INSTRUMENTS
The oboe you play must allow you to be you. I play Laubin oboes because it is the best for me. If an oboist can’t obtain a Laubin there are other brands of oboes that are played professionally in this country, so you may be able to find a suitable oboe elsewhere. In my studio, at the auditions I listen to, and at IDRS conferences I have heard and tried most brands of oboes. I believe it is worth the effort for oboists to try all of them so you can see what’s out there. Guidance from your teacher, or other pro, will be necessary until you have enough experience to be able to evaluate an instrument on your own. If you are studying with a teacher who has a definite preference it is normally a good idea to go with what your teacher advises as so many things are related to the way an instrument functions. When I was a student the choices were very limited - Laubin, Loree and Gordet. Virtually no one in this country played other brands. You will now find many others used by pros, even in the most major orchestras. Certainly, there have been improvements in oboes over the years and oboists are becoming more open minded towards brand acceptance. Reasons for the differences that exist among the various brands are in the design, material and quality control as well as the underlying artistic concept of the maker. Without commentary about specific makers I will say that each oboe is unique in itself. The individual pieces of wood have their own qualities which will tend to override a significant number of design factors. Overall consistency by a maker may be a non-issue if the instrument you are trying is outstanding. You are playing one oboe by a maker, not every oboe ever made. Not long ago I had a former student who found an incredible oboe from a maker that I would not have thought of considering due to my own concepts and long time preferences. Even if this maker never produces another oboe of this greatness it doesn’t matter. My former student has a fabulous oboe that might be the envy of every oboist who tries it. Conductors, contractors, and most other musicians normally couldn’t care less what oboe you play. It’s your choice and you should pick the best one you can obtain. We seek out certain brands for a variety of reasons, but I want to give you this observation - any oboe that I have ever chosen, new or used, for me or for someone else, from whatever maker, was immediately a winner to my ears. The decision was a no-brainer.
Intonation
I divide intonation into two areas, general pitch level and scale. In this country orchestras tune to an A that is in the range of 440 to 442. You must be able to play at the right pitch level with your instrument. Certainly, you should try reed adjustments with regard to pitch, and it is common to have to do so when changing to a new instrument, but going beyond a self-defined scope of limits will prove to be a detriment to your ability to make music. The scale of the oboe should be such that you can play in tune without having to do a significant amount of physical adjustment. Virtually no oboe is perfectly in tune, however, you need to be accurate with tuning. Each brand of oboe seems to have its own intonation idiosyncrasies. This is inevitable as they are designed and tuned by different artists. Be careful to evaluate the scale of the entire range of the instrument. Remember, though, that you are the one playing this oboe, no one else. An oboe can seem flat in the low register, for example, to one player, but not to another. Differences of embouchure and reed can make this occur easily. When considering the scale also be aware of the stability involved in placing the upper registers. Again, reeds and embouchure are a factor. Individual notes can be tuned by the maker, or even by a skilled repair specialist who is knowledgeable and experienced in dealing with the acoustics of the oboe.
Response
Response often means that the notes speak easily, but there is also the issue of the oboe’s inherent resistance. There should be a uniformity of response. Be sure to evaluate both the highest and lowest ranges of the oboe. No notes should seem reticent to speak. Some oboes are more resistant and require more air to play. This can give the illusion that the oboe will project more strongly, but this is not always the case. One example of this is the different feeling you get when playing rosewood as opposed to grenadilla. Rosewood feels quite responsive and not as strong as grenadilla, however, rosewood projects very well. There are several major orchestra oboists who have played on rosewood oboes and they have no projection problem. Different feelings of response and resistance can occur from oboe to oboe by a single maker. Each piece of wood has its’ own character.
Fluidity
Ease of legato, or fluidity, is another item for consideration in the response family of instrumental attributes. An oboe that feels tight in this respect can be frustrating to play. It should be noted that there are fine oboists who feel that a new oboe should have more resistance so that it can play-in and last longer as opposed to an oboe that is less resistant. Of course, there are also fine oboists who do not want to play-in new oboes. The reality of this issue is likely found in a combination of things such as wood quality and aging, undercutting, and other design factors. As always, you should pick an oboe that feels right for you.
Tone
Tone quality is the great divider of acceptable instruments. After all, tone is the first thing the listener notices when you play. The tone should be satisfying and meet your needs throughout the entire range of the instrument and at all dynamics. You must have an oboe that works for you by amplifying the sound you like to make. Based on the acoustical design of the oboe a tone may grow in the distance or it may seem to get narrower. Some instruments inherently project brighter while others project darker. As a performer you need the confidence that your sound is being projected in a true fashion, the way you want and without distortion.
Wood
I used to joke around about rosewood oboes making great lamps. It’s a beautiful wood. Actually, all beautiful woods would make great lamps. Since different woods have their special qualities it would be in your best interest to try oboes made of each, grenadilla, cocobolo and rosewood. The wood needs to be properly aged and I definitely prefer, for tonal reasons, that the wood grains are easily visible as opposed to having the wood appear “plastic-like.” This has been a constant with oboes I’ve liked.
