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Re: Tomasi Evocations: Glissandi

Author: oboeblank
Date: 2005-02-11 03:15

The following article is from a disertation by Nora Post:

"Glissandi on the oboe are achieved by a slow release (or depression) of keys coupled with changes in embouchure: The combined agency of embouchure and fingerings are required to accomplish a smooth progression. The fingers take their cue from the clarinettist's practice of drawing the fingers slowly off the keys at a sideways angle. The embouchure assists at points where the fingers are unable to manipulate smoothly across the break. It is important to note that there is a major difference between a slow and fast gliss. For the former, the fingerings between the outside pitches of the gliss are changed as slowly as possible to allow for the partial venting of the holes producing the glissando; the latter, by its very nature, does not allow for such careful depression and release of the keys. An ascending glissando is much easier to produce than a descending glissando, because the release of the keys can be controlled better than their depression. Examples of downware glisses in the repertoire are quite rare and, in these few cases known to this author, their effectiveness in minimal."

There are also a couple of excellent books that deal with extended techniques for the oboe; one by Libby Van Cleve and the other by Peter Veale.

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