Embedded Files
This page is designed to help oboists understand and execute voicing and playing notes in the upper register.
Voicing is the shape of the tongue, throat, jaw, and overall oral cavity shape. A higher voicing can be achieved by
higher jaw position
higher tongue position
"ee" vowel shape in the mouth and throat
A lower voicing can be achieved by
relaxed, lower jaw position
lower tongue position
"oh" vowel shape in the mouth and throat
Voicing changes tone color, intonation, and can help notes speak in the higher and lower octaves. Generally, oboe should be played with an open, lower voicing until you reach A5 above the staff. At that point, oboe players should use a higher voicing and should be using the side octave key.
Heads Up!
The exercises on this page assume you know some of the basic fingerings in the first and second octaves of the oboe. If you are just starting out on the oboe, these may be too difficult for you. You can come back once you've started playing into the second octave in band class.
The diagram to the left presents a brief reminder of what the slur marking indicates. This is the first measure for number 95 in Volume one of the Essential Elements for Band method book. You will need to understand slurs before moving on to the exercises below.
This note is called A5. It should be fingered using the side octave key as shown in the fingering chart to the left. Make sure to switch to this octave key at and above A5. Some oboes can play this note using the primary octave key. You can also keep holding down the primary octave key in addition to the side octave key if the notes go by quickly.
This example requires you to use slurs. Remember that slurs require you to tongue the first note underneath the slur, but then the air continues while the fingers move to the next note. Listen to the audio example for reference. This piece uses both primary octave keys. At and above A5, you must use the side octave key. Remember to use a higher voicing for these notes as well. The first two measures should sound exactly the same except for the differing octaves.
This simple exercise forces you to again switch between the primary two octave keys. Remember to use your tongue position to adjust your voicing at and above high A.
This Israel traditional melody could be played slurred and tongued. I encourage you to try both. All of the notes are played naturally since there are no flats or sharps in the key signature. Don't forget your half hole on last note and don't forget to raise the octave key when you get to that note.
The first two and last two measures should sound the same except for the differing octave. Remember that your voicing should be higher for the last two measures. Create a smaller resonating chamber in your oral cavity. Check intonation with a tuner. Make sure not to use too much embouchure pressure to get the higher notes out. Finally, try this exercise tongued once you've mastered it in its written form.
This is a beautiful melody that uses the side octave key, the first octave key, and two half-holed notes. Go as slow as you need to in the beginning. Don't be afraid to remove the slurs at first until you mastered the fingerings. There will be a noticeable change in your voicing between the first F and the high C. Finally, remember to keep your embouchure somewhat loose and flexible.
Page updated
Google Sites
Report abuse