Editor's Note: Orlan E. Thomas teaches the oboe at Texas Tech University in Lubbock. He holds the DMA degree from the Eastman School of Music where he was a student of Robert Sprenkle. This article first appeared in the "Instrumentalist" Magazine and is reprinted here at the author's request and with the permission of the editor of the "Instrumentalist."
Oboe intonation hinges upon a complexity of techniques, each of which is essential to the process; failing to apply any one, serves as a missing link and renders the process faulty. These techniques include diaphragmatic support, speed of air, amount of reed in the mouth, tonal focus, angle of the oboe, and the pivotal position of the jaw. Other factors foreign to the constancy process may influence pitch, but must be discarded as non functional to the uniformity of pitch; especially the concept of favoring or the tuning of virtually every note as it is sounded, for such a technique is devastating indeed to a uniformity of tone and intonation. Even when certain favorings are learned, if tones are altered by applying pressure to the reed by the lip or jaw, it will adversely affect the uniformity of both tone and intonation. Lip or jaw adjustment may improve a faulty pitch, but an alteration made in this manner is like treating the symptom rather than the cause. Correcting the root of a problem will assuredly remove any adverse symptoms. When each note is tuned independently either by programmed favoring or by resultant necessity, intonation will already have been sacrificed when a discrepancy is first noticed, since after the initial sounding of a tone, any mistuning will by then have taken its toll.
The admonition here is not for a lack of sensitivity to pitch as one plays, for there is always need for occasional adjustment for the sake of ensemble or fatigue, but when all techniques and philosophies are properly engaged, the necessity for pitch adjustment is indeed slight!
A continuous driving speed of air initiated by the abdominal muscles pushing in or up against the diaphragm, constitutes proper support of the tone. Diaphragmatic support is fundamental to all oboe technique, without which there can be no pitch constancy.
Often a lack of support encourages an unconscious lip or jaw accommodation when the ear senses poor intonation. If the lip or jaw is allowed to move around the reed, it will affect the tone adversely, creating a to-wa approach to the tone, making it sound chewed, with late arrival, instability, and lack of uniformity. Also the to-wa effect and late arrival of tone will result when the support is not brought to the tip of the tongue before the tongue is released to start a tone.
1. Play the following scale with continuous low focus on d'. After having taken a deep breath with primarily lower rib and abdominal expansion and the shoulders remaining passive, support by pushing with the abdominal muscles against the diaphragm as if you were trying to push the navel through to the back bone. Note the pitch accuracy that so easily results.
2. For a comparison of proper support with that of opposite abdominal function, try playing the scale below with backwards support; that is, after having taken in the good breath, push out the abdomen like preparing to be hit a good one in the gut. Without any favoring of tones, of course, note the very poor resulting intonation. Note also that lack of support becomes more and more obvious in the ascending scale.
Support is vital indeed, but it is most essential that the support process be understood and maneuvered correctly, for no amount of passive or backward support would ever yield satisfactory pitch constancy. That pushing up or in against the diaphragm is authentic support and must be maintained all the while one is playing.
Speed of air is primarily that which governs pitch, level and stability. The air stream supporting an oboe tone must be forceful with a fast speed of air. If tones are to ride on the breath, the breath must be supported vigorously which increases the speed of air in direct proportion to the amount of diaphragmatic support applied. Unless the reed is too closed, one should be able to blow an uninhibited air stream holding none back, which may be compared to the leaning of one's entire weight against a wall while standing on one foot--none is held back.
One should note that fundamental-register tones may appear to sound well with a slower air stream, however, as the scale is ascended, the fast speed of air becomes more and more critical, not stronger or faster, but vitally important. The point here is not that we should increase the speed of air for the ascending scale, but that the tones of all registers demand a fast air column and will respond in tune with the same driving speed of air, thus it is not necessary nor feasible to vary the air stream.
One must be careful not to confuse speed of air with the technique of dynamic control! Since the altering of the speed of air will necessarily alter pitch level, one must not control dynamics by tampering with the speed of air. All oboe blowing is fortissimo blowing! The pianissimo and diminuendo technique is controlled at the tip of the reed with the corners of the embouchure enveloping more or less reed; the speed of air required to produce either a loud or soft tone, however, is the same in either case.
The following are exercises to check the speed of air as related to pitch constancy:
1. Rapid speed of air:
The supported driving air stream will produce a vibrant buzz of the lips when they are moist and closed as in the formed embouchure without the reed. This buzz is similar to the vibration of the lips when encircling the reed in actual playing. To illustrate the continuous non lapsing air flow:
a. Crow the reed in the embouchure with the normal driving air stream. Slowly pull the reed out of the mouth without stopping the air flow, in which case the lips will gradually begin to buzz if the air is driving. The very same effect takes place between tones played on the oboe and along with keeping the fingers close to the keys, the driving air will produce absolute tonal connection.
b. Play the tones g', a' and b' slurred. While still driving the air and without breaking the speed of air flow, slowly pull the reed out of the embouchure continuing to support and blow as if proceeding to finger another tone. This continued blowing while the reed is being removed from the embouchure should produce a smooth transition from the controlled sounding tone to a buzz of the lips as described above, if the air flow is sufficiently supported as is imperative to attain absolute connection from one tone to another.
Withdraw Reed Pull reed out While Blowing of embouchure Oboe Tone to Producing lip Show Air Speed buzz; no break in the slur
2. Ascending Scale:
a. Fast Air: Play the major scale below first with as vigorously a supported air stream as possible throughout. Note the perfect relationship of upper intervals to the fundamental as the scale is ascended.
b. Slow Air: Play the scale with a rather slow passive-type air stream. Be careful however not to ride up with the pitches by thinking high as the scale is ascended or to increase the speed of air as the ear will encourage, but to maintain the slow initial speed of air. Note the devitalized tone and the falling pitch as the scale is ascended.
c. Increasing Air: If one were to employ a varied air speed from slow to fast for low register to high register, upon close evaluation it would be discovered that the lowest tones would be actually flat in pitch, while the highest tones would in fact be considerably above the pitch. If it were possible to sound tones 1 and 8 simultaneously as played in the scale with an increasing air speed, indeed their octave tuning would be appalling.
Fast Air Speed:
Slow Air Speed
Increasing Air:
d. Also apply the above experiments tothe following melody:
3. Play Three Octaves d', d'', d''':
The highest register of the oboe is especially vulnerable to a slow speed of air. These tones will not only be flat in pitch if obtained, but usually will fail to respond. Again, these tones must ride on the driving air stream!
Play the three d's with a vigorously supported low d' focus. Slur up to each upper note allowing the tones to ride on the breath without any external influences or help, maintaining the low focus throughout. The high notes do not need help; they respond most readily when allowed to ride on the breath without any individual note accommodations.
The exercise should be repeated until one can produce the three tones all with the same low focus and the same driving air speed, smoothly, with no break in tone. The d''' is normally fingered half-hole 2, 3 + low c-key. (Be sure the c-key adjustment screw permits the complete closing of the E-key.) Some recent oboes however require the raising of the half-hole key entirely for d'''.
The amount of reed in the mouth is a direct contributing factor governing pitch constancy. Too much reed in the mouth not only makes one's overall pitch level too high, but even more serious is the fact that with too much reed in the mouth, all intervals are grossly affected; some too sharp, some too flat, none with any predictability forcing one to tune every note as it is heard in a manner of favoring. The interval b' to c'' is especially noticeable.
1. For proper placement of the reed on the lip, it is best to close the lips in a perfectly normal relaxed manner place the reed onto the lower lip allowing the tip of the reed (preferably the right corner of the reed) to just touch against the upper lip; roll in both reed and lip until the tip of the reed is exposed in the mouth only about a sixteenth of an inch, being careful not to allow the reed to slide on the lip beyond the point of its initial placement. The reed must remain in this relation to the lip at all times. It is still possible to roll both reed and lip in or out for any emergency pitch adjustment without changing the relative position of the reed on the lip.
2. One may use the interval b' - c" to check for proper placement of the reed onto the lip. The consequence of too much reed in the mouth may be quickly detected in the following procedure:
a. First play the interval b' - c" slurred, on the tip of the reed as is the normal manner of correct placement; then,
b. Successively place more and more reed into the mouth, each time analyzing the intonation of the interval. Be careful of course not to favor the c", but to allow it to ride on the air stream. Note the enlarging interval between the b' and c".
It should be observed that no matter how vital the support, if too much reed is in the mouth, it is impossible to achieve good intonation without favoring, which is contrary to our principle of pitch constancy.
