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https://www.alexandertechnique.com/articles2/oboe/
Knowing how to release quickly the higher level of muscle tone that is required for playing oboe and to return to a state of minimal tension for a moment allows the oboist to maximize the benefits of even the shortest rests in playing and increase her endurance. ... The idea of breath "support" is a confusing idea, and difficult to pinpoint ...
https://www.robertweineroboist.com/vibrato.html
Vibrato production has long been a source of oboe technique controversy. Vibrato, as an expressive device, should be both controlled and variable. In many players, vibrato tends to be slower in the low register and faster in the upper register, however, one should be able to make it faster or slower and also refrain from using it.
https://www.oboefiles.com/how-to-teach-articulation-and-tone-for-the-oboe-contrasting-features-of-the-pedagogical-writings-of-professors-that-begin-with-the-letter-ssprenkle-schaeferdiek-and-schurring/
Teaching tone, articulation, and practicing . ... Much like Schaeferdiek he includes discussions about vibrato as part of the tone and that the oboe is played with the entire body so discussions of tone production must include posture, breath, support and all other aspects of playing.
https://bretpimentel.com/dubious-pedagogy-alert-woodwind-vibrato/
Apr 10, 2010 · I think there is a lot of garbage in the way woodwind vibrato—specifically flute and double reed vibrato—is taught. Flutists, oboists, and bassoonists use the same basic physiological mechanism to produce vibrato. I often read or hear debates over what, exactly, this mechanism is, with some arguing fervently that it is the “diaphragm,” and others … Continue reading Dubious pedagogy ...
https://www.robertweineroboist.com/air-usage-dynamics-and-tone-colors.html
While maintaining solidity, the tone production mechanisms have to allow for flexibility and agility in order to meet musical demands. The ability to change dynamics, control intonation, produce vibrato, and even to diffuse, de-intensify, or change tone color are all related to tone production. Breathe and blow A good breath begins with an exhale.
https://www.teachbassoon.com/breathing-support/
Teaching students to breathe properly is difficult. Teaching them to support is even more difficult. An approach that works for some students won't work for others. I've collected advice from around the web (and the library) to help you as you teach your students proper breathing/support techniques.
https://bretpimentel.com/breath-support/
Oct 12, 2008 · Quick: define “breath support.” I fear that to many woodwind players (or wind players in general, and maybe singers too) breath support is something mysterious. I have often had teachers stress to me the importance of breath support, but I can’t remember ever having one explain clearly what it is. I’m teaching a woodwind methods …
https://www.mansfield.edu/camps/music-camps/oboe-and-bassoon-camp.cfm
Core topics include: tone production, breath support, warm-ups, practice techniques, phrasing, vibrato, and reed-making and adjustment. The camp culminates in a demonstration performance for parents, family and friends on Thursday, July 2, 2020 at 4:00 p.m. The camp is open to junior high school and high school age oboe and bassoon players.
https://music.depaul.edu/academics/studios-areas-of-study/Pages/oboe.aspx
Aug 07, 2019 · We focus on a wide variety of musical and technical issues such as developing the concept of tone, pitch stability, articulation, vibrato, and breath support. We strive to improve technical command of the oboe, bring a sense of ease and consistency to …
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