Page 8 - Embou-Sure Book Series

the bottom lip in so that the reed barely extends into the mouth. The top lip should cushion and seal the reed from above. Thinking “No oboe” provides some resistance, to set the reed into vibration once the breath is activated, and will also help discourage the reed from slipping into the mouth more than 1/16 to 1/8th of an inch. Keeping the reed anchored firmly on the bottom lip, the student is now ready to inhale deeply and then blow into the reed to set the blades into vibration. Some initial “rushing air” noises may be heard until a proper amount of support and resistance find a balance. Articulating with
a soft “D” consonant may help initial experiments in the crow of the reed. Before the reed is inserted into the instrument, the student should be able to produce and sustain a healthy octave crow.
THE FIRST TONE
Moistening the cork of the reed, gently push the reed into the well at the top of the instrument so that it is basically parallel to the keys. Bring the instru- ment to you and place the reed on the bottom lip as before. Balance the instru- ment between the right thumb (pushing up gently) and the left pointer finger (B key), gently pushing down, to stabilize the reed on the lower lip. With all fingers down, fingering low D, inhale to capacity, cushion the reed thinking “No oboe,” and pushing against the belt line, blow a warm full column of air into the instrument to produce a full sound at a comfortable dynamic.
Endurance to produce and sustain the note with good tone and intonation takes time and perseverance. Long tones on low D encourage good embou- chure placement, and establish an efficient, relaxed support system.
#1-CORRECT SOUND OF CROW
SOUND EXAMPLE #1
#2-HIGH PITCH CROW WITH TOO FEW SOUNDS If only one high pitch is audible, the lips may be biting the reed. If little sound is produced, or only the upper octave insists on speaking, the embouchure may be pinching or biting the reed closed. More of the “oh” vowel needs to be used, separating the teeth sufficiently to allow the air flow to move freely. The reed may be drawn too far into the oral cavity-think “No oboe.” Too much bottom lip may be
rolled over the bottom teeth, contributing to an “E” configuration, not desir-
able for tone quality or pitch control.
SOUND EXAMPLE #2
#3-LOW PITCHED CROW If a flabby out-of-tune collection of pitches is heard, the bottom lip may need to be ro1led in a hair and the corners of the mouth firmed.
SOUND EXAMPLE #3
#4-RUSHING AIR First tries will often produce only the “rushing air” sound. Increasing support of the air and firming the cushion of the lips, and the corners should help produce the proper balance of resistance and air inten- sity, and focus. The bottom lip may need to be rolled in slightly.
SOUND EXAMPLE #4
#5-STOPPED, NO SOUND No sound at an means the aperture of the reed is squelched shut, probably by a biting “E” configuration.
SOUND EXAMPLE #5
Vital to the correctly formed embouchure and an efficient, relaxed support system, is good posture and proper position of the instrument in relation to the body. A 45-degree angle is a reasonable position from which to adjust the po- sition of the instrument to the body. If the oboe is held too high, the head may drop and cause the upper lip to press on the reed, contributing to low pitch and an unresonant sound. An oboe held too close to the body may encourage a bowed head, interfering with good support habits. If the head is held up while the oboe is in position too close to the body, there will be an imbalance of low- er lip support, causing sharpness in pitch and a bright hard sound.
The student should be aware of the feeling that accompanies the variety of sounds which may be produced. By carefully listening to the sound produced, a student can navigate a course of development which will help guarantee use
of characteristic oboe sound in school band and orchestra.
Embou-Sure – 10