Oboe 101: Posture, Breathing and Support, Tone.

Most important: Do never attempt something that feels uncomfortable or hurts to do.

Oboe playing should feel good, although challenging. It should never feel painful.
If something goes wrong, stop immediately, and try again in a few minutes. If this persist, talk to
your teacher.

Posture:
To play the oboe, you will need to feel aware of certain parts of your body:
1 Neck
2 Shoulders
3 Abdomen area
4 Your feet if standing, your bottom if seated

To start playing, you should sit or stand straight, with the feet somewhat align with your hips. Your
neck and shoulders should feel free and as relax as you can. The only place with tension should
be your lower abdomen, and the muscles from your lower back while playing. (must remember
you are a 3D person, so your abdomen area goes all the way to the back and the sides of your
body).
It is completely normal not to be able to relax all the time, just try to reset every time you notice
some tension in your body.

Breathing and support. This is the easiest part, because you breathe all the time!

When you take air in your lungs expand and your body makes room for the air that is entering.
This is called inhalation. You can notice that your chest moves when you do this. After the
inhalation, we need to release the air we accumulate in or body. This is called exhalation.

To play the oboe, you will need to control the muscles involved in both inhalation and exhalation.
Just as an exercise, try taking a big amount of air and notice what parts of your body are involved
in the process. With some luck you were able to feel a change of pressure in your lower abdomen,
your chest and your back and sides. This is your body making room for the air.

The oboe does not need this big amount of air, but the pressure you just felt will be useful to start
our air moving to make the reed work properly. It can take some time to understand what is moving
and where you should apply or sustain the pressure, because you are not able to physically see
your muscles inside your abdomen.

How can we find this abdominal muscles if we cannot see them? You will discover you move them
without ever thinking when you cough, or laughing really hard, even when you yawn. You can
also try to panting like a dog would do. All this will get you a good idea of how does it feel to work
this muscles involved in a controlled exhalation.

Just like any other muscle, the more you use them for supporting your sound, the better they will
get to do it. This act of exhaling air while sustaining this posture is what we called “support.”

How much air should you grab for playing? Enough to get you through the phrase you are
attempting to play, but not much more. If you grab more air than you need you will feel
uncomfortable and playing would be hard and stressful.
How does support feels to you? Please make some comments about how you feel
support in your body to help you recreate the feeling in your alone practice.
Want more “finding support” exercises?

1 Air chair (squat while playing) you can come and go from this position and try to see some
differences in your tone production

2 on your back on the floor, breath in and lift your legs out the floor. Then return them slowly
without touching the floor. Repeat later sustaining a note with the oboe. Feel your back getting
bigger and your belly getting up.

3 on a chair, put your arms around your legs and breath slowly, feel the muscles involved in the
process.

Tone
Now that we can make the oboe emit some sound, we can evaluate the quality of its tone.
It can be weak, cracky or nasal if we are not supporting correctly.
In order to achieve a great tone throughout the whole range of the instrument, in all dynamics,
you must be rigorous about the long tone exercises described at the end of this paragraph.
There are no shortcuts, no instant formula, no magic reed. Rely on them and do them religiously
every day of your career. May seem tedious, but they should become your warm up every day.
Embouchure

your mouth should surround the reed in the gentlest manner possible. You should think on a round
position souring your reed, pulling the corners of your lips as close as you can.

As Martin Shuring puts it: “Imagine that you are sucking a very thick milkshake through a straw”.
As for your lips, they should bend slightly covering your lips. Try dropping your jaw making space
in the inside of your mouth. Feel like you are containing a yawn.

Common mistakes

“Smiling” you are tightening your lips by making the corners of them farther away from each other.

“Biting” you are holding the embouchure position with your teeth. This could be also because you
are holding your jaw instead of letting it slightly open.

This mistake is inefficient way of holding an embouchure because the muscles of the mouth are
insufficient to make the reed vibrate for long. Only with a good support and an easy to play reed
can you accomplish a good embouchure.

Articulation

the problem with the articulation is that depends of the coordination with tongue and fingers. To
achieve a good control over our Tongue, it's necessary to understand that this is a big and
complex series of muscles that work together to talk and eat. You need to think in the tip of your
tongue as you articulate.

Imagine that the inside of your mouth is a sphere. To articulate, your tongue must be position
around the middle of that sphere. You can position the tip close to the reed and try with slow
movements to find the right place to “attack” the sound. Could be either under the blades, or
directly to it. To attack, you can think it as an up and down movement that can be really slow or
really fast. The faster the movement, the loudest the attack.

The attack must process that you have to be careful with:

Beginning of the notes: As oboist you need to master different kinds of articulation to get
different coloration in the music. The consonants “t” “d” and “l” of the English language are three
good examples of different articulations, each being softer than before. Doing each of this in
different speeds also give different articulations.
Try your best to identify the one you need for playing in your music. A good standard is a middle
speed “d”.
Also, you should experiment with different vowels such as “a” “aw” “oh” and “u” with time and
experience you can make many articulations with all these resources.

To get good articulation, practice slow and progressive until you get the desire articulation.

Ending of the notes: How do we stop a sound and get the definition that we want? We always
have to think in a “fade out” of the air to stop the reed from moving. To achieve this without
changing the color and intonation of the note will take some time with your tuner. Never try to stop
it directly with your tongue because it would be unpleasant to the ear.

