AIUNE ALY - FOR OBOE. By C. PAUL HERFURTH. Book ONE.FOREWORD TO TEACHERS compiling this coume the objective has intentivunlly Trece 2 cve oo nse gant bt rather tas veutenie on the acquisition of a thorough musical backe grautul on a xolid foundation in good oboe playing. ‘These tbvo requisites are inceparable. The lessons in this book arc, for the most past, iden Gent with thoee of “A TUNE A DAY ” first book for Flute, ‘nuoking it possible to teach futes and ohoes in the same class. Hlowever, mune lessons, im which probleme peculiar to the ‘oboe are intruluenl, ure not playable with the flutes and are indicated as sucl ‘The learning of the postions and fingerings us intni luce chant be hasisted upon. Cultivate an the pupil the habit uf rareful listening, ‘The familiar hi ind folksongs have been selected. because of the mehulic interest a8 pieces, and because, in ‘daition, each one offers some Lechuiral point ta be mastered. The value uf learning to think count.” trom the very beginning cannot tw nver-estimated. Only an this way cats © pupil sense rhytlin. Riythm, one of the most essential clements of music, azul usilly conspicuous by sts abscnec jn amateur enserable playing, ix emphasized throughout Many Lnuriwes do the thinking for theit pupils, insteal ‘of helping them lu think for themselves, Insisting upon the mastery of each puint will not doll their interest, for what greater gratification van thera be for a pupil, whether he bea child or adzlt. thn nelfancomplishmost in a oot task, Teams, markad “Supplementary Matetial ” may he siven as a reward for well-prepared work, Clnss teaching should be a combinstion of individuxd instrnetion and ensemble playing. AL every lesson theve shoul be individal playing so that all the necessary cor reeti Never allow pupil snnoticed, as uuly ly immediate correotion will they develop the habil uf vareful thinking and playing. eu be A desided cdvantoge of group-teaching is Ubu it pra. vinles experience in ensemble playing and gives every yi the mpportunity of listening to the others, of obsersiny their mistakes, and of profiting from the corvections, Clusvos chould be regracled whenever sieressity sa as ‘ot £0 retard the progress of the more gifted slidevls a te iseourage the tess musteally endowed. This proealure ale ucts we an incentive for greater effert on the part of the pupils. Lessons marked“ Fingering ”. Sualvs:wul Arpeggios ", and “Important Assignment” sliwuld be used whenever ccrssary, necording to the individual student's requice- cats. 1e is cecommmnitad that students practise forty-five ‘minutes a day, aa eveitual success 1a ‘mastering the ine ctrument depeads ou regutar and earefat home work, Hom. res, daily practice should uol extend heyond the limits oF the player's bvaical enduracca— 1 shoold be the gradual development of lip and breuth control alongeide assured finger work, ©. PAUL BERFURTH HUGIE M. srraRr RUDIMENTS OF MUSIG Music is represented on paper by x cumhinatlon of characters and signs; it is weressary tn Jentn all of these in onder to play the obe intelligently, ‘Symbols called notes are written upou uid hetween five lines, Be si ‘The stave ix divided into bare by baslines, ax follows: Barl Bart which is Ure xtave ing Of the stave is oalted the treble ox G clef, Barlinearcunting to the factional numbers (Tne signatae) placed at the hegine ning of the musia ‘The time signature indicates the number of notes of equal value in each bar, ‘The upper Agurr gives the mumber of tents ar conmnts it x uur, aul Une lower figure indicates what Kind of a note has onc bent, auch as Hor @& equals ey for cans ote gue ata rin nde th In sch Bea 2emteheus eqns squares; owe ore diferent Wide of notes sah vty string» cstin Ne cae Tea tae te tee ae Semibreve sqpats: Two Minima, Four Crutehets, or Eight Quavers. "The count for the above would ber four to the semibreve: tea to exch minim+ one to each erotehet, and ane tn each group of twa quavers "The notes are named alter the het sevan letters of the alphabet, Le, b, d,¢,f, g, according to the line on, or space im which they are placed. ‘Tha Treble or 6 ata a ‘which encircles the second line, establishes the nate G om this line, from wl ‘other lines and spaces are named as follows: o A BG D EB F © G6 F E D G¢ A B ¢ Dd ¢ sept Et Hivery Good Buy Daservas Pood F.-A-C-8 A rest indicates a puuse or silence for the value of the note after which it is named, such as Pentti eh te ‘When a snstion or part af a piven in to fe repaated it will be shown thus, by a double tmctine with two dete: — (ii)FOREWORD TO STUDENTS No student should attempt the study of an metrument without the and of @ competent inotructor for that particular instrument. ‘Duc to the variations of mouth, teeth, and ip formations of diferent individuals, we believe the all important ‘questions as to position of the reed, breathing, fongosing, and lip control should be decided by euur teacher for your TECHNICAL ‘The mest important technical points for wind instrument players are as follows (1) Developing and strengthening the hp muccles. (Preecss) Playing of long sustained notes. (2) Develo (Proven) Proper use of the tongue. (8) Developing a fine quality of tone % (Process) A combioation of No. 1 end careful Uerening. clarity and provision i attach, (4) Developing ucney in Bngering. (Process) Playing of scales and arpeggios in various evs. (5) Developing a mastery of the entire range of the instrument, (Process) A combination of all of the above, Lett Hand “Thumb Hesiton CORHECT POSITION (PUSTURE) hon reyng the ahs avant sandr sit et. hy itramenty shn ildinylai pon, shoul epprosinate a fortedve degree aagie nile ie poation of te nko aes, ugore shoal be completely Reed and eld e's natal porkon” Any stifoors af body wil bo tected tthe quali of your ples HOLDING AND FINGERING THE OBOE The oboe is balancal wud supported in junilion by Ube fiat joint uf the sight Ian thumb. which should press slightly upward against the thumb rest. The fingers of the RIGHT hand are used for the hoivs and keys of the LOWER part of te instrament. ‘Phe LEPP lain thumb ix placed ow the lack uf the inatsument imunediately below kay TH, The fingere of the LEKT hand are used for the holes and keve of the UPPER part of the oboe, The Singers tof both hands shonld he enreed slightly to permit the Bethy part nf the rat juin! te caver the holes CARE OF THE INSTRUMENT Be sure to ask your teacher about caring for your inctrument. A well eared-for instrument will play mare eniily. PHRASING ‘The hewsthing marke (°), in addition to indicating the proper placte te breathe, alse serve ar en introdurtion to the feeling of proper phrasing of melodies. ‘Thue is importomt ae it is that which gives meaning to music HOW TO PRACTISE The most important part of your practising in in bing able ty tisk out the probleme at hand: fingering, tongcing. phrsingy we, WHAT YOU CANT TetiNic YOU CAN'T PLAY. Be tare to de a goad ples of ork an Leon T before altempting leson 2. and oo ou with each succeeding Ineon Play slowiy at frat and think carefully the rhythm (note values), phrasing, tone, fingering, aod attack (tonguring). YOU are your own best teacher, Lenrw er intligently erick gin own playing: We beliewe pou know whew sunt lave dowe « good job and vthen you haven't, Don't be satisfied with a lesson half done; vou are only fooling vourself. A good student ix one Tio" practices togilerly weery day DO'YOUP tieDIAGRAM OF FINGERING (Cousnrvatoice System) LOWBR REGISTER 4D C CDS D DA EAM F FAGhG Gi AL A AP BS BOC CHD) DD, Bb itl eel i i TI ail | fool | el i | | | For the following notes | 224% 2 rete i tengtssen Ge als als i imeem Ol fees ore = ao TPaGTOGNT MBH e [NOTICE] on sesteumente with antomttlecctnen hays, wat kay TI whose 72 i UPPER REGISTER + Onsome oboet Any RG should be added to uppee tngisler “Forked Fo improve the quality of the tone. ++ cans thet the plate of key Lal must be deprcesod but tho email hole mst be left uncovers. teiDIAGRAM OF FINGERING (Thumb-Ptute System) LOWER REGISTER MBL BC CHDS D DEL E F FHGbG GtaL A Atm R oC CHD D DHE San Pes Te/tei | we |tP/tP: Te} ve |reite| TP we |p| 1 sant hax puferubope stills delet bile telah i felis L i 'szcons r| / a_|olele |alalelalela loto ele alais| Tran : 2 H slots rout wth 1 » fatale |e ® a tstele |e 3 RF saocmeige [it Le, lot ripe hs Wsbals fingerings for Tawar jo ‘Register (See Forward i =) SF WGC GALA APB BC Oe tastramente wit estomatiedelave hoy, se Bey 71 vlie'T2 le daignated, ULrPTR REGISTER * Qasume anos key RG should be added to upper register ‘Rosed Ft tmpearn he qty ofthe tooe “*$ aan tat th plato of ey Li mus be depressed hat the smu Bole at be let waeovered, OTR: Kaye 11 & TQ are the two oclae days; TP ivan anhrevittion for Thumb Plate and BK for Bide-Ker,A TUNE A DAY LESSON 1 ‘OBJECTIVES: 1, To learn to prepare the reed for playing. 