Players of the Gillet model, Conservatoire system, oboe have, for years, worked with an instrument containing several mechanical problems. This article will be concerned with exploring two of these problems in detail. The first of these centers around the connector lever between the right first finger and the upper joint. The second problem concerns the mechanical workings of the F resonance key. Attempts have been made to use one or, sometimes on earlier models, two spatula keys to make smooth slurs from right hand notes to left hand notes, for example low F# to A. Some players have even advocated removing or blocking closed the F resonance key to solve problems concerning this mechanism. In this case it certainly did solve the problems but, unfortunately, the advantages allowed by the F resonance key were lost.
It has been my experience that these mechanical problems can be solved by carefully observing the mechanism, developing a series of statements concerning the problems, and practicing a set of exercises relating to each statement. Following is a discussion of the mechanism, six statements or rules, and a series of exercises for each rule.
The first problem centers on the two small keys on either side of the second finger key on the upper joint of the oboe. Upon inspection one finds that these keys can be opened only by depressing the first finger of the right hand. They are, in fact, opened at the slightest pressure of this key. With the right first finger down one or both can be closed only by completely closing the second and/or the third finger of the left hand. For example, when slurring from A to F# it is mandatory that the small key below the second finger hole be closed during the slur, otherwise a Bb will sound. The only way to keep it closed is by closing the third finger of the left hand. This finger must be fully closed before the right hand is added. Any small depression of the first finger of the right hand will cause the little key to open creating an interrupted slur. Vice versa, when slurring from F# to A the opposite motion will be necessary; the right hand first finger must be fully raised prior to the slur. From this analysis the following two rules are derived.
When slurring from A or B within or immediately above the staff to any tone involving the first finger of the right hand, the raised finger or fingers of the left hand must close completely before any movement of the finger or fingers of the right hand. This rule excludes slurring from A to Bb, A to high F#, B to C, or B to high G#, all of which present no special fingering problems. When slurring from A to C or A to Bb the rule still applies, "lead with the left hand". A to C involves lifting the second finger of the left hand completely before adding the first finger of the right hand. B to Bb involves closing the second finger of the left hand completely before adding the first finger of the right hand. Tones involving the third and/or fourth fingers of the right hand, except regular F, will be discussed more completely under Rules III and IV.
When slurring from any tone involving the first finger of the right hand to A or B within or immediately above the staff, the right hand finger or fingers that are closed must open completely before lifting the third or second fingers of the left hand. This rule excludes slurring from Bb to A, high F# to A, C to B. or high G# to B. all of which present no special fingering problems. Tones involving the third and fourth fingers of the right hand, except regular F. will be discussed more completely under Rules III and IV.
The following exercises are to be practiced using Rules I and II. It should be noted that Rule I is the opposite of Rule II and the exercises for the first should be learned before those for the second. When working out the exercises for Rule I practice the intervals only as written, placing the short middle note of each as close as possible to the third note. When completed as written, then practice the slur from the first to the third note. Remember that the end result is to produce a smooth slur between these notes. When each set of exercises has been mastered separately then they may be combined; slurring from A to F# to A for example. This must not be attempted until both have been practiced sufficiently and are very smooth and connected.
The second mechanical problem centers on the F resonance key. On inspection one finds that this key is closed and can only be opened by closing the third finger of the right hand. When the resonance key is open it can only be closed by completely closing the second finger (or the fourth finger on the C or C# key) of the right hand. For example, when slurring from F# to D it is essential that the second finger of the right hand be completely closed before closing the third finger. If not, the smallest pressure on the third finger will cause the resonance key to open, leading to an interrupted slur. From this analysis the following two rules are derived.
When slurring from any tone, except A or B within or immediately above the staff, to a tone involving the second and third fingers of the right hand, then the second finger must close completely before closing the third. This rule excludes E, left hand F. and fork F in both registers.
When slurring from any tone involving the second and third fingers of the right hand to any other tone, except A or B within or immediately above the staff, the third finger of the right hand must be raised completely before raising the second finger. This rule excludes E, left hand F, and fork F in both registers.
The following exercises are to be practiced using Rules III and IV. As stated earlier in relation to Rules I and II it should be noted that Rule III is the opposite of Rule IV and the exercises for the first should be learned before those for the second. The same suggestions stated for Rules I and II apply when working out these exercises.
After completing the exercises for Rules I-IV it will be seen that two groups of slurs have been omitted. The first group involves slurring from A or B to any tone involving both the first finger of the right hand and the second and third fingers of the right hand. For example, when slurring from A to D it is essential that both Rules I and III be used. That is, we must first lead with the left hand to get to F# and then lead with the second finger of the right hand to finish the slur to D. The second group involves slurring from any tone involving the second and third fingers of the right hand to A or B. In this case it is essential to use Rules IV and II. That is, first lead with the third finger of the right hand and then lead with the first finger of the right hand. From the above analysis the final two rules are derived.
When slurring from A or B within or immediately above the staff to any tone involving the first, second, and third fingers of the right hand, except E, regular F, and fork F, it is essential to apply Rule I and Rule III in that order.
When slurring from any tone involving the first, second, and third fingers of the right hand, except E, regular F, and fork F, to A or B within or immediately above the staff, it is necessary to apply Rule IV and Rule II in that order.
The same suggestions apply to practicing these exercises as stated earlier. They may be combined. For example from A to D to A, only after they have been learned individually.
It has been found that with slow and careful practice of the above exercises a player will develop a smooth and even technique over the above slurs. In order to play any of the slurring patterns smoothly a player will eventually have to succumb to the above rules, either through being aware of all the intricacies involved or just intuitively. With the mechanism as it is in on the oboe today there is no other way to play them smoothly. An early awareness and practice of the exercises for each rule will assist in achieving the desired result sooner and more permanently than the usual approach often found among students.