Mechanism
The mechanism of the oboe doesn’t produce sound. It is, though, a source of constant attention. The mechanism needs to be adjusted properly and maintained well. I do not like to deal with keys, such as the side octave key, continually bending from normal use. I’ve never had this problem on my oboes, however, I often encounter this on other oboes. I’m not talking about maltreatment of an oboe. I am referring to soft key work. The placement of the keys needs to be comfortable for your hand. Each brand has a particular sizing and placement to the key work. There are also certain key options that are available on many brands such as the third octave key and the “Philadelphia High D.” Both of these can be very useful. You have to assess their value on an individual basis. I would be sure that the oboe has all other keys. So called “student or intermediate model” oboes that are missing keys are not my preference. I advise buying a used, even if older, professional model rather than any oboe without all the trills and left F.
When trying the oboe
Make reeds on the oboe in question. If at all possible, play the oboe where your concerts take place. Its’ interaction with the acoustical environment is an important variable. Also, play the oboe in ensembles so you have a good sense of the oboe’s resonance and ability to balance.
- There is a correctness and comfort that comes with the right oboe, as though it is telling me that it’s the one for me -
Intonation
I divide intonation into two areas, general pitch level and scale. In this country orchestras tune to an A that is in the range of 440 to 442. You must be able to play at the right pitch level with your instrument. Certainly, you should try reed adjustments with regard to pitch, and it is common to have to do so when changing to a new instrument, but going beyond a self-defined scope of limits will prove to be a detriment to your ability to make music. The scale of the oboe should be such that you can play in tune without having to do a significant amount of physical adjustment. Virtually no oboe is perfectly in tune, however, you need to be accurate with tuning. Each brand of oboe seems to have its own intonation idiosyncrasies. This is inevitable as they are designed and tuned by different artists. Be careful to evaluate the scale of the entire range of the instrument. Remember, though, that you are the one playing this oboe, no one else. An oboe can seem flat in the low register, for example, to one player, but not to another. Differences of embouchure and reed can make this occur easily. When considering the scale also be aware of the stability involved in placing the upper registers. Again, reeds and embouchure are a factor. Individual notes can be tuned by the maker, or even by a skilled repair specialist who is knowledgeable and experienced in dealing with the acoustics of the oboe.
Response
Response often means that the notes speak easily, but there is also the issue of the oboe’s inherent resistance. There should be a uniformity of response. Be sure to evaluate both the highest and lowest ranges of the oboe. No notes should seem reticent to speak. Some oboes are more resistant and require more air to play. This can give the illusion that the oboe will project more strongly, but this is not always the case. One example of this is the different feeling you get when playing rosewood as opposed to grenadilla. Rosewood feels quite responsive and not as strong as grenadilla, however, rosewood projects very well. There are several major orchestra oboists who have played on rosewood oboes and they have no projection problem. Different feelings of response and resistance can occur from oboe to oboe by a single maker. Each piece of wood has its’ own character.
Fluidity
Ease of legato, or fluidity, is another item for consideration in the response family of instrumental attributes. An oboe that feels tight in this respect can be frustrating to play. It should be noted that there are fine oboists who feel that a new oboe should have more resistance so that it can play-in and last longer as opposed to an oboe that is less resistant. Of course, there are also fine oboists who do not want to play-in new oboes. The reality of this issue is likely found in a combination of things such as wood quality and aging, undercutting, and other design factors. As always, you should pick an oboe that feels right for you.
Tone
Tone quality is the great divider of acceptable instruments. After all, tone is the first thing the listener notices when you play. The tone should be satisfying and meet your needs throughout the entire range of the instrument and at all dynamics. You must have an oboe that works for you by amplifying the sound you like to make. Based on the acoustical design of the oboe a tone may grow in the distance or it may seem to get narrower. Some instruments inherently project brighter while others project darker. As a performer you need the confidence that your sound is being projected in a true fashion, the way you want and without distortion.
Wood
I used to joke around about rosewood oboes making great lamps. It’s a beautiful wood. Actually, all beautiful woods would make great lamps. Since different woods have their special qualities it would be in your best interest to try oboes made of each, grenadilla, cocobolo and rosewood. The wood needs to be properly aged and I definitely prefer, for tonal reasons, that the wood grains are easily visible as opposed to having the wood appear “plastic-like.” This has been a constant with oboes I’ve liked.
Mechanism
The mechanism of the oboe doesn’t produce sound. It is, though, a source of constant attention. The mechanism needs to be adjusted properly and maintained well. I do not like to deal with keys, such as the side octave key, continually bending from normal use. I’ve never had this problem on my oboes, however, I often encounter this on other oboes. I’m not talking about maltreatment of an oboe. I am referring to soft key work. The placement of the keys needs to be comfortable for your hand. Each brand has a particular sizing and placement to the key work. There are also certain key options that are available on many brands such as the third octave key and the “Philadelphia High D.” Both of these can be very useful. You have to assess their value on an individual basis. I would be sure that the oboe has all other keys. So called “student or intermediate model” oboes that are missing keys are not my preference. I advise buying a used, even if older, professional model rather than any oboe without all the trills and left F.
When trying the oboe
Make reeds on the oboe in question. If at all possible, play the oboe where your concerts take place. Its’ interaction with the acoustical environment is an important variable. Also, play the oboe in ensembles so you have a good sense of the oboe’s resonance and ability to balance.
- There is a correctness and comfort that comes with the right oboe, as though it is telling me that it’s the one for me -