Where Are All The Oboists These Days? Options

[katica]

I hope your teacher can give you some clues, MrsB...

I need to reorganise myself entirely. Work and health are getting in the way of the oboe and it's making everything a bit stressful.

Could do with planning a new life at the moment... (IMG:style_emoticons/default/rolleyes.gif)

But more realistically, I need to work out a more efficient practice routine and be as disciplined as I can about it (not easy, due to said interferences). What do you folks do? When you're busy, what does your average practice look like? How much time to you spend on what?

I've become so, so bad about starting with the long note thing recently. I do a bit more on scales but they're not advancing an awful lot and I have to admit that sometimes my warm-up is pretty cursory before launching into technical studies or piece practice (one or the other for most recent practice sessions).

I'm enjoying the new technical studies that my teacher gave me this term (Salviani and Prestini) but no doubt they will be picked to utter pieces again on Tuesday. (IMG:style_emoticons/default/rolleyes.gif)

One lesson on the Marcello traumatised me a bit. Evidently it was in much, much worse shape than I thought it was, and I wasn't very sanguine about how it was sounding... (IMG:style_emoticons/default/mellow.gif) I can fully understand why you've been hesitant about learning it, Roseau, and you are years ahead of me. It's such a lovely concerto - I do so hope that playing it awfully - and being put through my teacher's harsh mill - don't take a lot of the joy out of it for me. I still can't quite like that Vivaldi concerto with which he gave me such a hard time a while back.

[flobiano]

Sorry to hear you are struggling a bit at the moment (IMG:style_emoticons/default/grouphug.gif)

Hopefully your health is improving and it will be less of a problem for you as time goes on.

But more realistically, I need to work out a more efficient practice routine and be as disciplined as I can about it (not easy, due to said interferences). What do you folks do? When you're busy, what does your average practice look like? How much time to you spend on what?

I've become so, so bad about starting with the long note thing recently. I do a bit more on scales but they're not advancing an awful lot and I have to admit that sometimes my warm-up is pretty cursory before launching into technical studies or piece practice (one or the other for most recent practice sessions).

I try to routinely practice for an hour and split it into 3 bits -
20 minutes on scales, long notes
- I do major scales and arpeggios one day, harmonics next day, melodics and dim 7ths, majors in thirds (currently still learning these) and dom 7ths next. Also play chromatic from bottom right to the top. I then go on to the "scale of the day" and do a bit more work on that. Long notes, slow scales with tuner, vibrato "bumps", dynamics etc
20 minutes on study
20 minutes on pieces
Depending on what state pieces are in and how many I'm working on I'll either spend all 20 minutes on one and then another the next day, split evenly between them or do 15 minutes on one piece and just review tricky bits from another.

Added extra - if I have a bit of extra time to spare I'll spend a bit of time on orhcestra pieces or playing through pieces for fun.
If i don't have so much time I may do 45 minutes or occassionally 30 minutes but still split it into the 3 sections.

I don't worry about practicing orchestra/ lesson days and I don't feel guillty about having 1 day off playing a week (it can be a good thing!) but I do my best to avoid missing 2 days of playing a week. I am looking forward to hearing how other people approach practising too. (IMG:style_emoticons/default/smile.gif)

Having said all that my practising has been a bit haphazard over Easter with routines being different, having no lesson or orchestra and feeling a bit under the weather. Hopefully back to normal now that lessons have restarted. I have the Rite of Spring concert tonight - it seems to have come together pretty well and I've really enjoyed being part of it. I'm very glad I'm only playing 3rd oboe - I am relying very heavily on the rest of the oboes coming in at the right time! I would be completely lost without the 1st oboe cues! (IMG:style_emoticons/default/blush.gif)

[MrsB]

One lesson on the Marcello traumatised me a bit. Evidently it was in much, much worse shape than I thought it was, and I wasn't very sanguine about how it was sounding... (IMG:style_emoticons/default/mellow.gif) I can fully understand why you've been hesitant about learning it, Roseau, and you are years ahead of me. It's such a lovely concerto - I do so hope that playing it awfully - and being put through my teacher's harsh mill - don't take a lot of the joy out of it for me.

