept is to practice about four times slower than the

marked tempo. The second concept is the slower oboists practice the more espressivo they should play.

When practicing slowly the passage should be slurred or tongued with a connected legato articulation.

This ensures that the air stream is continuous and well supported. LeClaire also observed that when

music is slowed down to this degree, the oboist may begin to notice complexities within the music that

were not absorbed at a faster tempo.1

Another practice strategy for overcoming difficulties with technique is to incorporate “anchor

points.” Anchor points are subtly emphasized notes within a technical passage. They are usually

emphasized with a slight breath accent. Anchor points should also be placed on the “strong beats” in a

technical passage. For example, in common time the strong beats occur on beat one and beat three. In

a passage of running sixteenth notes the first and ninth sixteenth notes should be slightly emphasized to

create anchor points. When utilizing LeClaire’s strategy of slowing the passage above, the anchor point

note should be the most expressive note within the passage.

When practicing technical passages, listen carefully to the length of each note being played.

Unevenness often occurs when only one finger moves between two notes. Single finger motion often

results in unintended rushing. Examples of this include transitions from the pitches A to B, or B to C. Pay

attention to any uneven transition between notes. If there is any unevenness, stop and correct it. Avoid

1 LeClaire, Oboe Secrets, 15-16.

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tension and extraneous movements of the waist, head, arms or fingers. Keep the fingers relaxed and

close to the keys, avoiding tension. Practice in front of a mirror to ensure that extraneous movements of

the body are not occurring while performing technical passages.

[Con moto ♩ = 72-84]

EX. XVI.1 Johannes Brahms, Variations on a Theme by Haydn, op. 56, Variation 3, mm. 127-145.2

This excerpt from the third of Brahms’ Variations on a Theme by Haydn presents a passage in which

anchor points can be utilized to aid with technique and emphasize the direction of the phrase. When

beginning this excerpt, incorporate LeClaire’s strategy of learning the passage four times slower.3 Play

each sixteenth note expressively, and focus on even transitions between notes. Anchor points can be

placed on the F5 in measure 131, the E♭5 in measure 132, the D#5 in measure 133, and the C#5 in

measure 134. The C#5 in measure 134 is also emphasized by the crescendo. Use the Forked F fingering in

measures 132 and 133 to ensure an even transition between the F5 and the following half-hole notes.

Do not allow the tempo to slow down with the decrescendo while ascending to the D6 (m. 135).

2 Johannes Brahms, Variations on a Theme by Haydn, op. 56, (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://hz.imslp.info/files/imglnks/usimg/7/70/IMSLP44922-PMLP03585-Brahms-Op056a.Oboe.pdf 3 LeClaire, Oboe Secrets, 15-16.

http://hz.imslp.info/files/imglnks/usimg/7/70/IMSLP44922-PMLP03585-Brahms-Op056a.Oboe.pdf

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[Andante con moto ♪= 94]

EX. XVI.2 Franz Schubert, Symphony no. 8 in B Minor, “The Unfinished,” movement 2, mm. 98-126.4

The second movement of Schubert’s Symphony no. 8 is an articulated technical passage with

unexpected skips. It is helpful to practice arpeggios and scale exercises in the key of C-sharp minor

before attempting this excerpt. Examples can be found in the opening pages of the Vade-Mecum of the

Oboist.5 As with the previous excerpt, begin by practicing slowly with a legato articulation. Play forte and

sustain the air stream through each articulated note. Connect each large leap with a legato articulation

to keep the technique even. Incorporate anchor points on the first thirty-second note of each measure

(mm. 103-108). Keep the left hand little finger close to the keys to ensure even technique with the D#5

(mm. 104-106).