When you need to do staccatos or other fast articulation, is best not to think that you are stopping
the air, but you are making space with your tongue and bouncing the tongues movement. Take
this wonderful advice from John Mack himself:
“Instead of thinking in the stop-start-stop, you should feel like you are continuing the sound… the
living note is not stopped, it’s just encouraged in by the tongue.”

Finger facility and Hand Position

The oboe should be supported in a 45% angle from the embouchure with your body. This is not
always true depending of age, and finger length. It must be supported, but never grab with force.
If you have long fingers, you must feel like you are slightly curving them and touching the keys
with the part between your nail and your fingertips. If you have short fingers, you should cover the
hold and find a position that causes no pain in your practice sessions. A good position has to feel
like lifting a basketball with your fingertips out of the floor: your fingers are separated but grabbing
it doesn’t have to feel like a bunch of pressure. Your fingers should never be separated from your
instrument more than a few millimeters.

Your hand should feel align with your elbow, and no wrist movement will be necessary at any time
playing the oboe. Put your hands into a surface like you were about to write at a keyboard: that is
the maximum elevation that your wrist should have.

If this hurts in any way, you should consult it with your professor and never practice through the
pain.

If your fingertips bend from the first joint of your fingers, you can try to get your ligaments stronger
by pressing lightly in the right position against a hard surface, in time you will strengthen these
ligaments, and this won’t happen anymore.
Phrasing and Expression

It is our job as musicians not just play the notes in the correct rhythm and tune, but to convey
emotions and pour some of our own personality in the music.
We are in the interpretation business. We perform as an actor will do with a given text, or as
every painter will do the same idea in a different manner.
Even as a beginner, we must feel inclined at doing so, no matter how small we find an exercise.
Scales and long tones are music too.
We can change dynamics, note groupings and inflection that on top of your personal timber makes
your personal imprint in the music.

Dynamic control does not refer only of what is the softest or the loudest you can play, but also
the timing on where it arrives at is maximum points. Start and finish a crescendo is a skill in itself,
but a good point of reference is to decide where to started and were to finish.
Other thing to consider is that all has to do with perspective: as oboes we don’t have the loudest
of a trombone nor the pianos of a violin, but with the correct perspective, we can go showing a
big range.
Lastly, we must remember that we are to play not for a person right next to us, but for an audience
that is going to be far from us: we must exaggerate all the features of our playing, just like an
actor would do to convey ideas so from the distance are perceptible.

Finding the shape for correct dynamic Shuring states: “Many phrases work this way: as a long
tone with notes on it… make the shape with your air and place the notes on that air” To find the
correct shape, simplify if necessary. You can normally find what notes are there as structural to
the piece and what are the embellishment that makes them special. Finding the structure will help
finding the correct shape.

Note grouping is the way music speaks. As well as language, depending of the grouping we do
we can totally change the meaning of a phrase. Is not the same to say the cat, Mary and you than
“the cat Mary, and you” Music has punctuation as well, but you obey to the harmonic and melodic
structure. Not always to the bar lines in the music, as Shuring “They are no more important than
the end of a line of a text in a book”. In time you will perfect a better idea of where and how group
notes correctly.

Inflection comes after note grouping. As you speak, you give different emphasis to your worlds,
this is also true in music. This is different from the main whole phrase idea, and not necessarily
has to with the dynamic overall. To explain it better we can think of the different sound a violin
does playing down or up bow. The emphasis in both are different, and we can do the same at
playing.
Don’t let the mechanism dictate the style you must be in control of the volume, note grouping
and inflection. It takes time and practice but should be your goal always.

A Word about style: depending of what are you playing, you should situation yourself in the right
historical context. Music has mutated in time and the accents in Mozart have little to do with the
ones in Hindemith. Again, this skill is about learning history of music, and listening as many people
as you can.
It is very important to have a clear understanding of the music we are playing since we have the
responsibility as musicians and artist to be the most truthful to the composer intentions, since we
are representing their work.

Vibrato

Carl Seashore defines vibrato as “any pulsation of pitch, intensity of tone color”. is a way to
embellish the notes in the music, creating expression that will make it very personal. To perform
this technique, you need a correct support, since is impossible to accomplish good relax vibrato
with lack of support, but the wave comes directly from the larynx.
It’s in essence, a distortion of the sound, and there are many opinions about when to use vibrato
in music. For example, although there are books talking about vibrato since the XVI century,
there is consider in bad taste to play with vibrato baroque music. *
Even today’s performers have different opinions: To English musicians today vibrato seam kitsch
and on bad taste. On the other spectrum, there is musicians in France and America that would
never play without vibrato, not even when tuning. Experience and research will give you tools to
decide when and how to vibrate.
Class observance N. 1

Olivia Requist Clarinet lesson with Dr. Jackie Glazier

Monserrat Garcia Campos, 02/06/19

Olivia Requist is in her freshman year at the University of Arizona. She started playing the clarinet
8 years ago, and so far, she has only had 1 professor before Dr. Glazier, she was without a
teacher for the past 2 years.

At the beginning Dr. Glazier review a computer document where she keeps track of Olivia’s
homework and progress, while Olivia set her clarinet, adjust her stand and get her methods and
reed ready. All the lesson took place with Olivia sitting down.

