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ADAGIO FROM OBOE CONCERTO { ALESSANDRO MARCELLO

PLAYING TIPS CD TRACK 41


[Bar 1] For each of the first three bars aim to play the repeating notes and immediately after playing the Gm7 chord. At bar 4 we have a two-bar V-I
chords with a consistent tone and a steady pulse – don’t be tempted to rush. (Dm-Gm7) cadence that is repeated at bars 6 and 8, each time descending
[Bar 4] The melody begins at bar 4 so make it nicely audible over the chords. in pitch. The third time (bar 8) has written out ornamentation – maintain a
At bar 5, mute the low open fourth string with your picking-hand thumb steady pulse.

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Drop D tuning

E
B 5 5 5 5 5 5
G 7 7 7 7 7 7 7 7 7 7 7 7
D
A
D
1 i i i i i i m m m m m m
i i i i i i

A7 Dm Dm7

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E 1 1 5 5 8 6
B 5 5 5 5 5 5 3 3 3 6 6 6
G 6 6 6 6 6 6 2 2 2 7 7
D 5 5 5 5 5 5 3 0 0 0 0 0
A 0 0 0 0 0 0
D 0
3 a
m
i
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Gm7 C C7

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E 6 5 6 0 0 3 3 6 5
B 6 6 6 6 6 6 1 1 3 1 5 6 5 5
G 7 7 7 7 7 7 0 0 0 5 5 5
D 5 5 5 5 5 5 2
A 3 3 3 3 3 3
D
5

Fmaj7 Bb

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E 5 3 5 0 1 0 1 3 0 1 5
B 5 5 5 5 5 5 1 3 2 3 2 3 8
G 5 5 5 5 5 5 3 2 3
D 3 3 3 3 3 3
A 1 1 1 1 1 1
D
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PLAY } CLASSICAL ON THE CD TRACKS 40-41

PLAYING TIPS CD TRACK 41


[Bar 10] At bar 10 the V-I cadence happens again; A-Dm bringing us back to lose track of the melody (notes with sticks up in the notation) or let them get
the key chord, this time with more elaborate decoration. At bar 12 notice how buried by the accompaniment. At bar 15 we have another two-bar V-I cadence
the melody is very close in pitch to the accompaniment so it’s important not to (D7-Gm), repeated at bar 17 a tone higher.

E m7 b 5 A
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E
B 8 2 0 2 3 2 3 5 3 5 6 5 6 8 6 8 6 8 5
G 7 7 7 7 7 7 2 1 2 4 2 4
D 8 8 8 8 8 8
A 7 7 7 7 7 7 0 0 0 0 0 0
D
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Dm B b/D Gm 6/D C F/C G/C

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E 6 6 0 0 0 0 5 5 0
B 6 6 6 10 6 8 8 6 6 8 8 5 6 8 6 8 6 6
G 3 7 7 7 7 7 5 5 5 5
D 0 0
A
D 0
11

Gm/B b A7
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E 0 0 1 3 1 0 1 3 1 0 1 3
m
B 6 3 3 3 3 3 2
G 5 5 3 3 3 3 2 2 2 2 2 2
D 5 5 5 5 5 5
A 0 0 0 0 0 0
D
13

D7 Gsus4 Gm Gm7/F

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E 5 5 5
B 7 7 7 3 3 3
G 5 5 5 5 5 5 3 5 3 3 3
D 0 0 0 0 0 0 5 3
A
D 0 0 5 5 5 5
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52 April 2018
ADAGIO FROM OBOE CONCERTO { ALESSANDRO MARCELLO

PLAYING TIPS CD TRACK 41


[Bar 20] From bar 20 to 23 the repeating chords descend bar by bar with by the oboe in the original arrangement. Keep maintaining a good sense of
beautiful melodic material on top, which obviously would have been played the pulse and note separation throughout..