4 Franz Schubert, Symphony no. 8 in B-Minor “The Unfinished,” (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://javanese.imslp.info/files/imglnks/usimg/2/2b/IMSLP36143-PMLP05477-Schubert-Sym8.Oboe.pdf 5 Andraud, Vade-Mecum of the Oboist, 4-6.

http://javanese.imslp.info/files/imglnks/usimg/2/2b/IMSLP36143-PMLP05477-Schubert-Sym8.Oboe.pdf

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[Allegro ♩ = 126-132]

EX. XVI.3 Wolfgang Amadeus Mozart, Oboe Quartet in F Major, K. 370, movement 3, mm. 103-115.6

The third movement of Mozart’s Oboe Quartet demands that the oboist maintains even technique

while transitioning from one rhythmic section to another. Incorporate anchor points on beats one and

three throughout the common time section of the sixteenth-note passage. As with the previous

excerpts, utilize LeClaire’s strategy of practicing this excerpt four times slower than the marked tempo.

Play the passage connected and espressivo. Add a slur over beats one and two, and three and four, from

mm. 103 to 107. In the 6/8 section, slur the first two sixteenth notes of beats one and two. Incorporate

an anchor point on the first sixteenth note in measures 104 and 106 respectively. The anchor points will

aid in the even execution of the subsequent leaps by thirds. When the technique is proficient at a slower

tempo, practice the excerpt alla breve (half note = 66). This will facilitate an easier rhythmic transition

into the 6/8 tempo (mm. 108-115).

6 Wolfgang Amadeus Mozart, Oboe Quartet in F Major, K. 370, (Kassel: Bärenreiter-Verlag, 1962), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://imslp.eu/Files/imglnks/euimg/2/2a/IMSLP315257-PMLP59217-Mozart_Oboe-Quartet_NMA_Ob.pdf

http://imslp.eu/Files/imglnks/euimg/2/2a/IMSLP315257-PMLP59217-Mozart_Oboe-Quartet_NMA_Ob.pdf

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Chapter XVII : Rubato

In music, the word rubato is defined as “An elastic flexible tempo allowing slight accelerandos and

ritardandos according to the requirements of musical expression.”1 Rubato must fit into the context of a

piece’s over-arching tempo. One must not overuse rubato. Many young musicians confuse rubato with

slowing down. As the player slows down in an attempt to be expressive, the tempo continues to become

slower and slower. This is a result of not speeding up again (to the original tempo) after slowing down.

One technique for effectively practicing rubato passages is to set the metronome to sound every

measure (or every other measure), rather than sounding on individual beats. This will help provide an

over-arching rhythmic framework. Within this framework the oboist can speed up and slow down within

the confines of the piece’s original tempo.

When playing rubato phrases, it is important to not create too many points of emphasis. In his series

of Carnegie Hall masterclasses, Albrecht Mayer taught that if the player slows down, it should occur “in

one phrase only once.”2 He illustrated this concept in the context of speaking, by pausing after every

word in the sentence which created a stuttering effect. Mayer also thought it important to make rubato

phrases as simple as possible, without too many ideas. As he put it, “too many ideas don’t mean

better.”3

Listening to recordings of performances by master musicians playing the following excerpts can be

an effective way to hear tasteful execution of rubato. Many aspects of rubato and pacing become

instinctual, and can be best absorbed by listening. After listening to examples of the following excerpts,

sing the excerpt without the oboe. Singing is a helpful way to absorb music, without focusing on the

1 Harvard Concise Dictionary of Music, s.v. “Rubato.” 2 Albrecht Mayer, “Carnegie Hall Oboe Master Class: Rossini’s La Scala di Seta.” You Tube video, 6:54. Posted by http://carnegiehall.org/workshops. April 5 2013. https://www.youtube.com/watch?v=inbz7sL_St8 Accessed February 23, 2015. 3 Mayer, Carnegie Hall Oboe Master Class. https://www.youtube.com/watch?v=inbz7sL_St8

http://carnegiehall.org/workshops

https://www.youtube.com/watch?v=inbz7sL_St8


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other components of oboe playing such as the reed and technical aspects. Singing can aid in

internalizing rhythms, and in conjunction with listening to great performers, can lead to correct pacing

of rubato sections.

