Archive for the ‘Oboe Reed Adjustments’ Category

Step # 15 Articulations for the Advanced Oboist

# 1

In performing the level one (highest level)  contest solo literature for advanced oboist there is often a requirement to perform two contrasting movements of shorter baroque compositions or one movement of a longer concerto movement.  These pieces are greatly enhanced by the contrasting articulations that have been edited by an arranger or editor who has taken the time to add articulations to the oboe solo part enhance the quality of sound.  Be sure to observe each articulation for your best performance.

# 2

In the oboe Concerto by Cimarosa there are repeated articulations in the first movement  with dots above the notes and a slur line above the dots.  These notes are connected with a legato-style tonguing technique.  The cadenza in movement includes repeated articulations that are on the upbeat to add color and interest to the melodic line.  With these various articulations the first movement has lost of color.

# 3

At times it is necessary to articulate high “D” within a slurred melodic line in the upper register.  Use the half-hole “G” fingering with a light legato articulation to assure that the high “D”  speaks as part of any upper register melodic line.  When articulating notes above high “C,” it is, at times, necessary to take a little more reed into your mouth to clearly articulate notes in the extreme upper register.  Remember to direct your air upward into your sinus area when playing in the upper register with good breath support from your diaphragm.

# 4

In oboe reed-Making it is important that the low “D,” half-hole “D,” and high “D” respond when articulating at all dynamics levels.  If these notes do not sound with an easy articulation and a full sound, there has to be additional adjustments to the reed.   Thus, articulating notes in the low, middle, and upper registers with ease and flow give the oboist the best indication as to the quality of the reed they are using.

# 5

In baroque music often the melodic line begins with an upbeat or pick-up note.  Connecting the upbeat note to the next down beat note is critical in articulating this unique performance style of the era.  It is to sound like an up bow followed by a down bow on the violin.  It is the style of articulation that make such a piece of music interesting to the listener.

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