2%, To learn correet habits of (a) breathing and tone production (b) using the tongue. 8. a pyrodare » xound om the reed 4. To learn how (a cont ens sarat miniry rests, THE REED Until you have bad « considerable amount of experience it will be unwise to try to make your cwn reeds, The bent source uf reds is prubably the profersianal ahoe player or teacher, He can make reeds to suit your awn individual needs, Any reel should be soaked in Lap water (nut aulien) for fram ve tn ten minutes exch time before i is pinyed ‘This it ab neceetary tor an old reed as for a new one. It may be advisable to remoisten the reed during the pract prerial if continoans playing hex been interrupted for any length of time, A “French” type of reed case should be ‘scquired for Keeping teeds between practice periods, This il per drying wud prolong the life uf the cea. For further adviee about the preparation and care of reeds consult your teacher. HOW TO PRODUCE SOUND ‘Draw the lips lightly over both the upper and lower teeth by cxerting an outward pull at the corners of the south ax when smiling, Insert the reed between the lips, resting it on the lower lip, and close the upper lip frmly fn the Teed. DO NOP DITE: SMILE. Your teacher will help sun discover hw far the reed should eer inl The mouth. Inhale, and place the tip of the tongue against the tip of the reed, withdrawing it simultaneously with the Ision of the breath into the reed at the moment you arc ready to produse a sound. Conserve your breath and allow i€ to flow into the reed in a hing, shim, stendy alrvamn. DO NOT “PUPR" THE ATR OR VOUR CHEEKS. Try to produce your first sounds on the reed in front of & mirror, #0 that you can watch the position of your lips. When you Produce # sustained sound ou the ree, Lry the following exercive: NID (two count notes) AND MINIM (inv cu Play Rest Play Rest PLAY SLOWLY yy a T lountiia 8 A 1:2 Be ete, RESTS = When you can play this exereice with case, assemble the oboc and proceed to LESSUN 1a. Copyright MUMLLY, MCMLIVIIT by The Boston Music Company International Copyright Sceureds LESSON la OBJECTIVES: 1. Correct posture and correct holding af the obve, 2, Development of proper position of the lips. 3. To introduce third line B. 4, Tolearn the value of minims,crotchels and the equivalent rests, NOTE: Unless otnerwise stated, the Laft-and Thomb-Plate stool always he fell dewen vavnstecont Noes) SESE ce aint Goat Fingerings prosetod i the Lessone are or Them®-Plte System Uboes. See the chart on page vii for Conservatiore system fageringe. Introducing 3rd lis iogeced Tad @ ThinkCount: 1244 Play slowly REPEAT Think Count;12 a4 ® areata f: $ es zal Think Counti1234 12341284 1254 CROTCHIETS(s Covet Notes) PEPE EP ons cRovoHETA comp pets SEER o ‘Think Count: 2aa 12a4 1284 NOTE: Students should take note that at the sign, tthe fingers of the right hand are poited ia & Playing position ready tobe ucod, and aro not operating any KoyaLESSON ib 4 Position and 2. To introduce second line A. B. Tolearn the value of semibreves and the equivalent recte. Introducing 2nd space A 3 Fingorod: L182 a Play slowly OBJECTIVES rect holding of the aoe. ® ‘Think Count: 1254 This aote 23) = Think Connt: 1286 Tete ara aad ® E = Think Connt: 12 24 SFMIBREVE (4 Count Note) Spe SEMIBREVE (4 Couot) REST = — ® ey ThinkGouat:1 yu 4 48 8 & B and A March (Duet) ® [Think resslaces TeacherLESSON 1b (continued) To introduce srecnnd line @ OBJECTIVES: ary 2. Practical applicati Introducing 2nd tune & E Fingered: L.1,2&3 z Play slowly ® See Think Gonnt-s 2 24 ® ‘Think Count:1 £04 1285 Tees notes ave. 7 Think Count:1 23 ¢ Pupil Think ®B Count; 473 + Teacher ae “When two notes on the same line or space nf the stave are connected by a carved line —s Uhey are to be played as one note, adding the value of the two notes together. This is called » TIE. {7 Pause (Fecmata). A short curved line drawn over a dot, lengthens the value of the note, 1 See nots. at foot of Page 3.LESSON 2 5 OBJECTIVES: 1, To develop a fuller tone. 2 Practice 10 the use of semibreves,minims,crotehets and the equivalent rests. 8. Application of acquired knowledge. ng AF poasitte, a The Swing Time signature is? MS Think Count: 1 2 8 4 Ten Fins = t Think Count: 1224 Piying Fansies nes ® ; = Pets Think Count In‘o Canoe 5. p +: ® T r - Think Count: 12 £4 ‘The Bells (Duet) ws. Pupil © [Ries v0, Teneher At Pierrot’s Door (Bue) Froneh Folk Song + Pupil seep Think ~ @ Count:'*? 4 Teacher Long Noles SS SS Tomewark: Weite a line of notes thus far studi the letter name {G-A-B) above each note Wg uims,crolchets and rests, MarkLESSON 3 OBJECTIVES. 1. To learn the name and fingermng for third sjave ¢ TTR: nee fingered with Ul-alvue, 2, Further practice With semibreves, wimms,ctotehets and the ‘Me LeftHand Thumb chouttbe released squivalent rests ‘tom the ham Plate, - Introducing rd. xpace C I ot Fingered: L4OR Li with SE on™ = Thumb-Plate and S.K. coe Thie new net ® = Think Count: 1 2 9 & ® ae Think Count: 1 2 a4 ‘Think Count: 1 2a 4 Tine signature is? Tein wate ‘Think Count:s 284 Mixed Melody (Duet) Popit 7 @ | ermreae Toacher Hold each note a9 long at possible. a mom am == ee o> \e)||> > > >LESSON 8a 7 OBJECTIVE: Application of acquired knowledge Happy Days (Duet) Pupil > iartt ® [tess Teacher Kossaksavell (Duet! Folk Song (Duet) ,counts Hola each aote as tong a8 possible Af A A A A A A A A A A A fey Hometeork: Write a line of notes thus far studied, marking the name of each.a LESSON 4 OBJECTIVES, 1, To learn the name and fingering for first space F. ‘To develop a cleurer tone by playing long notes. 3. Emphasis on rhythm. Introducing ist space F E— Fingered: L.1.2 & 8, WITH RAZ ERD. UF RY ® = Think Connt;1 2 24 This note © = Think Count: s 2 3 4 aed dedere Think Count:1 244 ® zs ne Think Count:1294 Folk Song Duet) Frenuh signature is? Pupil TeacherLESSON 5 ° ORJECTIVES:1. To teurn the name and fingering for thivd line R-ftut 2, To beara the meaning of the flaith). 3, To notice key signatures and learn what they mean Introducing ‘rd fine flat 7" Fingered: L.142 WITHOUT Thumb-Plate, = Bont OR T.182 WITH Thumb-Plateand SK. “Op F ATLAT#) LOWERS THE NOTE TO WHICH IT APPLIES BY ASEMITONR. A NATURAL!) TAKES AWAY THE EFPECT OF A SHARD* OR FLAT AND. RESTORES THE NOTE TO ITS ORIGINAL PITCH, Think Count: 124% ® Think Count: 1234 ® "Think Connt: 422 4 Think Count: 123 4 © aay = SS SSS Think Count: 12 84 The Key of F Majar ‘The fats) placed on the Fru line of the stave just after the clef sign, uffeets every B throughout the piece, excep! when lemporarlly cancelled by a naturallt) sign. NOTICE KEY SIGNATURES, AND FINGER ACCORDINGLY AN ACCIDENTAL IS A SHAKP OK FLAY WHICH DUES NUT BELONG TO THE KEY SIG- NATURE AND APPLIES ONLY TO THE BAR IN WHICH IT IS PLACED. Duet 2uason - one puar Pupil @® [Rie a na Pupil == Oats and Reane ‘Duet Tris gote Pupil = eer FEES: ink @® Count: tase ‘Teacher = Pa * A sharp(#) raises the note to which it applies by a semitone.to LESSON 5a OBJECTIVES: 1. To introduce the slur. 2, To pructise using notes previously learned, 3. Further use of the key of F. 1 | in one breath, und that only the first note in each gronp should be tongued pga —~(slur) when placed ever or heluw Iwo or more notes, tndioates that they are to be played poroor suns rain ® er — YhinkCount: tesa ’ - rxere —toxour ® ais = SS Think Count: 1 & @ 4 Lightly Row aN ie) German Folk Song Jingle Bells 2 Pierpont Think Count: 1 2 94LESSON 6 " OBJECTIVES: 1, To learn the name and fingering for fourth line D. 3. Practice in changing registers through C, B, and <. Introducing 4th lino D : Fingered: L.4,2&3 > i WITH R.1263 . Play slowly ® Think Count: 1234 @ ‘Think Count: 1 234 @ ee Think chant: tae ® = Think Count: 1234 [Recp Fingers clone to Tera)" ® = EF Think Count: 12 24 Practise silently Firet|* ® 5 ‘Think Count: 42 34 © Think Count: 1234 Dpidee Duwi) Pupil ® Pupil “Silent practice on page 1 may bw introduced here if desired.LESSON 6a OBJECTIVES: 1. To attain more facility in changing registers. 