UNIT 17 New Notes Grace Notes In thee simplest form race notes are notes grace note, ten agen, using he grace notes 5 io ised tos ody tormake the music sound fo decorate the &, Asa general ule, foce tore cacoratve. To stow how they ae sed, ter shouldbe played gracefully ard ight e ° first play the examole without the pair of 7 ° ° ° ° ° ° STUDY No.1 Adapted from a study by Giuseppe Gariboldt Moderato yee _—_ 3 mp creseWALTZ, ‘Andantino Johannes Brahms Finger technique 1. ‘The stcond octave key (kay Be) is openid ‘estruments re fitted with # mschanismn sacond octave key i opened. Exercises by smooth pivoting the left hand first that closes the first octave key auto (a) (6) ana fel are examples where this finger. Only the side ofthe top joint ‘matically. On instruments without this rust occur ould touch the key. automatic méchaniem, move the thum Repeat exereite (ah uting the notes shown ) fe) an 2. When the socond octave key is open. the smoothly off the frst octave Key a the in exercises (b) fist octave Key ost be closed. Many oo a oe ee Ye A MINUETTO Allegretto Joseph Haydn mpPum { : sy Semiqu:‘TAMBOURIN Allegro Esprit Chédeville Aids to music reading With blocks of four semiquavers, rac each (Gueh asthe two exercises shown opposite (group 38 you would a foursyliable word, and make a conscious fort to read each Start wath passages that are eaty to finger block af four semiutvers 98 sine uni ASYNCOPATED DUET Allegretto . Frangois Gamier Taaches PuoitUNIT 19 New Notes ex ‘A dotted quaver. or its equivalent rest, ests. Minor Keys O° ‘or three quarters ofa erotchet beat. Usually. itis combined witha single semiquaver since To find the name of a minor key. count three ° ‘this completes the beat tester nemes down inclusive from th the major key. To find out whether ° {sin a major key or a minor key, compare i ° with the appropriate scale ° STUDY No.2 Moderato Henri BrodAYLESFORD'S PIECE Animato GF, Handel Aids to music reading ‘The reading technique fora singloemiquaver example, play the first note ofthe "Soldier's isto group the somiquaver withthe note March” by Schumann, then think TOUAY as ‘which follows, In lively movements, useful you play the next two notes. This reading way to-acieve tis eto pronounce the two technique can be used everytime dotted notee ati saying the word TODAY. Asan rhythm occurs ‘SOLDIER'S MARCHUNIT 20 Semiquaver Rests, semiquaver note, being printed with to tls. Examples of the semiguaver rest ean bo found in the duet. Exercise 1 Note patterns using Semiquavers By combining semiquavers with quevers, several new rhythm patterns can be forme, ‘hw examples should be studi caretully before playing the exorcise. Exercise 2 Scales and arp o#NR ECOSSAISE Antonio Diabelli Allegretto P > mf Musicianship As you play the "Duetto” by Owienne, notice pronouncing the sylable OAH, When playing “Ecos "hore the mood soaoues thatthe ating the quavers be played with a ringing, bouncy tyne Smoothness. To achieve this smoothness, use muri in legato styl. Compare the style of staccato, ‘avery gentle type of tonguing: rather like with that needed for playing the Diatbell DUETTO Andante F. Devienne Pui po expressive ss oe PespressivoUNIT 21 a ANew Note Three-eight Time bo best beat beat___beat_beat_best__—_beat_bast_ bo cons. Th. PI @e. eu “The tie signature of threeeight indicates the ° there ore tnree quaver beats in each bar. As before, the various notes retain the some value in relation t each other: i is the valu ofthe coe 0f 000 oe i EEE STUDY No.3 Adapted from a study > by Giuseppe Gariboldi Allegretto grazioso po Le————————————— MINUET Moderato WA. Mozart Tone development 1. Start with the best posi ton. yadualy increase tho Flemember that although the embouchure diaphragm and embouchure support. To rust be fem, the tlny musciee atthe lip maintain maxieum flexibility, rl the ips cantre must fee! springy and flexible, further over the teeth, 2. Having achieved # goad tone, spread it to 4. Continue exercises Ib} (c) and (dup to ‘he nate