Valparaiso, Indiana

# 1

Intermediate oboists begin playing more solos with piano accompaniment and chamber music literature for combinations with oboe, flute,  clarinet, bassoon, and horn).  These more sophisticated musical settings require the oboist to be in tune in all registers with other instrument families.  When blending the oboe sound other instruments there are more challenges with playing in tune, adjusting one’s own intonation to match the intonation of another instrument, deciding who is flat and who is sharp,  and what adjustments need to be made to improve one’s intonation.

# 2

It is important for the intermediate oboist to have a private instructor who can coach both solo performing and chamber music performing.  Having  someone listening who is not playing with you is most important in making the necessary adjustments to play better in tune.

# 3

In the lower register the oboe tends to play flat.  In the upper register the oboe tends to play sharp.  The note “C” on he third space of the rebel clef is a difficult note to play in tune with a good sound.  This pitch tends to sound thin and “sharp.”  Thus,  the oboist needs to play with a little less reed in their mouth and a firmer embouchure to keep both the pitch and tone consistent with the other pitches above and below “C.”

# 4

Playing with good intonation requires more listening skills. Playing without reading the music is helpful in solving intonation problems.  When you are performing but not reading the music, the oboist will be able to have more concentration on the sound (pitch and tone) of their instrument.  With more listening and less reading the oboist will be able to correct intonation problems immediately.  The key to success with oboe intonation  is to increase your focus and awareness of intonation.

# 5

It is important for the oboist to recognize conflicts in intonation and to anticipate notes that may be challenging to play in tune.  Wide jumps from the low to high registers can be a problem to play in tune.  Notes that are in unison or octaves need to be perfectly in tune.  Long sustained notes with various dynamics are a challenge.  Players need to know the tendencies of their instruments regarding intonation as they play extreme dynamics from pianissimo to fortissimo.  When the oboist increases their air speed and gradually play louder the pitch tends to rise or sound sharper, and when the oboist decrease their air speed and gradually play softer the pitch tends to sound lower or flatter.  Balancing these tendencies with the embouchure,  the reed opening and the air speed  will keep the intonation consistent and in tune in all registers.

# 6

If all fails with the above the oboist can pull out their reed slightly to make the instrument longer and the pitch sounding lower.  If the above fails and the instrument is too flat ti is possible to file down the bottom of the staple (the metal portion under the cork).  However, both these suggestions would be a last resort if you have an outstanding reed that is constantly out of tune.  However, these suggestions are not necessary    99 percent of the time when intonation problem occur.