The lesson was around 1 hour long and was divided in blocks of around 10 minutes each. At the
beginning dr. Glazier ask her student to play long tones to encourage her of finding a good center
and tone. She was keeping track of her intonation with a tuner at her desk, far from Olivia. She
was playing long notes from memory were she clearly was focusing in quality of sound and
direction of her notes, grouping in 4 as previously instructed. To encourage a better speed of air
Dr. Glazier using a simple breath builder with a ball to give Olivia a visual representation of the
amount of velocity she was lacking. This device had an immediate result. She also used positive
reinforcement and made her notice when she was producing better sound, asking her to search
for a “ring” in the sound. Then she asked Olivia to making some risk and find the same ring in a
high register note. After some trying and directions, Dr. Glazier made that her homework.

Next, they review some alternative positions for resonance. Dr. Glazier sat next to Olivia and
explain the basics of looking for resonance in the clarinet. She gave an example of a note and
the different alternate fingerings. She asked Olivia if she hear the difference and Olivia sounded
excited to getting a better sound in her instrument. Then Dr. Glazier asked for some notes and
encourage Olivia to guess what she though could be alternatives for those, she was led to
experiment and then Dr. Glazier pick the best she found. Make her do some annotation of all right
positions for the different notes they found. Dr. Glazier shared some personal experience with
these notes, and how it feels good to play them.

Dr. Glazier asked Olivia to play scales for her Albert method, that was previously assigned for the
class. Olivia had some questions about a big jump in an arpeggio part, and Dr. Glazier answer
her question and share another anecdote. Seems to be a hard jump even for professionals. While
playing the scales, the sound of Olivia changed and got less quality. This problem was addressed
by Dr. Glazier when she finished the exercise in a nice manner. She made her repeat a couple of
measures taking notes of her sound. Dr. Glazier stood close and took big notice at her fingers,
this exercise was played with metronome that Olivia set up without being asked.
Dr. Glazier asked Olivia to play her memorized scales. This took less than 2 minutes. Dr. Glazier
congratulated her on her note grouping and asked her to add another key to the repertoire.

They continue with the Vade Mecum, where they review mechanism with a trill exercise. After a
start with a poor-quality sound, Dr. Glazier grabbed sticky notes from her desk and explain to her
that she likes to have them to remind herself of certain things to focus on her practice. She made
some for her to keep them in their different methods regarding the speed of her air. Every time
she asked her directly to focus on this aspect, Olivia made a completely different sound and Dr.
Glazier made her notice this.

After finishing the exercise, Dr. Glazier asked to play it at half tempo. She started insecure but
was encouraged to keep going and got better by the 3rd measure. The next time she asked her to
repeat the exercise keeping her fingers closer, and to try to relax the rest of muscles that she
didn’t needed. Dr. Glazier asked her that from now on those exercises were to be played first at
tempo and then half tempo, to make notice of the movement of her fingers and to work and her
finger speed.

The next block was the longest and was with a melody method call Rose. First Olivia played the
whole exercise with good rhythm sensation and better quality than the other exercises, although
still lacking some cohesion in her phrasing and with some fingering problems in difficult passages.
After she finished, Dr. Glazier comment about the positive things she accomplished first,
complimenting her better speed of air, but encouraging to try even more. She even mentioned
she wanted her to play this particular exercise in the master class. Dr. Glazier corrected some
mistakes regarding trills out of the key signature. Slowly Dr. Glazier make her repeat parts
incorporating things they already had talked about (fingerings, trills, and velocity of air.) Dr. Glazier
explain to Olivia why some notes were more resistant than the others and make her try the
difference by herself adding and taking fingers. She marked the problems she had during the
exercise and make her play in small pieces to fix some jumps and changes of register problems.

To a special hard jump, Dr. Glazier explain to Olivia a special Clarinet technique called venting
(that consist of rolling the finger out of the hole instead of lifting it up to avoid a pop in the sound
while changing registers) She hand her a piece of paper she had prepared with the different
positions that need of this technique. She put her to try it herself and she find it easy to do. Dr.
Glazier then gave her some homework and explain some more of the benefits of the venting
technique.

At all times Dr. Glazier was positive, and reinforcing good playing, keeping some casual
conversation to give time to Olivia to react and feel comfortable. Olivia was probably a bit
discomfort with my presence because she kept looking at me at the beginning, but slowly got
engage at her lesson. While Olivia was picking her stuff Dr. Glazier made some annotations about
the progress in her document.
 List of Representative Studies and methods for oboe by level

* These books are necessary for all levels after the one the category they are in.

Beginners:

Pedagogical Methods-Etude books Etude Books

* Andraud – ”Practical and Progressive Gekeler – “Method book 1 and 2”

Method”

Tolksdorf/Rosler – “Schüle für Oboe” Karl-Elert – “22 techine etudes”

Langley-Carl Fischer– “tutor for oboe” * Lacour – “50 etudes easy and
progressive”

Gillet – “Le début du Hautbois” Lacour – “24 easy atonal etudes”

Boosey and Hawke – “scales and Liang Wang – “little exercises and songs”
Arpeggios”

Hinke – “Elementary method for Oboe” Rubank – “beginners and intermediate

methods”

* Barret – “Oboe Method (begginer, Barnes – “English country dance tunes”

intermediate, advanced) “

Selner/Bleuzet – “Metode for oboe” * Salviani – “studi per oboe I, II III”

Intermediate:

