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Background
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The Re-designed Oboe!
The New Oboe For the last two years I have been working with the oboe
Videos introducing
maker Howarth of London on the redesign of some of the
the new oboe key-work of the oboe. The aim has been to develop an
New Music for a
oboe which is specifically designed for the performance
New Oboe of contemporary repertoire. The photos here and the
description below offer an overview of the new
Brief Biography
instrument.
CD Recordings
In addition to re-designing the oboe I have been able,
Events
with AHRC funding, to commission five new works
Video specifically for the new instrument. These new works will
Performances
form an important part of the research enabling me to
Instrument Range work in collaboration with the composers in order to
Multiphonics
explore the instrument. Full details of this part of the
project can be found on the New Music for a New Oboe
Microtonal Oboe page.
Harmonics
Breathing and
Reasons for re-designing some of the
Circular Breathing key-work:
Sounds Without the
Reed A significant number of contemporary compositional
practices ask for approaches to performance that
Composer Basics
challenge the current design of the key-work (not to
Video mention the performers!). When these are used in
Demonstrations
isolation or in contexts that are not too challenging (for
Links example not in rapid succession) there is not too much
Bibliography difficulty, but, when used in complex passages, or at high
speed they can be very difficult indeed.
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I have had two specific aims when re-thinking the
key-work:
1. To render some of these technical problems easier
through the development of key-work which is
specifically adapted to the challenges.
2. To open up the instrument to a range of new sonic
and technical possibilities.
Guiding principle:
It was very important to maintain a sense of continuity
with the history of the instrument. It would have been
possible to completely re-design the key-work, and in
some ways there could have been advantages in doing
so, however it would be very hard to ask professional
performers to re-learn the oboe! I chose therefore to
maintain almost all of the traditional key-work (with some
small modifications, see below) but to develop enhanced
or modified key-work that will meet the challenges of
recent contemporary compositional practices and also
offer opportunities for future expansion of these
resources.
Key-work changes:
squeeze or pinch
and so slowing
any high-speed use. Placing it on the other side of the
thumb-plate causes a much better movement of the
thumb.
The left hand index finger key now has two holes in
it. The usual hole has been moved over a little and a very
small vent hole has been placed next to it. This works
as a vent for C7.
In addition a multiphonic key has been added to this
key. Many performers will be aware the effect of un-
screwing this key half a turn it produces quite a range
of multiphonics which can be difficult to obtain in the
more closed position. There is now a quick turn key
which opens/closes the key, facilitating a very quick
change to the key position.
keys. These are well situated for their usual use as trill
keys but when used for microtones etc. can be very
difficult indeed: the performer frequently has to twist the
hand or fingers in order to depress these keys while
holding down the G and A keys.
Extensions from the trill keys have been added inside the
2nd octave key. The octave key has been modified in
order to accommodate these keys. They are activated by
the 1st finger of the left hand, the C# by the tip of the
finger and the D by the side of the finger. An additional
key has also been added here this is another vent key
option which is proving to be an excellent vent for the
The
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