EX. XVII.1 Nicolai Rimsky-Korsakov, Scheherazade, movement 2, mm. 1-76.4

The andantino section of the second movement of Rimsky-Korsakov’s Scheherazade commonly

played at eighth note = 112, utilizes a fair amount of rubato. Generally, when rubato is used in a

measure to slow the tempo, the following measure must speed up in order to return to the original

tempo. One way to achieve this is to set the metronome to click only once for every two measures.

Setting the metronome to sound every two measures can provide a rhythmic framework for using

rubato correctly. The first use of rubato occurs in the fourth measure of rehearsal letter “A.” The last

three sixteenth notes of this measure should move slightly slower into the B4 in the fifth measure of

rehearsal letter “A.” Rubato can also be used on the two tenuto eighth notes in the eleventh measure of




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rehearsal letter “A.” If time is taken in the eleventh measure of rehearsal letter “A,” it should return to

the andantino tempo in the twelfth measure. Lastly, rubato is often employed on the four sixteenth

notes leading into the “a piacere” section three measures before rehearsal letter “B.” One can slow and

speed up the tempo as one wishes, adding a fermata to the tenuto D5 in the measure before rehearsal

letter “B.”

[Andantino quasi ♩. = 52]

EX. XVII.2 Nicolai Rimsky-Korsakov, Scheherazade, movement 3, mm. 119-141.5

The third movement of Rimsky-Korsakov’s Scheherazade encourages expressive use of rubato. The

solo is marked dolce, a piacere, meaning “sweetly,” and “at your pleasure.” Although it can be played

quite freely, rubato should be utilized correctly by speeding up the tempo after slowing down. Gradually

stretch the two eighth-notes (E5 and G5) leading to the fifth measure of rehearsal letter “K.” The A5 on

the downbeat of the fifth measure of rehearsal letter “K” is the point of emphasis, and should be the

longest note in the phrase. The successive triplets following the A5 should gradually increase in speed

through the E5 in the next measure. The E5 should also be slightly sustained, though it should not be as

long as the A5 in the previous measure. The sixteenth note passage that follows should increase in




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speed into the final measure. A gradual ritard should occur on the three sixteenth notes (G4, F#4, and

E4) leading into the fermata.

EX. XVII.3 Johann Wenzel Kalliwoda, Morceau de Salon, op. 228, mm. 81-106.

In the excerpt from Kalliwoda’s Morceau de Salon, rubato can be incorporated on the dotted eighth-

sixteenth anacruses to each phrase. These occur on the third beat of measures 82, 90, and 96. In

measure 88 slow the ornamented triplet figure leading to the B5. Sustain the B5 before gradually

speeding up the tempo toward the next measure. Rubato can also be employed on the first two

ascending sixteenth notes in measure 103. Begin this arpeggio slowly, gradually speeding up while

ascending. Set the metronome to click once every other measure to provide a rhythmic framework.

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Chapter XVIII : Little Finger Technique

The little finger is the weakest finger on the human hand, and yet it must attend to the most keys on

the oboe. The little finger on the right hand must oversee the low C, C#, and E♭ keys. The little finger on

the left hand manages the low B♭, B, Left-E♭, Left-F and A♭ keys. This often presents difficulties in

technical passages that require the same little finger to move between any of these keys. Ideally all

fingers should move with no tension. One indicator of tension is the audible “clacking” of the oboe keys

when playing technical passages. Relaxed fingers do not produce loud noises during performance.

Always seek to keep the fingers as close to the keys as possible. Move the fingers with relaxed and fluid

motions. Periodically have a professional check the adjustments (the small screws on the oboe), to

ensure that the fingers are not forced to exert extra effort when depressing the keys. Oboes that are out

of adjustment often cause tension and even injury, since the tone-holes of the instrument are not

sealing properly.1

Slow scale exercises in keys that require the use of all the fingers, such A-flat major, B Major, and G-

sharp minor, are helpful in developing little finger technique. Pages 3-6 of the Vade Mecum provide

scale exercises that can aid in overcoming the technical challenges presented by these keys.2 Work

toward even note lengths and relaxation during practice. Using a metronome, slow the tempo down

until the passages can be played smoothly and without tension. Although it may feel tedious to slow

down practice sessions it will be well worth it. Practicing slowly can prevent injuries associated with

habitually playing with tension. It can also grant the ability to play more challenging repertoire with

ease.