Pedagogical-Etude Books Mechanism

Rothwell – “Orchestral excerpts.Difficult Singer – “Método Teórico-Práctico”

passages” I, II and III

Rubank – “Advanced method” Pares “daily exercises and scales for oboe”
De Lancie –“20 century orchestra studies” Ferling – “18 exercises”

* Ferrillo – “Orchestra Studies” Labatte – “16 daily exercises”

Vorman – “Selected Studies in every key”

Sous – “Etüden für Oboe”

* Ferling – 48 Famous studies”

Bessozi – “28 Etudes”

Wiederman, – “45 Etudes”

Advanced:

Etudes

Walter Heinze – “Bachstudien” V I, II Loyon – “32 Etudes”

Zsweites Heft – “Bach selected arias for A. Lamotte – “18 Etudes”

soprano voice”

Prestini – “12 Studies of Chromatic H” * Guillet – “Etudes”

Bozza “14 Etudes des modernes Guillet – “Daily excercises 20 minutes of

Karnatiques” studies”

* Bozza – “18 Etudes” Silvestrini “6 Etudes pour hautbois”

Piazzolla – “Estudios Tanguisticos”

Reed Making Outline

Making reeds is the bread and butter of all oboist. We must be able to craft our reeds to our
oboe needs and our liking. It takes years to accomplish this and we must practice it as if it was
part of our daily routine of oboe duties.

Process before the scraping: It is important to know that cane is a type of grass, that we have
to select and prepare for reed making. What you would buy at the shop can be tube cane,
gauche cane, shape cane or finish reeds. All this different process can be controlled by the
oboist but required its own chapter.

In here we will focus on the tying and scraping of the reed:

To start (what you need to have)

Basic Materials:

Knife
Plaque
Tread
Staples
Ruler
Cutting block
One blade GEMs
Steel rod
Bee’s wax

You can investigate the best options around your area to buy this supplies with your professor.

Tying principles

Put one shaped blade of cane on top of the staple, when you measure this should give you
between 72-74 mm with your ruler.
You are going to then analyze in every angle if the blade is position in the straightest way with
your staple. When you feel certain, then mark with a pencil both sides of the blade, so when you
tie you can be certain you are not going to go over the staple.
You can also get a piece of plastic tube and pass it through your blades to help you to hold the
position. You will start doing the loops in a way you can see how the blades get closer together
until they close, so if is too tight you would close them to quickly and unevenly, if is too lose you
won’t have a perfect seal, so be really careful and practice a lot this step.

Tying is more a visual work, but what it is a way to glue the cane to the staple. It is ideal to be
supervised at the beginning.
Some considerations:

*Be on the look for evenness in your thread, any loose in the wrap would cause leaking.
* If you don’t apply enough pressure, the tread would not be sealing the reed, and can get
loose.
* Be really demanding with yourself to make the tread be at the limit of the staple. If you cross
over that line you can suffocate the reed.
*Always use wax, helps to keep the thread together.

Thread crossover: this step is important! When you tie, you start working up to the staple for a
few loops, and after that you have to cross over your thread to continuing down. It is very
important you do it in the front of the staple, and no to the sides, to do that hold the thread with
your thumb, pull the thread as you complete the crossover, not to tight, not to loose.

Scraping

Always start slow, imaging you are passing a brush to a canvas. The movement comes from the
wrist and the pressure is apply by the thumb.

Position: You should hold the knife with the hand you write. let the four fingers of your hand
sustain the weight of the handle of the knife, without pressure and grabbing. Your thumb on this
hand should be in the line that separates the steel from the handle.
The other hand would be in charge of the reed. Rest the part that you are going to scrape in
your index finger, your thumb in this hand is the one that would be controlling the
movement and pressure of the knife be careful with your knife because it is going to be really
sharp!

You will divide the job of each individual reed in 3 different stages, that would be in different
days:

Day 1

After finishing the tying, you should measure 3 places of your reed, mark it with a pencil: 5mm,
62mm and 67mm. Each one of this is going to be the line between your tip, your heart and the
beginning of the sides.

Tip Scrape horizontally at this stage, starting from the tip line to the end, leaving cane in the
middle to continue the spine. Don’t go too far indenting the knife in the line, remember to just
work with slow sweep strokes.
Channels Work the channels to get to the tip. Disregard the hearth in this step. It is normal and
that there is some bark left in this step. Do just a few strokes.

If you leave at a dry climate you can clip it today, but if you live in a more humid place is better
to clip it at the beginning of Day 2

Day 2

Tip Rework your tip and make sure that the thinnest part is the end, focus your scrapings on the
sides of the tip, being really careful to leave cane in the middle (shadow of the tip) you can do
this doing 3 types of strokes
Diagonally, horizontally and very tip focus. All movements must be controlled and to the finish of
the reed.

Heart remark your pencil marks and go gentle strokes in the heart surface to remove the bark
and make it even and smooth as possible.

Channels start from the bottom up, in horizontal strokes, stop at the bark, remove burr with an x
knife stroke.

Start looking for a C in your crow and balance the best possible these 3 parts. Do not finish your
reed today.

Day 3

Day 3 is all about looking for balance.

See if your reed feels more resistant to the day before and adjust accordingly, because soaking
cane can change the reed at this point.

Work slow and with your oboe at all times, look for the 4 qualities in the sound: tone, flexibility,
resistance and articulation.