above ‘he high C a simile a Allegretto reds A traditional English cane sTwo-two Time ‘An acciaceaturais a small grace note with @ The timessinature of ewoswo indicates that ‘stroke through it stem. It should be played there are two minim beats in each bar. The fn the beat and as short as posible, value of the notes in reation to the boat i shown in the example, Sometimes, eworwo iscalind Alla Breve Adapted from a study Exercise 1 by Wael Popp Scales and arpeggios [two D Minor aroea3.o Flagg iF) Ft——V——————— ee Finger technique 1. When middle octave D occurs ae an seciaceatre tC, the til fingering for D (Cus kay 8} isnormally wed. An ‘example occurs in bat 2 ofthe study by ‘iieimn Pope, GERMAN DANCE LL. van Beethoven Woon middie octave € occurs 6s an jaccatura to D, the Eis fingered with the halt nole instead ofthe first octave kay. /An example occurs i bor 4 of the study by Wilhelm Popp. COTILLON Esprit ChedevilleNew Notes UNIT 25 en i == Changes of Time-signature Sometimes a tine-signature is changed during the course ofa piecs. Wan this occurs the speed of tha beat usually rem the same; it isthe pulse pattern that changes. The example is taken from’"A Hymn to Nature” by Ist STUDY No.4 — Henri BrodANDANTE Andante Antonio Diabelli ‘mp dolce espressivo mp >= Tone development 1. Start withthe best posible tore, then 3. If the fower notes fail to respond, slightly spread it 0 the nate below. ‘lax the pressure ofthe embavichs 2. fs the notes descend, oradusly enlarge ‘ules on the reed. Remember, for the mouth cavity By opening the gap lowar notes i particular, the reed must be between the tsth, Ta achieve maximum froo to vibrate flexibility. allow the lips to unvall a 4, Repeat the exerci as in unit 21) using sil amount groups of 8,5 and 9. PR, FR_, simile A HYMN TO NATURE from “24 Easy Pieces for Violin and Pia Istvin Szelényi Solenne (19041972) = poco a poco dint © 1958 by Bait Musica, Budapest 59UNIT 24 Triplets Rests of Several Bars — é Hee o 2 3 (ist ban) 2 2 28 (2rd ar A triplet can be defined a "tnree notes played When a rast of several bors is required, only in the time of two notes ofthe same valve’ ne bar used: a black line usually drewn in Hor instance, theee quavers played in the time this bar and the number of completa bars to ‘of two quavers}. The number 3 i¢ placed over be eountad pieced on top, The exemple is taken ‘or under them fo show the momentary change from the concert piace on pope 58 of note value, Exercise 1 Withelm Popp é Exercise 2 Withetm Popp mf 2 7 o = 3 7 3 2 3 7 Scales and arpeagios (C Major, tobe played from memoryAndante larghetto P dolce epressivo Musicianship {oth pieces inthis unit have performing dlioctions relating to ther mood: the Hance! ‘Ac ts moked dolce expresiva, and the Mozart "Minuet" grazoso, As you peste Grazioso ‘ny to create these macds, end in particular se the shapes of the phrases for displaying control ever the dynamics. In the "Aria the repeated notes create Good opportunities MINUET for expressive tenuto playing: the important thing to rememier is thst performing directions ‘area staring point fr erating your vn WA. MozartCONCERT PIECES FOR UNITS 17-24 Tower Hil” by Giles Farnaby is an example ‘of music whieh ha boen st forthe grade 3 ‘Asrocited Boord sylabus. OCTOBER KEITH RAMON COLE a Molto adagio 2 aoe © Copyright 1980 by Boosey & Hawkes Music Publishers Ltd TOWER HILL GILES FARNABY from “The Fitzwilliam Virginal Book” elec oral Allegretto mp © Copyright 1980 by Boosey & Hawkes Music Publishers Ltdfrom “Richard Coeur de Lion” Naas ry arr. PETER WASTALL © Copyright 1980 by Boosey & Hawkes Music Publishers Ltd. soMELODY trom the song “Ich Liebe Dich” L. van BEETHOVEN (1770-1827) Andante —_ ae i a tempoPIECE No. I “Two Pieces for Oboe and Piano" Jrom “Oboe Music for Beginners” LAJOS HUSZAR Andante__—_——————————____ (b. 1948) 24 a tempo © 1972 by Editi Musica, Budapest 6BASIC FINGERING CHART .......::5.0» fe ~~ te 7 e e SS SS - GAB BiB BC CEDE E F oe e ee e@ e e @ f ee ee ee e e @ ° ° oe ee 0 GO e 0Ma BASIC FINGERING CHART ...........