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UNIT 10 Acrent signs = the tongue. Olen ths song bined with 2 ble punch lo SEER Dotted cratchets bent Since a dot alter 9 adie eginens th half ts vive. the value of 2 dott vl be ane aed 9 Hal orehet be lent of sound se three avers added together Look ai the examela then study the similarity of bars 2and 3 the Hest exercige Exercise 1 Exercise 3 fanTHE EMPEROR OF GERMANY’S MARCHE Moderato Jeremish Clarke Tone development 1 Sustsin the pause nove for as long at 4. Tune the interval fa perfect fitth) ty Possible. trying at al times co achieve 2 aightty contracting tne embuchure full. tas sounding tone ‘muscles 10 aise the pitch oF slighty 2 Keep the lips stil curing the tst rest. __ralaxing them to loner the pitch 3 Store tne seeone note with cha one 5S -Repeat exercise fl ising the sores ‘developed in bar 1 shown in exereises (ble) anc} (oh to) FANFARE Macstoso Nicholas Chedevitle oS 2ee =e00 e000 eee my 4 A New Keysignature In sharp kaye. the name ofthe major key can be found by counting one lettar mame up Irom ‘he ost sharp The example shows 9 ny. Signature with two sharps. ane wines the laa ‘haem is Cf, tha name of the major kav must bbe D Major Accidentals Bocauze of the accidental bath these nates must be ployed 2 PE When 9 lat or org fused that is net in the because of this affecie ny subsequent note Of the same piteh in chat bar Exercise 1 ExerciseScales and arpeggios F Major. to be played from memory Finger technique 1 Tha forked fingerings shown in thie unit 2. Mest eboas are fited witn 2 resonance key reused hen Fis followed or precaded ich opens mien the forked fingering by a note wticn requires the ute ofthe ‘eutea. When this mechanism i na Hite third fioger of the Fight Mane Examples. the tone of the forked F ean often be etifid with the ater IF. are given in Improved by acing the Eb kay (key 51 anime riece ston Dae Moderato Arto peel CRADLE SONG Teanquiite , J. Brahms 20UNIT 12 Natural Signs : llalian Terms b \ eee | pvt fiw IMP wecteroily sol anf’ ocurred SS srceaty sot ST ecattytonser A natu sign is used to cnet a Hat or shar Haan term alsa deictibe she mocd ofA table of Italian tems which show now Since isa ype at accidental wil only giaco. changes of saeed end large repeats leu ar aott the movie should tne which i isprinied However such 5 da capo. At with Ilan torme printed above. 1 should be used in abiered geeurs appin in introgices earier English anciations anjunetion with the tuning technique she next bar an adsiianalsccdental often con ba found atthe end of he bask inerodetd inthis unit Exercise 1 4 ee pae f + Ae Sate = o mp tf Exercise 2 mp ; SS ih Exercise 3ANDANTE * Andante WA. Mozart P Fi 7 === Musicianship CCrescansos and diminuendos play an impartont he ar pressure) wil ake 9 note ga sharp; To stable the tuning, nezwage the botIOm, art in creating oxprossien but need caratul use and a diminuando (preduced by reducing the lip supaor! during diminuends. and decreoxe fines they algo have an eifect on tuning 1 presural will make a nove go tat itcuring a crescendo Basically. cretoend Iprodueed by inesessing DUETTO Sostenuto F)__Frangois Garnier FTeasher Pusil oh 3UNIT 15 New Notes Quaver Rests p—#. ss FH GH raf the axomale shane accuring on the scons hall of crotehat eat and ar 2 an the first Poll The rhyme diterance btwn the ta rychens shaw be cle understood bbafore playing thei sted sxsw o0@ 000 Exercise 1 oO mf 6 ys SS SS =e fo fe =| Exercise 2 po.Scales and arpeggias Major. 0 be ployed Irom mesnory Tone development f 1) Establish a good tone on the fiat note «3. uring the eveecondo. guntly wlax the Make the tone of the pure note match ‘han concentrate on eanteoling the fembouchure muscles allowing the tips tothe tare developed in bar 2 clminuendo ‘uncolsighly During the diminusndo. 5 Repeat exercise fa) using the notes 2. Start bat 3 with an emdouchure identical ently eanttoct the embouchure mules shown in oxereiees (9) Ie} and (a to that formed in bar 2 encouraging the lips to vel further evar the teeth ETUDE Moderato Antonia Diabet Fi MINUETTO Allegretto WA. Mozart 33UNIT 14 Compound Time Compound Time-signatures eat beat bes beat beat beat or ‘hes the natural aula a!» wivce dividus ised To dow dhe new note vats anew st of into thirds of beat the music said to be in imesignatres is used, The example shows amaound time The various notes retain the ciceight indicating two dated crotehet beste sama valve in relation to eoch other, for inabie A chert showing the complete range insipee there are stil two quavars in 2 of compound time-snatures ane how they crotehet but their valuy in relation to the ae sopliec azine! atthe and ol the Book beat is enanged te the valuas shown i the Exercise 1 io Exercise 3 byMARMOTTE Allegretto L. van Beethoven Aids to music reading ‘Wher reading noes which are thirds of a beat each group When playing the pieces anoty ‘ear cher 35 they weve vee sllsble words this eading prineinie tall rhythmie groupe ‘Asan exairgle ol ths. iy the fret axerciee contained within one Best. inking the wore TENTATIVE a8 you ploy Leggiero Frongois Garnier Teacher crest ‘my Pup FrIT | New Notes Double Names for Notes Exercise 1 a ‘The interval beeen A and Bis onewhole A New Key-signature tone Since» zhorp raise 9 note By hall § 1 follows tret Af and Bb ate cltferant agmes found by counting four letter names dows for the same naie Double namas can be