I thought it was good to pushyourself playing harder things? I've got a Marcello piece in my old music stash and I've had great fun attempting to play it despite it being beyond my ability. It's lovely and gives me great enjoyment playing it and hearing it improve (very gradually!) so it'd be a real shame if your teacher's comments took that away from you.

[Arundodonuts]

I try to routinely practice for an hour and split it into 3 bits -
20 minutes on scales, long notes
- I do major scales and arpeggios one day, harmonics next day, melodics and dim 7ths, majors in thirds (currently still learning these) and dom 7ths next. Also play chromatic from bottom right to the top. I then go on to the "scale of the day" and do a bit more work on that. Long notes, slow scales with tuner, vibrato "bumps", dynamics etc
20 minutes on study
20 minutes on pieces
Depending on what state pieces are in and how many I'm working on I'll either spend all 20 minutes on one and then another the next day, split evenly between them or do 15 minutes on one piece and just review tricky bits from another.

Well I attempt to be as organised as that.

Generally about 1-1.5 hours a day. I've tried to push that up a bit recently but it doesn't seem to be happening. Recently I've been spending a lot of time playing pieces, trying to figure out what to play for Grade 7 and my technical work has suffered. Minor scales are pathetic, dims, doms and chromatics merely poor. So, having now sorted out my 3 pieces, I'm having to thrash the technical stuff a bit.

But, when I was organsied, I would say I was pretty similar to you. I too had the idea of a "scale du jour" and would base much of my technical work for the day on that, adding arps, related doms, scale in 3rds (just starting that myself too - invaluable for the Albinoni). Then studies in the same key (recently started on Salviani). Once I finish putting sticking plaster on these damned minors I'll try to get back to something similar.

Added extra - if I have a bit of extra time to spare I'll spend a bit of time on orhcestra pieces or playing through pieces for fun.

Me too, though I somehow don't seem to find time.

I don't worry about practicing orchestra/ lesson days and I don't feel guillty about having 1 day off playing a week (it can be a good thing!) but I do my best to avoid missing 2 days of playing a week. I am looking forward to hearing how other people approach practising too. (IMG:style_emoticons/default/smile.gif)

I do a warm up about an hour before I go to Monday evening orchestra, though Saturday morning is far to early to do anything beforehand. It's a good couple of hours playing so I don't normally practice later on (though I may if feeling righteous). I generally give myself (only) 1 day a week off.

Having said all that my practising has been a bit haphazard over Easter with routines being different

I went of to Wales walking so the oboe was left at home for a few days. But even pros are allowed to go on holiday.

I have the Rite of Spring concert tonight - it seems to have come together pretty well and I've really enjoyed being part of it. I'm very glad I'm only playing 3rd oboe - I am relying very heavily on the rest of the oboes coming in at the right time! I would be completely lost without the 1st oboe cues! (IMG:style_emoticons/default/blush.gif)

Crikey. Mahler, Stravinsky. What next? I've had a go at following the score to Rite (not playing) and failed miserably. I'm sure you'll love it though. What a great opportunity.

[flobiano]

Generally about 1-1.5 hours a day. I've tried to push that up a bit recently but it doesn't seem to be happening. Recently I've been spending a lot of time playing pieces, trying to figure out what to play for Grade 7 and my technical work has suffered. Minor scales are pathetic, dims, doms and chromatics merely poor. So, having now sorted out my 3 pieces, I'm having to thrash the technical stuff a bit.

ooh..which pieces have you decided on for Grade 7? Are you doing it this session?

Crikey. Mahler, Stravinsky. What next? I've had a go at following the score to Rite (not playing) and failed miserably. I'm sure you'll love it though. What a great opportunity.

I think this is the last one for the forseeable future (bar the Liverpool Phil play day!). It has been a great opportunity. I couldn't follow either the Mahler or Stravinsky against the CD - though I did a bit better with the Stravinksy. Definitely need the conductor to pick up the changes in tempo. There are still bits in the Rite of Spring that I miss, but I think there is only one bit where I am exposed so hopefully the rest won't be too obvious. Key thing is to make sure that I don't play in the general pauses... (IMG:style_emoticons/default/laugh.gif) I've learned so much about orchestral playing through doing both of them and my counting has improved immensely! As has my ability to mime and find my place in the score again after getting lost. (IMG:style_emoticons/default/wink.gif)

[Arundodonuts]

ooh..which pieces have you decided on for Grade 7?