-s. &. 7 + t * ve fe so Bb BG CHD EE F FRG O70) 76. 6: ° rk ° SS * i=. ee O10 0 6) ol 0. e@ 88 Ce % °c Se Fe Se %e Fe Pe %o e oO. o0 0 co e ee e e ee e e@ ° ° ° o oo e ee e@ ee e e @ fo) ° ° ° ° e e e e e 0 ° ° ° ° ° ° e e e ° oe ° ‘CGABDCCDBEFREEDS Purchasing a reed Asa genera ule, beginners should use a fairly soft read, with a mediam aperture. The best s0u‘c0 for buying reds isa professional oboe player. or a profesional Read Maker. Often, ite poesia 0 purchase roads specially ‘tailored for béginners. Also a Reed Moker wri feeane aboe stapes, which is considorabiy ‘hese than purchasing complete new ceeds. “The following diagrams identify the main two types of rd eerape, The American scrape “Tis has a thin tip, quite steep hump, then a long sovape mile saction which sometimes finishes in 2W" shape, The advantages ae its very stable intonstion and its large dynamic The French scrape “This has 9 seraped area much smaller than tho ‘American srape, The back i often 'U" shoped, opening of a rod land the scraped area tapers evenly from the buck through tothe tip. The advantages are its eae of responee and is texibility in rapid pssages. Elementary reed maintenance za jay Bek Reed too hard Carefully thin the tp ond take a title off the Reed too soft Clip malt amount off the ti, Unfortunately this often creates @ need to re-balance the entire serape, ae FT Wiring Wiring is sometimes used to contol the Te may be used in conjunc tion with either ofthe scrapes described. The main advantage isthe ease with wich the ‘pening of the reed can be adjusted Lower notes not responding ‘Scrape alittle off the back sbetion, (Do this ‘little ata time, testing frequent) Leaking at sides Apply a Inver of ‘Goldbester's kia’ tthe leak Is inthe bound section, sal with 2 coat ‘of clear nil varniahTIME SIGNATURES 1. Look 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 Value of each beat (type of note) d = Value of each beat asa fraction of a semibreve 2 beals in each b 3 beats in each bar 4 beats in each bar wins |iimco [amas [ae 4 z i 3 BE [Be [Be Jae |e, ITALIAN TERMS A tempo Beaune the normal spoed Accelerando ocoing ox Adagio Siow, leisurely Agitato Asiatea Alla marcia 19 she ste of Allargando grosdening ov. Allegretto siishty Allegro Lively, reasonably fas wer than Allegro Andante it, waking! At a moderate pace Andantino. jsie sane Animato Animes Cantabile 19 2 snging sive Con ih Crescendo (crese.) Becoming louder Da Capo (D.C.) al Fine sek s0 ts Dal Segno (D..) From the sion Deciso. Decisively, tly Diminuendo (dim.) @ecomiog aedualy Dolee sweet E, Ed Ara. Espressivo (espress.) Forte (f) Lous. Fortissimo (fF) Very ous Grazioso Grecef uty Largo Siow and stata, boss Larghetto Les:sow than Largo, Legato. Smooth Leggiero Lary Lento siowaly Maestoso Majesticaly Meno mosso Mezzo forte (mf) odera Mezz0 piano (mp) Wose Moderato oderate time Molto riven Moto Movement Non troppo sot too much Pianissimo (2) Very sot. Piano (p) Soft Pit moss0 Mare maven’ Poco a poco Lita. itl (rac Presto ves Quasi Asi Rallentando (rall.) 8ecom Ritenuto (rit.) Hole vock(stower a on Rubato Semplice Sempre Alves Sforzando ( gf’. oft) F Solenne Soin Sonore Sostenuto Sus Spitito Spree, e Tempo! Fe Tranquillo c Un poco Vivace Liveiv, quick lal slower__ MUSIC FOR OBOE _ Tutors and Stidier itis Courthouse saree isn ond Hand c Kosbne ed. Skok iscsmenta Hancci Noi 16 Largey Posie! tor Hane 1 Cont No. 2m Bb Seer Oboe Math (The V anc ree Oboe Soto Bae’ (oc. well) Ovfficult . diet tere, Oe esd Prev Bertolet Co Heo bitty SMe 049 Lees Ob Davis Sees, Madera Conc 4 Rothwell Ditticult Pr s.ges (Thee value Mozart foe Oboe and Pian na " ar Purest nie) farsi Asians = Bartok The & Rime sky Korsckotf Via Bartéke These Rowley Bortolozzi Au Straus Bartolozzi Cofcort Bory etapa” Albums for Oboe and Pieno Ciemarora (arr Foniatnio) Lone (Ctassical 6m Cores Bis! ol) Conca or or Begin Cundich Fer Oboe Nic for Beginners Dion jar Fiola Concerto No. 1 D ny Lt \ CosrenitiS .