From the las lat The key-signature of exercise Bien to all te lat sharps laaxned so tar I nar Bb and Eb. theretora tre name ol the mojar key must be Bb Major oo : > = s oe T t Exercise 2 een = et e bg —— = z : oe : i ? = = Exercise 3Scales and arpeggios Major, tobe played trom mamary Finger technique 1 Kay Ses the loft hand fgering for loner 2. To idencity passages wihera this aft hand 3. Tho forked fingering lar F is needed when end middle octave £6(OH It is used when tngering is needed. its customary to Fis followed or preceded by Eb. When Eb [OM is followed or precede by a nore mark the note with she feter (LI. An in finger patiern accu. i important seh requires the us ofthe right hand ‘ample occurs in bar 10 of the Aria by 10 take the title fnger aff the Bb key Hele finger Telemann, winen playing the F An examale cesar Inbar 1 of the Little Place by Schumann, ALITTLE PIECE @ poco crese mf dim, > Lp poco a poco cies poco rit mf dim = ARIA Con spirit G.P. Telemann mp DC al Pausa 2UNIT 16 Tenuto Signs Ist and 2nd time bars : aN ae a |S abe Exercise 1EIN’ FESTE BURG 4 chorale by M, Luter Andante moderato adapted by J.§ Bach Musicianship Sometimes ine generat character of 9 place 1 to the sstromantaist Yo interpret the auaie ‘agnosis nat mary ef the netae shovld oe _inastaccatoutyle ‘The ‘Duo by Chécovlle layed staccato When this occurs the dots Tran example af ths ‘50 9p of the notes are fen omitted leaving DUO IN A MINOR, Allegro Esprit Chedeville | DC al FineCONCERT PIECES FOR UNITS 9-16 should be sad to rovide experiance in playing with an accompanist. Waltz by Schubart and Soliloquy’ by Hye are exams of music hex have been see for sary grade LULLABY op 124, No 6 ROBERT SCHUMANN Moderato (1810-1856) arr. PETER WASTALL, a 11980 by Bovscy & Tiswkes Musi Publisers Led D.C. al Fine SOLILOQUY DEREK HYDE eee Andante ; gap tS maf 4 cre ai ©copysight 1979 by Boosey & tawkes Muse Publis Lat 40WALTZ from "12 German Dances” FRANZ SCHUBERT from "J2 German Dances” op 9 aan Andante are PETER WASTALL. mp «doice —~ crese © Copyright 1980 by Boosey & Hawkes Music Publishers Lid aUNIT 17 New Notes: Grace Notes = Inher simplest formgrace notes are nctes 1 gla notes then again. ving the grace notes actin 103 meledy 1 make the mic round fo decorate the A Ata general ule grace e . more decorative "Ta show how trey are used notes shoud be ploved gracefully sn lightly e ° frst ploy the sxample without the nar of 7 ° ° ° ° ° ° STUDY Not ‘Adapted from a study iy Giuseppe Garibaldi Moderato > 2p —— mp eres > Frese molto aAndantiag Johannes Brahms Finger technique 1 The second ootave kay key Bal opened lnsirumenis are ttt wil a mechaniam tecord octave kay is opaned Exercises bby smoothly pivoting the la hand fst that eloses tne test octave key aura (9) Us) and ch ar examates were thie finger Only the zie of he top int matically On instrumants witht this must occur should touch the bey automatie mechaniom, mave the thum Repeat exercise fl using the notes shown 2 wmen tne second octave key & open. the tmoothiy off se fet octave key 98 the in averse (fo (3b and fed first octave key must be cloved Many MINUETTO Allegretto Joseph Haydn mp a3UNIT 18 Semiquavers ee on : és eo est pest e The volvo ota semiqunver is 3 quarier of 9 —-A.new ehythws called ynconstion i protuesd von in he dust the sirounding roche print thm so the when sng ascites ocer Bean quer way aye tra ote fond of states with gunvers fl Uh ants stead of coinciding with sher> —aaunee Ine aynecrated notes oft tne beat Sra ne bent con be oat teeth Exercise 1 of # eo Scales and arpeggios AA Min thaemonic form to be played from menryTAMBOURIN Allegro Esprit Chédeville Aids to music reading ‘With blocks f four semiquavers reed each (such othe two extrcixes shown opposite) sioup as you mould foursyliable word and minke 2 coneciouseftor ta rand each Start vats pasrages that are easy to tingar Block ef four aamiauavers as tingle unt ASYNCOPATED DUET Allegretto 7 . Frangois Garnier Teacher PurNew Notes Dotted Quavers a i B C OT © Gee ec Acorindcuneyoritseaulont et one Minor Keys . 6 OG trie suntueots ones Usa its combined wth anflesemiguve snc’ To ind the ame of ina ey coun ° O © Sicompicer ne beat ee fans eetaee tat eee tha mujer ay, To find out hanes a res a eo ina major Ley ora minor key compas 8 eae wit We opropate cele ce) ° fe) STUDY No Moderato Henri BrodAYLESFORD’S PIECE Animato GF Handel o t 7 Aids to music reading The reading technique fora single semiquavar example. play the fst note of she Soldiers ‘sta gtoup the semiquaver with the nota March by Schumann. then think TODAY ae hich follows In tively movements. usehul You pay the next two notes. This reading hotest fsaying word TODAY Asan ¢hythm occurs SOLDIER'S MARCH Allegro deciso R Schumann aINIT 20 RN ts Semiquaver Ri == Note patterns using Semiquavers bese A remiquaver cast isa ren fora quarter af ay combining semiquavers with quarers Crotchet beat Notice thet ite sirafar to the several naw rythm patiins ean be formed femmiquaver note. being printed with two tale The examples should be sticed carey [Examples of the zemiquavar rex can be found afore playing the exercises in the dont Exercise 1 Exercise 2 Scales and arpeggios Minor (harmonic farm to be played from mamory ieECOSSAISE Antonio Diabelli Allegretto Musicianship pronouncing the syllable OAH When pleving “Ecosse” where the mood suggests tat she in ais manner. we say we ae interpreting