Look for balance between the definition and the blend of the parts. And the symmetry of the 4
quadrants.
 MONSERRAT GARCIA CAMPOS
4215 E. Fairmount Apt. 5, Tucson AZ • (520) 481-8492
garciacampos@email.arizona.edu

CONTRACTED ORCHESTRAL POSITIONS

Orquesta Sinfónica de Michoacán​, Principal Oboe 2015 – Present

Michoacán, México (currently on leave of absence)
Approx. 30 concerts per year, including national tours
Symphonic, education, folkloric, and pops programs

Engagement as Soloist:​ Strauss ​Oboe Concerto – ​December 14, 2018

Sponsored by Embassy of Colombia, State Arts Department of Michoacán,
and the University of Arizona; Juan Montoya, conductor

Zacatecas Chamber Orchestra,​ Principal Oboe 2013 – 2015

Zacatecas, Mexico
Approx. 20 orchestral and chamber concerts per year, including state concert tours

Televisa San Angel Television Studio 2013 – 2015

Mexico City, Mexico
Oboe performer, advisor, and coach

OTHER PERFORMANCE EXPERIENCE

Bay View Music Festival 2018

Bay View, Michigan
Chamber music studies, private studies, and outreach performances

Fred Fox Graduate Wind Quintet 2017 – Present

University of Arizona, Tucson, AZ
Premiere university chamber ensemble at the

University of Arizona Wind Ensemble, ​Principal Oboe 2018 – Present

University of Arizona, Tucson, AZ

Freelance Oboist 2010 – Present

Zacatecas Philharmonic,​ ​National Symphony Orchestra of Mexico,
Nuevo León Symphony, Chamber Orchestra of San Nicolás de Hidalgo
University of Michoacán and San Luis Potosi University Orchestra

Bernstein-Peralta Theater Productions, ​Oboe and English horn 2011 – 2015

Mexico City​,​ Mexico
Chapultepec Theater, Nextel Theater, San Rafael Theater and national tours
Productions:​ Fiddler on the Roof ​and ​The Scarlet Pimpernel

Arizona Symphony Orchestra and Opera Orchestra, ​Principal Oboe 2017 – 2018
University of Arizona, Tucson, AZ

Kartner Konservatorium Orchestra​, Oboe 2014

Klagenfurt, Austria

Estanislao Mejia Orchestra,​ Principal Oboe and English horn 2010 – 2012
Mexico City, Mexico, National University of Mexico

EDUCATION

Master of Music in Oboe Performance, ​Anticipated May 2019

University of Arizona, Tucson, AZ. Current GPA 4.0
Major professor: Dr. Sara Fraker

Bachelor of Music in Oboe Performance,​ Graduated with Honors, February 2015

Autonomous National University of Mexico (UNAM), Mexico City
Major professors: Dr. Roberto Kolb, Prof. Alejandro Tello

Kärnten Konservatorium/Alpen Adria Universität​, UNAM Study Abroad Program, 2013

Klagenfurt, Austria
Oboe performance, orchestral studies, and German language studies
Earned credits toward completion of the B.A. degree
Major professor: Prof. Michael Turnovski

SCHOLARSHIPS & AWARDS

Carlos Chavez Youth Orchestra Scholarship Program 2010 – 2013

Mexico City, Mexico
January 18, 2018

UO School of Music and Dance

1225 University of Oregon
Eugene, OR 97403-1225

Dear Committee,

My name is Monserrat Garcia Campos and I want to apply for the Graduate Employee Position on
Ethnomusicology and Theory at the University of Oregon. I became aware of this position through the
school webpage and I was also referred to this by Dr. Melissa Peña. I am now enrolled at my second
semester as a Master in Music Student, and my graduation date is set to be in Spring 2019. I hold a
Graduate Assistantship position here as a member of the Fred Fox Graduate Woodwind Quintet.

I believe I can be of much use at the University due to my experience as a performer and professor. At my
home country I was adjunct professor at the University of Michoacán and Las Rosas conservatory, were I
teach studio and conducted several seminars for undergrad classes about oboe techniques and history of
the instrument. As an oboe professor I always rely on my historical and theory knowledge to help my
students to understand their music better. I have a firmly believed that a professional musician must be
capable to understand the music he/she is playing, and I put a lot of emphasis in this in my approach to
performance.

Here at the university of Arizona, I won Teaching assistantship position at the department of Spanish,
were I teach basic language as instructor of record. Among my responsibilities were the design my own
lessons and to help with the review of test and grading my class.

I look forward to work in the theory department because I enjoy theory as much as I enjoy playing. I have
been taking graduate courses of both traditional and XX century music theory, and I had always been top
of the class. I have a little background using programs like Pro Tools and Digital Performer, and I consider
my computer skills to be above average. I definitely consider myself to be responsible and good following
instructions.

I will welcome the opportunity to interview for the position, and look forward to your consideration of my
application. Please feel free to contact me if more information or documents are needed.