2. “Silent Practicw” ae an aid (o changing registers. 9. Application of acquired knowledge. Silent Practice Remuve reed to avoid breakage and silently practise the register change from Ct Dor B to D ‘many times until you can do {t eacily and reasonably rapidly. Practice silontly Gate and Beans (uot) axe Papit psa: Think , © | comnt: 1284 TeacherLESSON 7 18 ‘arn the name and fingering for first line F. urn the name and fingering for fourth space E. 9. Practical application of these notes, Introducing Ist line E ; Flagered: L. 1,2 & 8, t WITH R.1a 2. E ™ Introducing athspace E Flggered: TM, Lt, 263, SE WITH R142. OBJECTIVES: 1. To te: 2 Toh ‘Think Count: 198 4 Abide With Me WH Monk aS =o] Folk Son, (Duet) = Pupil if ® Counts ign Teacher“ LESSON 8 OBJECTIVES: 1. To learn the name and fingering for fifth line F. 2. Further practice using notes previously learned. 3. Further use of the Key of F. Introducing hth line F 2 Add Tato ringering Fingered: 7.1, 1.1, 2 & 8, FE —pictared on page 8. WITH R.1,2 & RD. a ‘Think Count: 19 8 4 This note? ® Think Count: 12 8 : ®@ E 5 a ink Count: 12 a4 Home work Home work: Write a line of notes thus far studied Use minims and crotchety,LESSON 8a+ . (Not Playable with flutes} To Iearn an alternative fingering for P. 2, Practical application of this fingering. t § On amas choes Introducing an { TY] = key WU shouldbe alternative fingering 1 ailde to the upe for F. {por P for better . J £ tone quality. Alternative or'Forked F™"Sf——— 1s used to avoid sl q 3rd finger from key RD. I (Porked F” will be identified in ° _ subsequent lessons by the Jetter (.) UeR"Ponano"y ® Thinu Count: 1 2 34 Think Counti1 23 4 0 Spee ‘f Jost A Song «Duet! BPs. De Pupil ® Teacher Another 8 anothgs gone nes Pupil @ | Ghtek, te es Teacher Loug Notes Hota encn note a9 long as possibile. SA A A A AAA AAA AM A * This Insson is for oboe alone and has no correspunding page inA TUNE A DAY" flute book.16 LESSON 9 OBJECTIVES: 1. Tu learn the name and fingering for farst space sharp. 2. Tw learn the namr and fingering for fifth line F sharp. 9. To Tearm the meaning of the sharp() 4. Practical application of these notes Introducing (st space FE Fingered: L.1, 2 £3, TH WITH R.1. Introducing 6th line Fé Fingorod: T.1, L.1,2 & 3; WITH R ve ote is? Cal a 5 i ‘Think Count: 1294 @3 Think CSnnt: 12296 (on onoe owt ‘Think Count: 12 v4 Au Clair dele Lone ‘This mai h() indicates breathing places. 4 ® 2 >| Think Coont: 1 2 8 4 Merrily We Roll Along ee: > s 2 Folk Song ’ , Gorman Think Count: 1 23 ¢ ‘Think Count: 1224 Home work: Write a line of notes thus far studied.LESSON 10 " OBJECTIVES: 1. To learn the name and fingering for G, first space above the stave. 2, To introduce the key of G, one sharp. 4. Application of sequired knowledge. Introducing G, Jet space % Add 71 to fingering above the stave, FB pictured an Fingorod: T.1, 1.1.2 & 8. ef pages. Think Count: 12 26 Play slowly suttaining saoh nots ith equalyetume. The Key of G Major ‘Tne sharp(¥) placed onthe top line of the stave, Just after the clef sign, affects every F thrugh- ‘oul the piece, except when temporarily cancelled by x natural(t) sign. NOTICE KEY SIGNA- TURES, AND FINGER ACCORDINGLY. ® 9 t Think Count: 422 4 rae A Short March (HOT PLAYASLE WITH FLUTES) © = ae Think Count: 12s 4 HM s.8 LESSON 11 OBJECTIVES: 1. Tw learn the name and fingering for D, first space below the stave. 2. To Jearn tho value of the quaver. 4. To learn the use of rhythms involving quavers in 4 and time. 4, Tolearn the meaning of D. S.(Dal Segno! Lotroducing D, tot space below the stave, : Pingnred 11,263, WITH R12 & 3 £ (MO? PLATARLE WITH FLUTES! ® Db ® = oe ‘Think Coant12 94 Quavers A.qoner() nou rane bf the vain o a ratchet Tw quavers (JD) agua asacrtchet, four quavers (JJ0d Ja minim,and eight quavers (Jada J300) a semibreve. A quaver rest y is equal tu the value of a quaver. 