the quavers be played witha ringing bouncy type ‘music in a legato style Compare the siylo of steceato, with that neaéed for playing the Oisbel As you play the. Dustto” by Oevienne. notice lat ene general ennractr is one of smocinnass To schiave this emoothages use very gontle type of tanguing: rather ike DUETTO Andante asp expreniva Te 49A New Nowe ba Bb cometh Pl Oe Os 00@ oe 000 0f@ Three-eight Time boeat_best_Dent__beat_bent_bwot___best_bant_ beat “The timo signature of thre eight incieates that tere ale three quaver bens in each bar As ‘before the various notes retain tne same value in rolation to each other: tie tha valua of the oes in elation to the beat that fe cmanoed Allegretto grazioso STUDY No.3 Adapted from a study by Giuseppe Gariboldi crest 50MINUET Moderato WA Mozart : oo 5: ; pres fee. ary # oo =< Tone development 1 Stor with the best posible tone 3 As tne notes rise gradually inereae the Fememter mat although he embouchure ——_lannragmand embouchure support Ta ‘must be flim the tay muscles atthe ip ‘maintain maximum tlexibility. ell che ips entre mus feel springy ane floxible further over the veer 2 Having schieved » good sone spread it to 4 Continue exercises Ib (cl ond (a up 10 the note above menigh © ie : ELLACOMBE Allegrett A traditional English tune‘An acciecotura ica cml grace note with 2 The tmesignatura of two two indicate that stroke through ite stem It should be played there are two minim beats in gach bar The Gn the boat and as short as possible valu of the nates in relation to he best it own i the example Sometimes. sooo ‘called Alla Breve Adapted from a study Exercise 1 by Wile Popp Se b A = fe oe aE SSS = ; ; crese Scales and arpeggios F Major to be played Ivar memory eo e Mince orpeqgion F hie ameagio (6) elie) on sazGERMAN DANCE Allegretto L_ van Beethoven Finger technique 1 when mice octave D cours a8 an seclaccatura to © the teh fingaring ‘or © (9. the E i fingered with (C plus key 9) is normaly used An Ue hall-hole instead af the frst octave le occurs In bat 2 of the study by kay An example occur in bar 404 the im Poe study by Wiineln Pope \yinen mice octave & occurs as an COTILLON Gioceso Esprit ChédevilleNIT 98 New Notes Changes of Time-signature iS cH OB Sometimes time signature changed ding the course of apiece. When this aceurs the speed of the beat uevaly eemaing the sama: It isthe pulse pattern thar changar The example 2 ie taken from" A Hymn to Natura by latvdn e Sealéryi STUDY Nod Allegro Henti Brod 4. c 2 2 3 (2ne bat) ‘A triplet can be delined a “three cates ployed Wihen a eet of several bars is required, only Inthe time af two notes of the some value one bar used: a block Tine is usually avn in Hor instance thee quavers played in the time tha bat and the qumber of comatate bers (0 fof two quavers) The number 3 is placed aver ba counted alaced an too The axample i oken fr undar them fo how the momsantary ehange vom the-eoneert piece on page BE Exercise 1 Wilhelm Popp e F z Scales and arpeggios CAtginr ta be ployed Irom mumory :AIR from “Richard Coew de Lion ANDRE GRETRY (1741-1813) Moderato ae PETER WaSTALL —_ 6 59MELODY from the song “Ich Liebe Dich" L. van BEETHOVEN Andante (1770-1827) —PIECE No. I “Two Pieces for Oboe and Piano from “Oboe susie for Beginners ; LAJOS 11USZAR Andante 1948) : : : é expres 24 a tempo. 35 —, = © 1972 by Latitio Musica, Budapest 6ire System} BASIC FINGERING CHART ........ — obs 4D EE F FY 600 e0e eo @e0 o6e- eee ss GEA BOB CCHDEE F Ft 8 e ° o se e e ° e 68 e e e e 8 e ° ° ° aoe (50) eae! e0e eeo ooo e090 GGA BB CCD EEFmi) BASIC FINGERING CHART (cx..:.0vs0es d eet G BHCGD EE F ria reer Baul 5 , oe CADE COD BEE EFTIME SIGNATURES k up the time signature: 2. Look in the left hand column to find the number of beats in each bar 3 Look in the top row above the time signature to find the type of note that equals one beat Simple time * Compound time evenomimciod J od dD Value oan beat as a fraction of 4 $ 4 2 = # a 2 beats in each br 2 7 & § § & 3 beats in each bar 8 2 3 3 3 & 4 beats in each ber ae é f 8 &B ITALIAN TERMS —_ fempo Resume the normal speed E,Ed ane Geelerando Secoming graauaiy fasir —Espressivo (express ) with exprenion dagio Siow teisueaty ‘ith Fsting aitato agitated Ja marcia In tne style of a march Jorgando Scosdening ou: legretto siighdy slower than Atte legra Lively, ressonably fast ante (hic walking) Ata moderste pace ddantino A twa andante mato Animatea Atabile Io a singing sie awn svendo (crese ) @scoring louder Capo (D.C) sl Fine Sct ‘ing and finish o¢ te word Fine Segno (D.S.) From the sign & iso Deeisvaly firmly Fortis Forte (f) Lous imo (4) Vory tous Grazioso crscetuity Giocos0 Humerausly Largo Stow and stately broad Larghetto Loss siew then Lavgo Legato smoothly Leggiero Ligntly Lento siowiy Maestoso usiesictly Meno mosso Lass movement tothe Mezzo forte (ryf) Moderato tous ‘Mezzo piano (mp) Moderately soit Moderato Moderate time Molto saveh Moto movement Non troppo Not 199 much Pinissimo (2) Very soit Piano (2) Soft Pil mosso Move movement quicker Poco a poco Lite by stl fgredualy) Pomposo Porrpousty Presto very quick Quasi cit simest Railentando (rall.) secoring sracatty slaner Ritemuto (rit ) Hold sackisioner at on Rubato Fiexbly Semplice simole Sempre Aiwoys Sforzando ( sf, gf } Forcing scceniec Solenne soierma Sonore sonorous full toned Sostenuto sustained Spitito spirit tite energy Tempo ! Resume tne origina! speed Tenuto Hele