DEN AS Fo 3 s % { ASserp, e AMA ByLEARN AS YOU PLAY OBOE BY PETER WASTALL Revised edition 1990 Learn As You Play sa series of instrumental tutors designed “speciliealy t0 prepare pupils forthe early grades ofall the plincipel examination boards The (utors are suitable for oth individual and group instruction ‘ihe course. whichis divides inta 24 uni places the maximum emphasis on the early development Of musicianship From the beginning it introduces the student fo awvide range of music including works by leading contemporary composers Each unit contains the lollowing teaching programme: 7 [Now material is prosented in clear progressive steps 2 hort concise exeicises enable new stils tobe quickly devetoped 3 \I suios by datinguished composers lnstrumer stimulate and develop aractice repertoire Progressive technical studias gradually bring the student into contact with specific instrumental technique 5 Instrumentel duets flternate nits} provide experience inensemble playing. Keyboard accompaniments to the duets can be added in early units Progiessis measured gt eightunit intervals by the introduction of Concert Pieces which uilise ‘ll proviousty eared material Piano accompaniments ae avaiable for these pieces ina separate accompaniment nook The Concert Pieces ‘re works representative of axamination requirements tnd in meny instances are works which have been set in curent or aast syllabuses SERIES EDITOR PETER WASTALL © Copyright 1280 by Boosey & Hawkes Music Publishers Lid New edition © Copyright 1980 by Boosey & Hawkes Music Publishers id sano 95162052 3, BOOSEY (Cy HAWKESEnglish Thumb-plate System [Basic hol meth To.suemble lat fic the all angusing that Lefehane CS |} Lote nane w » Il at—o ° 2 4 if %e Top joint 1 Side key. 7 Bottom joint Sitar 7 Pint hand oe ° a 5 1 d i Belt i | \ i }Hand positions Notice hows the hand positions alow the lingors to curve naturally over tha hele, Thumb position ‘On Conservatoire oboes. the lft thumb ie placed on the instrument immediately below the Tat octave key Thumb position (On Thumplats oboes, the elt thum i laces on the thurm-piate noiding the thumt Embouchure [Notice how the tips ae rolled over the rest, forming a sorinay muscular cushion to ho fed contra! the cae Using the fingering chart as a guide, compare the sounds of G, A, B and C. Sound production Wen attempting the litt elamentary notes concentrate on the following point: 1 Diaphragm aiving a ant suB0drt 16 the air 2. Lip muscles giving a firm but flexbie support all round the eed 2. Chin pulled sightly down and back. 95 forming 29 0000 syllable 4. Cheek muscles firm (ie the cheek must, Not be atiowed ta olloan utwaras| Try to start each note with a tongue movement similar to that , used when pronouncing the letter The Reed ‘The reed must always be meinenes before Slaying This is best done by sianaing the ‘203 (np downwards) in about Sram of water ee Cosed © Open ‘On Conservatoire aboes, the left thumb is placed on the instrument immadiataly beiow the Ist eetave key On English thumb plate jeboes. itis placed on the thumb-piate Where fingering aiffer between the two models Lett Manet leet Finger TRUMP cscond finger This tinge Fig Hana Fires tnger ‘Second Finger ‘Thicd fingee G oA ooo Coe 000 ooo les Sone e ° oe ° o °o ° o 0 ° e 0 ° o 08 ° o 06PREPARATORY MATERIAL FOR UNIT 1 1 Notation The Treble Clef Note Lengths i Printed notes are also named after the first Since the same seven letter names are used for The langth of time a note is played is i ‘end each space counting as one letter nome staff 10 establish exact pitch Music for the 5 Suwanee MU) fae t Play the following cratcheis trying to hold each for exactly the seme amount of time Now play the following minims, j holding each