In Oboe tone production, the air column needs necessarily to be focused on low d' as the fundamental of the oboe's natural scale, or, as the tone upon which the instrument is built. Fundamental-register tones are typical of the instrument in stability and of quality and pitch. If the focus is directed to low-tone production, upper tones vented by the fingers, will ride on the breath with virtually perfect intonation, generated from the fundamental just as naturally as upper partials of the harmonic series generate from any given fundamental. It should be noted that if the fundamental register is produced properly in tune, the upper register when produced in like manner will be produced as in-tune "overtones," for there are no legitimate sharp fundamentals to produce sharp overtones. Thus, all tones are produced intervallically from bottom to top riding on the air stream.
Any dislocation of the tongue, or direction of the air stream while playing, will serve to disrupt the focus of the tone, which in turn affects intonation. The tongue is held forward in the mouth with the very tip resting against the lower lip just above the lower teeth, functioning in an up and down manner. This forward position of the tongue contributes directly to the centering of the tone. The tongue placed too far back will produce a dull, out-of-tune, uncentered quality of tone whereas a centered tone will invariably sound closely knit and in tune with itself. The tongue raised in the throat for an ascending interval, will adversely affect the tone sharp and also will affect a break in the tone when descending by leap, as the raised tongue then necessarily must lower to produce the lower tone. The air stream is directed forward against the reed and focusing low on the fundamental. This low focus facilitates an open relaxed throat which is not possible with high focus. An air stream focused upward for high notes produces sharp upper tones (overtones) just as does the raised tongue. Most young students of the oboe will play sharp in the high register because they are actually riding up with the pitches, that is, thinking high as they ascend the scale. This is especially true of students transferring to the oboe from instruments that have demanded a change in tongue and air direction.
In direct contrast to the stability of the low register of the oboe, the upper register is flexible indeed, and thus sensitive to any departure in basic technique. Upper tones are consequently produced by directing all controls to the fundamental octave with no regular accommodation for change in register, for one must continue the same low focus in the high register as demanded in the low register. With this and only this applied philosophy can the upper registers be resultingly in tune with the lower. As stated above, all upper tones emanate from the fundamental and are produced exactly like the fundamental, with a low driving air stream, and the forward tongue placement remaining as constant as possible.
If the low register appears to be flat, it is most likely because the upper register is focused high, since low tones are virtually inflexible; it is then either because in comparison, the upper tones are focused high, or, because the reed itself is flat, in which case the reed must be tuned to the instrument, and preferably to the d'. When tuning discrepancy is discovered between the low and high registers, one must examine his method of tone production carefully, especially avoiding the use of lip or jaw clamp to raise or lower a pitch. As stated above, if a tone need be adjusted, it is done so by rolling more or less reed and lip into the mouth.
Finally, tonal production which produces all tones in a uniform manner as described here, is greatly served by an instrument that is tuned acoustically correct, which virtually eliminates the need for favoring tones, and allows all tones to emanate from the fundamental as overtones riding on the breath, while the fingers vent the instrument at exact acoustical nodes producing intervals which, when calculated intervallically from the fundamental, are impeccably accurate. Other techniques of pitch constancy discussed on this article must also be strictly maneuvered, or no matter how perfect the focus, faulty intonation would still persist.
The following are approaches to the above discussed techniques as a means to achieve pitch constancy through tonal focus:
1. Relaxed Throat:
Since playing with an open throat is a subjective phenomenon, one must resort to objective methods to master the technique. An effective means to achieve an open throat is to learn to hum and play a tone simultaneously. The actual tone produced while humming is not in itself of meritorious quality, but the continued open throat is vital to good tone production.
a. First approach the technique by forming the embouchure and blowing (releasing air with the tongue) a low-directed air stream as in normal cool-air blowing outside the oboe or reed; without breaking the air flow produce a low-in-throat hum. If this can be accomplished, then one could rightfully expect to play the tone d' and break into a hum of that same pitch without obstructing the oboe tone.
--Embouchure/release air flow/ produce low hum without break of air flow.
--Sound tone d'/produce low-focus hum of d' without obstructing oboe tone.
b. If it appears too difficult to start the hum while sounding the tone, approach it with formed embouchure start the driving air flow, hum, then slip the reed into the mouth until the oboe tone begins (d').
--Embouchure/release air flow/hum without break of air flow/slip reed into mouth until oboe tone begins //
c. One may finger up the scale while sustaining the d' hum which creates two-tone chords. The simultaneous humming and playing is not (yet) a technique that is used in performance, but the open throat hum is important to demonstrate the low focus while fingering upper tones and to show that the upper register will be produced in tune only while still focusing low.
