Contemporary Oboe Techniques – A Guide for Composers (Part I)

Contemporary Oboe Techniques - A Guide for Composers (Part I)



good evening everybody – my name is your spa and born in the Netherlands live already from 1984 in Southeast Asia and currently I am ahead of wins it's now found young Academy of Fine Arts in Singapore the different parts of the oboe and then let's put them back okay let's put them back and see what a different songs you can get okay that's not gonna do so you can do it there [Applause] but you can invent all kinds of sounds with it okay yeah okay you can ask the middle joint and then you get Jesus so you are you're glistening with your lips try to manage actually no it's not because you moved in an hour no super refreshing pressing they're rushing to me I moved in but I also personal with solos there's one there's one thing about the distance that the other thing is how hard you press well I said whatever you kill you kill the federation's I see and as thunder forget faster I see the read verses that's closer than the goal its closes and opens I see where you get them if closest you get the lower a brush it over if it opens you get some high air pressure that's this fluctuation of like high and low air pressure which causes a sound wave and it is amplified by fascinating so can you do that sound again what what a different kinds of sound we can do just be very easy well okay just wanted to do okay what about it just as how no there is not much of the air sound what if you don't put you know what if you play something like a flute that means you don't blow in by the blow so I think a louder whatis that's really cool so your aunties okay hold read it I thought the weather isn't really set interval could you do it like slower let me see you do one true and then do the other true and then ah what about the other Oh God is a different I think yeah so that's what I do two fingers I use alternate you do like let's see yeah well well yeah sometimes necessary [Laughter] well it's pretty fast okay I have the chart here okay so you see the longer that yes I tried that and that is from a book of course or the one that means you have to play it slowly oh is that a problem [Laughter] okay there's a relatively slow yeah I think it's gotta do it that tubes right like because of the to the change in the length of it it is not so much that you I can go to the genies no problem go to the air of course because when you cross fingering this is always an awkward thing this is two fingers they awkward so it's because of a finger it's not because of the air column not so much no I say okay where do you think composes you're right for high notes for solo versus Orchestra yeah IG but it's not stable anymore you only can approach that's the best ways to approach it by step step by step I see this seriously I see that's all Castro writing oh I mean you guys even a dog knows welding in the first F was written by and contended with Mozart even saying he was an oboe player himself in one of his pieces for Wii console there's an IFO it's the first example we know and that most of your uses it as a few years Nathan uses it I see okay that's all okay but in the solo that looks solo pieces that you play solo and chamber where where where you recommend in the high notes is it African yeah okay so every again if you if you go to the extreme register and you start to write any C Mon it's not take risks okay can be done can be done if you have a good read and everything is in good good order yourself what is your personal if you if I were to go higher than have work wherever would I write the limit the limit or like I always have to group that up because I don't play the day off but this morning I was sitting in a training a cheese shop I see that's why I wanna keep is still sounds pretty taking pretty easy and by now I with my teeth i I see Wow okay I think it's okay okay it's fine I think it's dangerous too I see okay even step by step it sunk off the wall and so with the hygiene I can still with normal on the shoe I'm going to go to even JG shock me but then I came to give you this so you shot me in a buff you have to like but okay okay so what what what should we be looking out for you for you right no high register following be fun No yeah yeah so I for orchestral writing where do you recommend an effective range form for middle middle and oh okay No could you give us like a no don't read uh note that you recommend I don't know like where would you where would you not right above you say no okay so beautiful

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