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Introduction
For modern oboists, beginning to play the baroque oboe or “haut boy” present s a confusing mixture of familiar and new element s. T he basic diatonic fingerings and the feeling of blowing a double reed are similar to past experience, but the crossed and double-holed fingerings, uneven resonances, and the realization that there are no octave vents and that the same fingering can produce more than one note can seem alien and frustrating. In addit ion, baroque st yle calls for subtleties of articulation th at are often not familiar t o modern symphonic oboists. T he following exercises are inte nded to help a beginner address these issues. # 1 and # 7 jump bet ween octaves, and give t he player practice in producing the int ended note in tu ne; the y should be played slowly and carefully at first. # 2 and # 5 present some simple scales and intervals, and should also be played slowly to coordinate air stream modification for better resonance and tuning. Exercises # 3, # 4, and # 6 are for finger dexterity. T hey should be played slurred as well as tongued, and in all key signatures up to four sharps and flats, with attention to smooth t ransitions bet ween notes. Exercise # 10, based on th e famous Moyse flute exercise, addresses all the tonalities and should also be p layed slurred. # 8 and # 9 are int ende d as an introduction t o baroque articulation, with the idea of learning to “speak” through t he instrument . T hey should be p racticed with low breath pressure – in # 8 an effort should be made t o keep t he reed vibrating all the time, touching it lightly between notes to delineate them as subtly as possible. Exercise # 9 offers an approach to “notes inégales,” mimicking the hard and soft palate tongue-strokes used by baroque flute and recorder players – th e ri syllable is the light articulation practiced in # 8 while the ti syllable is the conventional oboe articulation where the tongue blocks the air stream. T he accompanying chart shows the fingerings that I use for the Saxon model haut boy made by Joel Robinson that is used by many American players; with slight modification they will also work with many other copies of late 17 th and early 18 th centu ry instrument s. It should be note d t hat many other fingerings exist along with schools of thought advocating one or another approach as more authe nt ic or more practical, in th e en d each player must make his or her own decisions as to what choice is most satisfying.
Stephen Hammer
Exercise 1 -- Le Tombeau d'Agneau
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