 The Oboe BBoard
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Author: JohnW
Date: 2015-03-15 04:03
I'm up for some advice on getting the notes above high C to sound well. I'm a new adult player, started on the EH a couple of years ago and have a little over a year time in on the oboe. I have a Loree AK bore instrument that I'm happy with.
My little community orchestra has recently started rehearsing a couple of pieces that have high C#, D and Eb in them and I am having difficulty getting a good fingering/sound. Anyone have some tips, advice or admonishment?
Thanks in advance,
JohnW
amateur adult beginner, oboe and cor
www.OboeHobo.com
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Author: WoodwindOz
Date: 2015-03-15 06:30
We had a workshop here last year and did some reed exercises. We practiced making the shape of ahh (throat) for low notes, ehh for the 2nd octave key notes and eee for the third octave. You will find that the note you produce on the reed will increase by a semitone with each vowel change. Very important to note that the eee sound shouldn't close the throat, just change the shape, much the way you would if you were singing those vowels.
For me, in order to get the quality of those notes that I like, I have to think about playing with as open an oral cavity/throat as possible. As soon as any part of the sound production system closes, the air stream, and therefore the sound, will also close. It's almost psychological - you think 'high', your brain thinks 'squeeze' - until you convince it otherwise!
Rachel
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Author: jhoyla
Date: 2015-03-15 13:52
The basic fingering chart for this range is here (hosted on the woodwind.org website).
Make sure your half-hole plate is correctly adjusted - it should raise a tiny, tiny bit when you lift your finger. Too much, and Eb/E won't speak correctly [post edit]
As a cor-anglais player, you will be disappointed with the quality of sound obtainable in this range - it will always sound shrill to your ears. Do not despair - it still sounds clean, bright and beautiful to everyone else, as long as it is in tune.
Which is why you need to try all the different variations - including alternative fingerings on the following page - with your tuner. No squeezing (as Rachel points out) - just use your air to produce the note and find which fingering is perfectly in tune. You do need good support for these notes. You should not need a 3rd octave key for the three notes you mentioned.
A word of caution; trust your tuner. Don't trust the flautist next to you.
Practice scales and arpeggios with your tuner up to top E/F, slowly at first, and then gently speed up; get those fingerings feeling perfectly natural. Speed is the last stage - dynamic range, intonation and clean articulation (tongued and slurred) come first.
If after all this you are still disappointed with your sound in this range, you should perhaps consider getting reeds with a more narrow shape, more suited to the top register.
J.
Post Edited (2015-03-15 13:56)
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Author: JohnW
Date: 2015-03-19 05:15
Thanks very much. Since posting I have had a lesson and my teacher confirmed what you are saying. I'm about to have some sinus surgery which is aimed at opening some nearly closed nasal passages, so I'm looking forward to seeing in a few weeks what difference that will make.
Meanwhile back to the slow motion grind. Thanks again for the advice!
JohnW
amateur adult beginner, oboe and cor
www.OboeHobo.com
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Author: pisces71
Date: 2015-03-31 21:58
Hello John,
Can you recommend an oboe teacher in the greater Seattle area?
Sincerely,
Sam
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Author: EaubeauHorn
Date: 2015-06-12 04:47
My teacher told me to push the reed into my mouth a little bit for the high range. It is "towards" the position you would use to crow the reed. I could get a high G out pretty much from the beginning after this instructive tip. Throat position for me was the same as if I were trying to sing that pitch. This from someone who was also an adult beginner.
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