Concerting oboe: timbre, technique, traditional and latest methods of playing

Valeriya Martynova

doi:10.34064/khnum1-50.11

Abstract

Concerting oboe: timbre, technique, traditional and latest methods of playing

Highlights

IntroductionParticular attention is paid to the oboe effects technique, as well as a set of means for soundproducing and sound-leading characterized this instrument in its comparison with others belonging to the same family (wood winds) or to others (bowed string, brass instruments)
As examples of the latest methods of playing specified to the concerting oboe practice, those are discussed that contribute to the timbre re-coloring of the same sound or the sound set that significantly expands the sound-and-color capabilities of the instrument, and promotes to the process of its further universalization
The results of the research confirm the fact that the solo concerting oboe was formed in the process of a long historical and stylistic evolution, which is reflected in the genre of concerto for oboe, where the timbre-and-technical capabilities of the instrument are most complete

Summary

Introduction

Particular attention is paid to the oboe effects technique, as well as a set of means for soundproducing and sound-leading characterized this instrument in its comparison with others belonging to the same family (wood winds) or to others (bowed string, brass instruments) On this basis, a description of the performing means of expressiveness of the oboe is proposed, including the specific (timbre-and-acoustic), and the universal components that the oboe takes over from others instruments playing with him in an ensemble or an orchestra. The technique of doubletone is mentioned, when the oboist sings along with playing, which allows to produce consonances (intervals and even chords) on the instrument

Objectives

Conclusion