Tranquillo auietiy Un poco A sitte Vivace Lively aviek ; sd by Halton & Co Lid, Amersham, Bucks. England 4The Really Easy Oboe Book very first solos for oboe with piano accompaniment Robert Hinchliffe a Ee FABER MUSIC3080 AVId NOA S¥ NUVST ui peulEIUoa sanaig a2u0) aig fuedioode 0} sued preoghay, E62 YOOS INAWINYAINGOOY ONVId Uo 08 pue jos u, 3001 2zel ‘song ~ seikis wapow snayen w) saoaid papei6 “{se0 jo uo}ogo0 y €F64 3080 HOS ZZvrOWOIN ssounyusa no} jo @nowades aogo Buyeurase) au) o1L4 suonesoydxe KES 2069 OU2ig PUB 2090 10} $39BId SHIOLHAGTH ASHE sBuyis ule sseq ‘sjuaunsjsul puimpoom seyjo 49} aigepene syooq ajquedwon ssn dnouB Guyjoxa 2j2su9 0} PUecXa UED JBY} aoge Jo} S00 yeeqdn £218 2090 20) BWNLL NOISSAS soyhis yoo! 2nueyine ) sa9erd jeuiBuo pajeaysiydos yah Kse9 Fh 2210 OUeIg pute 2090 40) YOO OL AVI BHL ‘suoweaygnd seymey @ Kasoog sayjo esau 41) “soyoed oue Apnys quauufolue sayin ios fF uauinuisut jeoysnuy e Bukeyd jo so! eu 0} uowonposqu jeep! eup s1 | 8ULI68q 4) 10) apin6 ayeidwioo eu sepmiold AWTd NOA SY NUYIT sesunoo vo}eUIWexe pur BuIyoeel jeuewnysuy uy sjuauwdoyexep ysaye] ayy jo yunoooe eyet of pesines Ajou useg Sey UOIIpS e7ep-o}dn Siu suojjeulusexe Jo} 385 waeq eney Yoru JO AueW 'S@d8ld ue0u0g yin Buofe pepnioul axe sesiovexe jryjualy GuIed| yo abeys neu YoRA Jo suOHeUE;dxD J29j9 epINoId Jet) Sun OW papiaip 8} O09 ygeg asn 0} Aske PUB PUB|SienUN o} ads S| Poy ATA MOA SW NUT SUL eit AVId NOASV Vee SuoyeUIWeXe E BpeID) 20) pasinba prepueys ou YBndiyl yd GujwulBaq (van ayy wos) wapmys au) S®¥EI Yoog yoes ‘/ypea} paouavadxe pue pajzedsar AjapI & ‘EISEN J818q Ad UBIILAL seymeH 8 Aasoog wou sluwnjsu sseIq pu | puyapoon 10} 9009 1o}m Jo Sais8s BUILUP PLEA SUIS] AWTd NOA SY NUVET | | ISHN M-060-02033-2 in qThe Really Easy Oboe Book Very first solos for oboe with piano accompaniment Robert Hinchliffe © 1988 by Faber Music Ltd First published in 1988 by Faber Music Ltd 3 Queen Square London WCIN 3AUL ‘Music engraved by Sambo Music Engraving Co Cover illustration by Penny Dann Cover design by M.& S Tucker Printed in England All rights reserved Faber Music Limited LondonPreface You need only be able to play a few notes on the oboe to make music The 20 little pieces in this book have been written with beginners in mind, but within the technical limitations this imposes there is plenty of scope for musical interest. The pieces are arranged progressively, so as well as musical satisfaction you can have the pleasure of hearing the step-by-step improvement in your playing The piano accompaniments have been kept as simple as possible First Book of Oboe Solos and Second Book of Oboe Solos by Janet Graxton and Alan Richardson are also available Contents 1 March of the Ducks page 1 2. Daydreaming 2 3. Holiday Trot 2 4” The Brook 3 5. Mellifluous Minuet 4 6 Nocturne 5 7. Spring Song 6 8. Elizabethan Lament 7 9. The Barrel Organ 8 10 Siciliana 9 Ll Dance of the Scarecrows 10 12. Ballad sb 13. Jovial Jig 2 14 Berceuse 1B 15. Children’s March “ 16. Wistful Waltz 16 17. Christmas Song v 18 Comedy 18 19 A Winter's Tale 19 20. Country Dance 20f 1. March of the Ducks () ‘Tempo di marcia ( d = 144) Oboe Pian 7 sempre s1acc \ 1988 by Faber Music Ltd This music is copyright Photocopying ‘s illegal2. Daydreaming /) Andante ( d = 72) SS == === P legato ‘poco rit, 3. Holiday Trot ‘ Allegretto ( d= 100) PP legiero "PressionAndantino (d= 96) -4 5. Mellifuous Minuet [Q Tempo di minuetto {d= 100)20 pézt = Z = — === = ——— ——= : : a i = BE a = - = : =? fren cniecte \ a 6. Nocturne Semplice ( d = 66) “P caniabie7. Spring Song ( Andante (d= 80)E 8. Elizabethan Lament Lorghetto ( J = 60) Op legato ed esreziva B poco rit pocorit *é 9. The Barrel Organ Allegro giocoso (2) = 138)10. Siciliana Allegretto grazioso (¢-= 56) meno mossooa Scherzando (4 = 138) Dance of the Scarecrows12. Ballad Tranquillo (d= 63) Pegato Con Ped, — Bs tempo Le P SSS SSS =e Epa tempo ey =F ———wa 13. Jovial Jig Allegro (d-= 92) F F lesgiero, 14. Berceuse Andante (4 = 80)2205. Children’s March Tempo giusto (J = 88)sa rit)16. Wistful Waltz Grazioso (d = 88) BP expreivoAndante sostenuto (4) = 17. Christmas Song 72) = $= = = - ste impo = = a == ——t E =e Se a teripo a33 18. Comedy Scherzando ( 6.= 63)F419. A Winter's Tale Moderato (4 = 100)20 B 20. Country Dance Allegretto (d. = 80) F leggicro20 PineyThe Really Easy Oboe Book Ifyou can play just a few notes on the oboe, then you're ready for this book. Here are 20 imaginative little pieces specially composed for the absolute beginner, all of them with attractive piano accompaniments. ‘The pieces are arranged progressively, so you can hear the step-by-step improvement in your playing as well as simply enjoying the music When you've finished this book, you'll be ready for First Book of Oboe Solos. Janet Craxton & Alan Richardson First Book of Oboe Solos Second Book of Oboe Solos Also from Faber Music: Graham Sheen The Really Easy Bassoon Book John Davies & Paul Harris The Really Easy Clarinet Book The Really Easy Saxophone Book Judith Pearce & Christopher Gunning The Really Easy Flute Book Brian Bonsor The Really Easy Recorder Book — ll FABER MUSIC 3 QUEEN SQUARE LONDON | | qLG, 15 enougyFirst Book of Oboe Solos Erstes Spielbuch fiir Oboe und Klavier Edited and arranged for Oboe and Piano by JANET CRAXTON and ALAN RICHARDSON Faber Music Limited London©1971, 1974 by Faber Music Led Ficst published in 1971 by Faber Music Led 3 Queen Square