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Oboe Extended Techniques for Composers

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Oboe Extended Techniques for Composers Range Oboe Bb3-Bb6 Typ ical composing range Extended Bb3-G6 Dynamics The d Techniques ynamic range of an o instru boe is smaller than ot ments. Greater than fl her The low ute but less than clar er register is difficul inet. for Composers t to articulate softly. Breathing Due to the resistance o in the reed, less air i boists must exhale st s used and o ale oxygen as well as . boists r inhale. oom Give t to b . reathe in your a mu e sic. s k o r r r a e h e t h m y t a e n l o . a h l e p t c n o e b f r a d e t o n h n o n t u a a k b o f c , c c o o a r d g o . b e e n c t y t . i a e t s r e r r l i n l s u e m h i , a l i d t f r a t s t r g o n t n n a l n n o i i a a y u e e r . r t t o r o d e s b r m n s o g e d a h m u i e n i t e t r t r i t n i s v f t u i i a s e l e s s t d e g a n h s a h n i n t e m e c d t e t r r o t r n c e c i i t o l n t u f g i r i p n i o o g e h t S c e e u a h h n e w t h h t c t e p l , t t s . i r s r s h e o l t l e t p e o i t o h c e f F t s a f r h m w b y i i o t f t e u e o d ” n e k s r h r n o t t h s “ n t e r o o r a c s l r o e f n o g o g o e g a c o g o n t u n i n m i f i q d g e r i n s g n d d n n i e n h i n a i h i i n n l t o c r s n l e c e e u a t a s o n o p e r p i i o t r e o e s i s e n b t r g d y u d o e e e s . h t n r b o n r h h v c t y l c a a d i t r o y i d ” a s r s f a r p d e t g a e c “ v s n u v c n i i i , n i o o f s s u g n e d u t p b u f o e d d g o n o t d an f s i o a own th o n d h o l ( e h s i r l t g r M a s c e n r s s i e p o u g t p o n i h o fi i e r n g g g s. t t e e in ent l e , l g n d p M r i b b sli rum s d i st u b h n n t r s it i s r n s er i r e e o d w oth f a u n a p e n m o o t c in i g d b nd t a . a o l s w s n m is e n c s c r r e o gl e i i i e b c t as r o f s e is s n m A n d f i r s e e g o g le a o o t e M in e r m t e v g t d a S l h i r n e u u h t e e s u p n p l a b s g a i n i p h d onics t F r u tc n n m l e d o pi ou i t t s u o l d n t he . S i e t r t n h o he A m n ow ig M w Harml h r l b h e he ble il to ove r fift e t si w key nd a t b n os lly ctave ctave a t i ra o o e e p ene an ding an u v ar g g un l h t o ti di u enin ote s F c ec n , b op ar a n t eff ssa ys by nd he eard. i re li ke ced te a e note to be h P o G he odu no ymbol abov M t pr red rmonic s are ge ace ha n ics fin Pl Harmo F5-C6 from f harmonics is ge o Ran Rec ommended resources: Oboe Unbo und by Libby van Clev T e he Contemporary Oboe by Chenna and Salmi The Techniques of Ob oe Playing by Peter Ve “Contemp ale orary Oboe Technique s - A Guide for Com poers” YouTube Series Multiphonics Dierent kinds: Complex: several straight tones Beating: some or all tones beat, rate of beating will vary but usually be pretty fast Multi-harmonic: several harmonic/overblown tones Metamorphic: one ngering can be pure pitch (often several) or multiphonic Think about the function of multiphonics: texture, pitch, or both? Also multiphonic trills are a thing Multiphonics have individual dynamic ranges - some speak best at f and some speak best at p Rolling Tones low Bb-sometimes Eb/E Requires placing the embouchure much higher on the reed and pressing reed onto lower lip Can somewhat control the speed/intensity of roll Can’t be done on heftier or more open reeds Pitch bending The oboe comes from a lineage of highly microtonal and pitch-exible instruments! -Indian shehnai and nadaswaram -Korean piri -Armeniam duduk Oboe and Electronics Tape Live processing Recommended rep: Nicholas Deyoe - NCTRN 2 (nd on soundcloud) Berio - Sequenza VII for oboe Jack Vees - Apocrypha for solo oboe and electronics Isang Yun - Piri Toru Takemitsu - Distance for oboe and sho her. hig fifth and a octave rd. te to be hea ve no mbol abo onic sy harm Place More notation options: Alternate ngerings (timbral change eect): Microtonal (pitch shift eect): Multiphonics: (metamorphic) (multi-harmonic).
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