Valparaiso, Indiana

Archive for the ‘Musical Styles and Moods’ Category

# 1

Advanced oboists need to practice their dynamic range from pp to ff with a crescendo/diminuendo pattern (1-9-1) on each step of the chromatic scale.  Practicing duets in the Advanced Rhubank book and playing the melodic lines in the Barret Oboe Method will provide oboists with direct application of their dynamic range practice.

# 2

An oboist’s ability to play good dynamics leads to good phrasing.  Various melodic lines in method books and solo oboe literature provide advanced oboists with many opportunities to demonstrate their dynamic range.  It is important to have a good oboe reed that is easy to attack and release in playing very soft at the beginning of crescendos and at the end of diminuendos.

# 3Building the oboist’s embouchure strength and endurance is essential in controlling the oboe reed at all dynamic levels.  Practicing daily is the key to success for the oboist.  Playing the oboe is very athletic in the areas of breathing and small muscle control (facial muscles, finger muscles, and proper breathing).   The baroque oboe literature requires the oboist to adjust dynamic levels immediately; thus,  the reed must be able to play the extreme dynamic levels with ease and spontaneity as indicated by the composer.

# 4

The best models of good dynamics and phrasing (including vibrato) for the oboist are the melodic sounds of good voice and violin performance.In trio literature for flute, oboe, and clarinet the oboist musc blend with the flue and clarinet in all registers.  For the best balance and blend the oboist needs a flexible reed that is easy to articulate with least resistance in all registers.