1 Adjustment screws frequently require fine-tuning, especially after significant weather changes. 2 Andraud, Vade Mecum, 3-6.

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Some technical passages require sliding from one key to another with the same little finger.

Examples of this include moving from C4 to C#4, from B3 to B♭3, and from B3 or B♭3 to E♭4. Fortunately,

the keys that the little fingers oversee are smooth and rounded on the instrument to facilitate sliding.

Sometimes the little finger gets stuck in the action of sliding from one key to another. Thankfully, there

is an old oboist's remedy for this. Rub the little finger along the side of the nose. This area of skin

secretes a small amount of oil that can be applied to the key to facilitate easier sliding.

[Larghetto ♩ = 54]

EX. XVIII.1 Sergei Prokofiev, Classical Symphony in D Major, op. 25, movement 2, 1 measure before rehearsal no. “39” through the 7th measure of rehearsal no. “41.”

Classical Symphony in D, op. 25 by Serge Prokofiev © Copyright 1926 by Hawkes & Son (London) Ltd. Reprinted by permission.

The second movement of Prokofiev’s Classical Symphony tests the oboist’s little finger technique.

Each measure of this excerpt not only requires engagement of the little finger on each hand, but also

requires the right hand little finger to slide from one key to another (from the C#4 to the B#3 in the first,

second, and third measures of rehearsal number “39”). This excerpt also challenges the player to

articulate cleanly in the oboe’s lowest register. To play the articulated low notes cleanly and without

“squawking,” play with less reed in the mouth and without “overblowing” the lowest notes (such as the

C#4) up the octave. Also play the excerpt with a light staccato articulation (as written) to prevent it from

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sounding labored. This is especially imperative for the final triplet in the third measure of rehearsal

number “39,” which requires a sliding motion from the C#4 to the B# 5, back to the C#4 with the same

little finger.

[Vivo ♪= 168]

EX. XVIII.2 Nicolai Rimsky-Korsakov, Scheherazade, movement 4, mm. 280-337.3

The fourth movement of Rimsky-Korsakov’s Scheherazade challenges both the right and left hand

little fingers at a brisk tempo. The excerpt’s greatest difficulty lies in the necessity to slide the right hand

little finger very quickly, three successive times within the first two measures. The first slide occurs in

the first measure from the C4 to the right hand D#4 in the second measure. It is followed immediately

by a slide from the D#4 to the B3, with one final slide from the B3 to the C#4 (all in the first triplet of the

second measure). One feature that makes this excerpt easier is the staccato marking of the first two

notes (F4 and C4). The C4 in the first measure should be short, giving time to articulate a clear D#4 in the

second measure. Slightly emphasize the first D#4 in the second and sixth measures. In the fourth and

eighth measures, play the first D#4 with the left little finger and the next D#4 with the right, facilitating

an easier slide to the B3 that follows. When preparing to slide to the B3, keep the left hand little finger




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just above the low B-key. As with all challenging technical passages, begin at a slower tempo and

incrementally speed up, maintaining relaxed finger movement.

[Allegro ♩ = 112]

EX. XVIII.3 Vincenzo Bellini, Concerto in E-Flat Major, movement 2, mm. 153-169.4

The final excerpt of this chapter is from the second movement of Vincenzo Bellini’s Concerto in E-flat

Major. In this passage the agility of both little fingers is tested as the key modulates into D-flat major.

