Increasing dynamic range – good use of expression.Vibrato is discussed, and exercises are introduced.Memorizes C, G, F, D, B flat, A, E flat, E and A flat scales in thirds.Focuses air stream better through concept of voicing.The student will acquire his/her own equipment, and will be expected to bring several partially scraped reeds to their lesson each week. Student will begin learning the entire process of reed making.Sample Solos – Level 3 and 4 NYSSMA Solos: Gekeler, Method for Oboe, Book 2 or Hinke, Method for the Oboe.Discussion of phrasing and the link between singing and playing – use of both in lesson and practice time.Ability to control air and embouchure – use of dynamics is increased.European oboists and discuss different concepts of tone “Voicing” on the oboe is discussed at this point.Articulation discussed in further depth – legato vs.Memorizes C, G, F, D, B-flat scales in thirds.Learns and memorizes all major and minor scales.Basic adjustments discussed and done by the student where appropriate.Reeds are purchased from the instructor.Gekeler, Method for Oboe, Book 2 or Hinke, Method for Oboe.Principles of dynamics will be discussed and tied in with the discussion of embouchure vs.Develops a repertoire of familiar tunes to be played in various keys by ear.Uses proper technique of octave keys and half hole.Learns and memorizes fingerings of major and minor, (natural, harmonic, melodic) scales up to 4 sharps & 4 flats.Begins to understand the required balance of embouchure and air.Basic reed adjustments will be discussed.General discussion on how they work and proper care for maximum reed life.Reeds will be purchased from the instructor at this point.Most people don't think of music as requiring great upper body strength but instruments get heavy when you have a long concert and it can make a difference even if you're also doing everything right with neck strap or other instrument supports. If those steps don't make it playable you could even try a floor peg for the bell - Forrests music has a couple different kinds available.Īnother thing to try in combination with the above would be some kind of strength training appropriate for your level of activity and general health. If it's a borrowed instrument you can't modify my first suggestion would be to try a neck strap and my second would be in combination with taking most of the weight on the strap make sure you arent choking up on the thumb rest: if you put the thumb rest on the joint of your thumb rather than near your thumb nail, it would give you a very hard time reaching the pinky keys and could be causing what you describe. However, due to the different hand position there are people out there who can play cor without additional supports but have a hard time with oboe and people who play oboe with no extra supports but who need a neck strap for English horn.
That doesnt make up for the additional weight, for most people. There is no way anyone could play cor without a few additional or modified keys compared to oboe: for example the right hand first finger key is no longer over the tone hole and the left hand 3rd finger and half-hole keys are totally redesigned. Incidentally, many cors require less hand reach than oboes by the same manufacturer. Since most people hold cors more vertically than they do their oboe neck straps can be more effective supports on cor. You could try a kooiman thumb rest or a neck strap on cor. If you're used to using a kooiman thumb rest on oboe it's very likely that you would have a tendency to choke up too much on the thumb when you play a cor with a traditional thumb rest, given the additional weight of the instrument.