E7 Asus4 Am F/A F maj7/A


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E 7 7 7 7
M
B 9 9 10 9 9 6 5 5 6
G 7 9 9 7 7 5 5 5 5 5
D 9 7 7 7 7
A 7 7 7 7 7 7 0 0
D
17

M
Gm Gm 6 Gm Gm6 Dm/F

E 3 0 3 1 0 0
M
B 6 5 6 3 3 2 3 3
G 3 3 3 3 3 3 2 2 2 2 2 2
D 5 5 5 5 5 5 3 3 3 3 3 3
A
D
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C /E B b/D
b
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E 0 1 0 5 3 5 6
B 1 0 1 3 3 1 3 5 6 5 6 8
G 0 0 0 0 0 0 3 5 2 3 5 3 3
D 2 2 2 2 2 2 3 3 3 0 0
A 5 5 5 5
D
21

Gm/B b
~~~~~~
Csus4 C Dsus2 Dm C
3

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E
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0 0 1 0 0 1 3 1 0 1 3 3 3
B 6 3 1 3 3 5 5 6 3 4
G 0 0 0 0 2 2 0 0
D 0 0 0
A 3 3 3 3 1 1 3 3 3 3
D
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PLAY } CLASSICAL ON THE CD TRACKS 40-41

PLAYING TIPS CD TRACK 41


[Bar 26] Follow the fretting-hand fingering at bar 26 and notice that the and 28). This is a decorative device where you play the note itself, then pull off
second finger can stay on the fourth string and connect to the F in bar 27. to the note below and immediately hammer back on to the original melody
There are a few lower mordents on this page to pay attention to (bars 20, 26 note. Make sure these are smooth and even, not lumpy and rushed.

E b/G
M
F7/A
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E 3 6 3
M 3 5 6 8 5
B 4 4 6 4 4 6
G 3 3 3 3 3 3 5 5 5 5 8 8
D 5 5 5 5 5 5 3 3 3 3 7 7
A 0 0 0
D 5
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B bsus4 Bb G m/B b Bb
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A aug A 7
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E 1 0 2 3 5 6 5 3 3
M 5 3 1 3 0
B 4 3 4 3 3 3 6 5 6 6 8 3 3
G 3 3 6 6 6 6 3 3
D 3 3 3
A 1 1 1 1 0 0 0 0 1 1
D
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G m7 A sus4 A7 Aaug A G m/B b



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E 3 0 3
B 6 6 6 3 2 0 2 2 3 2 3 2 3
G 3 3 2 0 3 2 0 0
D 5 5 3 2 0 2 0 3 2 3 2 0
A 0 0 0 0 1 1 1 1 1 1
D 5
29

A7 Dm/A Gm
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E 3 0 1 0
Ÿ~~ 1 5
B 2 2 2 3 3 3 5 6 5 3 3
G 0 0 2 3 2 3 3 6 0 4
D 3 2 3 2 3 5 5 3
A 0 0 0 0 0 0 0 0 0 0
D 5
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54 April 2018
ADAGIO FROM OBOE CONCERTO { ALESSANDRO MARCELLO

PLAYING TIPS CD TRACK 41


[Bar 33-35] Again, there’s a lot of melodic movement here so take your time [Bar 37] It might seem quite unusual for a D minor piece to dip into a D7 chord
getting it all together; as usual, practise slowly to assimilate it all properly. but here it’s acting as a transition to the Gm-A7 chord changes.

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E7 A Dm G m7 Asus4 A 7/G A
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E 4 5 4 2 0 2 4 2 4 5 4 2 4 5 6 5 3 3 0 5
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B 3 3 3 3 6 6 8 8 6 5 6 3 3 2 3 0 2 3 2 3
G 4 4 4 4 6 6 0 2 0 2
D 2 2 2 2 0
A 0 0 0
D
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Dm A sus4 Am

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E 1 1 1 1 1 0 0 0 0 0 0
B 3 3 3 3 3 1 1
G 2 2 2 2 2 2 2 2 2 2 2
D 0
A 0 0 0 0 0 0
D 0 0 0 0 0
35

D7 Gsus4 Gm Gm 6

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E 2 2 2 2 2 2 3 3 3 3 3 3
B 1 1 1 1 1 1 3 3 3 3 3 3
G 2 2 2 2 2 2 5 3 3 3 3 3
D
A 7 7 7 7
D 0 0 0 0 0 0 5 5 5 5 5 5
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A7 A Bb G m7 Gm Asus4 A A7 Dm

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E 3 5 1 0 3 0
B 2 2 2 2 3 2 6 3 3 3 2 2 3
G 7 3 2 2 2 0 2
D 2 2 2 2 3 3 5 3
A 0 0 0 0 1 1 0 0 0 0 0
D 5 0
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