One should hum vigorously as well as allow the oboe tone to sound full and unrestrained in order to sufficiently achieve and sense the openness in the throat. Once the technique of playing with an open throat is recognized and mastered, it is no longer necessary to continue the humming, only for periodic re-evaluation.
2. Low-D Focus:
a. Play long tones chromatically slurred and fortissimo from d' in slow moving half notes, returning to d' between each upper interval, allowing each upper tone to emanate from the d' riding on the breath while maintaining the low focus. The idea, of course, is first to achieve an open rich, resonate d'. Mentally and physically maintain the d' throughout the exercise with no thinking high or riding up with the pitches, as the fingers vent the instrument, the upper tones simply ride on the breath. Upper register tones result merely by the movement of a finger and the driven air stream. The player must pretend he is playing only d' even when fingering high tones, since upper register tones fully depend on a low focus. The open vowels of oo or ah are generally most satisfactory in all registers; the vowel ee is sometimes, but rarely, used for upward pitch adjustments.
Watch in a mirror for a steady embouchure with no lip or jaw motion around the reed. As stated above, any accommodation in this way for individual upper tones will affect them adversely sharp. Keep the fingers close to the keys, preferably resting on the keys at all times. If the focus is low, if the air is driven, if there is no embouchure change, and if the fingers are kept on the keys, upper register tones will sound in perfect tuning and tonal connection. In the exercise below, there should not be the slightest break of tone, except when taking the breath, after which, always commence on the d'.
b. It is helpful for the oboe teacher to play drone on d' while the student produces the exercise. This will ensure that the student doesn't ride up with the pitches, as the drone tone is present throughout for reference. Be careful, of course, to tune the teacher/ student d' before proceeding with the experimentation demonstration. See also Item 3 below.
c. The constant low focus will also facilitate the response of low tones within a phrase; that is, if the focus is already low when a low tone occurs, it will sound readily in tune with no break in the tone. See also Item No. 8.
d. If difficulty is encountered in producing a smooth slurred connection from f'' down to a' in the above exercise, it is most likely caused by high focus on the starting and the following high tones, necessitating a change in focus to produce the a'. Any change in focus, or of course jaw or lip accommodation, will affect a break in the tone and/or cause a scoop in the tone upon its arrival. It may be helpful to turn the interval around and practice it from a' to f'', low to high, slurred. In time, one is actually, in a subtle way, playing the interval from f'' to a' while learning to maintain the low d' focus and to allow the tones to ride on the breath. One must never tolerate tonal breaks in a legato melodic line; indeed, one should not suffice for less than absolute connection from tone to tone.
3. Record Fundamental-Register Tones as Reference Pitches for Tuning:
a. The low d' may be tape recorded as a very long tone to serve as a reference pitch while playing the Low-D Focus exercise illustrated in Item 2 above.
b. Also against the recorded d' long tone, the student should play D-major triad material against the reference d'.
c. Tonal focus necessary to produce in-tune octaves may be quickly discovered as one evaluates the octave in relationship to its fundamental.
Record chromatic tones from small b-flat extending to d'' in a long-tone series using an entire breath for each tone. Leave time between each recorded tone so that the octave relationships may be checked without the recorded tone, as well as against the recorded tone.
First, match the pitch of the recorded tone, then play several fairly quick reiterations of that tone and its octave sounding against the recorded tone. If the octave is not in perfect relationship to its lower counterpart it will be quickly detected by a good ear! One soon learns that an octave will not be in tune unless the low focus and vigorous support is maintained while ascending the interval. Most initial testing will disclose sharp octaves which invariably result from high focus. If the octave is low, however, it is most likely because the support is inadequate.
The oboe teacher may function well in the same capacity as the recorded tone in each of the exercises illustrated above in order to demonstrate the effectiveness of such a routine to the student.