Measure 161 challenges the right hand little finger to slide from the C4 to the D♭4. One of the difficulties

of this passage lies in getting the lower notes to speak after leaping down an octave from the C5 to the

C4 (m. 161). This requires not only a sliding of the right hand little finger, but a significant embouchure

adjustment to ensure the lower octave speaks (see Chapter XI: Smooth Descending Slurs). As with all

low register oboe playing, incorporate plenty of air support with less reed in the mouth. Keep the left

4 Vincenzo Bellini, Concerto in E-Flat Major, (Alexander Gagarinov: Creative Commons, 2011) Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://burrito.whatbox.ca:15263/imglnks/usimg/5/5c/IMSLP90841-PMLP85653-Bellini_-_Oboe_Concerto_Big_Orchestra_-_Oboe_Solo_-_2011-01-21_1343.pdf



94

hand little finger just above the left E♭ key (m. 161), to ensure that the technique is even on the

ascending D-flat major scale.

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Chapter XIX : Dotted Rhythm Precision

Playing dotted rhythms inaccurately is a performance error many young musicians make. Rhythmic

accuracy must be internalized, to prepare students wishing to enter the professional world of music. In

many auditions, excerpts chosen for the first round often target rhythmic accuracy and technical

proficiency. If these areas are deficient the candidate will most likely be eliminated. This may occur

regardless of other positive aspects of oboe playing, such as tone quality or expressivity. Subdividing

individual beats in each measure is an effective strategy for playing dotted rhythms accurately. For this

reason, practicing with a metronome is crucial for internalizing rhythmic accuracy.

Many young oboists play dotted rhythms inaccurately, which often results in the dotted rhythm

sounding like a triplet. This derives from “guessing” the rhythm and not subdividing the dotted rhythms

in the passage. Before practicing a passage with dotted rhythms, analyze it in terms of its smallest

subdivision. After identifying the smallest subdivision, articulate the smallest subdivided note values

within each long note. For example, in a passage in which sixteenth notes are the smallest subdivision,

articulate three separate sixteenth notes for every dotted eighth note. When subdivision is applied to

dotted rhythms, it ensures that dotted notes are sustained long enough, and the following note is

placed accurately.

Playing etudes that alternate between dotted rhythms and other rhythmic combinations also aids in

developing rhythmic accuracy. In addition to the following orchestral and solo excerpts, the Barret

Progressive Melody #25 incorporates alternating between dotted rhythms and other rhythms.1 Inventing

scale and arpeggio exercises (played with a metronome) that alternate between dotted rhythms and

triplets can also aid in developing rhythmic accuracy, and can add variation to scale practice.

1 Barret, Complete Oboe Method, 87.

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[♩ = 126]

EX. XIX.1 Felix Mendelssohn, Symphony no. 3 in A Major, “Scottish,” movement 2, mm. 1-88.2

The second movement of Mendelssohn’s “Scottish” Symphony quickly reveals if the oboist can play

with rhythmic accuracy. In this excerpt, “straight” sixteenth notes and dotted eighth notes followed by

sixteenth notes alternate. Ferrillo suggested playing the dotted rhythms with a slight lift after the dotted

eighth note even if it is not indicated in the part.3 This aids with rhythmic accuracy. In the measure

before rehearsal letter “A,” mentally subdivide the rests before articulating the C4. From measure 34 to

64, mentally subdivide into sixteenth notes within the dotted eighth notes. This ensures that the dotted

rhythms are not rushed. Subdivision of this excerpt also guarantees that the long notes between

measures 42 and 54 are sustained for their correct durations.

2 Felix Mendelssohn, Symphony no. 3 in A Major “Scottish,” (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://ks.imslp.info/files/imglnks/usimg/d/d0/IMSLP35393-PMLP18973-Mendelssohn-Sym3.Oboe.pdf 3 Ferrillo, Orchestral Excerpts for Oboe, 53.

http://ks.imslp.info/files/imglnks/usimg/d/d0/IMSLP35393-PMLP18973-Mendelssohn-Sym3.Oboe.pdf

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[♩ = 56-60]

EX. XIX.2 Franz Schubert, Symphony no. 9 in C Major, “The Great,” movement, 2, mm. 1-36.4

