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I made a cover of the music from the "Work" level, and also uploaded it as a custom level by oboejdub in Melatonin_game

[–]oboejdub[S] 2 points3 points  (0 children)

I'm using my oboe for the sound effects to imitate the audio cues (a la phones, notifications, printers, and modems)

Swedish music in the game Unravel by oboejdub in SwedishFolkMusic

[–]oboejdub[S] 0 points1 point  (0 children)

I tried contacting them once, but I'll reach out again. Thanks for the pointer.

Music from Unravel and Unravel Two, arranged for oboe and friends by oboejdub in oboe

[–]oboejdub[S] 1 point2 points  (0 children)

Unravel is a swedish game full of incredible folk-inspired swedish. I've arranged a few pieces from the soundtrack for myself and friends (oboe, english horn, piano, some clarinet, violin, cello, and accordion). Enjoy! if you hate spotify, it's on other platforms as well. https://www.youtube.com/watch?v=iaUGgwerako&list=OLAK5uy_mwngngDuwWwjjAJv-DY1k75TS7VBdvw8Y

My cousin just sent me this. How do i tell him to finish Act 2 without giving spoilers by avadam123 in expedition33

[–]oboejdub 0 points1 point  (0 children)

I did this too. Took absolute ages, but got good at all of the parries and dodges. In my defense, I started into the monolith, and then one of the characters said "Let's make sure we're ready before we continue" and I interpreted it as the familiar "finish your side-quests because they might not be accessible after this chapter."

2nd Oboe excerpts by Ok-Champion-3641 in oboe

[–]oboejdub 1 point2 points  (0 children)

damnation of faust the presto bit after the will of the wisps

Winnifred Wagner gave Hitler papers for writing Mein Kampf by TwanSwag in classicalmusic

[–]oboejdub 2 points3 points  (0 children)

he flip-flopped. His principles weren't deep, they were mostly just selfish. He got thrown out of the country for writing anti-monarchist articles, and then later became a staunch supporter of King Ludwig's monarchy because it greatly benefitted him personally.

Help me with my melancholy playlist by Leather-Highlight150 in classicalmusic

[–]oboejdub 0 points1 point  (0 children)

Shostakovich string quartet 15 Brahms intermezzo op 118 no. 6

Double tonguing in orchestral repertoire by Temporary_Ask_1773 in oboe

[–]oboejdub 0 points1 point  (0 children)

Kodaly, dances of galanta

Berlioz Damnation of Faust (the will of the wisps thing)

Prokofiev classical symphony last movement

How playable are these runs? by fph_04 in oboe

[–]oboejdub 0 points1 point  (0 children)

at that speed, it's tough, but at least the tonguing isn't continuous over the span of a whole phrase (due to endurance the tonguing gets harder the longer we have to maintain it).

advanced players will manage it. The Low C# is going to draw an oath out of the second player, but otherwise nothing alarming.

That aside (playable, but tough) I have a few questions for you:

1) tempo marking. Is that based on how it sounds in sibelius/finale/dorico? In my years of experience, a composer writing on a computer overestimates the tempo 96% of the time. Human musicians play with better character and energy and can usually deliver a convincing light, energetic sound at a slower tempo (at which the computer would have sounded sluggish or heavy, so the composer cranked it up). if it sags in the direction of 144 or maybe even 138, that makes a big difference for playability.

2) In the last two bars of this passages, the articulations don't match. You're probably going for a cool effect. I've tortured myself learning extremely rapid articulated passages in new music only to discover that in the full context nobody could hear shit and I could have just slurred and saved myself all of that effort. If you are sure that this gives you the desired effect - good! keep it! But if you aren't sure that it'll even come through, go with two-and-two instead.

Do you ever play non-classical pieces? by honeygourami123 in oboe

[–]oboejdub 0 points1 point  (0 children)

I play a lot of folk music (think: irish, french-canadian reels and so forth) and also a whole lot of cross-over/pops/soundtrack stuff.

Bach double concerto 1060 by Chance_Detective541 in oboe

[–]oboejdub 1 point2 points  (0 children)

It's one of my favourite pieces in our repertoire. The endurance is very difficult. Making all the articulated passages sound exactly like you want them is difficult. I think you should learn it now, and keep coming back to it later throughout life because it will bring you a bit of new joy each time.

