Why is the oboe so hard to play?

Articulation on the oboe requires the tongue to be arched and lifted to around the center of the oral cavity. This requires additional strength and control of the tongue, which younger players struggle with. Unlike the learning curve of the trombone or saxophone, the learning curve of the oboe is very slow.

oboefiles.com - Why is the oboe hard to play? - Danny Cruz

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Since its invention at the end of the renaissance, the oboe has had many major changes to the body of the instrument. To learn more about the different forms the oboe has taken over past generations you can read a brief history of the oboe with pictures by clicking here.

Oboe is hard, so give yourself a break!

These changes have partly been in effort to simplify the technical challenges of the oboe, which are in part caused by the cylindrical bore needed to achieve the sweet timbre. Unfortunately, this means that no scale on the oboe is perfectly in tune, which requires the player to compensate with the embouchure or by using cross fingerings or alternate fingerings. This prevented early oboists from being able to play in certain keys, with only the most expert players playing chromatically and changing keys reliably. The modern key mechanism on conservatory or German style oboes sought to solve the issue of playing in all keys, but introduced two new problems: Firstly, the oboe is much heavier, with denser wood required to support the keywork without cracking – and this is in addition to the weight of the keywork itself. Secondly, both key systems often require the player to lower a finger to move up in pitch or raise a finger to descend a step in pitch. This counterintuitive way of moving through scales is more challenging for young students on oboe than on any other instrument, and does not have the approachability of the clarinet or flute, which generally allow the player to assume that putting fingers down covers more holes and thus creates lower sounds. The technique is further complicated by limitations in articulation and dynamics, which require more time, effort, and precision than other wind instruments do. Articulation on a single-reed instrument allows a very efficient up and down motion with the tongue; but this is not ideal with the oboe. Articulation on the oboe requires the tongue to be arched and lifted to around the center of the oral cavity. This requires additional strength and control of the tongue, which younger players struggle with. Unlike the learning curve of the trombone or saxophone, the learning curve of the oboe is very slow. Oboe students have to spend a lot of time mastering melodies at a single dynamic level before any expressive elements can be introduced. The bodily strength and control required to play dynamics and use vibrato on the oboe are well beyond those of other instruments, and only the most dedicated students gain mastery of these skills. Most players of other instruments may gain reasonable control within a few years, but oboists must be very patient.

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What is the first instrument to play?

The Neanderthal flute from Divje babe is the oldest known musical instrument in the world and to this day the best evidence for the existence of music in Neanderthals. Indeed, other known Palaeolithic flutes were made by anatomically modern humans.

nms.si - Neanderthal flute - NMS - Narodni muzej Slovenije

The oldest musical instrument in the world, a 60,000-year-old Neanderthal flute is a treasure of global significance. It was discovered in Divje babe cave near Cerkno and has been declared by experts to have been made by Neanderthals. It is made from the left thighbone of a young cave bear and has four pierced holes. Musical experiments confirmed findings of archaeological research that the size and the position of the holes cannot be accidental – they were made with the intention of musical expression. The flute from Divje babe is the only one that was definitely made by Neanderthals. It is about 20,000 years older than other known flutes, made by anatomically modern humans. This discovery confirms that the Neanderthals were, like us, fully developed spiritual beings capable of sophisticated artistic expression.

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