This excerpt from the second movement of Schubert’s “Great” Symphony no. 9 in C Major

demonstrates the oboist’s ability to maintain the integrity of dotted rhythms in a passage that

incorporates grace notes. The second movement of Beethoven’s Symphony no. 3 (EX. XII.1) also shares

this rhythmic feature. In order to play the dotted rhythms correctly, the quarter notes must be held for

their full value. Ferrillo advised to keep the grace notes “close to the beat.”5 For rhythmic accuracy, first

prepare this excerpt without the grace notes. At a significantly slower tempo, articulate three

subdivided thirty-second notes for each dotted sixteenth note. After establishing rhythmic accuracy,

gradually speed up the tempo and incorporate the grace notes.

4 Franz Schubert, Symphony no. 9 in C-Major “The Great,” (New York: Edwin F. Kalmus, 1933), Petrucci Music Library, International Music Score Library Project. Accessed March 7, 2016, http://conquest.imslp.info/files/imglnks/usimg/9/95/IMSLP36132-PMLP25384-Schubert-Sym9.Oboe.pdf 5 Ferrillo, Orchestral Excerpts for Oboe, 74.

http://conquest.imslp.info/files/imglnks/usimg/9/95/IMSLP36132-PMLP25384-Schubert-Sym9.Oboe.pdf

98

[Allegro non presto ♩ = 84]

EX. XIX.3 Tomaso Albinoni, Concerto for Oboe in D Minor op. 9, movement 1, mm. 42-80.

The first movement of Albinoni’s Concerto for Oboe in D Minor alternates between even sixteenth

notes and dotted sixteenth/thirty-second notes. The dotted rhythms should sound very “snappy.”

Sustain the dotted sixteenth notes for the correct duration and guard against elongating the following

thirty-second note. Each thirty-second note should lead into the note that follows it. As with the

previous excerpts, subdivide and articulate each dotted rhythm at a slower tempo. After the rhythms

are played correctly at a slower tempo, remove the articulated subdivisions and gradually increase the

tempo.

42

48

60

68

74

99

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Appendix : Reproduction Permissions

Hi Elliot,

Many thanks for sending in your completed form.

Chester Music Limited are happy to grant you gratis permission to use the following work in your

dissertation, Overcoming Playing Challenges for Oboe Using Orchestral and Solo Excerpts, written at the

University of Iowa. This is provided that this dissertation is not for commercial sale and is not published

in print or online (This is with exception of ‘Open Access’ in Iowa Research Online, and Proquest):

Sonata For Oboe And Piano Music by Francis Poulenc © Copyright 1963, 2004 Chester Music Limited. All Rights Reserved. International Copyright Secured. Printed by permission of Chester Music Limited.

You must include the above © line in your dissertation where the extract(s) appear.

With regards to the other two pieces you have requested. These are both controlled by the US office,

and you’ll therefore need permission from them. I have forwarded your request to Kevin McGee

([email protected]), and I’m sure he’ll be able to get back to you as soon as he can. Many thanks Best wishes,

Helen

Kind regards,

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103

Gilles Silvestrini ([email protected]) 2/26/15

To: Elliot Czaplewski

[email protected]

Dear Mr. Czaplewski,

Thank you very much for your mail and for the so kind things you write about my music. I am happy to read you are including my studies in the material for your dissertation.

I am happy to give you my permission for printing excerpts of the score, provided that they are not too long. Also, would you mind asking the editor Philippe Rigoutat his permission? I don't think there will be any problem, it is just better to have his agreement. His e-mail address is

"Philippe Rigoutat" <[email protected]>

Please keep me informed about this!

Best greetings,

Gilles Silvestrini

104

From: Société Rigoutat ([email protected])

Sent: Thu 3/05/15 8:58 AM

To: [email protected]

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Silvestrini Letter.docx (11.8 KB) View online

Good morning,

Philippe Rigoutat is ok and he’ll be pleased to have a copy of your dissertation.

Kind regards

Céline Huet

Responsable Administrative et Commerciale / Office Manager

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