Oboe

The oboe is a type of double-reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites.

The most common type of oboe, the soprano oboe pitched in C, measures roughly 65 cm long and has metal keys, a conical bore and a flared bell. Sound is produced by blowing into the reed at a sufficient air pressure, causing it to vibrate with the air column. The distinctive tone is versatile and has been described as "bright". When the word oboe is used alone, it is generally taken to mean the soprano member rather than other instruments of the family, such as the bass oboe, the cor anglais (English horn), or oboe d'amore.

Today, the oboe is commonly used as orchestral or solo instrument in symphony orchestras, concert bands and chamber ensembles. The oboe is especially used in classical music, film music, some genres of folk music, and is occasionally heard in jazz, rock, pop, and popular music. The oboe is widely recognized as the instrument that tunes the orchestra with its distinctive A.

A musician who plays the oboe is called an oboist.

Sound

In comparison to other modern woodwind instruments, the soprano oboe is sometimes referred to as having a "bright and penetrating" voice. The Sprightly Companion, an instruction book published by Henry Playford in 1695, describes the oboe as "Majestical and Stately, and not much Inferior to the Trumpet". In the play Angels in America the sound is described as like "that of a duck if the duck were a songbird". The rich timbre is derived from its conical bore (as opposed to the generally cylindrical bore of flutes and clarinets). As a result, oboes are easier to hear over other instruments in large ensembles due to its penetrating sound. The highest note is a semitone lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a wider range, the lowest note of the B♭ clarinet is significantly deeper (a minor sixth) than the lowest note of the oboe.

Music for the standard oboe is written in concert pitch (i.e, it is not a transposing instrument), and the instrument has a soprano range, usually from B♭₃ to G₆. Orchestras tune to a concert A played by the first oboe. According to the League of American Orchestras, this is done because the pitch is secure and its penetrating sound makes it ideal for tuning. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound. Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch. German and French reeds, for instance, differ in many ways, causing the sound to vary accordingly. Weather conditions such as temperature and humidity also affect the pitch. Skilled oboists adjust their embouchure to compensate for these factors. Subtle manipulation of embouchure and air pressure allows the oboist to express timbre and dynamics.

Reeds

The oboe uses a double reed, similar to that used for the bassoon. Most professional oboists make their reeds to suit their individual needs. By making their reeds, oboists can precisely control factors such as tone color, intonation, and responsiveness. They can also account for individual embouchure, oral cavity, oboe angle, and air support.

Novice oboists rarely make their own reeds, as the process is difficult and time-consuming, and frequently purchase reeds from a music store instead. Commercially available cane reeds are available in several degrees of hardness; a medium reed is very popular, and most beginners use medium-soft reeds. These reeds, like clarinet, saxophone, and bassoon reeds, are made from Arundo donax. As oboists gain more experience, they may start making their own reeds after the model of their teacher or buying handmade reeds (usually from a professional oboist) and using special tools including gougers, pre-gougers, guillotines, shaper tips, knives, and other tools to make and adjust reeds to their liking. The reed is considered the part of oboe that makes the instrument so difficult because the individual nature of each reed means that it is hard to achieve a consistent sound. Slight variations in temperature, humidity, altitude, weather, and climate can also have an effect on the sound of the reed, as well as minute changes in the physique of the reed.

Oboists often prepare several reeds to achieve a consistent sound, as well as to prepare for environmental factors such as chipping of a reed or other hazards. Oboists may have different preferred methods for soaking their reeds to produce optimal sounds; the most preferred method tends to be soaking the reed in water before playing.

Plastic oboe reeds are rarely used, and are less readily available than plastic reeds for other instruments, such as the clarinet. However, they do exist, and are produced by brands such as Legere.

History

Centuries before the Spanish and Portuguese conquests in the New World, the early version of the chirimía arrived in Europe from the Middle East due to cultural exchanges. The Crusades brought Europeans into contact with the Turko-Arabic zurna. However, the oboe’s roots go back even further, linked to ancient reed instruments like those of Egypt and Mesopotamia, as well as the Greek aulos and Roman tibia. Nearly lost in the West during the Dark Ages, the oboe reappeared with the Arabic zurna in the 13th century, evolving through European bagpipes and finally becoming the French hautbois in the 17th century, which is when modern oboe history truly began. In English, prior to 1770, the standard instrument was called a hautbois, hoboy, or French hoboy. This was borrowed from the French name, hautbois, which is a compound word made up of haut ("high", "loud") and bois ("wood", "woodwind"). The French word means 'high-pitched woodwind' in English. The spelling of oboe was adopted into English c. 1770 from the Italian oboè, a transliteration of the 17th-century pronunciation of the French name.

