Where Are All The Oboists These Days? Options

[Invidia]

I urgently need any help you wonderful oboists have to offer.

I am composing a piece of music that involves a lot of quarter tones. As a flautist I have had plenty of example material to examine for this. I would really love to put an oboe into my ensemble, but I don't have a clue about these things- can you even get them on an oboe? If so, can anyone suggest any music for me to go and have a look at? Mainly I am looking at fingerings for quarter sharps/flats for scoring purposes.

Thank you!

[morton]

I urgently need any help you wonderful oboists have to offer.

I am composing a piece of music that involves a lot of quarter tones. As a flautist I have had plenty of example material to examine for this. I would really love to put an oboe into my ensemble, but I don't have a clue about these things- can you even get them on an oboe? If so, can anyone suggest any music for me to go and have a look at? Mainly I am looking at fingerings for quarter sharps/flats for scoring purposes.

Thank you!

You probably need an expert on contemporary music for this. You could try sending an email to Paul Goodey at the RNCM, he might be able to help.

[Arundodonuts]

I urgently need any help you wonderful oboists have to offer.

I am composing a piece of music that involves a lot of quarter tones. As a flautist I have had plenty of example material to examine for this. I would really love to put an oboe into my ensemble, but I don't have a clue about these things- can you even get them on an oboe? If so, can anyone suggest any music for me to go and have a look at? Mainly I am looking at fingerings for quarter sharps/flats for scoring purposes.

Thank you!

Take a look at Christopher Redgate's website

http://www.21stcenturyoboe.com/index.php

Lots of good stuff there on "extended" techniques.

There is also a book by Libby van Cleve called Oboe Unbound. There are 3 sample chapters available online including Chapter 2 which describes many monophonic techniques including microtones.

http://www.scarecrowpress.com/Catalog/Sing...data=0810850311

[Roseau]

I told my teacher in my lesson this morning that the Vivaldi made me feel totally useless and he replied cheerfully that he knew it would and that was why he'd given it to me (IMG:style_emoticons/default/wacko.gif) He went on to say that it was not technically difficult (IMG:style_emoticons/default/ohmy.gif) (IMG:style_emoticons/default/ohmy.gif) (IMG:style_emoticons/default/ohmy.gif) but that it's a piece that can't be played timidly and that playing too timidly is what he sees as my main weakness at the moment. This in turn took me back twenty odd years to my piano teacher saying virtually the same thing about a Beethoven sonata. I like to think I have got more confident as I have got older but it seems not (IMG:style_emoticons/default/ph34r.gif)

I have now played through all three movements in my lessons and have been told/shown how to work on all of them but there's just too much work. I think I need to choose one (or two) things to work on for next week just so that I can feel there is some improvement somewhere.

[Roseau]

I'm not feeling so hopeless this week (IMG:style_emoticons/default/smile.gif)

My lesson didn't look as if it was going to get off to a good start as my teacher came into the room while I was warming up and, before he'd even taken his coat off, demanded that I sing a note and let my voice drop an octave, when he knows I hate singing (although I have to admit that the broken chord I had been playing did come out much better afterwards). He then said that he'd come through the back door, which meant he'd heard a good five minutes of my warm-up. I was expecting him to come up with a whole list of things that were wrong but to my surprise he told me he was impressed by the fluidity of my playing (IMG:style_emoticons/default/smile.gif)

I'd decided that this week I was going to "forget" that the Vivaldi has something like 9 pages and just concentrate on the 3rd movement which can be easily broken up into chunks of about two and a half lines. I practised just one chunk a day, which meant I hadn't had time to work on the whole piece but I had done some very intensive work on almost two of the three pages. I wasn't altogether convinced that I would be able to play them successfully in my lesson since they still weren't 100% secure at home, but I did. Even more gratifyingly, when we got to the bit I hadn't worked on, there was a huge difference so I'm no longer feeling that the piece is totally beyond me, just that it will need a lot of work.

I haven't got a lesson for the next two weeks because it's half term, so I'm going to try and adopt the same techniques with the first movement. Unfortunately, this doesn't divide itself up into chunks quite so easily, or at least it does but the chunks are twice the length.

[des]

I urgently need any help you wonderful oboists have to offer.