note for the whole | of beats one and two added Teer Ecce eee eee cere cere eee eee eee eeene eee i rae I Now play a semibreve, trying to hold the note for exactly four beats.Bars and bar lines Bar tne Double bar tine Beats usually qroua themselves inta requir potas of oithar wo. thea of four. xo these patterns the mutic ie divied by oor Time Signatures A time signa is pled at the Beginning ot {ach picee of muse (9 show Row muy Boats nate ate i bae ane he typo pl note hat equals one beat [tig printed 1 Haetonst form dhe valua of the eratchet being shown sa Traction at a sernureue illaringsicaone ol rie waitin slo {A tnin/tiek couble bar indicates the end of 3. showing 3 crotchet beats in each bar .= ‘and Finger it toumamaniee tro 2 closes @ Own O On Commeratowe oboes the Ini placed on the instrument inmadiotly below the tat octave Key On Engish shumo pate foe ii placod on the thumb plate Ware "ingerngs eller Between the two medals rata chacts we gen Lett Hana 5 Hage Thu Second tinger Third finger Rigi Mond Firat finger Second finger Thite ingot Exercise | 0CO eee 000 cee 000 coe e ° ° coe Exercise 2 Exercise 3 Exercise 4 IMPORTANT NOTICE Tho uneuhor tad ony tha "oueouse ficaMusicianship len you practise the instrumen al sates el tay wore word in 9 tyne La asic have note patterns ore called ohvoses: to Ilo to identity ther, ioe in this frst (] Atamoderate speed unit hove been marked with Brackets Breaths ars normally 1okan at ihe ends of phracos:edditionat brash can be saken bur these must be discreet so ar not 19 dstueb the natural flow of the strase SAINT MARGARITA’S LULLABY A teaditional French tone p. Ata moderate speed A HYMN TO SAINT CECILIA Peter WastallThe Pause sign a Wen a pause sian is placed ower a note the beat stons and the not splayed for 2 aeiod ff time fonger than ite printed valve During the Hist section of this Book the pouse wil be sed eainiy i the axercizes identifying Individual notas that are to be susisined for an lang 2 possible Exercise 1 Rests The ing of ue in which notes are nat played is shovin by various tacts each note having an aquvalent rest. Tha example howe tne mini res (wo beats of stance! and the ratchet rest fone best al silence Exercise 3MINUETTO Adapted from a minuet t by James Hook, Tone development (One of ma best mays 10 daveigg 9 full tone ig 1. Listen closaly 10 the sound. aiming fors Check the amount at reed that sin fo ploy individual long nates In the exercise fut even tone maui Usually. (oo mech reed inthe mouth that follows. cary out the following crit Check thatthe clapnvogm is giving a light reduces a strident “bagpicw iype of sound: support to the ai stream {eo ftle makes the tone sound weak and 3 Check the embovehure lormotion The fuzzy tay ae giving support alt cound the reed LET'S BEGUINE (A duet for pupil and teacher) In the style ofa beguine __ot 27 Pupil © Copyright 1979 by Boosey & I * Chord symaole for keyboard accompanimontUNIT 3 New Notes Dotted Minims ‘A dot after a note lengthens that note by half A slur ik curva line placed over or under Fis volue Seeause of this a dotted minim will nates afferent pitch It indicates tha the be eaual to.» minim (2 beat lus hal avninim notes contained within the sur ae 100 {beet making a total af thre evoteher beats played smaathiy in one continuous breath tongued 0ee ee8 sy cee coo EH Exercise 1 lo Exercise 2 Exercise 3Exercise 4 a g Musicianship “The ability to remember melodic phrases The grace 1 aural vests fesved by the Asoclated plays.an impertant ort in the development Beprd of the Royal Schools of Music will hale ff musicianship. To help develoo a meledie memory development anc thaule be incor ‘remary, try each week to memeriz one porated Into the lesson at his stops