Albinoni Op.7/6
Schumann Romance No.3
Berkeley 3 Moods No.2

Are you doing it this session?

So teacher says (IMG:style_emoticons/default/laugh.gif) Just over a week to decide.

I've learned so much about orchestral playing through doing both of them and my counting has improved immensely!

Yes my modest attempts have helped both my counting and sight reading, though sometimes you wouldn't think so.

As has my ability to mime and find my place in the score again after getting lost. (IMG:style_emoticons/default/wink.gif)

Yes that too. Though recently as I was the only oboe who showed up for windband, the miming I had previously been doing became only too apparent (IMG:style_emoticons/default/blush.gif)

[Roseau]

But more realistically, I need to work out a more efficient practice routine and be as disciplined as I can about it (not easy, due to said interferences). What do you folks do? When you're busy, what does your average practice look like? How much time to you spend on what?

I don't practise on the two days I teach, although I do play in a windband in the evening of one of these days so there is really only one day a week when the oboe doesn't come out of its case.

On the days I'm not teaching, I usually practise for around an hour and a half. I start with long notes, scales of some sort and usually some sort of technical exercise often (but not always) out of Gillet's "20 minutes". All this can take anything between 15 and 30 minutes depending on what pieces I am playing.

When I move onto the pieces I start with the "difficult" bits, which very often involves playing a scale repeatedly or a finger exercise or a tonguing exercise (which is why my non-specific warm up may be shorter). I have strict instructions from my teacher not to limit my practice to the "difficult bits" and to play through the whole piece (or in the case of Morceau de Salon a whole section) at least once in every session to develop stamina.

I rarely practise orchestra pieces at home, unless I have a particularly exposed solo.

Like you, however, I am feeling that I have rather lost direction at the moment for several reasons. For the last five weeks of the semester I was teaching three days a week not two, which meant that I had two days a week without practising. The other reason is that I feel my playing has changed over the past couple of months and I don't really know where I'm going. There are a whole host of things which I feel are "wrong" about my playing at the moment, and my usual practice routine doesn't seem to be helping with any of them. When I have brought them up with my teacher, he hasn't paid a great deal of attention to them because as far as he's concerned everything is "coming together" and he sees an overall improvement where I see a regression (IMG:style_emoticons/default/wacko.gif) After the holidays I want to spend some lesson time on how to practise so that I can stop feeling that I'm going about things aimlessly.

One lesson on the Marcello traumatised me a bit. Evidently it was in much, much worse shape than I thought it was, and I wasn't very sanguine about how it was sounding... (IMG:style_emoticons/default/mellow.gif) I can fully understand why you've been hesitant about learning it, Roseau, and you are years ahead of me. It's such a lovely concerto - I do so hope that playing it awfully - and being put through my teacher's harsh mill - don't take a lot of the joy out of it for me.

I thought it was good to pushyourself playing harder things? I've got a Marcello piece in my old music stash and I've had great fun attempting to play it despite it being beyond my ability. It's lovely and gives me great enjoyment playing it and hearing it improve (very gradually!) so it'd be a real shame if your teacher's comments took that away from you.

I think the whole "easy/hard" thing is complicated since so much depends on how you play them. With a "hard" piece (as in lots of notes/complicated rhythm) my teacher can be relatively tolerant, with an "easy" piece (one I can sight-read without a problem) he can be unbelievably critical and I often can't even get to the end of the first bar before he stops me. As I posted on here last year, for complicated reasons, I ended up taking an exam which my teacher had assured me was a long way below the level I am really playing it. In one of my lessons before the exam he was so critical of the "easy" exam piece that I ended up asking him if he really thought I was capable of passing it. He was somewhat taken aback by my question and then said "Let's get this clear, you would pass no problem playing it the way you play it now but I'm not going to waste a month's lessons so I'm teaching it to you at a completely different level" (IMG:style_emoticons/default/wacko.gif)

I also think teaching methods in France are different to those in the UK and I suspect that Katica's experiences are probably similar to mine. Someone once told me about their experience of an English-French recorder course which for me sums up the differences between the two styles. The English recorder players were happy to sight-read through lots of new material; the French ones wanted to discuss exactly how they were going to play everything. After a couple of days the groups split up into French players and English players; the English players were frustrated by how long it took to get to the end of a piece and what a small number of pieces they were playing; the French accused the English of "bashing through" things without paying attention to detail and of wanting to play far too many different pieces.

