To practise oboe scales regularly is an important part of learning the oboe. They are an important part of learning any other instrument too. Scales teach us correct fingerings for each key signature, they help us to develop finger sequences and train us to use the appropriate alternative fingering where there is a choice. As we learn and extend our range they are the perfect way to incorporate the high and low notes into our practice so that we can cope with them when we meet them in pieces. As we become more advanced, scales can also form the basis of work on all aspects of technique.
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| Albrecht Mayer playing the oboe. (Photo credit: Wikipedia) |
There are four crucial issues which need to be addressed when practising scales. I will deal with each of those issues in turn.
1) Know the key-signature of the scale you are practising. This may seem obvious, but it is amazing how many students I have taught over the years just tried to 'bumble' their way through without thinking first. As a fellow oboe teacher I worked with many years ago used to tell his pupils, "How do you expect to be able to play in any key where are the notes are jumbled up if you can't play them in simple step order?" This may be a bit simplistic, but it is a good point. So, to reiterate, you cannot possibly practise oboe scales effectively if you are at all unclear about the key-signature.
2) If you are playing scales which use the octave keys, make sure that you are using the right key at the right time. Oboes made for young students usually have separate Octave Keys. The back key is used for the notes E to G# in the second register; the side key is used for top A to top C. If you use the wrong one, or both at once, the notes will be out of tune. However, on an oboe with Semi-automatic Octave Keys, you can keep the back key on whilst adding the side octave key. The very high notes in the third octave are a different issue which I won't deal with here.
3) The use of correct fingerings is also very important in the practice of oboe scales. The oboe does not have many alternative fingerings, especially when compared with the clarinet or bassoon, but the ones we do have must be used when required. Trying to cheat and avoid using them will ultimately backfire on you. As you develop your playing you will find, more-and-more, that you encounter problems which cannot be overcome by cheating. The two principal alternatives we meet on the oboe are the 'Forked-F' and the 'Long D#/Eb' key. Persevere with these alternatives from the start and you will make life much easier for yourself in the future.
4) A number of oboe scales require the player to begin on the lowest notes of the instrument which is often a problem for many. To explore this particular issue in depth would take several pages, but, to state the basic issue, it is all a question of the balance between the air pressure (Diaphragm) and the lip pressure (Embouchure). To sum it up in simple terms, it is all a question of 'more push and less bite!' You need the air pressure to activate the reeAlbrecht Mayer playing the oboe. (Photo credit: Wikipedia)320d, whereas too tight an embouchure will actually stop the reed from vibrating; - result a hiss and no note!
Most aspects of technique can be tackled when you practise oboe scales. During scale practice it is possible to focus on issues such as posture, tone, intonation, etc. etc.
Practising scales can be quite a boring business at times, so the technique most oboists use is the 'little and often' approach. We are told that the human brain much prefers information in 'bite-sized pieces'. Information delivered in this way tends to produce a better response and sticks in the memory better. Rather than trying to practise oboe scales for half an hour at a time, spread 5 or 6 minute 'bursts' of scale work through your practice sessions. I have always found this works very well, both for me and for my students.
So, in conclusion, to practise oboe scales is an essential part of your learning of the instrument. If you avoid them you will stunt your development as an oboist. Perseverance is a critical quality here as the work is never as interesting as playing tunes. Apply the advice above and, hopefully, you will develop a good playing technique which will carry you through all the tricky passages you will meet in your oboe playing life.
Robert Hinchliffe is a professional oboist, composer, teacher, conductor and music director. This article is based upon over 35 years of both playing and teaching the oboe. If you have found this article helpful and would like to know more, please visit http://www.oboeplaying.co.uk.
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