Valparaiso, Indiana

# 1

As the intermediate oboist progresses in book two, there are new patterns of sixteenth notes.  There are a number of ways to hear rhythmic patterns that include sixteenth notes.  The following is just one of many possibilities:

An Eighth Note & Two Sixteenth Notes = Blue ber-ry

Two Sixteenth Notes & an Eighth Note = Le-mon Twist

Four Sixteenth Notes = Mis-sis-sip-pi

# 2

As you play sixteenth note patterns in book two, start with a slow but steady tempo.  Play the entire exercise, then try four measures, two measures, and finally one measure.  Try to perform one, two, and four measures by memory.  Finally, try the entire sixteenth note exercise and hear the improvement.  You can apply this technique to any challenges rhythms or rhythm patterns.

# 3

Sixteen note patterns require a fast tonguing technique.  Keep your tongue close to the reed.  Try articulating (tonguing your reed) by using the syllables “Ta,” “Ti,” or “Do.”  Select the articulation that sounds best to you.  Play the sixteenth note patterns with short-sounding notes (staccato). You sound a staccato note by putting you tongue against the reed immediately after the note sounds.  There are many shades or lengths of staccato notes each of which are separate with various lengths of silence between the notes.  Then, try articulating each note using the same rhythms with longer connecting legato sounds with no silence between each articulated note.

# 4

Play your major scales including the carious sixteenth note patterns on each step of each major scale you are learning in class.  This is a god exercise for your tonguing technique.  Your tongue is the only muscle connected only at one end.  Good articulation is most important in oboe performances.  The challenge in improving your tonguing technique is that you cannot see your tongue moving against the reed.  Thus, you must use you listening to improve your tonguing technique.  Keeping your tongue close to the reed will improve the speed of your tonguing.

# 5

As with all rhythms, feeling the downbeat and the upbeat before you begin learning new rhythms is most important.  Rhythmic patterns sound on both the downbeat and the upbeat.  With more sophisticated literature there is more emphasis on syncopated rhythms where the accent is on the upbeat.  You will be performing more syncopated rhythms and syncopated rhythmic patterns as you move into book three.