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A modern oboe with the "full conservatoire" ("conservatory" in the US) or Gillet key system has 45 pieces of keywork, with the possible additions of a third-octave key and alternate (left little finger) F- or C-key. The keys are usually made of nickel silver, and are silver- or occasionally gold-plated. Besides the full conservatoire system ...
The oboe da caccia (pronounced [ˈɔːboe da (k)ˈkattʃa]; literally "hunting oboe" in Italian), also sometimes referred to as an oboe da silva, is a double reed woodwind instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music. It has a curved tube, and in the case of ...
The oboe d'amore was invented in the eighteenth century and was first used by Christoph Graupner in his cantata Wie wunderbar ist Gottes Güt (1717). Johann Sebastian Bach wrote many pieces—a concerto, many of his cantatas, and the Et in Spiritum sanctum movement of his Mass in B minor—for the instrument.
The taille, also called the taille de hautbois or the alto oboe, was a Baroque tenor oboe pitched in F. It had a straight body, an open bell, and two keys. [1] The instrument was first used in Alcidiane by Jean-Baptiste Lully in 1658 and in French ensembles known as the bandes de hautbois, in which it played the inner lines of polyphonic ...
A continuous bass was the rule in Baroque music; its absence is worth mentioning and has a reason, such as describing fragility. The specific character of a movement is often defined by wind instruments, such as oboe, oboe da caccia, oboe d'amore, flauto traverso, recorder, trumpet, horn, trombone, and timpani.
The bore is similar to that of a baroque or classical oboe. The pistoñ uses a fairly stiff reed based on cane of an approximate diameter of 12mm, very similar in size to those of the baritone oboe (approximately 9 mm in width at the tip), English horn and baroque oboe. Unlike these other oboes, however, the pistoñ reed's brass staple ...
There was an instrument referred to by H. de Garsault in 1761 as the basse de cromorne or basse de hautbois (Finkelman 2001) which was used by Lully, Charpentier, and other French Baroque composers. This apparently was an oboe-type instrument in the bassoon range. It had, nonetheless, a distinct tonal quality of its own.
Two works [13] by Janitsch bear a dedication to Jacobi, and several other works in extremely uncharacteristic keys for the oboe [14] by Janitsch can be presumed to have been composed for him. They are a testament to his great skill on the instrument. Bruce Haynes lists him among the great oboists of the baroque period. [15]