Jordan Hatch and Dr. Geralyn Giovannetti, School of Music
Oboists face many problems relating to the mechanism of their instruments that render them unplayable. These problems occur frequently due to routine use. Fortunately, solutions exist, but few people know how to apply them. With sufficient knowledge and experience, most of these problems could be resolved quickly and inexpensively. The purpose of this project was (1) to research and learn oboe repair and (2) to teach local oboists about repairs they can do themselves. Repairs that I studied were mechanism adjustments, crack prevention, octave vent cleaning, bumper cork replacement, pad replacement, and tenon cork replacement.
Shortly after receiving the grant, Dr. Giovannetti gave me unrestricted access to the thirty-one oboes and nine English horns that BYU owns so that I could familiarize myself with their mechanisms. I began by adjusting each instrument to see how it could play better. On most oboes, there are about twenty-one screws that control the relationships between nineteen pads. Each screw changes the relationship between multiple pads, and each relationship needs to be perfect. A single screw turned ten degrees in the wrong direction could render the oboe unplayable. I spent about twenty hours adjusting BYU’s thirty-one oboes. I also removed all the keys from my oboe and put them back on. This took about an hour and proved to be easier than I thought. It was like putting a puzzle back together and helped me understand the relationship between keys.
To gain further experience, Dr. Giovannetti suggested that I study oboe repair with someone who does it often and well. On June 3rd, I flew to Indianapolis, Indiana, to study oboe repair for a week with Carlos Coelho. Mr. Coelho is one of two repair people in the United States who received training at the Lorée factory in France, the leading manufacturer of quality oboes. He is one of the most experienced technicians in the United States. Mr. Coelho told me that oboists always complain that their oboes are not working properly or that their reeds are bad, but they never blame their problems on themselves as a player. Mr. Coelho also taught me that you must be creative in finding solutions to repair problems because there is no book containing everything about oboe maintenance. The first thing that I got to see was Mr. Coelho fixing a cracked oboe. Cracking is one of the worst problems faced by oboists. Cracks are caused when the interior of the instrument swells faster than the exterior. Swelling occurs because of humidity differences between the interior and exterior of the instrument. Humidity differences are most prevalent when instruments are played in dry climates such as Utah. To fix cracks, Mr. Coelho fills a crack with glue and drills a metal rod perpendicular to the crack to stop it from getting larger. Mr. Coelho covers the metal rod with superglue and oboe wood dust to make it look as if the instrument had not gone to repair. The whole process takes over an hour to complete. I brought a couple of old oboes to practice the hardest part of crack repair: the cosmetics. The most challenging part was removing all the scratches from the wood.
Although the cause of cracks is often debated, Mr. Coelho was convinced that instrument owners can do a lot to reduce the chance of cracking. Mr. Coelho promotes frequent swabbing, oiling, using a humidifier, and propping open tone holes. Frequent swabbing minimizes the moisture that the wood absorbs. Oiling the bore of the oboe with vegetable or nut oils prevents condensation from absorbing into the wood by helping it run down and out of the instrument. Oiling also helps preserve the wood by preventing condensation from removing the wood’s natural oils. Oboes are manufactured at about fifty percent humidity. When an oboe is sold to a location with a drier climate, the chance of cracking can be reduced by keeping a humidifier in its case. Condensation in tone holes can also cause cracks especially under the trill keys in the top joint. A piece of cane or folded paper can be used to prop the keys open to allow them to dry between uses when the oboe is in its case.
After months of normal use, octave vents will need to be cleaned. Octave vents are the smallest tone holes in the oboe. They collect dirt and need to be cleaned twice a year to prevent the dirt from affecting the tone of the instrument. Remove the octave vents one at a time and clean the metal parts with steel wool or alcohol on a cotton swab. Dirt can also build up under the tone hole. Use a small pick to knock it off, but be careful to not scratch the oboe.
With time, bumper corks will wear down or fall off. Bumper corks fit between moving parts of the mechanism to make them silent. Mr. Coelho recommends using the thinnest and most compact cork to replace bumper corks. After removing the worn bumper corks with a razor blade, the new cork can be attached with super glue. The whole instrument will have to be readjusted because the new bumper cork will have changed the adjustments.
A couple other repairs that I studied and practiced are pad and tenon cork replacements. Both are fairly easy to do with practice and the correct tools.
To keep the oboe in top condition, dusting and oiling need to be done frequently. Dust can ruin pads, wood, and hinges. Once a week, use a soft bristle brush to clean the dust off of the oboe. The mechanism should be oiled every two or three months. Sewing machine oil or clock oil can be used to oil the mechanism.
After learning about the above repairs, I taught other oboists how to do the simple repairs. I gave two workshops to the following classes: Music 260R, 360R, 460R, and 660R. These classes are the oboe lesson classes for oboe majors in freshman to senior years, and graduate students in oboe performance. Each workshop lasted an hour and a half. The first workshop covered proper oiling of the wood and correct assembly, swabbing, and dusting of the oboe. We discussed the proper techniques to perform each of these tasks. The second workshop covered only adjustments because of its complexity. I created an adjustment guide that explained the function of each screw. Each student brought his or her own oboe to practice on, and we went through the function of each screw, pad, and relationship between them. The third and final workshop is scheduled for the 9th of January and will cover oiling the mechanism, cleaning octave vents, and replacing bumper corks.
In conclusion, I learned more than I thought I would about the oboe, its mechanism, and repair. I was able to teach other oboists about repair and show them how to fix their instruments. This project also helped me get a job as the woodwind specialist for the School of Music’s Instrument Shop where I continue to share my knowlede, learn about other woodwind instuments, and contribute to the School of Music. This project was a success and has helped increase our knowledge about essential oboe repair.