Sincerely,

Monserrat Garcia Campos,

2424 North Park Ave. Apt. #10
Tucson, AZ 85719
(520) 481-8492
 Curriculum Vitae
Monserrat Garcia Campos
4215 E. Fairmount, Apt 5 Tucson, AZ 85712
(520) 4818492 - email garciacampos@email.arizona.edu

Chronology of Education
University of Arizona
Master of Music
Tucson. AZ, Anticipated May 2019,
Major in Oboe performance
Winslow R and M Scholarship
CFA Travel Grant
GPA 4.0

National and Autonomus University of Mexico (UNAM)

Bachelor of Music
Mexico City, Mexico, 2014
Major Oboe Performance
Cum Laude Graduate
Estanislao Mejia Scholarship

Kärnten Konservatorium/Alpen Adria Universität,

UNAM Study Abroad Program,
Klagenfurt, Austria, 2013
Earned credits toward completion of the B.A. degree
Oboe performance, orchestral studies, German language

Primary Instrument Instructors:

Sara Fraker
Roberto Kolb
Prof. Alejandro Tello
Michael Turnovsky
Thomas Indermülle
Hansjörg Schellemberger

Summer Festivals (2009-2018)

Instrumenta Oaxaca (Oax, Mex.)
Bay View Music Festival (Petoskey, MI)
Cervantino Orchestral Academy (Guanajuato, Mex)
Sonoro Festival (Cuernavaca, Mex.)
Paaxfest (Chiapas, Mex.)

Chronology of Employment
Teaching Experience

Universidad Michoacana San Nicolás de Hidalgo

San Nicolas de Hidalgo Michoacan University
Morelia Michoacán, Mexico 2015-2017
 Adjunct Oboe Professor Undergrads, in charge of Oboe studio, teach oboe, teach oboe techiques,
perform at the chamber orchestra University, evaluate entrance auditions and semesterly
examinations, served as woodwind committee, served as music jury.

Conservatorio de las Rosas

Las Rosas Conservatory
Morelia Michoacán, Mexico 2015-2017

Adjunct Oboe Professor for Pre-undergrads and Undergrads, in charge of the oboe studio, in
charge of extended techniques for composition students’ workshops, teach oboe, coach
ensembles, perform in school orchestra, jury in undergrad examinations, evaluate semesterly
examinations in woodwind department, served as woodwind committee.

Sistema Nacional de Fomento Musical

Agrupaciones Comunitarias, Sistema Michoacano.
Mexican National System of Music 2015-2017
Community Ensembles, Michoacan’s System.

Adjunct Oboe Teacher teach K to 12 oboe techniques, aural skills and basic music history and
concepts, conductor of the Oboe ensemble, coordination of events, arrangement writer and
commissioner, Logistics and PR for the woodwind section.

Orchestral Performance Experience

Current Positions

Orquesta Sinfónica de Michoacán, Michoacán, México 2015-present

Michoacan Simphony Orchestra
Principal Oboe, Tenure won by Audition, Over 100 concerts, currently at a leave of
absence

U of A Wind Ensemble, Tucson AZ 2018-present

• Principal Oboe won by audition

Contracted Positions

Arizona Symphony Orchestra, University of Arizona Tucson, AZ 2017-2018

• Principal Oboe won by audition

Orquesta de Cámara de la Ciudad de Zacatecas, Mexico 2014-2015

Chamber Orchestra of Zacatecas city
• Principal Oboe won by audition

Orquesta Sinfónica Juvenil Carlos Chávez Mexico City, Mexico 2011-2013

Carlos Chavez Youth Orchestra
• First oboe /English Horn, yearly competition

Symphonisches Orquester des Konse, Klagenfurt, Austria 2013

Conservatory Symphony Orchestra
 • Oboe, won by Audition

Freelance work as guest artist

Tucson Repertory Orchestra, Tucson, AZ 2019

• Oboe

Sinfónica de la Universidad de Nuevo León, Nuevo León, México 2015-2017

University of Nuevo Leon Symphonic
• English Horn

Orquesta del Conservatorio de las Rosas. Morelia, Michoacan 2015-2017

• Oboe

Orquesta Sinfónica Nacional, Mexico City, Mexico 2013-2015

National Simphony Orchestra
• English Horn/2nd Oboe

Orquesta Filarmónica de Zacatecas, Zacatecas, Mexico 2011-2015

Zacatecas Philharmonic
• Principal Oboe

San Luis Potosi University Orchestra, San Luis Potosi, Mex 2014
• Principal Oboe

Coyoacán Symphony Orchestra, Mexico City, Mex 2014

• Principal Oboe/second oboe

Delegación Cuahutemoc Wind Band, Mexico City, Mex 2012

• Oboe

Orquesta de Jóvenes Solistas, Mexico City, Mex 2012

• Oboe

Chamber Music Experience

Fred Fox Graduate Woodwind Quintet, Tucson AZ 2017-present

GTA appointment at the University of Arizona
• PR Management
• Oboe performer
Tohono Park, March 2019
Holsclaw Hall, February 2019
Holsclaw Hall, January 2018
Hallsclaw Hall, April 2018
Senior Academy, April 2018
Holsclaw Hall, December 2017
Senior Academy, November 2017

University of Arizona Chamber Music recitals

UA Chamber winds, 2017-2019

 UA Composers concert, 2018
Zachary van Holten composition, 2018
kaitlin bertenshaw recital April 2019
Juan Mendoza Chamber recital Feb. 2018
Immanuel Tzemach Abraham recital Dec.2017