London WC1N 3AU Cover design by Roslav Szaybo and Studio Getrard Printed in England by Halsean & Co Led Allrights reserved Separate oboe parts are availableContents : Inhalt Slow Waltz (Langsamer Walzer) A R In che Well (Im Brunnen) AR Sad Song (Trauriges Lied) AR March (Marsch) A.R Go from my Window, Go (Geh wog von meinem Fenster, geh) Thomas Morley A Melancholy Tale (Ein melancholisches Marchen) 4 R Loudly and Sofily (Laueund Leise) A R Polish Folk-tune (Polnisches Volkslied) Yor Himmel hoch, da komm’ ich her ar: Johann Sebastian Back Song Tune (Lied) Hevry Purcell Chi chi's Dance (Chi chis Tanz) A R John, Come Kiss me now (John, komm kiiss mich jetzt) William Byrd Latvian Folksong (Lettisches Volkslied) Rigadoon (Rigaudon) Henry Purcell The Gad-fly and the Fly (Die Bremse und die Fliege) Edvant Grieg Minuet (Menuett) Henry Purcell Peasant Song (Bauernlied) Edvard Grieg Old Nick's Joumey round the World (Urians Reise wm die Wele) Ludwig vax Beethoven Allegeeto AR His Conceie (Sein EinGall) Giles Farnuby [A Dresden Figure (Eine Meiflener Figue) A R (Of Seeange Countries and People (Von frernden Lindern und Menschen) ‘Robert Schwemarat Contentment (Die Zuffiedenhei) Wolfgang Amodeus Mozart Zephyt (Zephir) AR Scherseuo AR Fsise genug Jolunn Sebaittan Bad 5 6 7 8 9 10 3 M4 15 16 "7 8 19 20 22 3 or 24Preface The Fust Book of Oboe Solos has been compiled with the true beginner in mind, and it should be possible to use this book from the very firs lessons. The stylistic range is as wide as is compatible with technical considerations and original pieces have been specially wricten in the absence of other suitable material We are indebted to Harold Ceaxton for his arrangements of pieces from che Fitzwilian Virgina Book ‘Asa general nule the pieces are progressive with regard to notes, ie. anew note is added in each new piece Exceptions to this rule occur in the first five pieces where we fele some duplication would be helpful, and in later pieces where we fele chat, ‘musically and technically, some revision would be worthwhile. As a quick guide, the range of each pivce is indicated ae the start with small notes One of the main problems in oboe playing especially in the early stages ~is that of sustaining che quality of cone in long phrases. To help overcome this problem we have let suitable resting-places, which are intended not just for breathing but for resting the lip muscles and for moistening the ceed, all ehiee being essential to good tone-quality During these resting-places the musical interest is handed over te the Pianist, which should make for chythmic and musical aleriness on the pat of both boist and pianist, since they must exch be aware of the musical continuity In general we have tried to keep the accompaniments as simple as was musically possible so 28 to enable young musicians to collaborate. Ifthe oboistis also a pianist, ie would be helpful for him to play the piano pare with a fellow oboist Many of the catlicr pieces can be performed st frst a slower tempo than marked: as echnique develops, they can be brought up to speed Whilst we have made various editorial suggestions for éynamics and phrasing in the t6th-rith century pieces, we should be happy if oboists and theit texchers with cher ideas fele free t0 use their inisiative here Howevec, in all the original comporitions and che Beethoven, Schutnann and Grieg pieces the phrasing. and dynamics should be meticulously observed, Above all che oboist (and the pianist) shiould phrase musically—that is, to make the music speak Music, like words, must be shaped to make sense When a sentence is spoken, words are stressed to make the meaning clear The same applies to notes when a musical phrase is played. Shore footnotes to cach piece are included which we hope may prove helpful to the oboist on technical and interpretive points JANET CRAXTON ALAN RICHARDSON ©1971, 1974 by Faber Music Led First published in 1971 by Faber Music Led 3. Queen Square London WCIN 3AU. Cover design by Roslav Szaybo and Studio Gerrard Printed in England by Halstan & Co Led All tights reservedEinleitung Das Erste Spiclbudl fiir Oboe wurde im Hinblick auf den einen Anéinger zusammengestelt, und es sollte méglich sein, dieses Album von den ersten ‘Unterrichtsstunden an 2u benutzen. Die stilisische Spannwcite ist so gro8 wie es mit technischen Oberlegungen 2 vereinbaren war, und es wurden, mangels anderen igneten Materials, eigens Originalsaicke geschrieben. Wir sind Harold Craxton fiie seine Bearbeitung von Snicken aus dem Fitzwilliam Virginal Book au Dank verpilichtet Als allgemeine Regel gilt, daB die Sticke in fortschreitendem Schwierigkeitsgrad hhinsichelich der Noten angeordnee sind, oh in jedem neuen Stick komme eine neue Note hinze. Ausnahmen 2u dieser Regel kommen in den ersten fiinf Seicken vor, wo uns einige Wiederholungen hilfreich erschienen, und in spiteren Sticken, wo wir cin rochmaliges Uben fiir lohnend hiclen Als rascher Anhaltspunkt wurde der Tonumfang eines jeden Suickes am Anfang mit kleinen Nocen angegeben Eines der Hauprpcobleme des Oboenspiels ~ vor allem in dec Anfangszeit~ ist das Autiechtethalten der Tonqualitit in langen Phrasen, Um dieses Problem bewaitigen ‘au helfen haben wir geeignere Ruhestellon golassen. dic niche nur 2um Einatmen gedache sind, sondem auch dafiig, den Lippenmuskeln Rube 2u génnen und das Rohrblact anzufeuchten, du alle drei Faktoren flir cine gute Tonqualitit