4. Focus Demonstrated as Monotone Blowing:
a. With the reed alone, pretend to play a well-known tune like "America." Remember though, if one is maintaining the constant low focus, the tune will sound like "Johnny One Note" since the continuous low focus will not produce any fluctuation of pitch, in as much as one is focusing low, blowing low, regardless of the melodic contour. The rhythm of the melody of course will be evident.
b. Likewise, one may take a printed melodic phrase, articulate the rhythm of the melody on d' for each note to demonstrate the thought process (continuous low d') for the entire phrase, no matter how high or low the notes.
c. Also while observing the melodic contour, sound the d' as one continuous tone throughout the duration of the melody, which represents the thought process for a slurred phrase.
d. One may finger a printed passage while blowing the air stream from the formed embouchure, minus the reed. This type of blowing, divorced from any contact with the reed or tone making, is helpful to obtain the feel of the steady air production without any jaw-lip-, or embouchure-note accommodations that unknowingly creep into one's playing. One must practice with a mirror to eliminate these "accommodations;" since they are not generally detected aurally, attention by sight becomes necessary. Subtle as these accommodations are, they do affect uniformity and stability of tone and pitch and must be completely eliminated in order to achieve ultimate pitch constancy.
e. When the melody itself is first played, eliminate the tongue and slur throughout the entire phrase focusing on d'.
f. Finally, play the phrase with articulation, driving the air with low focus for uniformity of pitch and tone.
5. Measured Trills in Displaced Octaves:
Play measured trills in triplets between each pair of notes of a diatonic scale, using vigorous support focusing on the low d' and with the fingers resting on the keys. Switch octaves alternately; proceed up and down the scale.
6. Skip-octave Melodic Line:
Tonal focus on d' as discussed above may be further evaluated by taking any melodic line at hand and applying a skip-octave technique. Every other note, or a note periodically may be fingered an octave above. If the focus is properly maintained, the (sudden) upper octaves will sound with perfect response and tuning without help (riding up with the pitches), and furthermore, the low tone that follows will speak with perfect ease since the focus is not changed, but is already properly placed.
7. Finding Upper Octave Starting Pitch:
When playing initial second-octave tones, first sound the low d', then slur to the starting tone without permitting the focus to ride up with the pitch. Always play initial upper tones by deriving them in this manner, at first literally, then eventually by thought process only.
8. Doodle-Practice for Focus:
Practice this and that for focusing tones to the low register; play low high, medium, low, high, higher, etc. Check focus periodically by dipping to a low tone to see if it responds easily without break, for if the focus has risen, the low tone will not readily respond. When the low focus is maintained even while playing high, one is physically prepared to produce a lower tone without any change of focus or embouchure and with perfect response and tuning.
The oboe teacher should demonstrate how one may play from very low to high with all tones riding on the vigorous breath support and the low focus.
9. Pitch Level of the Reed Crow:
The cause of faulty intonation in pitch level and the rising scale is often difficult to pinpoint since there are several techniques which collectively produce pitch level and constancy; the malfunction of any one, of course, results in poor intonation.
The pitch level of the student reed crow, produced by the reed with correct reed-tip opening properly placed in the embouchure for playing, should be carefully evaluated. If the reed-crow pitch level is too high, the tonal focus is undoubtedly too high and would produce sharp oboe tones with poor low register response; if low (pitch below c'), the cause is doubtless a support factor. One must note that the crow tone pitch level is not raised by thinking and/or blowing high, but by increasing the support. The crow tone must be adjusted accordingly. Often it is helpful for the oboe teacher to demonstrate the proper crow-tone pitch level for the student to match. Once the crow-tone pitch level is corrected, that amount of support and/or focus must be maintained in order to produce the desired pitch level.
10. Often a student may not be reached in any of the above discussion or demonstration exercises, in which case, the oboe teacher should play along with the student an octave lower so that the student may hear the fundamental tones while playing "overtones," produced, of course, as vented fundamentals. The point will soon be taken where in it is necessary to focus low, blowing low d' always while supporting vigorously.
The oboe teacher may play along in unison with the student which is also beneficial and revealing.
The oboe held too high or the head held too low will cause faulty pitch constancy in the ascending scale, with much the same results as experienced when under supporting by using too slow an air stream. The elbows should fall relaxed at one's side, not pivoted forward or backward. The head is held erect with the chin horizontal to the floor with no dipping or raising; this allows the reed to rest against the lower jaw which serves as an important stabilizing factor to pitch constancy. A good angle is approximately 45 degrees.
1. Play the following scale with correct angle of the oboe in relation to the head as described above for accurate tuning in the ascending scale. Utilizing of course, other techniques of pitch constancy described above.
2. Play the following scale with the oboe held in normal position: elbows relaxed at the side not pivoted forward or backward, with vital support and focus, but with the head lowered as if looking to the floor. Note the flatting in the ascending scale.