The regular oboe first appeared in the mid-17th century, when it was called a hautbois. This name was also used for its predecessor, the shawm, from which the basic form of the hautbois was derived. Major differences between the two instruments include the division of the hautbois into three sections, or joints (which allowed for more precise manufacture), and the elimination of the pirouette, the wooden ledge below the reed which allowed players to rest their lips.

The exact date and location of origin of the hautbois are obscure, as are the inventors. Circumstantial evidence, such as the statement by the flautist composer Michel de la Barre in his Memoire, points to members of the Philidor (Filidor) and Hotteterre families. The instrument may in fact have had multiple inventors. The hautbois quickly spread throughout Europe, including Great Britain, where it was called hautboy, hoboy, hautboit, howboye, and similar variants of the French name. It was the main melody instrument in early military bands, until it was succeeded by the clarinet.

Wiener oboe

The Wiener oboe (Viennese oboe) is a type of modern oboe that retains the essential bore and tonal characteristics of the historical oboe. The Akademiemodel Wiener Oboe, first developed in the late 19th century by Josef Hajek from earlier instruments by C. T. Golde of Dresden (1803–73), is now made by several makers such as André Constantinides, Karl Rado, Guntram Wolf, Christian Rauch and Yamaha. It has a wider internal bore, a shorter and broader reed and the fingering-system is very different from the conservatoire oboe. In The Oboe, Geoffrey Burgess and Bruce Haynes write "The differences are most clearly marked in the middle register, which is reedier and more pungent, and the upper register, which is richer in harmonics on the Viennese oboe". Guntram Wolf describes them: "From the concept of the bore, the Viennese oboe is the last representative of the historical oboes, adapted for the louder, larger orchestra, and fitted with an extensive mechanism. Its great advantage is the ease of speaking, even in the lowest register. It can be played very expressively and blends well with other instruments." The Viennese oboe is, along with the Vienna horn, perhaps the most distinctive member of the Wiener Philharmoniker instrumentarium.

Conservatoire oboe

This oboe was developed further in the 19th century by the Triébert family of Paris. Using the Boehm flute as a source of ideas for key work, Guillaume Triébert and his sons, Charles and Frederic, devised a series of increasingly complex yet functional key systems. A variant form using large tone holes, the Boehm system oboe, was never in common use, though it was used in some military bands in Europe into the 20th century. F. Lorée of Paris made further developments to the modern instrument. Minor improvements to the bore and key work have continued through the 20th century, but there has been no fundamental change to the general characteristics of the instrument for several decades.

Modern oboe

The modern standard oboe is most commonly made from grenadilla, also known as African blackwood, although some manufacturers also make oboes out of other species of the genus Dalbergia, which includes cocobolo, rosewood, and violetwood (also known as kingwood). Ebony (genus Diospyros) has also been used. Student model oboes are often made from plastic resin to make the instrument cheaper and more durable. Conservation efforts in Africa and Central America have contributed to rising costs for grenadilla, cocobolo and rosewood.

The oboe has an extremely narrow conical bore. It is played with a double reed consisting of two thin blades of cane tied together on a small-diameter metal tube (staple) which is inserted into the reed socket at the top of the instrument. The commonly accepted range for the oboe extends from B♭₃ to about G₆, over two and a half octaves, though its common tessitura lies from C₄ to E♭₆. Some student oboes do not have a B♭ key and only extend down to B₃.

Descriptive assessments

According to Jesse Green of the New York Times, the oboe has been described by professional players and devotees as "invented by a sadist", "really awkward technically", and sounding like a "wild duck" for the first three years a player is learning the instrument. Nicknames include 'the melancholy reed', 'the sprightly companion', and 'the ill wind that blows no good', for its "wonkiness and honkiness" and its piercing but uniquely solacing sound.