Fingerings for the Two-keyed Oboe (or Hautboy)

My intent with this chart is not to be exhaustive, but rather to give ideas about things such as enharmonic alternatives and different tone colors, and to encourage experimentation. The notation, which uses “b” for “flat”, is compatible with any e-mail program.

Hole order is from top down: 123/456x: closed; o: open fingerholee: half-closed, or cover one of a pair of holesC: depress the C keyE: depress the Eb keyV: Lip down rather strongly to bring in tune

c' xxx/xxxCd' xxx/xxx eb' xxx/xxxEe' xxx/xxof' xxx/xox Generally recommended xxx/xoxE Sometimes necessary on earlier oboes for a strong tone, or in musical contexts where a stronger tone is desired; also for e#'f#' xxx/xooE For a meantone f#' or for security in fast passages, strong tone xxx/eoxE Better in tune but slower to respond; use when you have time xxx/eooE Hole(s) 4 opened only slightly xxx/eoo Can be very soft, eg. slurring down from g'gb' xxx/eoo xxx/eoxE xxx/oxxE V Worth a try, for a veiled tone matching f' (eg. Bach G minor sonata BWV 1030, bar 45)g' xxx/ooog#' xxe/ooo Also for ab'a' xxo/ooobb' xox/ooob' xoo/ooocb' oxo/oxo V or oox/ooo V Interesting alternatives to xoo/ooo which avoid any downward slide slurring to bb' (eg. BWV 1030 bar 47)c'' oxo/ooo oxo/oox Stronger tone which blends better with other notes oox/ooo Alternate for bb' trill and some other connectionsc#'' oxx/xxxC ooo/ooo For rapid connections with d#'', etc.d'' exx/xxxeb'' exx/xxxE Also for d#''e'' xxx/xxof'' xxx/xoxf#'' xxx/oxxgb'' xxx/oxxE

g'' xxx/ooo xxx/oox Slightly lower, useful on some oboesg#'' xxe/ooo xxo/xooE Vab'' xxo/xooE For beauty of tone xxo/xoo Sometimes responds better, and useful for many combinations and trills xxe/ooo For incisive attack, extra stabilitya'' xxo/ooo xxo/xxxC For pianissimo attacksbb'' xxo/xxxE xox/xxx xox/ooob'' xox/xxxE Good stability and tone xox/xxo Higher, use with c''' oxx/xxoE xoo/ooo Open, clear tone quality, and useful for many combinations and slurs (avoiding the ugly register break)c''' oxx/xxo Recommended; use with b'' xox/xxxE or xoo/ooo oxx/xxoE Has an edge to the tone, useful if c''' must be strong and incisive, or if oxx/xxo is too flat exe/xxoE For pianissimo attacks oxo/xxo Risky but worth a try for its clear tone, similar to oxx/xxoc#''' exx/xooCd''' exx/oooC exx/oox or exx/oooE For connections with c''' oxx/xxoE where c''' is the dominant note, and with other notes requiring Eeb''' exe/oooE Open top hole only slightlye''' exe/exxEf''' xeo/exoE

Trill fingerings: In general, a fingering should be found which allows an interval at least as wide as the tone or semitone in question. It is usual to start the trill with the normal fingering of the upper note, and then the fast notes can be made with a more simple fingering, one which would normally play as much as a semitone too high, but with lipping down can sound acceptably in tune. Don't worry if it is not exactly in tune, because trills can sound more stylish and decorative if they are a little wide, especially in quick movements. Here are a few trill fingerings which might not be immediately obvious: Trill the hole marked "+"

b'-c'' +oo/ooo g#''-a'' x+o/xooE Ve''-f#'' xxx/+xo ab''-bb'' x+e/ooof#''-g#'' xx+/oxx

Mary Kirkpatrick2009

Some Remarks on Playing the Hautboy

Players used to the modern oboe will find reeds for the two-keyed oboe larger and freer than what they are used to – the large bore and simple fingering system require a flexible reed in order to obtain chromatic notes clearly and in tune by cross-fingering. If bb' and f' are difficult, probably the reed needs to be scraped more. If at first the top g'' is high and difficult (tending to scratch) it is likely that too much reed is in the mouth. In general, control the reed near its tip, and try to cushion the reed evenly all around, rather than squeezing from top and bottom. Firm, steady support from the diaphragm is essential to playing in tune.

If the cross-fingered notes, especially the low f'', are consistently too high, it is a sign that the embouchure is too tight. One exercise for developing looseness and flexibility is to play the same pitch with different fingerings: Starting from g'' (later from the top) and working down, play each note first at the correct pitch and then lip down to the semitone below. Lower the pitch simply by relaxing the lips and playing nearer the tip of the reed. Then change to the correct (or normal) fingering for that note and repeat. The reed needs to be scraped enough to make this exercise possible. Performing it successfully will ensure a good command of tuning, plus the ability to play trills which require unusual fingerings.

An excellent method for tuning one’s reed and for improving one’s intonation generally (and that of the oboe as it is played in) is to sound a note on one’s pitchmeter and play intervals with it. This method simulates playing in an ensemble and is more realistic and accurate than metering each note separately. The idea is to sound a few basic tones – d’’, a’’, c’’, g’’, bb’ – and play the third, fourth and fifth above them, adding the sixth and other intervals with practice, as you learn what to listen for. For example, start by sounding d’’ on the pitchmeter and play f#’’-g’’-a’’, increasing the breath support smoothly so the notes connect -- the difference tones should be heard as d-g-d’. They are making a faint bass line, and even though the difference tones can swing wildly out of tune, thanks to your years of musical experience and memory you will recognize where to put that bass line. Each bass note will be the fundamental of which the two upper notes are harmonics. This system is also a method for tuning the oboe: it ensures that rapid passages will fall in tune, and one can use it to arrive at the best compromise for unequal temperaments, in particular to achieve sufficiently wide semitones (listen for a rise of a good fourth in the difference tones.)

Mary Kirkpatrick 2009

14 Dove Drive, Ithaca, NY 14850 USA

<mkirk7@earthlink.net> (607) 273-5256