2 ‘Two counts to a bat 4 TIME MEANS( 4 crotehet gets one count, Comparison of j time with 3 time ‘One bar of f time equals two bars of? time reaver ong, Long Ago® (wor PLavanur Wits PLOYES> ThinkCoont: az a 442 elect tte stone + B.S.Dal Segno): Go back to the sign ® and play to Fine (End)LESSON 12° 18 {Not playable with flutes) OBJECTIVES: |. To learn the name and fingering for C, first Line Lelow the stave. 2. Mare practice iesing'forked F* 3, To introduce the scale af C. 4. Further practice using quavers in § time Introducing ©, 1st line helww : the stave, 2 Fingered: L.1,2 & 3, act WITH R.1.2.3 & RE c Sa Think Couut: Te sa ® : 3 ThinkCount te 3 4 aaa ThinkCount: P34 SSS ® o Think Count: PEs Seale of © Major 4 = mig) at ; re © See Be eres Count: 12 24 t = eS Antamn Song qT Wearing of The Green Allegro (rapidly) : @® Think Count: 44 24 Minka Moderato tnadecutny) 0 Sera oes ‘Think Count: 4*2* O14 MacDonald Had A Farm Allegretto (briskly) (Di Pupil =. é *Think @ [Count 1494 Pupil 5 , | + No corresponding puge in “A TUNE A DAY” for flute.#0 Supplementary Material for Lessons 1-12 ‘There's Musie tn The Air Allegretto OP-BEAT® G,Root Think Count: 4 1294 Lageaa Are You Sleeping? kop of __yshasp is _? (Round) y of i shazp ist © @ 2g ® ‘Think Count: 42 34 Little Brown Jog (ror PLATADLE WITH PLOT) Think Conat: 42 2 Skip To My Lon PN Duel” Patk Song Allegro inks 234 Pupil Pupil Evening Son, Moderato (Dae) e “Many picees begin with an incomplete bar, wsually s! thereof, This is called an ‘up beat! The ending always completes the bar of the up best,LESSON 13 OBJECTIVES: 1 Ty learn a new time signature an nym oil time - with emphasis un (A-B-€, oto.) 2. To tearm thn value and use of dotted crotchets and dotted minime, The Dotted Minim and the Dotted Crotchet A dot is equal Lo ume half the value of the note it follows, aut croichet equals 1 beats Adotted minim equats & heats, a Written Played Piayed Rhythm Drills DRILL: Count sioud each variation while clapping hands onen fur sack note. Repeat several times until you feel the rhythm before playing Variation F is the most difficult and should be theroughly understood, count 123 ® Gount a as Combination of Rhythms in 8% time* LESSON 14 (Not playable with flutes) OBJECTIVES: 1. To learn the name and fingering for B, v0 delow the stave. 2, Further practice using “forked F™ 3. Apglication af and rhythms in familiar melodies of different keys. Introducing B, 2nd space below the stave Fingered: L.12,3 & LF I= WITH K.18,8 & RE. nae ‘Thx wle ive? spare Think Count: 1 #9 Think Count: 134 ® Think Count: 172 34 te TS He Note sing siganegre Malad, wasthoves bee oee ro vane 5 eee TES Thivk Count; 12 8 ~ mati we 2 2 Pie God Save Tho Queen ‘care <= 5 © eS ae 2 Think Count: wee tee Mclody in F tadoptedt Attuactn ndesteds The tie signatore w 5 Tere @ ee Fa = t : Think Count: 1 aA ~ ptr SSS asLeOUIN ID * (Not playahte with flutes) OBJECTIVES: § To learn the name and Fingering for R- flat, second space helow the stave, 2. Application of acquired knowledge by playing familiay melodies. Introducing Bb, und space below the afeve, Pingored: 1.1,2,34L6 WITH R.1,2,3 & RE. RB © Think oe aan” a This note ms © ——— Think Count 1234 7 = : Think Count = a4 - Allegretto Walts Hues on . 2 , PE 7 cy eo ‘Think Count 2s @ ae Crusaders Hymn Moderato TUNE 5 German ws Think Count 123 4 Don't forget to play long soles regutatly iw ad AA a roa Ss Se 7 SSS SS eeaa LESSON {6 {Not playable with flutes? 21, To learn the anmo and fingering for A, first Line above the atave, 2, Knowledge uf ist and 2nd time bare 8. Further practice playing rhythms in } and 4 time. Introducing A, ist line above er * Add Thor T2, Hh OBIFCTIVE: Ue stave to fingering pictured Fingered: T2, L162, on page 3 NOTE: On oboss with automatic ooteve Keys substitute Tl. for Ty @ —? Think Count 1284 ® ws ‘Think Count 129 4 Obt Susannah i 2 Think Count 1 4 2 4 First and Second Time Bars ‘The term ist and 2nd time bars apylies to one or more bars in brackcts at o double bars thus f& 11] when the strain is repeated, the first time bar is omitted and the “nd time bar played instead, Home on The Range Cownay Sang > fare Se ‘The time tignnture ig? Think Count 3 1 2 8 wag vege ite. Hold oote as tong a8 901. 