SWIM, SWAN, SWIM! Lively Derek Hyde ay Vv GSopyright 1973 by Boosey & Hawkes Music Publihers Ltd, CHORALE MELODY AS Ata moderate speed A MELODY IN PHRYGIAN MODE Fairly No. 28 from “Mikrokosmos” Vol. 1 Bela Bartoie © Copyright 1940 by Hawkes & Son (London) LidTies A semibove reat i sed to show any comets tar of coat regordege ofthe eurnber of beats fn the bor Yinen i eceurs you must examine the timesignature wo ind the numberof beats tebe counted, Compare the three examples Exercise 1 a Exercise 2 Exercise 3 a de 2 tie ea curves ine placed aver or under two notes af tha same pitch The tie joins the notes together making one continuous nove in order to produce ane continzous note the sacar nate must not ba tongueMARCH Chav Re 5 4 bright march tempo all he world were paper” petty © Copyright 1973 by Boosey & Hawkes Music Publishes Lu Musicianship Articulation Noneving and staring used inequivalent of elecutin. In this unit {wind muse) plays an important part in the concentrate on improving yaur articulation. {rootion of expression Its the sposch of | utiog the pronunciation to give saditional ‘music and can be thought of asthe music meaning to the pases MEXICAN MADNESS Lively Peter Wastall Tener Pui Ba = © Copyright 1979 by Boosey & Hawkes Music Publishers LitExercise 1 SS Exercise 2 a Exercise 3 0. nN Sharp Signs Every note in music ean be raied ot lowered hall atone The sign for raising a note halt a tone i the eharo sign stow in he examle tibowe Compare the sound af FE with the fatural Fused in unite 3 ane & Repeat Signs nen zation Nas 10 bo played twice 3 eat af dots is aloce at the beginning af the {ection and another aair atthe ene) Use i this way the dots act as buffers bouncing vou back to the previous zet of dots Whan thera igonly one ant the epeat is mede Back tothe Deginning ofthe placeExercise 4 Da Finger technique In order to piey D. the top part of the naif 2 nolo Key must be apaned This achieves by smoothly raling ena fist finger down to ‘ho lower lobe of the kay In the axercizes that follow concentrate on developing 3 this pat of your fngse technique ‘Ata moderate speed Fairly slow a oap the frst finger sti during bat 950 that remaing in the tee position Return to the frst nate by tevaczing tha rolling action used to bar 1 Repeat exersise (a? using the notes thown in exoreigee (blo) ania iw) te FFIGYSBREN A traitionsl Welsh tune INTEGER VITAE Friedrich Flemmingia eEEneEnee Keys and Key-signatures Quavers boat beat roves must be played as Ff hen chavs signe a laced at ine bepinning The value ol 8 quaver i half erotehet is ca kev-signature printed with a tail on the end af Its stem For Each sharp is placed on specific ine or roacoenze of readion groupe af users asely indicating that avery noie mith thar letter have their tals joined together ‘ame isto be played of tho hava were against the note The twa keys thet we thw key-sgnature with one shar are: G Major ana E Miner The music in this unit isin G Major G Major Exercise 1 Exercise 2ALLEMANDE From eollction of Fairly lively 16th century dances Aids to music reading hon you play quavers ead them ike a wo- possible stage of musi reing To help this ssbie ward For axample when you read development. each time quavers occur, make the mord Dector . you den tread Doc conscious effort 19 read bow noies atthe then tor. you rand Doetoe’ This block” sme ime ‘reading hil should be developed at the eolest ‘CORUMBA Lively (in the style of a bossa-nova) Peter Wastall s 7, Pupil 1 PupitUNIT 7 New Notes Flat Signs A New Key-signature —$ ‘ = Because of the key signature both these tes must ba played at Sh e e ° ‘The sign for towering a nove by half atone is The two keys that use the key signature with 6 ‘alted a flat sign Like the sharp