I rarely work on more than one piece at a time, I can't remember the last time my teacher asked me to play a scale in a lesson and on the rare occasions when I have played a study this has been instead of a piece rather than alongside a piece.

[MrsB]

That's interesting Roseau.I'm very much of the plough through to see how it sounds and go from there brigade, so I must be typically British! (IMG:style_emoticons/default/biggrin.gif) My tutor also encourages metokeep playing when I make a mistake and correct it the next time (unless I've got it completely wrong!).. i'm sure if I was working towards exams though I'd be a lot more methodical and picky in my approach but as I'm playing just for fun I can be a lot more relaxed if it takes a while to get something perfect.

[katica]

I try to routinely practice for an hour and split it into 3 bits -
20 minutes on scales, long notes
- I do major scales and arpeggios one day, harmonics next day, melodics and dim 7ths, majors in thirds (currently still learning these) and dom 7ths next. Also play chromatic from bottom right to the top. I then go on to the "scale of the day" and do a bit more work on that. Long notes, slow scales with tuner, vibrato "bumps", dynamics etc
20 minutes on study
20 minutes on pieces
Depending on what state pieces are in and how many I'm working on I'll either spend all 20 minutes on one and then another the next day, split evenly between them or do 15 minutes on one piece and just review tricky bits from another.

In theory my practice should look like this too but I don't always stick to it. I think I need to be more methodical about rotating the scale stuff. I haven't been completely consistent about the "scale of the day" thing either. Scale testing is so basic in lessons so it's not useful as motivation to improve across the range. More often than not it's Ab or E major as a warm up and that's it.

And I know I'm not doing enough long note practice. My teacher says that even just 5 mins in a 15-20 minute long note / scale warm-up will yield results.

ooh..which pieces have you decided on for Grade 7?

Albinoni Op.7/6
Schumann Romance No.3
Berkeley 3 Moods No.2

I'd pick the first two too. (IMG:style_emoticons/default/smile.gif)
Good luck if you do decide to go for it. If your teacher thinks so, you must be good for it... (IMG:style_emoticons/default/smile.gif)

When I move onto the pieces I start with the "difficult" bits, which very often involves playing a scale repeatedly or a finger exercise or a tonguing exercise (which is why my non-specific warm up may be shorter). I have strict instructions from my teacher not to limit my practice to the "difficult bits" and to play through the whole piece (or in the case of Morceau de Salon a whole section) at least once in every session to develop stamina.

My teacher has criticised me in the past for spending too much time on playing through the whole thing when practice could be much more efficiently spent on the hard bits. Mind you, I've got so used to him stopping me at the slightest problem that I've got into a very bad habit of stopping - and got pulled up for that a couple of lessons ago.

Generally my teacher tries to do some work on both studies and piece in the lesson. Like you, I'm never normally working on more than one piece at a time (with him - I'm usually working on a couple more at home).

I don't do a lot of work on band stuff but do try to spend a few minutes on very difficult bits, especially as we're a small group and I'm the only oboe, so quite exposed. I did have to quite a bit on the salsa pieces, especially as we were bashing through them at quite a rate in rehearsals. That's not normal for us, though. We'd definitely be with the French rather than the British group. Actually, I think that both approaches have their merit. I've really enjoyed playing sessions in the UK where you just "bash through" quite a lot of material as a contrast to the meticulous breaking everything down we do here. Good for building sightreading skills too.

[Arundodonuts]

And I know I'm not doing enough long note practice. My teacher says that even just 5 mins in a 15-20 minute long note / scale warm-up will yield results.

I had my best practice today for some time and I think it had a lot to do with spending time to do long notes, slow scales and arps LOUDLY before moving on to anything else. Everything after that went really well because, I think, I was well warmed up, as were my reed and oboe.

