Cello Unison With Double Basses

Cello Unison With Double Basses

Cellos need not always play octaves with the basses. A very powerful sound can be achieved by doubling the instruments in unison. In most classical scores, double basses in cellos get a single line, and are expected to play that line as written – which means that the basses will be playing an octave below…
Read more…

Cello – Registers as Defined by Clefs

Cello – Registers as Defined by Clefs

The three different clefs used by the cello serve as natural boundaries to its three essential registers. The cello has three main registers, which correspond quite well to both vocal ranges and their respective clef signs: bass, tenor, and soprano (actually treble clef). A wise orchestrator recognizes that these clefs do more than just setting…
Read more…

Cello Extended Fingering Range

Cello Extended Fingering Range

Sul tasto has less limits on cello than it does on viola and violin, and may also be used quite effectively on its two lower strings in combination with tremolo. (Tip no. 90 from 100 Orchestration Tips) About a week ago, I uploaded a video that talked about the reasonable upper limit on sul tasto, pointing…
Read more…

Video Tip of the Week: Stratospheric Oboe Solos

Video Tip of the Week: Stratospheric Oboe Solos

A video installment in my daily series of tips. Please follow me on Twitter for the Orchestration Online Tip of the Day at @OrchestrationOL, or join the Orchestration Online Facebook group for feedback, resources, and advice. Tips of the Day for this week: Monday, February 18: Oboe Vibrato Speed Tuesday, February 19: Oboe Articulation Wednesday,…
Read more…

Oboe Family Optimum Ranges

Oboe Family Optimum Ranges

The best, most characteristic sound of the oboe comes from its middle octave- and-a-half: from F4 at the bottom of the staff up to B-flat5 above. The optimum registers of lower oboe family members lie in their lower ranges, with implications of a wider separation from the oboe than one might expect. The previous tips…
Read more…

Oboe – Slurring Up vs. Down

Oboe – Slurring Up vs. Down

Slurring up on the oboe is always simpler than slurring down. The above is a very simple statement for a complex situation. Slurring up implies a certain tightening of the embouchure, while slurring down is the opposite. But as we’ve seen with the horn, it’s much simpler to increase pressure smoothly than it is to…
Read more…

Oboe – Phrasing

Oboe – Phrasing

Use the oboe’s seemingly endless ability to phrase to its best effect in constructing powerfully phrased episodes, but never take it for granted. As I mentioned earlier this week, the oboe is a remarkably small device driven by the overpowered engine of the player’s breath and embouchure. In some ways, it’s the opposite of the…
Read more…

Oboe – Lowest Octave

Oboe – Lowest Octave

Be aware of the problems of dynamic control represented by the oboe’s lowest register. It’s been said by some orchestration teachers that the oboe represents the opposite dynamic characteristics to the flute. As the the flute gets lower and lower in pitch, it becomes ever softer and more delicate, while the oboe gets louder and…
Read more…

Oboe – Articulation

Oboe – Articulation

Be aware of the extreme precision of oboe articulation, and use it to its best effect. There’s a certain default position about oboe in the minds of many beginning composers – to see it mainly as a lyrical resource. While oboe is one of the most expressive of instruments in emoting a legato passage, restricting…
Read more…

Oboe – Vibrato Formation and Frequency

Oboe – Vibrato Formation and Frequency

The orchestrator needs to be aware of the process by which oboists vibrato, and how the variability of speed thereof affects musical expression. As most composers are aware string vibrato is caused by a minute oscillation of the fingertips, essentially a direct modulation of pitch. But oboe can’t vibrato in pitch from a direct application…
Read more…