3. Play the scale with the head erect, et al., but with the elbows pivoted forward raising the oboe to an abnormal height, nearly straight out. Note the flatting in the ascending scale in like manner as when the head is lowered.
4. Also apply the above experiments to the following melody:
PIVOTAL POSITION OF THE JAW:
A forward position of the lower jaw as a part of the embouchure also contributes directly to pitch constancy. The lower jaw is best pivoted forward sufficiently to correct the usual overbite, lining up the top and bottom jaw by laying a finger against the chin and upper jaw, extended to the base of the nose. A receding jaw will produce flatter tones as the scale is ascended, the jaw too far forward will, of course, simply choke off the tone.
1. Play the following ascending scale with the lower jaw brought forward so as to line up the teeth in a vertical manner. Note the ease of pitch constancy in the ascending scale and especially note the excellent intonation in the highest octave just by allowing the tones to ride on the breath:
2. Apply the above experiment to the following melody:
AIDS TO VISUAL AND AURAL PITCH CONSTANCY:
1. Strobo-Conn Evaluation:
The strobe-tuner may reveal a revelation of
intonation, both of expansion of intervals and any deficiencies within the
instrument (Altering out of tune notes on the instrument by tone-hole
adjustment). The oboe will sound with good intonation only when tuned so that
the scale may be played without favoring or adjustment and with strict adherence
to the techniques discussed above which should cause the strobe windows to stand
still.
One must understand, however, that when tuning ensemble chords, certain adjustments will be necessary because of the tempered scale, for a given note on the oboe may serve as a different element in different chords and must function as a member of the particular chord, subject to active tone tendencies. We know for instance that major thirds are approximately 13 cents sharp from the tempered scale, so when playing the third of a chord, one must adjust 13 cents downward in order to tune the chord. This adjustment is realized by slightly rolling out the reed and lip. For a thorough discussion of ensemble tuning, see Robert Sprenkle's, The Art of Oboe Playing, p. 16.
2. A-Box Reference Pitch:
The (A-440) tuning fork is a wonderful device
for standardization of pitch, but it is difficult indeed to match pitches with
it since its period of audibility is so relatively short. It has been elevated
to usability, however, by the application of the transistor to drive the fork
into constant vibration supplying a continuous tone for use as a reference pitch
for interval tuning and reed pitching.
The transistorized A-box was introduced to me by Robert Sprenkle, to whom I am indebted for a thorough background of oboe training. I appreciate his techniques of oboe playing more and more as I utilize them in my own playing and as I apply them to my students with remarkable success.
The low d' should first be matched with the electronic tone a' creating the interval of a perfect fifth, and by removing beats, one achieves the perfection of the interval. The reed must be tuned so that the d' will create the perfect fifth without any lipping or jaw adjustment, and by blowing with an open throat producing a round, well-focused, supported tone. Once the beats cease to exist, one may proceed up the scale maintaining steady controls for the ascending intervals.
Apply the above experiment with the A-box reference pitch to the following melodic fragment, listening critically to recognize the perfection of intervals.
The Low-D Focus Exercise (See Tonal Focus Item 2) illustrated above is excellent for relating to the A-box. The return to d' between each upper interval helps maintain the focus on the fundamental and to aurally check the focus of upper tones against the reference pitch a', for a changing focus will most likely result in sharp ascending and flat descending intervals.
3. Use of Tape Recorder:
See Tonal Focus, Items 2 and 3
Oboe intonation is complex indeed, but yet so simple when the producing
techniques are mastered by the player to the point of unconscious
competence.
The techniques discussed above have been tried, tested and proven, not only to be successful, but to be a superior means of achieving pitch constancy. One must recognize however that each of the techniques is inter-connecting and dependent upon the other, and the failure to correctly incorporate any one, would in itself yield faulty intonation. Indeed, the path to accurate intonation must be paved with much patience and perseverance, the realization of which is speeded in direct proportion to one's will to learn.
One final admonition to the serious student of the oboe: When one is learning a particular skill or when confronted with a problematic aspect of technique, it is important and vital to one's achievement to form, shape, and maneuver each technicality precisely as outlined, regardless of one's appraisal of the immediate effect. Correctness must prevail at any cost including the momentary sacrifice of tone, until the supporting or controlling muscles have gained sufficient mastery to produce an ultimate constancy of pitch.
