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Nice piece! The harmonies sounded a bit "weird" at some places, but I guess you're going to clean that up later. You should add some key modulations to it here and there, to spice it up a bit more.
As for the oboe part, it is completely playable range-wise. (Oboe range is from Bb3 (just below middle C) to about F6 or G6. The notes above E6 har hard to play in fast passages without a third octave key.)
I don't know if you play the oboe or not, but even if you do, other composers might learn from this, so I'll explain it.
In measure 15, though, you have this octave-and-a-third jump from C to E. The notes above D#6 on the oboe have complicated fingerings, and require the player to really focus to get the tones out. (That's my experiences, at least). The jump should be playable, but you might have to expect a tiny break in the music in the jump. Playing it legato won't work.
Although most oboes you would use for a solo concerto have a third octave key that provides easier fingerings for the high notes, it is a tough jump.
Here's some stuff on the fingerings:
(As C5 has a tough fingering in the first place: only the two index fingers pressed. E6 with a third octave key would be the left thumb on the third octave key, middle and ring finger pressed, and pinky on the G# key, with the right hand idle. Without this third octave key, the fingering would be left thumb on the first octave key, middle and ring finger pressed, and pinky on the low B key. The right index and middle fingers are pressed, the right index finger is pressing the G# key, while the right hand pinky is pressing the D# key. I have used this fingering myself on Bach's concerto for oboe, violin and strings once. But that was from G5, a sixth below, which will give less finger movements and easier intonation.)
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C major is the key to success.
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Jan 3 2006, 1:39 AM
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, but now I cant get the melody out of my head, lol
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