The solo at the end of Brahms
first symphony is all about beauty of
sound and pitch.
When this solo starts you are in unison
with the oboe and so
the vibrato has to be focused enough.
And the pitch has to be accurate enough
that the two instruments blend into one.
So you'll want to listen for pitches that
For example, the start of the solo there
are B's all over.
So not only should they match but
the F sharps should be real
perfect fifths from those
vibrato is sometimes the culprit
in pushing things usually sharp.
Oboe players would like to say that we're
always sharp but
we know that's not always the case but
vibrato on the E string does have
a tendency if you're not careful to push
the pitch up.
So you can practice this with a drone,
tone perhaps from a,
from a tuner or a metronome or just listen
to make sure the intervals match.
Now, I like to stay on the e string for
the whole first statement.
So, coming down from the high B.
So I reached back
for, for the two one,
for B and G sharp.
I do the same thing for the next little
Now consider how the first two bars repeat
you know, you don't wanna do it exactly
the same way twice.
Perhaps the second time continues a little
further, a little more strongly and
leads into the, leads into the next bar.
So if you come down the first time.
If you look before F, the bars that start
with empty down beats,
now this is no longer with the oboe.
Therefore, you're a little freer and if
you choose to, to take some rubato,
which, which, I think, sounds good,
remember what rubato really means.
Actually, means to, to steal the art of
what you steal in time, you have to give
So it's not just going ahead or getting
You have to remember the pulse that's
underneath you the triplet accompaniment.
So with that in mind,
you have to match up on the beats.