Why Play the Cor Anglais?

Why Play the Cor Anglais?

I imagine that almost any oboist who has had experience playing or owning a cor anglais will be inclined to answer quickly simply and immediately - because it is fun! I fully share and support this opinion - but it does not say enough about the benefits to the oboist so I hope to expand a little. I would say that experience of playing and better yet owning, playing and treasuring your own cor anglais deserves to be viewed as an important part of the development and maturation of every oboist.

The similarities between oboe and cor are many and following a predictable initial shock and the requisite alteration of habits and expectations transferred from the oboe the cor is largely playable by most oboists of a reasonable standard. The primary differences one will at first encounter are the relatively larger size and weight of the instrument, the stretch fingers and placement of keywork and the blowing position as the cor does rely upon a bent crook.

The size and weight are best addressed by using a sling, a fairly standard practice for the cor, to take the weight and relax the hands. The finger stretch and placement do take some getting used to however, since the demands for speed of finger action are considerably lower for most of the cor repertoire, there is usually time and opportunity to learn to ease the fingers into place to cover holes correctly and gently.  Allow the instrument to hang down between the legs so that the reed on the crook enters your mouth at approximately the same angle as you have with your oboe reed. Transferring some of these skills back to the oboe is often beneficial in itself and may eventually result in a more fluid technique on your main instrument.

Oboists often discover that the cor uses up a greater amount of air than the oboe. This is true and logical if you consider the larger size bore. Learning how to breathe more deeply and how to best hold onto the greater reservoir of air required is a very useful learning process and the discipline and awareness that one learns are sure to enhance breathing and phrasing on the oboe as well.

The Cor Anglias is almost entirely a solo voice in the orchestra or ensemble and as such when it is included in a score it is intended to be heard - almost never a 'filler'. This implies that tone and projection are very important concerns for the player. Mastering the production of a fine, centred, colourful tone with good projection takes time and more than anything replies upon learing to relax the embouchure so as to not 'stifle' the sound with the same embouchure pressure as one uses on the oboe. In addition the aural cavity should be adjusted to 'shape' the air to optimise the resulting tone colour by giving 'space' for the air within the body before filling the reed/crook/instrument. Getting used to hearing oneself instead of feeling 'buried' within an ensemble texture can be a bit nerve wracking to be sure but it also can be a wonderful confidence boost!

Balancing the tonal qualities of different ranges of the cor requires careful listening and the cultivation of new sensitivities. The skills gained through this process are likely to benefit the oboe as well. Learning to produce and then employ vibrato is ofter easier to do at first on the Cor Anglais as it is a more flexible instrument and a wider amplitude of vibrato and a slower speed can be acceptable. Vibrato skills learned on the cor can later be transferred to the more precise demands of the oboe.

Even if one does not make their own cor reeds learing how to handle and adjust a different size of reed can be very useful. Most players will play a less resistant reed on their cor than their oboe and learing to 'take pressure off the lips and place emphasis upon the air' will not only make for a better cor sound and more accurate intonation but can be applied to the oboe often with great benefit.

Learning to switch between, care for and maintain your instrument is also very beneficial as it is often the case (even likely) that your oboe and cor will have been made by different manufacturers and the key mechanisms and even the specification (covered hole, ring system, thoumbplate, conservatoire system, half hole split keys, LH F, trill keys, 3rd octave key, etc.) will be different. Coping with this is a fact of life for many players and it should make you a more flexible individual capable of understanding all your equipment better.

I would recommend splitting your practice time between the different instruments on a regular basis. Playing scales, arpeggios, interval studies and long tones on the cor is time well spent. When the much smaller, lighter and more facile oboe is picked up it is almost certain to feel amazing by contrast.

A final point I would add is that the ability to play the cor, and the ownership of or access to an instrument, can often be the 'ticket' to opportunities to perform with a wider range of ensembles and even result in participation in groups where just being to provide the oboe would not be of interest.

I would encourage all oboists to embrace whatever opportunities they get to play the Cor Anglais. Make sure any instrument you might use is in good condition by having it checked over by a repairer and then go away and do the necessary 'familiarisation' practice. When you feel that you are ready then go out and let everyone know that you have added cor to your skill set. You will be glad you did!

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers