Oboe 101: Do I need a third octave key?

I consider the F# and G fingerings to be super advanced, and I don’t see them all that often in my repertoire as a freelancer. So, if you want to know my favorite fingerings for F# and G, they’re listed below. An important note: the fingering I prefer for G works better on my Howarth than it did on Loree instruments I’ve owned in the past, so you might want to use the second-best G fingering listed below if you play a Loree. 

F#: 3rd octave XXO|XXO

G: 3rd octave XOX|XOO

Second-best G: 3rd octave XXO|XOO

Facilitating E6 and above 

Notes E6 and above often need special consideration when being played. These notes are so stratospheric that they might not come out, and they’re definitely tricky to play softly or in tune. If you can, spend plenty of time playing slowly with your tuner to work out the voicing you need in a passage including E6 or above. 

That said, it’s totally normal to need to squeeze the reed harder AND/OR put more reed into your mouth for E6 and above. Notice I said and/or above - it’s not a straightforward instruction for every player or every reed. Try one, the other, then both while looking at your tuner and playing the passage slowly so you can see what feels the most comfortable. 

More on the 3rd octave key

Most modern oboes come with the 3rd octave key today. In case yours doesn’t, or you’re not sure if you have one, it’s a secondary thumb key above the thumb key you use to play octave E, F, F#, G, and G#. 

On oboes which do NOT have a 3rd octave key, you should instead use the thumb octave key anytime you see a 3rd octave key indicated on the fingering chart. In addition, you’ll probably need to uncover the half-hole for the E, F, F# and G to speak. 

On oboes which DO have a 3rd octave key, you’ll get to experiment and choose whether or not you need the half hole key open. My first Loree needed the half hole open, but my current Howarth doesn’t. As you’re choosing your default fingering for E and F and integrating them into your daily practice, I always suggest trying both ways and choosing the way that feels the easiest for you. You’ll know it’s the right choice when you feel less resistance to the note, or the tone color is less airy. 

Reed adjustment for 3rd octave notes

To play comfortably in the 3rd octave, you’ll also likely need a particular reed. I used to think that these were “special” reeds, but as I’ve gotten to be a better reedmaker, I can say with more certainty that there are specific qualities that will make a reed easier to play in the 3rd octave. The reeds need to be quite responsive and not too hard. If the reed has too much cane on it, it won’t be able to vibrate fast enough to produce third octave notes. 

The reeds need to be flexible enough that you can manipulate the pitch without too much effort to keep the 3rd octave notes in tune. For me this means I can easily bend the pitch a half step but not much more than that. A reed that’s TOO flexible can also be inconsistent in the 3rd octave and make the embouchure tired because it requires too much support. 

If you’re looking for more flexibility in your reed, scrape the top of the back, just under the heart. 

If you’re looking for more response, define the edge of the housetop where the tip meets the heart, and thin the corners/sides/tip of tip. 

If you’re looking for more stability in your reed, take a tiny clip off the tip of the reed, knowing that you might need to thin the tip of the tip afterwards. 

If you’re looking for an easier reed, scrape the tip for a more drastic slope between the heart and the tip of the tip. Be careful not to take too much out of the center of the tip or you’ll unbalance the reed, or perhaps make the pitch drop. 

If you found this post interesting or helpful, you might like my Oboe 101 Newsletter! It's a free bi-weekly email newsletter written for oboists, educators, and their families. Sign up today!