MJFOBOE
Members
-
Joined
-
Last visited
-
As a listener ... just a fun piece! Mark
-
-
Alex, Please aware that in measure 6 you have a slur in pp in the Oboe going to the B - Bb the Oboe's lowest note. Not a problem usually, however, at that dynamic level it might not work. At measure 16 you have the Oboe at the high F and G.... I don't see the benefit here at all. Not really recommended unless it is an avant garde work. In both cases the Oboist will not be happy with the orchestration. Mark
-
-
Alex 2 points: I assume your sore is in C. To transpose from English Horn in F to Oboe is a 5th up. If you review your English horn part that would put the Oboe in the mid-range. Secondly, you have the English horn play G above the staff ... not a low note. As per the Oboe and the problems with low notes ... which I would consider to be anything below a C#/Db you are correct. The amateurs and some semi-pro players might have difficulty attacking the notes with confidence and producing an initial soft attack and pleasant tone too. Personally, I practice daily producing soft attacks on the lower notes and I test my (handmade) reeds on such an attack. So much skill: air support, embouchure, coordination (tongue, breath, fingers) all impact on the low notes. So you I guess you have to know your players experience level. Now having said this .... I really don't like composers who do not appreciate and who write melodic lines etc. for Oboe without understanding the skill level needed and/or the context written for those low low low notes. Oboe is a challenging instrument ... one you both love and hate at times! And don't let me start on the reeds .............................. Mark
-
My reason for using the English horn, is that oboes can sound quite harsh and intrusive in their low range. A bit like a duck! So I thought an English horn would have a more pleasant timbre in that range. Alex this really is a misunderstanding of how an Oboe works! Let's throw out the meme about DUCKS! The lower range/register can be as beautiful as the upper range. (just ask Dvorak). The English horn in this orchestration will not add too much. It does not have the penetration ... it is better used a solo instrument or in a small ensemble. Please no more duck jokes! Mark
-
This is a very lovely work which reminds of the Poulenc Oboe Sonata The piano accompaniment is very effective. The initial theme lovely; however, a bit repetitious (even with the challenging piano movement underneath). From a technical point of view - no problem for the Oboist here. https://www.youtube.com/watch?v=9hgiP3XLKQ8&list=RD9hgiP3XLKQ8&start_radio=1
-
Hi Alex, Very interesting harmony and movement. My only comment is the orchestration: Instead of doubling for example the Oboes why not give the second Oboe the English Horn line. Similarly, I would also move the Bass Clarinet to the one of the Bassoons. I don't really feel you need the need them in the orchestration. Mark
-
-
Alex, I enjoyed the interesting harmonies; however, I felt the structure of the work to be a bit loose. I had difficulty following a coherent theme and I felt the work didn't have an arch to it to carry me through from the beginning to the end. Mark
-
-
-
Lovely sentimental work. I loved the bassoon solo in the beginning! Mark
-
-
With respect to tempo/breathing etc. - the oboe part is NOT well thought out at all. You really need to learn about the strengths and limitations of instruments and players; whether you write for woodwinds, brass, strings or percussion. Best to talk to players and show them the score and learn from them. <ark