[Arundodonuts]

I think this is the last one for the forseeable future (bar the Liverpool Phil play day!). It has been a great opportunity. I couldn't follow either the Mahler or Stravinsky against the CD - though I did a bit better with the Stravinksy. Definitely need the conductor to pick up the changes in tempo. There are still bits in the Rite of Spring that I miss, but I think there is only one bit where I am exposed so hopefully the rest won't be too obvious. Key thing is to make sure that I don't play in the general pauses... (IMG:style_emoticons/default/laugh.gif) I've learned so much about orchestral playing through doing both of them and my counting has improved immensely! As has my ability to mime and find my place in the score again after getting lost. (IMG:style_emoticons/default/wink.gif)

Well? Was it good?

[flobiano]

I think this is the last one for the forseeable future (bar the Liverpool Phil play day!). It has been a great opportunity. I couldn't follow either the Mahler or Stravinsky against the CD - though I did a bit better with the Stravinksy. Definitely need the conductor to pick up the changes in tempo. There are still bits in the Rite of Spring that I miss, but I think there is only one bit where I am exposed so hopefully the rest won't be too obvious. Key thing is to make sure that I don't play in the general pauses... (IMG:style_emoticons/default/laugh.gif) I've learned so much about orchestral playing through doing both of them and my counting has improved immensely! As has my ability to mime and find my place in the score again after getting lost. (IMG:style_emoticons/default/wink.gif)

Well? Was it good?

I think we pulled it off....we started together and finished together and generally the general pauses were silent. There were a couple of dodgy points inbetween but overall it was pretty good I thought! (IMG:style_emoticons/default/smile.gif)

[katica]

I think this is the last one for the forseeable future (bar the Liverpool Phil play day!). It has been a great opportunity. I couldn't follow either the Mahler or Stravinsky against the CD - though I did a bit better with the Stravinksy. Definitely need the conductor to pick up the changes in tempo. There are still bits in the Rite of Spring that I miss, but I think there is only one bit where I am exposed so hopefully the rest won't be too obvious. Key thing is to make sure that I don't play in the general pauses... (IMG:style_emoticons/default/laugh.gif) I've learned so much about orchestral playing through doing both of them and my counting has improved immensely! As has my ability to mime and find my place in the score again after getting lost. (IMG:style_emoticons/default/wink.gif)

Well? Was it good?

I think we pulled it off....we started together and finished together and generally the general pauses were silent. There were a couple of dodgy points inbetween but overall it was pretty good I thought! (IMG:style_emoticons/default/smile.gif)

(IMG:style_emoticons/default/biggrin.gif) (IMG:style_emoticons/default/clap.gif) (IMG:style_emoticons/default/party1.gif)

After a step in the right direction during Friday's practice (despite foul down-in-the-dumps mood), Saturday was a write-off due to a migraine. It was thefirst in 6 months - hope they don't come back (IMG:style_emoticons/default/sad.gif).

I meant to follow Arundodonuts' example yesterday but got distracted by my flatmate. (IMG:style_emoticons/default/ph34r.gif) He came in and spotted the very same Albinoni Op.7/6 and... (IMG:style_emoticons/default/rolleyes.gif)

But I think I needed to play around a bit, though, to get my mojo back. Time to go home and see if I can do better tonight. Lesson tomorrow! (IMG:style_emoticons/default/ohmy.gif)

[floboe]

Hi i'm another oboist to add to your collection (IMG:style_emoticons/default/smile.gif)
I have been playing for just over five years and I absolutely love it!

[MrsB]

Hi floboe (IMG:style_emoticons/default/smile.gif)



Well I went along for my first orchestra session and have been left very unsure if I want to pursue it.

The orchestra was very relaxed which was nice, but it's very small, less than 20 people and I was the only oboe, although apparently they usually have another, so I was sat all by myself.

I really struggled with counting through the long sections I wasn't playing which didn't give me confidence to start playing so I missed my solos a couple of times, but once playing I didn't have any real trouble.

Everyone was really nice, but the standard of playing was really varied and I felt that the music was probably too hard for those closer to the grade 2 entry standard - my part had a low B, high D and triplets so not beginners music.

So I know it wouldbe good for me to keep going, learning to follow conductor, play with others, count, sight-read and experience different music, but it's not an orchestra I can imagine being ready to perform any time soon and I'll have to pay to keep going...