 The Oboe BBoard
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Author: booface13
Date: 2013-02-17 04:21
I've been playing oboe for four years, and I think I can say that I can sustain long tones with proper support. But when I try adding vibrato, after two seconds it just gets uneven and out of control. I don't know if I just need to practice more or if I'm doing something wrong? I know I'm not moving my jaw at all, the vibrato is coming from my throat. I just can't control it. :/
On another note, I'm having trouble switching from high C (above the staff) to any of the higher notes. I can play high D - F just fine but not when I switch from C, or any of the lower notes for that matter. When I try, it sometimes makes a weird, leaky sound.
Any help would be appreciated; thanks!
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Author: Wes
Date: 2013-02-17 05:20
Try blowing pulses of air without the oboe at about four to a beat at 60 beats per minute, like sh sh sh sh........., before playing the long tone. Then do it with the long tone. Later try it at 80 beats per minute and 100 beats per minute. Good luck!
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Author: DrewSorensenMusic
Date: 2013-02-17 10:25
I think "sh sh sh sh" is a good one.
I was taught from David Schneider (student of Mack, but who isn't) to think "kuh kuh kuh kuh". Another option to try for you.
Drew S.
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Author: WoodwindOz
Date: 2013-02-17 18:11
Attachment: Vibrato exercise.pdf (44k)
If you can 'feel' the vibrato in your throat, it is possible it is too high and therefore affecting the airflow - which will have the same effect on the sound as closing your throat, just repeatedly.
I think Wes and Drew are definitely on the right track. It was once thought that vibrato comes from the diaphragm, but I think if those of us who use it regularly are completely honest, it IS a little higher, but not as high as the throat.
I am a flute teacher by trade, and when I teach vibrato, I always teach as though it does come from the diaphragm. The reasoning behind this is that it will eventually travel north until it reaches a comfortable place when the student becomes more familiar with the concept. If it is taught without mentioning the diaphragm, or is taught with reference to the throat or mouth, it is much harder to retrain the body to push this sensation south, where it belongs.
I'll attach a worksheet I use with my flute students - some of the ranges may be a little high, but if you find it useful, you could adapt them as needed. (Apologies for the English rhythm names!)
Rachel
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Author: Wes
Date: 2013-02-17 19:26
My first flute teacher was a grand pupil of Moyse, and he said to use the diaphragm and huff away with it. For me, it was not really good, and a later teacher said to practice ooh, ooh, ooh, ooh which worked fine.
Salvatore Spano, my late oboe teacher, also suggested to "get it up into the nose"!!
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Author: DrewSorensenMusic
Date: 2013-02-17 23:11
It is amazing there are so many people with beautiful vibratos, and they will all have a different way of explaining it. I think one is certain, every vibrato is completely unique.
When I too studied flute, of course it was explained that the pulses came from the diaphragm. However, I used to try and strain really hard with the diaphragm to increase the air speed. It was uncomfortable.
It's just something that I misunderstood for some time. Then in the oboe lessons, Mr Schneider offered the opinion that there is no true "diaphragm vibrato", but it is just a teaching technique for flutists and saxophonists, though many saxophonists incorporate the jaw as well. I personally have switched to throat vibrato on the sax with minimal jaw, it's more musical, but I digress.
Mr Schneider continued to explain that, like vocalists, oboe vibrato comes from the throat, with consistent supports from the diaphragm. When incorporating the favorite syllable of your choice, pulses can be felt in the diaphragm, but this is not the muscle relaxing and tightening. It is the space of the chest cavity getting smaller little by little, as air is released into the instrument. Of course, the throat does not close completely, just enough to emulate your favorite oboist's sound.
Drew S.
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Author: oboi
Date: 2013-02-18 07:02
It's taken me about a year to get the hang of vibrato. Coming out much easier but still takes effort. I sort of feel my vibrato starts at different places, depending on the note. But I do sort of try to get it to originate from the diaphragm..... depending on the note, it doesn't, but the key for me is to "aim low". Otherwise, it originates too high or I end up getting it in the embouchure instead.
I can simulate what I try to do by blowing out a narrow stream of air, and using my diaphragm to make pulses. Varying the air speed or pulse rate of the stream, you can then feel the pulse originating at various points between your throat and your diaphragm.
I'm no expert, but that how I get it to work.
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Author: oboe-owl
Date: 2013-02-18 18:20
I sing a bit, and that's was how I first figured out how to create a controlled vibrato. The vibrato happens naturally when I sing, and when I was trying to figure out how to do it on the oboe, I realised that I could do it in the exact same way I do when I sing. For me, it doesn't feel like it's really connected to my throat muscles, but equally it doesn't feel quite low enough to come from my diaphragm.
As for learning to control it, once you've found a comfortable way of creating a vibrato you like, then you'll simply have to practice. My teacher always tells me to practice playing long, slow notes. I think it is the easiest way to work on your sound production, vibrato included, although it can be rather dull. One thing I try to do is switch my vibrato on and off -- hold a note for a few seconds with a controlled vibrato, and then play the note again with no vibrato. It makes me more aware of how I achieve the vibrato, and therefore more able to control it.
With the high C to D and above issue, I guess you need to get more used to the transition in air pressure and support required. It's something that I've had to work hard at, and I've found it all comes back to support. When I hit a high note straight off, I know exactly how much pressure is needed and where my embouchure should be. When I move up from a lower note, I find it harder to judge because of the transition, if that makes sense. Be aware that your embouchure needs to tighten and that you will need a lot more support from your diaphragm all of a sudden.
I hope something I've said here is of use to you, although I'm still learning myself. Best of luck!
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Author: Loree BF51
Date: 2013-02-21 02:42
Oboe-owl really has the right approach. Do some vocalization and you will probably find that any attempt at vibrato will result in a constricted sound, especially if it's throat originated. Other than it sounds too jagged, its usually not possible to slow a throat vubrato down enough to sound musical in a piano - adagio passage. Listen to the BSOMunch recording of the Berlioz Symphony Fantastique and compare it to the CSO/Solti recording, where you're comparing Speyer to Schiltz. If you don't like Grover a lot more, then I'll quietly shut up! There is a notable paradox in the application, to be sure. but that's for another time. Regards.
R. Still former student
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