sign, it can be one Ilat are: F Major and © Minor ‘The rmusic placed immediately belore the note it affects in this unit flustiates F Major tl ° ° e ‘can be placed at the beginsing of eacn toll to forma key signature ° ° e ° ° ~ ° ° e F Major , Exercise 1 2 ‘ Exercise 3 - SRSHAIL TO THE LORD'S ANOINTED Slow and dignified Johann Criiger Tone development By now it should be posible to play the note 2. Lip muscies giving @fiem support ait Amith quite» rich’ tone The next exercise round ihe reed shows now to worry this rich tone down 2 Chin drawn slightly down and back. 0 it jowards the low D Points to think abaut are: forming an “O00 syllable AS you 1 Digpnraam giving alight support ro the descend itis often Helntu ra anlarge tho sie stream ‘mouth eavity by sighly apening the 399 beatween the tet canHLENA Apt rom weloy Fairly slow by Johann Gabrielsky 5 = = =e CHORALE Ata moderate speed J.-S. Bach,UNIT 8 Staccato Marks =) Whi a dots placed over or uncer a note it Indieatas thatthe notes 10 sound detached ‘To schieve this the mole is played shorter than its printed value oftes procueing 2 clipped ettect rather like ying the word Exercise 1 De Italian Terms Allegretto Iratian terms deserve how fart «piece to be played en hove loud ar sot the music ‘ould sound. The were which dateribe how ious or sof tha music should soune ara usualy abbrevinted. A sabe ofthe cbbreviatans is arintal in Unit £2 viene this aspect of technique is develoned, list of Iealian terms i arintes at the ond of the book Exercise 3 DentVARIATION ‘on “Ah vous dirai-e, maman” Allegretto. A traditional Preneh tune Tone development 1 Use the pause note to eetablish astteng 3. Rasiet any temptation 0 tongue during ida octave tone the sur: remember tht the point of the In bars 2 and 3. eneok the smoothness exercise isto develop a lexble fambouchure not just to produce the notes sits wich the Firs lingo covers arc ‘uncovers the holtnale 4 Repeat exercize (8) using the notes shown in exercites (Bf (and Leh a) wo fe f@ te a ud Adapted from "St. Petersburg” Dimitry Bortnfansky Andante —_CONCERT PIECES FOR UNITS1-8 experience in plaving with an accompanist, Serenade by Diakeli, Chorus by Gluck and "Solstice by Cale are examples of music ‘that have bean set for gaily grade examinations SERENADE f From "Puelve Short Peces" op 125 ANTONIO DIABELLI Moderato: arr. PETER WAST ALL 2—F + dim RP © Copyright 1980 by Boosey & Hawbse Muse Publishers Le MINUETTO from Sonata No 3, op 99 JAMES HOOK (1746-1827) Allegretto pe FaSOLSTICE KEITH RAMON COLI == i Poco lento — aim P SS © Copyright 1980 by Boosey & Hawkes Music Publishers Lt CHORUS ieee from “Paris and Helen" Caner oe Andante dH arr, PETER WASTALL ©Copyright 1979 by Boosey & Hawkes Music Publishers LtdUNIT 9 a New Notes Keys and Key-signatures 2e ‘The two keys that have ne fats oF sharps in e tate key signatoras are: C Major and A Minor i. The music in this unit illvctraten © Major ° ° ° ce0e coo & 4 Major Exercise t Da Exercise 2 .Scales and arpeggios Cemajor tobe played tram memory a Finger technique 1 The first ostove kay (kay 8) is opened by as opening tne octave key. In each cme ‘othe fia Finger so that the halt hole smoothly rotating the left thumb. ‘only the ego of the hur toucnet the Cloves a8 the cetave Ray opans Exercise 2 Wan rotating the humo. it must remain key {e) an axampe of te fon the instrument just Below the octave 3 When aoter that use the firs cctave key 4 Rapes exerts fal using the notes shown Key IH you use a thumb plate model it ‘re prseaded by notes that use the nat ln eeereises Ib) te} fa) ar feb ‘must noid the thumb plate down 96 wel hole. the thumb aetion must be combines a te co i a : RIGAUDON Allegretto })< Henry Purcetl Allegretto Claude Gervaise