Asked • 06/09/19

When composing for oboe, how useful is it to think about recorder fingerings?

I'm always a bit anxious when writing for winds, because I don't really have much of a clue how passages will be executed on the specific instrument. (And I know how needlessly complicated some parts get on _my_ instruments, if the composer somehow assumes that everything is a piano...) The only wind instrument I know (a little) is recorder. Now my question is, is it actually helpful for an oboe player if I basically write a tenor-recorder part for them? What crucial differences are there between the different woodwind instruments, that need to be considered for writing idiomatic parts? I'm specifically interested about fingering here, ideally including nonstandard tricks for microtonality and special effects. Not interested in issues of orchestration, nor a lot in breathing and other time-related factors; assume I'm writing for unaccompanied solo oboe with no particular tempo constraints. <sub>[Actually, I'm mostly thinking about an (amplified) oboe part in a metal band setting right now, but the question shouldn't really be about that.]</sub>

Emma T.

Hello! The basic fingering principles of the recorder are relatively similar to the oboe, (although more similar to the flute) but the oboe fingerings are a bit more complicated simply due to having more keys and a wider range. That being said, I wouldn’t worry about fingering when you’re composing. Ultimately the performer will figure things out themselves, but it’s nice to have your part checked by an oboist for ranges and ease of playing, etc. As far as microtones go, almost all contemporary oboists have a set of quarter tone fingerings (that unfortunately don’t all carry over to English horn). In a situation where you have lots of microtones I would absolutely ask the oboist to play when you have written because some microtonal fingerings don’t work for specific models of oboe. I’m not so sure if writing a tenor recorder part would be helpful. The range of the oboe goes from B flat 3 - somewhere between G and A 6 depending on the skill of the oboist but for ease of playing, I would write between C4 and F6. Orchestration wise, the lower notes (basically C4-G4) are difficult to get out, so I would avoid writing fast passages or quiet passages down there. With the top range, (A5 up) we have the opposite problem where the notes can’t be played very loud. The oboe also can’t be tongued as quickly as the clarinet because of the double reed, but slurs very well. I hope this helps!
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08/14/20

2 Answers By Expert Tutors

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Aliya Z. answered • 05/02/21

Tutor
New to Wyzant

Master’s in Music Performance With 16 years of performance experience

Victoria H. answered • 09/26/19

Tutor
New to Wyzant

Music Education Major Oboist

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