Sonoran Dogos Woowind Quartet 2018-present

Tohono Park, November 2018
Holsclaw Hall, December 2018

Woodwind Trio Morelia, Michoacan 2018

Centro Cultural M

Mau Woodwind Trio AZ/Mexico 2017-2018

Unam Global, november 2017

Centro cultural Sonorense, march 2018
Teatro M. Griever, march 2018

La Matraca String trio, Morelia Michoacán 2016-2017

Collaboration with a consolidated string trio
10° temporada de conciertos “todos los jueves, October 2016
Facultad de Agrobiologia de UMSNH February 2017
Iglesia de la Merced, San Angel Surumuncapio, March 2017

Oboe and French horn Trios 2017

Sala niños cantores, conservatorio de las rosas

Homenaje a Jorge Cordoba, Mexico City 2016

Palacio de Bellas artes, oboe and percussion

Academia Cervantina, Guanajuato Mexico 2014

Contemporany Music Ensemble at the Cervantino Festival
Templo de Maria Teresa de Lima
Teatro Maria Grever

Ensamble Chamizo, Mexico City Mexico 2013

Cuarteto Ion, Mexico City, Mexico 2012

Teatro Trolebús el Foro 2012
Sala Carlos Chavez, Centro Cultural Universitario October 2012
Museo Diego Rivera October 2012
Museo de Arqueología Guadalajara. Jal. Sept 2012
Festival Cultural Zacatecas, sala Manuel Felguerez November 2012

Ensamble AlMa, Mexico City, Mexico 2012

Tecnologico de Monterrey 2012
Museo Diego Rivera 2012
Centro cultural del Lago 2011

Soloist Performances with orchestra

Michoacan Symphony Orchestra, Michoacán Mexico, Dic2018

 Teatro Ocampo
• Strauss Oboe Concerto
University Chamber Orchestra, Michoacán, Mexico. May 2018
Teatro Universitario
• Holst Concerto for Oboe and Flute
• Vivaldi concerto for 2 Flutes, RV533

University Chamber Orchestra, Michoacán, México, Dic.2016

Templo de San José, Orquesta de Cámara UMSNH
• Concierto en Dm de A. Marcello,

Orquesta de la Universidad de San Luis Potosí San Luis Potosí México Mar. 2015
Catedral Basílica,
• Sinfonía Concertante de W. A. Mozart,

13 aniversario Centro de Capacitación Música de Bandas (CECAMBA), Puebla, Mexico May 2013
Teatro Principal Theatre
• Variations of a theme by Glinka, R. Korsakov

Orquesta Juvenil de la UAMUAZ, Zacatecas, Mexico, June 2008

1st floor of the Music Building, University of Zacatecas
• Albinoni Concerto for two oboes Op. 9 No.9 in C Mayor, Oboe I.

Recitals

Oboe Studio Recital, University of Arizona 2018

Solo Recital, University of Arizona 2018
Gene Byron Museum, Guanajuato Mexico 2017
University Theater, Michoacán, Mexico 2017
College of Agronomy, Uruapan, Mexico 2016
Solo Recital, National University of Mexico 2015
Studio Recital, Klagenfurt Konservatory, Austria 2014
Oboe Studio Recital, National University of Mexico 2013
Chamber Music recital, National University of Mexico 2013

Music Theater

Temporada 2014-2015 Ensamble Bernstein-Peralta (Violinista en el Tejado, Sello Escarlata)

Teatro Nextel,
foro cultural Chapultepec.

Other professional experience

University of Arizona Department of Spanish and Portuguese 2018
Tucson, Arizona
Graduate Associate in Basic Languages, Instructor of record; plan and teach Spanish classes for undergraduate
students; proctor exams, grade assignments and assessments.

Stage Crew Member, UA Fred Fox School of Music 2018

Audio and video recording of performances, concert logistics, and equipment maintenance.

Technical Assistant, University Oboe Festival (UNAM) 2015

Managed schedule, logistics, and guest services.
 Monserrat Garcia Campos
4215 E. Fairmount St Apt 5
Tucson, AZ 85712
Telephone (520) 4818492
Email garcia_monserrat2@hotmail.com

Teaching Philosophy Statement

My Teaching Philosophy is mainly center in encourage students to find themselves through

Music.

I believed learning comes from an internal search. I am aware that my job as an educator is to
enhance and lead to the most effective ways to accomplished my student’s personal goals. In
order to have clear and achievable goals, I encourage students to work from top to bottom. This
is setting the highest first and then try to find the path to achieve their personal dreams, and
encourage them to enjoy the way to them.

For me is really important students feel confident to try new things in order to discover what is
best for them. I like to make a safe environment finding empathy to their own struggles. Over
the years I have discover that sharing stories of failures and triumphs help students to relate and
built their confidence.

I believe in self growth, and daily practice. I help my students to be able to analyze and evaluate
their own efficiency through their practice hours. When you understand your tendencies you can
try to overcome it with conviction, and when you can be efficient, you can have happier and
fulfilling practice hours.

Not every student starts the same or have the same set of abilities. I think a productive
environment of learning is one that encourage personal strengths that would motivate the
student through their personal weaknesses. I believed that if students get to understand
themselves, they find personal ways to practice more effectively and thoughtfully.
I teach my students there is two types of problems: A) once that can be fixed by awareness, and
B) those that require time, effort and perseverance. When you are young and new in music, most
if not all problems tend to be type A. When you pass through life they tend to first balance and
then have more tendency through B. This has help me to aid frustrated students and lead them
through perseverance.

