Page 7 - Embou-Sure Book Series

A few brave and intelligent woodwind students, intrigued by the sound of an oboe, can be encouraged to adopt, switch to, or double on the oboe. While it
is generally an auspicious choice for the student as well as the band director, I have found that students who focus their energies on the oboe ultimately are more successful in developing and maintaining the skills necessary to produce a pleasing sound (good tone) and intonation. While every oboe sound is “unique,” it is helpful for an oboe student to have an impression or model of good sound to refer to, whether it be a teacher (an imperative asset), or a set of recordings.
“Tuning up” an ear to discriminate a good sound should include a variety of listening activities which exposes the student to the sounds made by a number of oboists, each with a distinctive style and tone quality. The contrast in tone qualities between European and American oboists is dramatic. Even among major American oboists, with the influence of Marcel Tabuteau (Father of American Oboists), there is a variety of tonal concepts and approaches to the instrument and its reeds.
The American sound has assimilated the warmth of the German school with the flexibility of the French school. For me, it as a buoyant sound. Each stu- dent with a model tone concept must then critically listen to him/ herself and compare qualities of one’s own playing (ideally with the help of a teacher) to analyze strengths and weaknesses.
While it is fun to explore and compare the world of oboe sounds, it’s much more exciting to produce the sounds and explore the wonderful world of oboe literature.
THE REED
The sound generator of the instrument is notoriously temperamental. At this point I must assume that the student has a source for reeds which is reliable. There are a couple of commercial reed outlets which advertise “hand-made” reeds, which, with a minimum of adjustment, can be used satisfactorily until reed-making skills are developed. The writer prefers a ’medium hard’ reed (providing good resistance) but which can be adjusted by rubbing fine sand- paper over the thick hump (heart) behind the tip of the reed. Whatever adjust-
ment is made on one side of the reed should be applied to the other side as well
to maintain the balance of the reed. This adjustment will free up the vibrations in the back of the reed if only one high pitch is heard in the crow, or if there
is too much resistance. A stable, octave C crowing reed is most desirable. An excellent resource for any adventuresome oboist is The Oboe Reed Book by Jan Light. His descriptions of the reed making process and adjustments are accessible and valuable.
BREATH SUPPORT
While a reed is soaking in a vessel of lukewarm water (never saliva), the instrument can carefully be assembled. The reed should be returned to the case, and the following breathing exercises repeated three times, to relax the upper body and increase the air capacity for the support system. Notice the resistance of air against the lips while blowing out a candle. Reverse the air flow, inhaling with the same resistance over a period of 8 counts (seconds if possible), hold breath for 4 counts, exhale full capacity in 4 counts. The re- sistance provided is helpful in stimulating the diaphragm to work and not the lungs and shoulders. The quick expulsion of air should involve the sensation of pushing against the “belt line.” This final step simulates the resistance of the reed in an oboe and illustrates the amount of support required to produce a sound, in a relaxed upper torso state. If the energies are focused on the dia- phragm, or pushing against the “belt line,” this often alleviates a lot of tension which accrues in the embouchure, throat and chest of a new student.
FORMING THE EMBOUCHURE
Imitating an English accent, say, “No oboe,” bringing the corners of the mouth firm and forward, against the teeth. The jaw will be separated, the chin down and firm, the tongue down. The syllables “oh” and “oo,” are helpful in mak- ing a resonant relaxed acoustical chamber. Think of the lips as a firm springy cushion. Avoid the tight-lipped “E” configuration which produces a thin tone and high pitch.
CROWING THE REED
Now the student is ready to “crow” the reed. Lay the tip of the reed at the
line on the bottom lip, which distinguishes wet and dry areas. Gently roll
Oboe Embou-Sure
by Barbara Cantlon
Embou-Sure – 9