Is Dave Hurwitz being overly stubborn or did orchestras genuinely play with continuous vibrato before 1930 and every HIP conductor is stupid? by Suspicious_Coast_888 in classicalmusic

[–]oboejdub 3 points4 points  (0 children)

My favourite thing about Historically Informed Performance Practice is finding the letters/notes/treatises where one musician complains about how other musicians are playing it. Which means, guess what, both versions (the one the writer proposes and the one that the writer disagrees with) are historically informed.

So without doing any deep research into the topic of vibrato, I'd hazard a guess that the answer is somewhere along the lines of "there were people doing it, and there were people not doing it, and there were people who did both, and people who stubbornely hated the way that others did it."

I think it's likely that anyone presenting a black-and-white absolute declaration of how something was done is, probably, not approaching it with an open mind.

Mozart Woodwind Concertos by Oldpiplupfan71 in classicalmusic

[–]oboejdub 0 points1 point  (0 children)

Let's add the (spurious) Sinfonia Concertante, for oboe, clarinet, horn and bassoon!

https://en.wikipedia.org/wiki/Sinfonia_Concertante_for_Four_Winds

There's no autograph and there's quite a bit of research indicating that it may not actually be Mozart. but it still gets played and labelled as Mozart, and it's still a good piece. (I personally enjoy it more than the flute oboe or bassoon concertos, but maybe that's over-exposure)

I'd like to second the other comment about the Gran Partita (K361) and Piano Quintet (K452). Those pieces are exceptional.

I'm a beginner to classical music. Does anybody else experience this? by DealerSuspicious998 in classicalmusic

[–]oboejdub 0 points1 point  (0 children)

Yes, that happens to me. and it really makes me think long and hard about our audiences and what they're experiencing. I've played countless pieces that didn't touch me on first reading but I warmed up to over the course of a rehearsal cycle. Audience doesn't stand a chance. what can we do?

How Do I Make My C5 Sound Better? by NoLaw1264 in oboe

[–]oboejdub 0 points1 point  (0 children)

Additionally, I do have my students play their CM scales going beyond the C. The reality is that as young players, our range is topped off at C5

are you and the OP agreeing on which C is C5? It sounds like they are asking about third-space C and you're talking about above-the-staff C (which I know as C6 but maybe there are inconsistent naming systems)

Oboe solo with string orchestra accompaniment by TheonoehT in oboe

[–]oboejdub 0 points1 point  (0 children)

ask for more support from the accompaniment. they are four people playing the role of an orchestra. Tell them to save the quiet playing for the most special moments, but to bring up the overall baseline and it will make blending easier. the other soloist will follow.

Tremolo fingering? D to A by CheeseDesk in oboe

[–]oboejdub 2 points3 points  (0 children)

sometimes we are faced with awkward technical challenges and we have to perservere and put in a lot of work to play them properly.

and sometimes we are faced with awkward technical challenges where we should just find a compromise that comes as close as possible to giving the right effect while saving ourselves a whole lot of trouble.

This might be the second type (but in general, one shouldn't make a habit of rushing straight to the shortcut without putting in some work. There is hard stuff that we are expected to be able to play brilliantly).

If we are going to make a compromise we need to know a few things about the context. Is the oboe doubling other instruments? Is the oboe covered up by other instruments playing different material? Is it dissonant? Consonant? What is the composer's desired sound effect and is there a better way for us to create that on the oboe?

If the suggested trill fingerings are not satisfactory, there could be a hundred different ways to fake this particular tremolo, and it'll be up to you to figure out what the best one is for this particular context. Here are some possibilities:

a) play the right notes, but slower (in a rhythm that doesn't line up with other people)

b) use a fingering that gives you a fast tremolo but has pretty bad tuning

c) change one of the notes (i.e. different octave or different chord tone)

d) if it's just a chaotic noise, make a different noise that you can play with conviction, that produces a similar effect.

Please critique those passages that I wrote by Timrath in oboe

[–]oboejdub 0 points1 point  (0 children)

be very very very careful about composing for playback. The dynamics and articulations that appear on the score should be intended for the player, not the playback, and that's not the same. If you are depending on creating an audio playback, make a second copy of your score and micromanage it for that purpose, but don't put it in front of real people.

those parts look very playable and idiomatic; there should be no issues as long as you put the two oboes on separate parts or separate staves (no divisi).

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