 The Oboe BBoard
|
Author: Thomas.
Date: 2006-06-17 10:28
How are the verious extended techniques on the oboe done, things like flutter tonguing, glissandi, harmonics ect.
|
|
Reply To Message
|
|
Author: d-oboe
Date: 2006-06-17 11:17
well....they are done by....doing them!
It's something that requires experimentation - as with any other aspect of the oboe. For a long tone, you try a few different approaches until you like what you hear. Same thing for contemporary techniques.
Flutter tonguing is most easily accomplished, generally, with a very loose embouchure and fast air. The reed has to almost be coming out of your mouth.
glissandi is a combination of an extremely flexible embouchure, and gradual uncovering of keys. It is harder to do on oboe as we don't have any open holes. (Unless you get an oboe made with them!)
"Harmonics" is the general term for anything that is not the fundamental pitch produced by a given bore length. Low "Bb" up to 3rd space "C" is the fundamental range on the oboe. The "C#" following up to high "C" is the *octave* harmonic, and from C# to G it is the harmonics based on a *twelfth* (octave plus 5th). So the better term for those strange honky sounds is "multiphonics." They are the result of special fingerings that have been discovered to produce two pitches at the same time. (usually combinations of the fundamental, and various upper harmonics) More often than not, compositions requiring multiphonics will have suggested fingerings written in.
Post Edited (2006-06-17 20:11)
|
|
Reply To Message
|
|
Author: vboboe
Date: 2006-06-17 18:06
... thanks for explaining multiphonics, how about microtonal too?
|
|
Reply To Message
|
|
Author: mschmidt
Date: 2006-06-19 23:13
Isn't microtonal just playing the oboe normally? ;-)
Mike
Still an Amateur, but not really middle-aged anymore
|
|
Reply To Message
|
|
Author: vboboe
Date: 2006-06-20 01:03
... well, the way some of us newbies play, it's more like "macro" tonal {:-}
|
|
Reply To Message
|
|
Author: oboeblank
Date: 2006-06-21 04:29
Microtones are intervals of less than a semitone, or as Charles Ives put it, the "notes between the cracks" of the piano. The term is also used to refer to any music whose tuning is not based on semitones, such as Indonesian gamelan music, Indian classical music and Bulgarian choral singing.
The Italian Renaissance composer and theorist Nicola Vicentino (1511-1576) experimented with microintervals and built a keyboard with 36 keys to the octave, known as the archicembalo.
Some Western composers have embraced the use of microtonal scales, dividing an octave into 19, 24, 31, 43, 72 and other numbers of pitches, rather than the more common 12.
It is like listening to a Mozart Orchestra, which usually tunes at 420. We are familiar with the "intune" sound of 440, and the "intune" sound of a German Baroque orchestra at 415 or even French Baroque at 392; but 420 is somewhere between the cracks-not an A, not quite a G sharp.
In his book The technique of Oboe Playing, Peter Veale includes a fingering chart for a microinterval chromatic scale.
|
|
Reply To Message
|
|
Author: vboboe
Date: 2006-06-21 05:41
hey, interesting, thanks, guess that eskimo throat singing probably fits into microtonal category too, anyway, in modern music it definitely sounds like an exercise for the well-tuned ear, would have to have a strong sense of pitch to be able to discern the niceties of microtonals
Don't we all do micro-tonals with vibrato anyway?
|
|
Reply To Message
|
|
Author: Thomas.
Date: 2006-07-08 11:01
Could you explain flutter tonguing further?
I'm playing in the New Zealand Secondary Schools Symphony Orchestra a piece by Takemistu for trombone and orchestra. It contains flutter tonguing and a fast glissando from half hole C# to the A above it, as well as heaps of other CrAzY stuff :-)
|
|
Reply To Message
|
|
Author: oboeblank
Date: 2006-07-08 16:58
The concept of flutter tonguing is similar to rolling your tonguing in French, Italian and Spanish.
Try saying garrrrrrrrrrrrrrcon-rolling your tonguing. Once you have that sensation try rolling the 'r' without any help, then transfer that to the oboe. I have always found that the trouble with flutter tonguing is that it is such an explosive effect that your embouchure sometimes cannot contain the excess air that you are rolling through the reed. However, with some practise you can accomplish this.
If you cannot roll your 'r's at all, then you need to create a laryngal growl. Jacqueline LeClair, an Eastman grad, Mannes teacher and an oboist with a lot of experience with "modern" techniques has a website-NuOboe.com I think, where she gives intrsuctions for fluttertonguing.
Glissandi are achieved by a slow release or depression of the keys and embouchure changes. Ascending glissandi are easier because you can slide your fingers slowly off the keys, giving a smoother transition. Start playing and slide fingers off, as you do you need to adjust your embouchure so there is a "smear" between the notes. If you just lift your fingers off the plateau you will get a scale, your want the slime between the notes in the glissando and your embouchure will help fill in the gaps. Do this slowly so it sounds like a gliss-think the begining of Rhapsody in Blue.
Hope this helps.
|
|
Reply To Message
|
|
Author: Thomas.
Date: 2006-07-09 09:38
For flutter tonguing is the "vibrating" movement in the tongue supposed to be in the back or the front of the tongue?
|
|
Reply To Message
|
|
Author: HautboisJJ
Date: 2006-07-09 15:50
I read NuOboe.com which oboeblank suggested and it explains it pretty well.
Good site!
|
|
Reply To Message
|
|
Author: mschmidt
Date: 2006-07-12 23:55
The Goosens/Roxburgh book gives some instruction on extended techniques in one of the later chapters.
Mike
Still an Amateur, but not really middle-aged anymore
|
|
Reply To Message
|
|
Author: HautboisJJ
Date: 2006-07-13 13:23
To add to Mike's recommendation, the Goosens/Roxburgh book was really really good in introducing extended techinques. Do check it out.
Howard
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
