 The Doublers BBoard
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Author: Robbi
Date: 2010-03-02 20:42
Hello
I play sax and clarinet professionally and, in a moment of madness, just bought an oboe.
I'm managing to get sounds that are in the general direction of notes, right up and down the range (admittedly a bit of burble-urbling towards the bottom).
Is there any advice that you experienced folks could give that would help me smooth the transition from floppy-lips-wobbly-beer-bellied-sax player to tight-lips-rippling-abs-oboe player?
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Author: Jaysne
Date: 2010-03-08 03:02
Three words of advice: Get A Teacher.
I did what you did (bought one in a crazed stupor), and got to the same point you did (burble, burble). And I learned that unless you have a natural knack for the instrument, you will need to be taught by a real oboe player to get to the next level.
A lot of sax and clarinet players think that just because they can wet a reed, they can teach themselves the oboe. Ain't gonna happen. The oboe is a completely different universe from single reeds. I played sax and clarinet for 20 years before I picked up oboe, and discovered that there is an incredible amount to learn about embouchure, breathing, and articulation. And I haven't even gone into the niceties of finger technique. And oboe reeds have nothing to do with sax or clarinet reeds and are something you will have to be taught about if you really want to learn oboe. Yikes!
If you just want to futz around on it, then you'll be fine by yourself. I would buy a beginner's oboe book and be especially aware of the tips they give you on embouchure. But if you really want to learn to play this beautiful instrument, you will need a teacher. I got myself a good teacher, and am now getting oboe gigs left and right. And the fact that I'm getting rehired by the same people shows that I'm playing it like an oboe player, which I couldn't be doing if I didn't have a teacher.
Post Edited (2010-03-09 02:48)
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Author: Robbi
Date: 2010-03-18 19:07
Thank you.
I'll take your advice and go dig out a teacher.
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Author: oboeidaho
Date: 2010-03-22 20:26
I agree - a teacher is key. Check the local symphony and colleges first. If it takes you a while, the biggest favor you can do yourself is get some decent reeds! Reeds you buy at the local music store (IMHO) all suck. A teacher will either make you reeds to purchase from them (usually at a reduced rate if you're taking lessons) or refer you to a professional reedmaker. To be a "real" oboe player you really need to know how to make reeds, even if you buy them due to time contraints. But you'll still have to adjust them - this is a whole different ballpark than the single reed sandpapering thing.
Good luck!
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Author: Jaysne
Date: 2010-03-23 03:11
Robbi, good luck. If you really want to take oboe seriously, the teacher is the way to go. I started out without a teacher, learned some fingerings and blew for a while, but then I realized I was going nowhere. When I got a teacher, a whole new world opened up to me and suddenly I became an oboe-player-in-training, as opposed to a sax/clarinet player trying to play oboe.
I would second oboeidaho's advice about avoiding store-bought reeds, but I would not say that you necessarily have to make your own. There are plenty of professional reed makers on-line from whom you can buy reeds. That's what I do, mainly because I currently don't have the time to learn how to make my own. But I am satisfied with the ones I buy, and am willing to spend the bread to have someone who really knows what they are doing make mine for me.
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Author: Arnoldstang
Date: 2010-08-13 15:13
Talk to single reed players that double on oboe. The very best play great and have gone through what you are experiencing.
Freelance woodwind performer
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Author: kimber
Date: 2010-08-16 15:49
As an oboe player first and a clarinet learner second, I will throw in the casual advice to mind your lip corners when playing. Really pull them in...think the 'fish lips' face you might have made as a kid. There is a good inch difference in the width of a mouthpiece vs a reed and it's the lip corners that have to make up the difference (not flattening for a smile embouchure.)
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Author: gsurosey
Date: 2010-08-18 21:39
Make sure you're not chomping on the reed. On clarinet, you have a mouthpiece to sink your teeth into. On oboe, you'll collapse the reed (at least that's my experience). The worst problem I had with oboe is that the horn I had was junk (had a crack banded in 3 places and when I took it to get looked at, I was basically told it was more to fix it then it was worth).
Rachel
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Author: kimber
Date: 2010-08-19 20:14
Good way to build up oboe embouchure is to take one of those horrible store oboe reeds and use it just for having in your mouth and shaping/holding your lips around it. You can do that while driving, watching tv, reading etc. Just don't ever put that reed into the oboe and expect something beautiful!
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Author: Arnoldstang
Date: 2010-09-07 16:48
The "reed" is so paramount for oboe. There are many youtube videos pertaining to this subject. The reed should do most of the work for you. You shouldn't have to develop embouchure muscles of steel. It should respond easily and at the same time have integrity.ie....you shouldn't have to mute all the undesirable tone qualities with your mouth. If you watch the videos by MKL reeds you will see this demonstated. The performer plays with a relaxed unset embouchure and alllows the reed to do what it wants. This is a test to see how much the player has to do when playing. If the reed naturally wants to blat or sink into flatness then you will be working too hard to control it. It is my opinion that the difficulties with the oboe are mostly reed related. A clarinetist or flutist should be able to play it at a elementary level quickly. My present approach as a doubler is to buy blanks and finish them. If you have good quality cane/gouging and tying on it helps the reed making immensely.
Analyzing a "horrible" store bought reed can be instructional. What is wrong with it? The usual priorities are 1. response 2. pitch 3. tone.
Freelance woodwind performer
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Author: plclemo
Date: 2010-12-13 01:03
I have just done this in the past 8 months. My biggest difficulty is in pressure of my lips on the reed and in keeping my lips "pursed" on the oboe reed. This after playing clarinet for 40 years.
Post Edited (2010-12-13 01:04)
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Author: Oboelips
Date: 2011-06-20 17:55
Having a teacher who is an oboist is imperative. Most beginners do purchase reeds, and the teacher will steer you towards a decent reed vendor. The most fundamental thing for you to do is to train those muscles in your face--you will be using muscles in your face that you do not use for picc, flute, clarinet, sax. There are muscles that you use for oboe that you do not use for english horn, or anything else! The oboe embouchure stands alone in even the doublereed world. So practice that embouchure!
Also, be aware that now, you'll have to plan your exhalations (when playing oboe, alot of stale air builds up--you've got to get rid of it, often at a breath mark) as well as inhalations. Fingerings are quite similar to other woodwinds, but managing the air and the reed make the difference. And please, take lessons from someone who does not sound like the 'mosquito in a jar' technique that is often heard today. Is it worth all the work?
You betcha it is.
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Author: dblomd
Date: 2012-07-21 16:26
I started on clarinet and progressively learned all of the woodwind instruments by the time I reached sophomore year in college. The biggest change from clarinet to oboe is embouchure. I struggled with getting oboe and bassoon pitch right until another teacher pointed out that if I change my embouchure it can help immensely. You can use a "smile" embouchure that is used on clarinet and flute, but if you change it to one like you are sucking on a straw, the pitch comes up instantly. Hope this helps.
Senior Music Education Major, Proficiency Piano
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Author: dblomd
Date: 2012-07-21 16:34
I started on clarinet and progressively learned all of the woodwind instruments by the time I reached sophomore year in college. The biggest change from clarinet to oboe is embouchure. I struggled with getting oboe and bassoon pitch right until another teacher pointed out that if I change my embouchure it can help immensely. You can use a "smile" embouchure that is used on clarinet and flute, but if you change it to one like you are sucking on a straw, the pitch comes up instantly. Hope this helps.
Senior Music Education Major, Proficiency Piano
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