Orchestral instruments and their use; giving a description of each instrument now employed by civilised nations ... and an explanation of its value and functions in the modern orchestra by Elson Arthur 1873-1940

Author:Elson, Arthur, 1873-1940
Language: eng
Format: epub
Tags: Musical instruments
Publisher: Boston, L.C. Page & company
Published: 1903-03-25T05:00:00+00:00

I. THE OBOE 2. OBOE DI CACCIA 3. OBOE D'AMORE

tube, or staple, which fits into the end of the instrument. The size of the reed varies, that of the oboe being smallest. The larger members of the family are the English horn, the bassoon, and the contrabassoon.

The oboe derives its name from the French hautbois, meaning a high wooden instrument. It is a conical tube, but differs from the conical flutes in being larger at its lower end^^^^Jj^^lg^ogle

always been considered that the conical form brings out more overtones than the cylindrical, and although other things influence the result, this shape certainly does give more strength to the harmonics, and consequently brightens the tone. The oboe part is written in the G clef, and extends from B below middle C to the F two and a half octaves higher. French oboes have an additional key that deepens the instrument to B-flat, but this note, though used by Mendelssohn in his " Midsummer Night's Dream," is usually avoided.

The natural scale of the oboe, like that of the flute, is D major. The three notes below this are produced by keys that close holes near the end of the tube. The second octave is produced from the octave harmonic, obtained by stronger blowing; while the higher notes are obtained by cross-fingering. Though all keys are practicable on the oboe, those which contain many sharps or flats are diflicult and ineffective, and florid passages in them should be avoided. Most trills are easy, but those on the lowest and highest notes, besides those which contain two sharps or flats, should be avoided.

The lowest notes of the oboe have<^_rather

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harsh, nasal quality, useful in producing certain effects, but difficult to soften. The middle register is the best, giving a tone that is reedy and penetrating, if not very powerful. The upper notes are thin and somewhat piercing. The colour of the oboe, resembling as it does a shepherd's pipe, is excellently fitted to represent effects of pastoral simplicity, and is much used for this purpose. Besides this quality of innocence and simplicity, it is of use in the portrayal of rustic gaiety and merriment. Still another colour, arising from the artless simplicity of the tones, is that of pathos and grief The expressive melodic character of the oboe is suitable in all these cases. It is worth passing mention that the older oboes possessed broader reeds than the present ones, and gave a fuller and more nasal tone, not unlike that of a musette. Even at present the older form remains in many German orchestras, and sounds somewhat disagreeable after the lighter tone of most modern instruments, which has been well compared to a silver thread in the orchestral tissu^...^^^^ Q^^gl^

One noteworthy point about the oboe is that, unlike most wind-instruments, it demands less

ORCHESTRAL INSTRUMENTS

player, therefore, is often glad to rest his lungs, not from too much work, but from too little. There must be frequent pauses in the music, to enable him to exhale.

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