wesentlich sind Wabrend dieser Ruhestellen ist das musikalische Geschehen dem Pianisten bertragen Dies soll die chythmische und musikalische Wachsamkeit von beiden, Oboist und Pianist, (Seder, da jeder den musikalischen Zusammenhang kennen mob Im allgemeinen haben wir versucht, dic Begleitung so cinfich zu halten wie es musikalisch gerechefortigt war, um den jungen Masikern eine Zusammenarbeit 21 erméglichen Sole der Oboist zugleich Pianist sein, so wate es fr ihn hilfrcich, die Klavierstimme zusammen mit cinem anderen Oboisten zu spielen. Viele der Stiicke am Anfing Konnen zuerst in einem langsameren Tempo als dem angegebencn gespiclt, und dann, mit fortschreitender techmischer Fertigkeit, auf das Original tempo gebracht werden Obwohl wir bei den Saicken aus der Zeit vom 16-18. Jahrhundert verschiedene editorische Vorschtige 2u Tonsticke und Pheasierung gemache haben, fieuten wie uns, wenn sich Oboisten und ihre Lehrer mit anderen Ideen nicht scheuten, thre Initiative hier zur Geleung zu bringen In den Originalkompositionen und den Swicken von Beethoven, Schuiann und Grieg jedoch sollen die Angaben 2u Phrasierung und Tonstirke genauestens befolge werden Vor allem sollee der Oboist (und der Pianist) musikalisch phrasiecen - dh. die Musik zum Sprechen bringen Musik mu, wie Worte, in cine Gestalt gebracht werden, um Sinn 2u ergeben. Wenn man einen Satz spriche werden einzelne Worte betont, um die Bedeutung klar 2u machen Dasselbe gilt fiir Noten, wenn eine musikalische Phrase gespiclt wird Jedem Stick wurde eine kurie Anmerkung beigegeben die, so hoffen wir, fir den (Oboisten in Fragen zu Technik und (nterpretation hilfecch sein wird JANET CRAXTON ALAN RICHARDSON Deutsche Ubersetanng : Dorothee EbeshoedeSLOW WALTZ Langsamer Walzer Rather slow, bat graceful iene laigsam, aber arwrtig “Tey w produce a good tone-gualty and listen co make sure you are in cane. Notice the difference between tongied and slurred noces © 1971,1984 by Faber Music Ltd a { Versuch, eine gute Tongualitic hervorzubringen, und hére dir za, damit du sicher bist, toneein 2u spiclen Beachee den Unterschied zwischen angescofenen und gebundenen NorenSimply (4 = Einfach Here again conceneraee on cone-quality and intonation {playing in tune), and miske sure of the tonguing and slurring. In bars 2 and 4 anxl in similar places ery to get 2 raher “Sof couguing action on the sninims: think of pronouncing d asin do eather than # a in tp IN THE WELL Jr Brunnen AR Konzentriere hier wiederum auf Tongualite und Ineonation (onreines Spicten), und achte insbesondere auf rihtiges Ansioflen und Binden Versuche bei den halben Noten in den Takcen 2 und 4 und an snlichen Stellen sine weiehe Zungenbewegung zu erzilen: denke dir, du arc liertest cher d wee in di als wie in Tay4 SAD SONG ee irly slow ) AR Bionicle fangs = S= Be == SSS Of SS = = = ps Make a rel difference between che legato (starred) and the Spivle die Legato-(yebundenen) und Swakuiotkurzen) sal sce aaa HE gute 60 make the imerval C= Noten. wirldich tmeacinedien) si sicher, daB du_das ryt mooth and ekanly fingered ~look out for any Behat Interval CoA witch deg spielst und sauber greitie = ghee by mistake. You should use che softer tonguiny ond passe sal aa a sich aus Versehien cine xpressivesress oe eats Sane 10, and give a slight sclechen KOnte Lei den balben tency ee Taken $ ‘aprssivesmes tothe noes with ines above themn emu) and 10 slltest du die wichons den und den Nozen mit Cini ausdrucksvollé Betonung geben ‘Ungenbewegung verwen= ber (femmi) vine Ieiehte,¥ MARCH. Marsch Strong and steady Krifiig und glichenipig chen Bezsichnunger genau, aber kom= Sut das Hervorbringen einer gucer bu concenrace Befolge die dynamnis wnoch jo allem awens du forte spelst ‘Tonqualiti, w clos, Follow the dynamic markt ood eone-quality. expecially nevertheless on producing 2 ‘when playing foreGently ( 4 = ¢.100) Sane espress ‘This was originally a song so you should try co produce a cnitatile cinging) tone The conguing becween the slurs chroughour the piece should be very: GO FROM MY WINDOW, GO Got weg von meinem Fenster, geh THOMAS MORLEY (u557-€.1602) arr HC Dies war urspetinglich ein Lied, du s her versuchen, einen cantable (singenden) Ton 2u e: Das AnstoBen ‘ewischen den Bagen sole wihend des ganzen Stickes sehr sane sein() AMELANCHOLY TALE Ein melancholisches Marchen ‘Ata very moderate pace ( J = 132) Insel nfigen Tempo £267 Play the slurred notes very stnuothly and always keep your fingers ar near co the oboe as possible so that yaur fingering ‘an be smooth too. {n bars} and 4 think of the musical phrase as going chrough the croscher rests. See how quietly you can play dhe ast four bars == AR le dic gebundenen Noten sehr thissig und bebualee er $0 ake wie méglich an der Oboe, damic ecifen flissig scin kann Denke dit, daB die Phrase in den Taken 3 und 4 die Viereelpause cinschliaBe Finde heraus, wie leise du die leaten vier Takte spielen kannst“ Allegretto { J = 76) Dynamics are important here, but be carefll at the same time of tone-quality and intonation. Practise slowly at first 0 get the semiquavers even, and make certain that the rhytho Jd isalways precise and never becomes LOUDLY AND SOFTLY Laut und Leise AR Die Tonsiirken sind hier sehr wichtig; achee jedoch gleichzeitig sorgfiltiy auf Tongualitie und Inconation. Ube zuers langsim, uum die Sechachntel glechmaBig zu bekot men und vergewissere dich, dal der Rhythm von Lod immer