| By :
Robert Hinchliffe
Copyright (c) 2010 Robert Hinchliffe The oboe sound is one of the most easily recognised of all orchestral instruments. When played well it has a clear, sweet sound but one which carries well over all but the strongest of textures. This makes it an ideal instrument for the exposition of tunes within the orchestral setting. Composers have used its quality for the sounding of some of the most famous themes in the whole of the orchestral repertoire. The sound, however, does vary slightly from country to country. This is dictated partly by the type of reed used. In Europe we have the full, slightly wooden sound of the German school of playing as well as the much lighter and reedier tone of French oboists. The English sound is a sort of hybrid of the two, having a fairly full sound but with a lighter timbre than the German tone. What we often refer to as the "English sound" is usually accredited to Leon Goossens, the great player of the mid-20th century. This tone was passed on through his many outstanding students such as my teacher, Sidney 'Jock' Sutcliffe. Goossens was taught by a German oboist and he took the full German sound but lightened it to create the sound many British oboists try to emulate today. In his day, Goossens was also highly regarded in the USA where many players were influenced by his tone. Other countries have their particular sounds which can be traced back through their great national players of the last few decades. Within the woodwind family, the oboe is usually scored below the flute and above the clarinet, with the bassoon beneath all three. If you look at a standard orchestral score you will see this order reflected in the layout of the score. Within the woodwind section the oboe sound can either blend with the other instruments or stand alone in a solo capacity. The oboe's closest relative within the woodwind family is the bassoon as both have a double reed and a conical bore. The oboe sound is produced and controlled by establishing a balance between the pressure of the diaphragm (breathing muscle) and the embouchure (lip muscles). Getting this balance right is the real secret of oboe playing. The diaphragm does most of the work with the embouchure providing the finer adjustments. This makes it essential to have a good breathing technique, an issue which underpins all other techniques. This is not just true of the oboe but of all other wind instruments too. When played well, with a good breathing technique, the tone of the oboe is a delight. When played with poor technique, the sound can be positively painful to listen to. Apart from its use in the orchestra, the oboe has been widely used in all other fields of music. There are many fine chamber works including the oboe; - the standard 'wind quintet' is made up of Flute, Oboe, Clarinet, Bassoon & Horn. In recent years, the oboe has also been much used in the fields of TV and film music. Composers over the years have been attracted to the oboe sound and produced many excellent Sonatas and Concerti for the solo instrument.
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