 The Oboe BBoard
|
Author: Arnoldstang
Date: 2022-09-25 19:13
Hi, Basic Question. In the second phrase of the EH solo with the slur up to high D what helps the response of high D?
I’m using the high D fingering with low C added.
Thanks
Freelance woodwind performer
|
|
Reply To Message
|
|
Author: Chris P
Date: 2022-09-25 22:29
I've normally used the short D fingering with the low C key added oxx|oooC on my cor (Marigaux 930) as that's better tuned than the full fingerings (with RH fingers 2 or 3 or both held down) and doesn't require much of my limited brain power.
Check the forked F vent fully closes with the low C key as well as the amount of closure of the RH2/RH mid fingerplate. The adjusting screws for these can vary from instrument to instrument, but the one that normally shuts off the forked F vent is usually the one going directly through the low C key touchpiece arm.
The RH2 adjuster is either soldered directly to the left side of the pip on the low C key touchpiece arm (like the Philly D adjuster on some oboes), or on a lot of older cors, it's the one mounted on a separate arm just off to the right of the low Eb touchpiece when you have your cor laid across your lap.
Some student model cors have a much simpler forked F vent arrangement which isn't closed by the low C key, so that can have an effect on some altissimo notes.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Hotboy
Date: 2022-09-27 03:22
I play Loree oboes and EH as well and I had the exact same issue with William Tell when I was in high school. The secret I've found is that you must open the halfhole key a fraction earlier than the rest of the fingers move to the high D, both on oboe and EH. If you do this correctly, the high D pops out very easily. Most amateur players and students THINK that they're moving all of the fingers at the same same, but the LH 1st finger is always late to slide down.
I demonstrate this to my students with the following drill, and you can prove it to yourself:
1) Play the high A with normal fingering.
2) While holding the A, slide ONLY the LH first finger to open the halfhole vent while the rest of the fingers are still on the A fingering and side octave key. This will result in an airy, sharp, resistant A.
3) Move the rest of the fingers to complete the high D fingering. The high D note will respond as easily as any other note without having to blow harder.
4) This proves that opening the HH key on time (or slightly early) is the key. If the high D doesn't speak, then you know that you did not open the HH vent on time.
There are a couple of caveats of this advice:
1) If you are playing a soft dead reed, the above probably won't help. You need a newer reed with better structure that won't close up in order to play high register notes above C.
2) If your reed is too open, you might have to tighten your embouchure.
You also might try one of the following alternate solutions:
1) When slurring to the high D, lift the LH 1st finger (like you do for C#). This usually results in the note popping out nicely, but on my EH, the high D is sharp and I lip it down.
2) You can also lift the LH 1st finger when moving to the high D, but immediately put down the half hole for better pitch. It takes some timing to do this. Start slowly and work it up so that your LH 1st finger lift is very low and you can place it back on the HH key almost instantly.
Dane
Bay Area, California
Post Edited (2022-09-27 03:24)
|
|
Reply To Message
|
|
Author: Chris P
Date: 2022-09-27 18:00
I completely overlooked the fact I have the LH1 top plate on my cor screwed down so it barely moves as I lift LH1 off instead of roll down to release the split plate (or the perforation in the LH1 fingerplate on oboes).
That's commonplace here in the UK where most players tend to lift LH1 off instead of roll down for the upper register C# to Eb and lower altissimo register. Only some cors aren't equipped with that adjusting screw to finely adjust the venting of the perforated plate - mainly older European ones, so they either have to get one fitted or wedge the bridge down with a thick chunky cork.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