I am composing a piece of music that involves a lot of quarter tones. As a flautist I have had plenty of example material to examine for this. I would really love to put an oboe into my ensemble, but I don't have a clue about these things- can you even get them on an oboe? If so, can anyone suggest any music for me to go and have a look at? Mainly I am looking at fingerings for quarter sharps/flats for scoring purposes.

Thank you!

It's not common practice to put quarter-tone fingerings in scores, unlike multiphonics, where it is standard. There are usually several solutions to a quarter-tone and each oboist will find a method that suits the piece and the player - they're usually not problematic, though are easier the higher up you go. Quarter-tones below E above middle C should generally be avoided as there are substantially fewer fingering options for the lowest notes.

[katica]

News from Dartington: Nicholas Daniel's course is indeed only for advanced players. Ordinary mortals need to sign up with Holly Randall.

[Arundodonuts]

News from Dartington: Nicholas Daniel's course is indeed only for advanced players. Ordinary mortals need to sign up with Holly Randall.

Only suitable for one from these forums then eh?

[plonkee]

It has come to my attention that I do not have enough stamina. (And when I say 'come to my attention', I really mean that I've decided to do something about it - I've always known it's a problem.)

Now, I know/have been told that improving my breath stamina is mostly a matter of practising long notes. Also my teacher suggested breathing more frequently whilst I'm practising, and taking out breaths later (hope that makes sense). I'm also trying an exercise where you breathe out completely and then play a phrase - on the basis that you have more air available than you think you do.

I'd welcome other suggestions.

The other problem I have is arm stamina.

My right hand position is less than optimal. This is because I have both small hands and small fingers, so I can only cover the (split) D by placing my hand in 1 specific position. This is not a relaxed, strain-free position and becomes uncomfortable at about the same time as my lip gives up.

But my right arm supporting the weight of the oboe becomes uncomfortable much earlier (like after playing through about a page of music non-stop). It's the (one of?) muscle between my shoulder and elbow that I'm having problems with. I'm perservering through and also stopping to relax and shake out my arm/hand frequently. Is there anything else I should try? Is there anything I can do without the oboe that might help?

(I don't use a sling or any other support at the moment, I hated the stand thing-y when I tried it previously.)

[Roseau]

It has come to my attention that I do not have enough stamina. (And when I say 'come to my attention', I really mean that I've decided to do something about it - I've always known it's a problem.)

Now, I know/have been told that improving my breath stamina is mostly a matter of practising long notes. Also my teacher suggested breathing more frequently whilst I'm practising, and taking out breaths later (hope that makes sense). I'm also trying an exercise where you breathe out completely and then play a phrase - on the basis that you have more air available than you think you do.

I'd welcome other suggestions.

Things I find helped me (apart from long notes):
- playing the whole piece right through at least once in each practice session (I have a tendancy to get carried away practising just a few bars)
- playing a piece with a metronome (it stops you adding extra little pauses to make breathing easier).
- play scales one after another with the metronome, allowing yourself only one tick to breath.

The other problem I have is arm stamina.

My right hand position is less than optimal. This is because I have both small hands and small fingers, so I can only cover the (split) D by placing my hand in 1 specific position. This is not a relaxed, strain-free position and becomes uncomfortable at about the same time as my lip gives up.

I have small hands and short fingers and I'm sure lots of other oboists do, so there ought to be some way around this. Does your teacher not have any ideas?

For example, have you tried altering the position of your thumb rest?
The angle at which you hold your arms will also play a role (try lifting your elbows up and out a bit more).
And is the oboe resting on your thumb? (I too had problems with arm stamina which were solved instantly when I finally realised that the weight of the oboe was actually supposed to be on the thumb - I had been holding it like a recorder).

[flobiano]

The other problem I have is arm stamina.

My right hand position is less than optimal. This is because I have both small hands and small fingers, so I can only cover the (split) D by placing my hand in 1 specific position. This is not a relaxed, strain-free position and becomes uncomfortable at about the same time as my lip gives up.

I have small hands and short fingers and I'm sure lots of other oboists do, so there ought to be some way around this. Does your teacher not have any ideas?

