Methodological aspects of purity intonation formation at training teenagers for playing the oboe

Abstract

The quality of oboe intonation with dependence from the activity of performer`s lips and tongue, and from the oboe`s cane is examined in the article. Many disadvantages of performance are related to the oboists' inability to use own breath correctly at the music wind instrument. Purity of intonation, firmness, expressiveness of the sound, these depend on the breathing skill. Ordinary physiological breathing suggests that the inhale equals the exhalation, but both of processes` are different in duration when musician plays the wind instrument. So, the exhale becomes much longer. It should be borne in mind that the performer`s body feels pressure in the active exhale, so oboist takes on some additional difficulties. This can be overcome only with systematic breath training. Besides, breathing does not remain unchanged in the implementation process. The breathing must be flexible (adapted to different intensity and speed). Without these things it is impossible to ensure the correct performance of various dynamic shades and to achieve the purity of intonation. The methodological recommendations takes the age-old physiological peculiarities of teenagers-oboist at training young musicians is considered.