I like to encourage in my students to listen of their peers. I believed is crucial to be able to listen
to others and learn the importance of empathy. other process and stages of growth benefit old
students that can relate to young students and for the new ones let them learn new music and
get excited to practice. Normally I offer a space during the end of the month so students bring
wherever they want to play and listen other students in different levels. In this meetings we all
first talk about what we like about we just listen, and form good criteria to make an appropriate
and positive criticism.

As Oboist reeds are the most important parts of our instruments, we need to be able to fix them
and made them in order to gain independence of our teachers. I organize “reed reunions” where
we sit and work on reeds while we all listen to professional oboe players and discuss their
performance, in a way that is both educational and practical. There we take the time to review
the basics with the new persons, and we work together until we all have a good reed to take
home. These reunions work also as an oboist community enhancer, where students get the time
to work while they can discuss their achievements and problems in reeds.

I know I had done my job when a student can successfully organize his/her ideas and have a
personal and critical point of view over his own performance, can solve temporary reed problems
and can make constructive criticism over his pears.
History of the oboe

The modern oboe starts developing in the middle of the 17th century at Louis the XIV court,
thanks of the encouragement of Lully to woodwind players and makers that lived in France at
that time.

The instrument comes from an evolution of the Shawm, this evolution was necessary since the
music was changing and the instrument was out of style. The musical culture of the time was to
look forward into new techniques and music.
From 1640 to 1760 the oboe suffered a series of transformation from shawm to the oboe of the
classical period. We call this instrument “baroque oboe” or “Hautboys”.

They way these instruments accomplished sharps and flats was through half holing, and cross
fingering techniques, it added color and variety, but tended to produce a veiled sound.

The oboe was associated with France, but since it was portable and relatively inexpensive, had
a sense of international. Many players performed in courts at England, Italy, Germany and
France in a lifetime, and differences in manufacture can more easily be classify by periods
instead of by nations.

The founder of the Oboe school at the Paris Conservatory was Gustave Vogt (1781-1870), was
student of Antoine Sallatin. Sallatin studied in London with Johann Christian Fischer, that
studied with Antonio/Cristoforo Besozzi at Dresden, that learn his Art through Alexis Saint
Martin (father of Giuseppe Sammartini) a Frenchman by birth around 1690.
which makes this genealogic line from Saint Martin to Vogt:
Alexis Saint Martin/ Besozzi/Fischer/Sallatin/Vogt.

Hautboy Players at the French Court and the Grande Ecurie.

The Ecurie was in charge of the music for all solemnities and occasions at the court that were
not religious or private.

The divisions that used hautboy were:

1 Violons Hautbois, Saqueboutes et Cornets, (this group was latter known as 12 grand
Hautboys)
2 Hautbois et Musettes de Poitou,
3 Fifres et Tambours and
4 Cromornes et Troumpettes Marines.

From the Chambre du roi is less information. Andre Philidor, Hotteterre, and Coutant all had
post in the chambre. The Musicians in this positions had many advantages: steady job,
possibility to inherited this jobs to their offspring, and the possibility to work on the side in their
own workshops and groups.
Spread of the French Hautboy

Improvements made by the Hotteterre and Philidor families made an instrument that was of
good tone quality, had fluency, and could work with the strings, and it became famous world-
wide. Frenchmen oboist were leaving because of the Edict of Nantes and for the oppressive
monopoly of power of Lully.
Is in this period that the oboe takes the protagonist part before attribute to the Cornett.

France
1672 Lully became head of the Academie Royale, and it is when the new protomorphic oboe
appeared the Blanchet engraving appeared in Borjon text.. Had a long life, being use in
chambre, operas and dances. With the dead of Lully and the decay of Louis XIV reign, grand
spectacles were not best suited, being replace for smaller ensembles.

Italy
Hautboys arrived at Turin in 1670 to the Court of Savoy, and in 10 years there were already
instruments in Milan Venice, Florence, Naples, Bologna and all over. In this Scuderia played
Alexis Saint Martin.

Germany
at its arrival the new instrument kept its lullian style, of orchestral suites and french dance
movements.
Hamburg escaped the problems of the 30-year war remaining neutral, so it staid wealthy during
these years. As consequence, it had a steady and prolific music guild, and the Stadtpfeifer
(equivalent of the Grand Ecurie in France) had “Ratsmusiker” or court musicians.
Honorable mention of oboists includes Kusser, Steffani Haendel, Mattheson and Keisen.

Bach.
Bach contribution to the oboe is enormous, since it gave the hautboy more solos in his vocal
works than any other instrument other than the organ
We can classify the Bach oboe repertoire in the 3 main cities he lived in through his life:

Weimar
Hautboys arrived in 1701 to Weimar and Bach was appointed concertmaster in 1714. we don't
know who the oboe in the court was, but it was probably Ulrich. He wrote 14 oboe solos in
cantatas.

Cothen
Emperor Leopold engage musicians that were fired from Berlin Friedrich Wilhelm. When Bach
arrived in 1717 one of his functions was preparing pieces for small instrumental groups and
composed the Brandenburg concertos around this time.

Leipzig
was his most fertile period in oboe solos, close to 200. Leipzig was principal German center of
woodwind makers because there was not a guild to restrict makers and dealers. From this
period is also his mass in b minor, and his Mathew and Johns passion.

Most of these solos were probably inspired by Caspar Gleditsch important oboe player in
Leipzig that work close to Bach during this period.