For example, have you tried altering the position of your thumb rest?
The angle at which you hold your arms will also play a role (try lifting your elbows up and out a bit more).
And is the oboe resting on your thumb? (I too had problems with arm stamina which were solved instantly when I finally realised that the weight of the oboe was actually supposed to be on the thumb - I had been holding it like a recorder).

I had one orchestra concert last year where for some reason I really found holding up the oboe very uncomfortable, like you I couldn't manage more than a page at a time. But I'd never had it before or since. I ended up putting it down to the angle/ height of chair coupled with maybe just having to keep my arms at a different angle due to the seating arrangements. So it is definitely worth thinking about posture and how experimenting with different positions. I bought a rather interesting book last year called "Oboemotions: what every oboist should know about the body" which goes into great detail about maintaining the right posture to avoid injury and tension.

I would also re-iterate Kerioboe's advice about the thumbrest. If it is in the wrong place for you it maybe leading to tension which is also contributing to your arm ache. Good luck. (IMG:style_emoticons/default/smile.gif)

[Roseau]

I bought a rather interesting book last year called "Oboemotions: what every oboist should know about the body" which goes into great detail about maintaining the right posture to avoid injury and tension.

I bought this last year too and found it fascinating (IMG:style_emoticons/default/smile.gif)

[Arundodonuts]

How long have you been playing plonkee and how much practice do you do in a session and/or in total on one day? I'm currently playing 1-1.5 hours in a session and I reckon I'm only just starting to develop some good "playing" stamina (as opposed to the ability to play long notes). There are all sorts of tensions which creep in when you actually play and these do affect your ability to breath efficiently.

Certainly kerioboe makes some good points and "challenging" yourself to take breaths in a limited and defined time does help. I would also suggest taking some time to sort out phrasing and mark in breathing on pieces you are currently working on. Then make sure you breath where you are supposed to and force yourself not to breath elsewhere. Keep going even if it sounds dreadful (sometimes it will).

I'm currently spending some time developing vibrato and as part of that I'm re-visitng some of the simple legato exercises in Hinke. I think doing simple studies as legato as you can with minimal breathing should also help stamina.

As for your D ring issue. I think you just have to work hard on your hand and finger positioning. My Howarth S40 doesn't have a split D but it does have quite a large hole in the D pad. When I first started to play it after my original Buffet I kept fluffing notes because I wasn't covering the hole properly with my 3rd finger. Try some slow scales and arps and aim to get the changes really smooth and accurate.

[katica]

News from Dartington: Nicholas Daniel's course is indeed only for advanced players. Ordinary mortals need to sign up with Holly Randall.

Only suitable for one from these forums then eh?

(IMG:style_emoticons/default/laugh.gif) (IMG:style_emoticons/default/wink.gif)
Actually, I got TWO replies from Dartington and the other contradicts this so I am going to have to write again. But in any case the wind chamber music course is now full for elementary/intermediate obosits, so I will have to re-evaluate whether it will be worth going for the courses that are still open. Unfortunately I don't think I am going to be able to get a good idea of whether I can take time of work then or not for a few weeks, by which time it may be too late to sign up for anything. (IMG:style_emoticons/default/sad.gif)

[plonkee]

How long have you been playing plonkee and how much practice do you do in a session and/or in total on one day? I'm currently playing 1-1.5 hours in a session and I reckon I'm only just starting to develop some good "playing" stamina (as opposed to the ability to play long notes). There are all sorts of tensions which creep in when you actually play and these do affect your ability to breath efficiently.

I've been playing for nearly 3 years and I practice for an hour at a time, give or take. My playing stamina has improved in that time for sure, but its now the thing that's holding me back. (So I'd like to fix this somewhat and discover the next thing to work on specifically.)

I had one orchestra concert last year where for some reason I really found holding up the oboe very uncomfortable, like you I couldn't manage more than a page at a time. But I'd never had it before or since. I ended up putting it down to the angle/ height of chair coupled with maybe just having to keep my arms at a different angle due to the seating arrangements. So it is definitely worth thinking about posture and how experimenting with different positions. I bought a rather interesting book last year called "Oboemotions: what every oboist should know about the body" which goes into great detail about maintaining the right posture to avoid injury and tension.

This sounds good. I will experiment with angles and stuff whilst practising.

Thanks everyone for all the tips suggested. I've got quite a few things to try out in practices.