piscundninals20 7 wind\o POLISH FOLK-TUNE A) Polnisches Volkstied Allegretto (J = 88) ; P= coal? poco rit. e dim. (21d sime only if repeated) Practise this gay lide folk-tune slowly until you have mastered the phrasing You can afford to exaggerate the slurs, sacati and marca (accents) to help you give the piece 3 more lively characcct, Nosie that (fom bar 7 onwaeds the second quaver of cach slurced pair has 3 stucalo mark it should be shortened buc not eongued Ube dieses Kleine, fedhliche Volkslied langsam, bis du die Phrasierung beherrschst. Du kannst ruhig die Bégen und Stakkoto- usd Marcatonoten (Akzente) Gberberonen und amie dazu beitragen, dem Setck einen lebhafteren Charak- terzu geben Beachae, dal ab Take 7 das zweite Achtel eines, jeden gebundenen Paares ein Stltauzeichen — hat; es Sollee verksirat, aber niche angestoen werdenj VOM HIMMEL HOCH, DA KOMM’ICH HER ty From Heaven above [ hither come arr JOHANN SEBASTIAN BACH (1685-1750) Slow ( J = €.69) Langsane a — Se, oat Die Kommas zeigen dae Ende der Phrasen an und damit die The commas indicate che phrase-endings. and thus where test Hier benécigst dui wieder you shoul breathe Here again, you need smooth rongving, Beeween the slurs When you have learnt the fingering for low D and C and can play them comioreibly. uy the ‘origina ending which isin small nes ‘leinen Noten gedrucke st da Originalendung. e Fingensitz ir das tee | spielen. wenn di hast ind beide10 with aby ‘As the cide styggests, you should shape the phases here 38 if you were singing them. (You could even make up some words to fie the music, if ie would help) Practise some repeated soft ongued low 19's 0 help make che stare of bat 5 cesier The Fingering beeween the intervals FeA, CoA and B-G should be as clean as possible Notice that the piano takes over the se in bars got2 and that you are only accompanying ie ‘ey SONG TUNE \ Lied HENRY PURCELL (1659-1695) & Wie der Titel naheleye, sollest du hier die Phrase so gestalten, wie wenn du sie singest (du kénntest sogar cinige Wore pasiend zur Musik erfinden, wenn dies von Nutzen Jat) Ube mehirere wiederholts, weich angestodene tice Ds, tint den Anfang in Take 6 au erleicheera, Die Fing. bewegung ewischen den Intervallen F-A. C-A amd HG. sollte so sauber wie méglich sein Beachee, caf in de Tokten 9-12 das Klavier die Melodie hae und dafl da nar beglitese' ‘© CHI-CHI’S DANCE Chi chis Tanz Fairly slow, but very steady ( J =72) ievlih lags, aber seh gleichnapi coith aby © ‘poco f Remember that the notes with tenut should be stressed, in Vergifl niche, da die Noten mic teri beront werd this case fairly heavily, though not with such a sharp atcack sollten, hier sogar ai a for orca: In bar 4 you should used che forked F — harten AnstoB wie fir marcufi In Take 4 solleese du den fingering, which you will have to practise Gabelgeif fr F verwenden, den du tiben missen wirstJOHN, COME KISS ME NOW Jolie, komm kiss mich jetzt WILLIAM BYRD (15343-1623) ar HC (J = 72) tenia F teggiero Fieger Here is 2 gay, dance-like piece, so make the scat notes Hier ist cin Gdbliches, tanedhaliches Suick; spiele die short and light Make certain of the chytho in the list hree Staktutanoten dahee kur2 und leicht. Mache dir den bare: try them over slowly if you are not sure Rhythmus n drei Takten Klar; versuche sie ‘wean du niche sicher bistLATVIAN FOLKSONG Letisches Volkslied Boldly (J = 92) Kili wf Give this piece plenty of character, Here we have marcati snd tena, so make the difference between quite clear tn bars 1,36 and 9 remember that the staccato note under the slur needs tobe shortened but not tongued. ar AR {repeat ad feb, sterting » and increasing to £) Gib diesem Selick viel Charakeer: Hier haben wir stcca mmareati und tent. bringe dalver den Uneerschied zwischen ilmen gue heraus Vergif in den Taken 1, 3, 6 und 9 niche, af die Stabtaronote unter dem Bogen’ verkairet werden mu, aber niche sngestollen werden dart7 RIGADOON Rigaudon Allegro (J = 96) S staccato This piece should have a strong rhythm and a cleaely defined shape to the pheases. Be careful in bar 4 to make the C louder than the G; on many obocs the G will be the stronger note, so you y have to lighten ie considerably HENRY PURCELL (1659-1695) Dieses Swick solite einen markanten Rhythnius und deutlich agestaltete Phrasen haben. Achte in Take 4 darauf. daB da das C hauter als das G spielst. Bei viclen Oboen wird das G die stirkere Note sein; du witst es daher bedeutend leichter spielen mien. THE GAD-FLY AND THE FLY Die Bremse und die Fliege EDVARD GRIEG (1845-1907) Allegretto con moto ( d feeteeeees & sichlich ei sanfies Swick und da mabe dich 13 legaro unter und 2wischen den BSgen Finde heraus, wie leise du die letze Phrase ercando und dimimendd sollten bier sebr ‘This is in che main a gentle piece and you must concentrate ‘on a beautiful egazo within and becween the slurs See how quietly you can play the lasr phrase; the enscendo and cdininendo here should be very slight sgering sein6 MINUET Menuet 4 HENRY PURCELL (1659-1695) Andante ( J = c. 112) =e 5 with Gh) mp dolce This Minuet needs clear tonguing on the non-slurred notes- Dieses Menuete bedarf eines deutlichen Anstofes bei den hot state, but separated oF detached, a8 we say It should niche gebundenien Noten ~ niche stalkat, jedoch abgetremat sound elegane and stately Essollte elegant und wiirdevoll ingena PEASANT SONG Bauernlied EDVARD GRIEG Allegro ( J = 152) 2 (5) (1843-1907) Hier haben wir wieder eine — Phrasienang, vergi® daher the slur exch time. This piece must havea niche, die lewete Note unter dem Bogen jedesmal 2a and a very strong thythmic sense Again, verkiirzen. Dieses Stick bedatf eines lindlichen Charakrers distinguish berween ‘ennui and marzat, they have a subtle und eines sehr starken rhy¢hmiselien Gefidhls Uneeescheide ‘musical difference which is important wiederum zwischen temti und marcan; awischen ihnen Desteht vin feiner musikaliscler Unterschied, der wichtig18 ‘Ata moderate pace Le miigen Tempo mp Beethoven marked this song to be performed in a somewhat comic fashion; try playing it rather powpously He bas doubled che melodic Hie (oboe and piang) through - ‘out, which will give you good practice for intonation snd precision of ensemble Watch out for the change of Key at OLD NICK’S JOURNEY ROUND THE WORLD Untans Reise um die Welt LUDWIG VAN BEETHOVEN (1770-1827) Nach Beethovenis Angaben sall dieses Lied auf eine recht Komische Are gespiele werden, Er hat die Melodiclinic durehweg verdoppele (Obae wd Klavier), was dir Gn bung in Intonation und priisem Zusammenspiel geben Wird Gib auf den Tonarewechsel in Take acheT ALLEGRETTO Allegretto AR. (P=) : = = Se Se = salen Salon P eater = SS & SSS = = “ —— a a, hp pote 3) —4 ef (fe —e- be: = = maf ree = phorasing should be congued in such 2 way ast make ame pronouncing doo sropping the note with fe pest one. Listen to the ilfe Saceathand seat Die Noten mit einer -T> Phrasicrung sollte so angestotlen werden, daB sich mezzostakkato ergibe Versuche du 20 artikulieren und die Note mic dem Atem zu stoppen, gerade bevor du die nichsce anst6Ge Hore auf den Uncerschied ewischen Legato-, Mezzostakkato- und Stakkaronoten,20 HIS CONCEIT Sein Einfall GILES FARNABY (c. 1560-1640) FHC Allegeetto ( J = 88) . & * Cag Perce The ehythm is very important in this piece, ke sure tn diesem Stick ist der Rhythnus sehr wichtig, achte dahor that the dowed thythass JJate exact. The tied nots darauf, da du den punktierten Rhychmus in bars 2-3 and 6-7 should be given their exact values spivlst, Den angebundenen Noten in den Takeen 2-3 umd 6-7 solte ihr genauer Wert gegeben werden2 A DRESDEN FIGURE Eine Meifener Figur AR Ata very moderate pace In selr mapigem Tempo 2 = + soe init Pb] mf ma dolce a : well asta In. diesem Seick bedarf es sorpfiltiger Beachrung aller Bogen und Stakkaonoten, und dee dynamischen Bezeich- mugen (Carefiletzzntion (0 all she slurring and sac the dynamnies, is eequired in his piece22 OF STRANGE COUNTRIES AND PEOPLE Vou fremden Landern und Menschen ROBERT SCHUMANN (1810-1956) P legato, cama parte con due 52, Quiet bue very expressive playing with 2 beautifal fyans tone is needed here. Make real differance between p and pp in bars r5 and 17. Don'tery to play p too quietly or you msy und not give yoursel'a chance forthe pp Hier bedart es leisen, aber sehr ausdrucksvollen Spicls mie ccitem schdnen Legazoron Spiele p und pp in den Taktcn t3 irklich unterschiedlich Versuche nicht, p 2u leise au spielen, da du dir sonst velleiche keine Mégiichkeie fir shis pp if.23 CONTENTMENT Die Zufriedenhert Moderato P caniabile poco creie Try singing ta yourself the melody of this song by Mozars, ic neds sensitive playing and a real caabile cone. Uniess you have an akemnative lef-hand F key, you will need t use the Forked F fingering quite often. The tone on a forked F ‘can sometimes be rather weak, so you may need to give it Tice moze air pressure co match its tone with hae of the ‘other notes Watch the intonation too If your F is not vented, you may find it helps ro add the Eo key WOLFGANG AMADEUS MOZART (1736-1791) Versuche dir die Melodie dieses Moartsche Liedes selbst vorzusingen Es budarf einfilsamen Spiele and vines echten eanabile Tons. Auller wern du eine weitere F-Klappe fir die linke Hand hast, wirst du den Gabelgeiff fir F ziemlich oft benutzen missen. Der Ton eines mit Gabelgei gegeiffsien Fs kann manchmal recht schwach sein. du mult daher den Atemdnick vielliche cin bilehen verseirken. uum seinen ‘Ton dem der anderen Noten anzigleichen Achte auch auf ig Intonation Fallz dein F niche ventiert ist, kénnce os hibtlich sin, die Es-Klappe hinauzsmchoen,24 ZEPHYR Zeplur AR Gently moving; very quiet ( 4: Zanji berweyt, seh nuhig & This piece will give you practice in counting rests Make Dieses Stick gibe dir Ubung im Pausenzihlen. Verge Sure not only co coune correctly buc also to listen carefully 69 re dich, da du niche nur cichcig zilse,sondem auch get the piano part Where you have a quaver rest, think of the der Klavierstinume zuhst: Stelle die die Melodie da, wo des rielody as going on through the rest vine Achtelpause hast, so vor, ag setae sie sich durch die Pause hindurch fortSCHERZETTO Scherzesto AR i Lively (J.= 26) Lebhajt = SF marcato e staccato ‘This should be lively and dynamic in character, in contease Dies sollee lebbaften und dynamischen Charalters sein, in to the previous piece in 6/8 rime Kontrase 20 dem vorherigen Seick in 6/826 Ja ES IST GENUG Ils enough Slow ( J = ¢. 76) mp JOHANN SEBASTIAN BACH (168 5-17 50) a2 This beautifil chorale contains some of Bach's mose wnt bare fey used icin his Violin Concerco) You Tichs will ned to use dhe leftchand Df (or Bb) key Violinkonzert) Benutzer missen Dieser schéne Choral cnthile cinige von Bachs wiges Harraonien (Alban Berg verwendere sie it sei Du wirst die Dis- (oder Ee} Klapps Pespress