Author: d-oboe
Date: 2006-04-13 17:38
Another good trick for the rhythm is to practice things in triplets - you still keep the same series of notes, but because it's in triplets it moves the downbeat. I find it really helps to learn the notes without always relying on the written downbeat. (or do the opposite: practice compound meter in simple meter)
A really good book i've found is the Trevor Wye "Advanced practice" flute book. (Book 6 I think) It has focused exercises around combinations of three notes, and it can really help to iron out, and pinpoint difficulties in technique.
Try to invent exercises to learn things you can't do yet. If the prospect of a complete-range F major arpeggio makes you sick, make exercises specifically for that. Be creative: change the rhythms, add dynamics, use funky articulations..etc. But one proviso (as GMac said): you have to practice these things slow enough so that you have control over what is coming out, and so that there are no blurps or glitches. Gradually, as things get boring and too easy, pump up the speed.
In general, the best way to go about practicing, I find, is to spend a good amount of time on the technical aspects of the oboe - long tones, scales, offset scales (3rds 4ths), octave leaps, odd intervals...the list goes on and on. Studies are included here. Spend as much as 1/2 to 2/3 of your practice time on that. The other 1/2 or 1/3 can be spent on learning performance material. It might seem odd to do it this way, but in reality it is more efficient. With a good technical base, both of scalar patterns and of etudes, "learning" the music is nothing more than putting acquired technique together, and making a few logical musical decisions about phrasing. Not hours and hours spent on a single piece or orchestral excerpt.
As GMac said, split your sessions up throughout the day. Try to make the first one a really thorough warmup - maybe doing only long tones, and the major scales. Then, the more difficult sessions, ones focusing on difficult techniques and performance material, can come later after you've had a chance to get blood into your lips, your brain working, and your fingers moving.
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