Oboe embouchure issues?

Question

I recently just got a brand new Oboe, and I'm having trouble getting my embouchure right. Please know that I just got it, so I'm still in need of much more practice. I am also a seasoned flute player who can expertly adapt his embouchure when playing the flute, but I'm not sure why that information would be relevant.

There is one primary issue that I'm experiencing that I cannot seem to find a solution for anywhere online . You see, when focusing my air into the reed, the air tends to also build up in my lips, making my lips slowly puff outwards and then weakening the grip that my lips have on the reed, which then allows it to slide further into my mouth.

Also, I am able to produce a good tone when playing in the lower register, but as I make my way into the second register, my tone gets dimmer and the volume gets lower. Especially when I get to the E flat in the second register, I can't seem to be able to play it in a good forte or fortissimo, but maybe a mezzopiano at best. I'm not sure if this has to do with my embouchure and the way that the reed is positioned in my mouth, though.

If you can provide any links to any online resources for aid with developing an Oboe embouchure, that would be much appreciated.

Answer 1

Your breath support may be the issue, as well. This article may be helpful:

Of all the students in a beginning band program, the oboe players usually struggle the most. Even with a good reed and working instrument, without good embouchure and breath support, producing any sort of sound on the oboe is difficult at best. Perhaps the biggest mistake that beginners make is to fight the natural resistance of the instrument. When students first feel the back pressure that results from blowing through the oboe, they instinctively hunch forward, tighten up through the chest and shoulders, drop their head, clamp down on the reed and try to blow harder through the small opening in an attempt to overcome the resistance. However, this only makes the instrument harder to play.

I'm finding a lot of good info on this subject with just simple online searches for "Oboe embouchure".

Be sure to watch this to the end for the reed exercises test. Are you attempting these exercises with the same results? When it comes to practice, nothing is too trivial or elementary...

This is a 2 part blog from the same lady on embouchure.

Specifically regarding register transitions; this article:

It is exceedingly tempting for the beginner to play with a very loose embouchure in the low register (since the tones will sound, although badly) and tighten the embouchure and bite the lips together as he ascends to the upper register. The embouchure should remain very nearly the same from top to bottom of the instrument. Pitch should be controlled as much as possible by stomach muscles, diaphragm muscles and the resultant difference in air pressure. This system is most likely to produce an even tone quality from top to bottom of the instrument.

Watch for air pockets in the cheeks and lips.

A teacher must train his ear to be an accurate and rapid diagnostician of tonal ills. The exterior appearance of every embouchure will be somewhat different due to different thicknesses of lips, teeth formation, etc. By listening, however, it is possible to tell a great deal about troubles that may not be apparent to the eye. For example, too much reed in the mouth produces a characteristic ìhonkyî uncontrolled, blatant sound. Third space C will usually be very sharp, and other notes may be sharp as well. Not enough reed in the mouth gives a muffled, stuffy quality. A collapse of the ring of muscles may produce much the same result since the lip softens and spreads along the reed and to the tip, restricting the vibrations.

http://hyperphysics.phy-astr.gsu.edu/hbase/Music/oboe2.html