Author: Dutchy
Date: 2008-01-28 18:38
Quote:
Everything else is just an enharmonic of what you already know.
Like Vboboe said, some of the alternate fingering sequences can present a surprising challenge.
Just because you may know that D# = Eb doesn't help you with an ascending B major scale: it has to go B, C#, Left Eb/D#.
And if you only know, "Eb = D#, so I'll use this fingering for Eb that I already learned", then you'll run into trouble, because C# to Right-hand D# just ain't a-gonna go.
Also, there are two different fingerings for F--three if your oboe has Left-Hand F key--and each one is essential in its place. So if you've only memorized that *this* fingering means "F", it means you're going to be in trouble every time you try to slur from D to F, or when playing in the key of Db (and yes, you're going to have to get comfortable in Db eventually, because in a band, the transposing instruments like trumpets and French horn sometimes are given music that's in a nice fat key for them, but which means that the C instruments like oboe and flute are in Db or Ab. And even sometimes, heaven help us, Gb.)
So anyway, memorizing scales and notes is fine, but you have to combine it with context.
I'd also like to mention that virtually all the pieces in the EE series are in fat key signatures for the oboe, namely F, Bb, Eb, and Ab, except for a few token appearances of A and E. But you're going to need to explore other key signatures eventually, so be on the lookout for other method books. It was a real eye-opener for me to start working on other books, and have to actually play in keys like E major and B major. I already played piano, so it wasn't a total shock, but still, having to figure out some of the fingerings, especially the enharmonics, was a real intellectual stimulating challenge.
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