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4

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7

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10

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Drill no.1 -

To be practiced always in front of a mirror with a tuner and metronome.The movement of the fingers should be as close to
and as smooth to the oboe as possible. No spaghetti fingers.

Begin with a comfortable tempo, for example bpm 80 and begin in the middle of the oboe
register in the key of the week or day.

After the exercise is completed it should be played again one step higher, continue transposing upwards untill you reach
the limit of the oboe register. If in the extreme ranges the tempo becomes too much to handle the metronome should be
lowered. Do not pass through the exercise unless it is at a tempo you can comfortably play the three note pattern.
Once the top is reached then go back to the central tone and start the exercise on the tone below. Follow the exercise all
the way to the bottom of the instrument, once again turning the metronome down until it is managable to play fluently.

Make notes of any of the three note figures that appear that cause particular difficulty and should be worked on.

For indurance of the embouchure and fluencey of the fingers

2

1 . Legto
2. Portato

œœœœœœœœ œ
3. Staccato
œ œœ
™™
13
œ
glissando
œ œ œ œœœœœ
& œœœœœœœœ œ œœ œœœ
œœœœ

œ œ œ œœœœœœœœ œ
™™
18 bridge
œ œ œœ œ œœœœ 3
œ œ œ œ Ó
3 3 3 3
& œœœœ œ œ œœœœ
œ œœœ œ

3 3 3 3 3 3 3 3

œ œ œ œœœœœœœœœ
™™
fluency
œœœ œ œœœœœ
& œœœœœœœœœ œœ œœœ
œœœœ
Ó

Scale method for fluency of the fingers, airflow and articulation

Choose a comfortable tempo, 80 bpm. Speed is not the goal but rather control of movement of the fingers into fluid
motion. To be used in scales, thirds, arpeggios and dominant sevenths.

Begin first in quavers, the fingers and notes should move as though there is glue between them, the smoothest almost
imaginary glissando affect of the fingers should be achieved. Use loose grip. Do not let any finger stray too far away
from the keys.

The bridge technique is achieved by engaging the fingers more into active movement. Slightly tighten the grip.
Keep fingers still close to the keys

The last practice of the scale should be with normal grip in the hands and fingers, but remain fluent and never become
mechanical. Focus on how freely and fluently the fingers can be moved. Do not allow for heavy finger playing. If this
occurs the grip should be loosened until light fingering is produced from the grip.
 3

& œ ™ œ œ ™ œ œ ™ œ œ ™ œ œ œ™ œ œ™ œ œ™ œ œ™
for simple 3 3

œœœ œœœ
3 3

œ œ œ œ œ œ œ œ œ œ

for compound metres

r r r
œ ™ œ œ œ™
3 3 3 3 3 3 3 3
& œ œ œ œ œ œ œ œ œ œ r œ œ œ œ
œ œ œ œ œ œ

Practice technical passages at 60 bpm going through with these rhthyms depending on the original rhtyhm written.
Play through with each rhythm once, focus on having a loose grip and fluid finger movement between notes. After
the rhythms have been played legato, play the entire passage through legato at 60bpm, then entirely through with partato
articulation and finally all the way through as written with original articulation