25 LESSON i6a (Not playable with flutes? OBJECTIVES: 1, To learn the name and fingering for B, second space above the stave, 2, To learn the name and fingering for G, second line above the stays, 4. Practicul application af these notes Introducing 1, 2nd space 24" Intruducing C, 2nd tine = above the stave. =r above the stave, 3 Fingered: T.2 & L.t, oT! Fingered: T.2 &L.1 3 WITH Thamb-Plate WITHOUT ThumtPlate, On oboes with automatic NOTS: See page 6 for an octave Keys substitute sltornative fingering for Tr fot T3 for hoth notes. ‘this aote ie ==? Play stow! a Ore Seale of © Major 0 Sse ees Allegretto French Folk Song Moderato College Song Traditional Key of i sharp ie? Think Count rome (oerthiestaenthteaiaen Home work == = Homework: Write sight bars of notes thus fur studil,nsing different chythms in 2 time, ‘Mark beats am name notes,* LESSON 17 OBJECTIVES: 1. ‘To learn the name and fingering for third space C-xharp 2. To learn the meaning of the key D Major. Introducing 3rd space C# Fingered: L.3,2 & 3, WITIL R.1,2,3 4 RF. io Key of D Major Two serge FE aod CF =e Moderato, Ilayde cr} Key of. ; sharps a Think Count 12 3 6 Moderato ram Jona # Dyker Think Count 10 4 2 Andante 0, UNS Cael M von Weber Pupil tt © ‘hiok keyed uote wives — PupilLESSON 18 ar To review the keys and fingerings presented in provious lessons. 2. To review the various rhythms presented in previous Jessuns. + Further practice of tong notes and slurred octaves. OBJECTIVES: Slurred Ootaves for Daily Practice Play very =lorel, Andante Git Along, Little Dogies Moderato Sowboy Sony Time signature 1 ® Think Count 123 #12 438 22a LESSON 19 OBECTIVES: 1. To icarn the name and fingering for fourth space E-flat. 8, To learn the name and fingering for first line E-flat. 8. To learn the meaning of the key of B-flat Major. 4, To play familiar melndies inthe key of B-flat Major. Introducing 4th space Fb : Fingerea: 14,248, z 7 Ey RO* Introducing 191 line Et Fingered: L.1,2 & 8, WITH R.1,2,8 @ RG. Eb 8 Key of By} Mujor (Two flate Ab and Eb) = ¥ t tre Poca # acnghont the were Tempo di Waltz Waltz Frans Debt o Sele ae eae How Can I Leave Thee F Kicker Note key sigeSupplementary Material for Lessons 13-19 0 (Not playable with flutes) Massa’s in the Cold, Cold Ground (Duet) S.Feater Audante oe Papil @ 12 etna Pupil Blue Bells of Seotland Moderato [Duet 014 Semen Abe > i ® Pupil ® “freon lies aa Pupil Anld Lat uel Moderato ope Sooteh Air Syne80 LESSON 20 ORIRCTIVES: 1. To learn anew rhythm. 2. To understand Alta breve (cut time)(3 time). Comparison of ¢ with Ztime Alla breve(2) or ent time (¢) is played the ame us(Z) tine Far time, 8 minim being the unit of a beat. ® = 2 This te has half the value as in Think Equals mt ® This This Equals Thiv This Equate [PTE a ealaaea|t ace This Rbythm Drills PRILI.: Count sloud each pattern while clapping hands once for each note. REMEMBER: Unless you feel the rhythm you cannot play it. Play the € scale, using these patterns unti) the rhythms are memorized. 8 ® = == teat pasta tas8a ee oe Tees tease fees teat There's Music in The Air* augue vars hs von ts DB) above i =e: = TIE Ses ‘Think Count ¢ 1a za ‘+ Compare with the same song in 4 time , Supplementary Exercises, page, 22LESSON 21 a Continuation of Alla breve (cut time). 2. To learn some new musical terms. A. To learn the fingering for B-flat the stave, 4, Application of acquired kuowledge. second apace above A Capital Ship ‘Tempo di Marta (is marcd time) Aa Old Baglish Tene 5 ere reettr tte er = et Think Count “ae ae \ , yin Tm in Allegra (fast) J.Brahma ® 7 Think Count Theme from,“Rosamunde” Po Senavert 2 Allegro - aa a ae od z 7265S ee New Musical Terms P- Piano = Softly Rit~ reteant yf messo fortes Kedivm loud a tempo: At original speed Loudiy PA - fermataz Hold louger -Peute Gradually loeder Woz Repeat the preceding bar For this B flat add key Te to fingering for Jrd line B-flat. (See page 9) oo His thetaetaolody uded by Braden IM nie Academic Festival Overtire”aa LESSON 22 OBJECTIVE: Further practice using alla hreve time. Marines’ Hymp trverat Song ‘Tempo di Marcia of the Ui. tarines Corpe Caisson’s Sonx ‘Tempo di Marcio Maj. BL Graber ft 4 Allegro nye ® an ~ temrr o = Home work: Write a line of notes in alla breve time, marking beats aud naming uate, + === gradually louder, === gradually softer.LESSON 23 a8 OBJECTIVES: 1. To learn another mew shy Wit 2. Knowledge and nse af the rhythm of $ time. 8. Counting # to bar and 2 to bar 4. Application of the new rhythm in familiar melodies. oink Couns 742242 ® ‘Phink Count rey? * §_8 ° ® Thick Count Gert 2 3 $5 6 @ ‘Think Count Blort 2 # 4S & | Te dors choinm whan pared in fst tempy Allegro+ Row, Row, Row your Boat Key of?) Th algantace x? Fou 800g slaw (20458 ‘Think Count Jette Oats and Beans Think Count pert 8S Fatt S— The Mulberry Bush Play slowly at first counting six Deats to each bar and increase the speed, as you are able, until fast enough to count two beats to each bar, *Allegro = Quickly.aa LESSON 24 OBJECTIVES: 1. Continuation of six cight time (slow! 2% Counting stx beats to a ba A. Application of acquired knowledge in familiar tunes 4. Playing 0 duet iw sixwight time Baroarolle Moderato LOttaansen Os Polk Sung rae Ss B.C.at fine” Drink To Me Only With Thine Byes dant. (baer English Ave _Andonte o 7 4 Popil ®- Fink pk as 6 mp Gnndinm soft} Pupil * D.C. tia Cape)*Go hack tw the beginning and play to Fue.LESSON 25 a8 OBJECTIVES: 1. Continuation of six eight timettast) 2. Counting two heats toa hue. march timed 3. Application of acquired knowledge in familiar thnes. The Lion Unt (Duet Allegre. = Pupil oO a * Puptl , TRIO oe cs __ le totes ae at + PF: Trio played softly first time through, loudly when repeated36 LESSON 26 OBJECTIVES: 1, ‘To learn the name and fingering for A flat 2. To leara the name and fingering for G+ sharp 3. Knowledge of enharmonte notes. ENHARMONIC NOTES are notes that sound Ue same though given different names because they are written on different degrees uf the stave Ab and G# are Enharmonie Notes Introducing Ab, 2nd space in the stave. Fingered: L.1,2,3 & LD. cing G4, in the stave, Introducing A‘, Ast Tine ahnve the stave, Fingerod: T.1. 1.1.2.8 & LD Introducing GS, Ist space above the etave. NOTE: On Dean be suhstiuted with key RA. — ih Major pe rune ramen a ra oe ee See = Moderato Crosader's Nymp German Key of? any by. a? - fe soy! > ae Set Moderato Key of ; flats are_? Crosader’s Hymn 2 2 German ey J: BarulyLESSON 27 or OBJECTIVES: 1, ‘Yo learn the use of semiquavers 2) To learn to count semiquavers ‘A seaniquaver (A) is equal to one half the value of quaver(d)), Two semquavers equal one queverl 3-2) ond tour eomiquavets equal one ertahet( do) Comparative table showing number of semiquavers to other notes studied thus far. aeeece amadne Mendelssohn Allegro ea ® _— 2 Kingdom Comin’ ++, o- : Think Count « 1 ae ee — Home work: Write a lino of notes, using differont groupings of cemiquavers. Momoriae“Folk Song” (Lesson #4, number 2.)3a LESSON 28 (Not playable with flutes) OBJECTIVES: 1. To introduce C sharp, first line below the stave, 2. Further practice using“forked F* 4. Practical application of the new note, Jat enducing, € CH 1N4 bine : tele fe stave, i Fingered: L.1.2 & 3, 1 $ ce WITH R.12.8 & RF € = Ss Ra Soale of D Mujur ie re Folk Song wey ar? Think Count 44124 Aone Sweet Home Andante (Duet) Bishoy ao Pupil @ Pupil Ob, Come all Ye Paithfal Reading Moderato 0 epee = > é x i Tea oF 7 $= ret pti | hteeeneet pap tee ies tf. To learn dotted quavers and semiquavere, legato. £.To Learn the correct division of euch eat /4, Appheation of the new rhythm. Dotted Quavers and Semiquavers Legato (Connected) OBJECTIVE: “hie tv one of the more difficult rhyUumy (o leurn. The dotted auaver ia equal to three semi- -quavers, Always fee! a division of four an excl bea! when playing this thythm, three on the dot ted quaver and one on the semiquavt Written Played BE SUMH T0 PLAY THE DOTTED QUAVER LONG ENOUGH AND THE SEMIQUAVER SHORT BNOUUH. Argo (very slow? Large trom“The New World Symphony” - Largo (very slow) bast a oh Prete STB P5 , axso 470 P ope aS os = = Bee page 3S COUNT 4 hin Miminnenin) «Gradually softer.a0 LESSON 30 OBJECTIVES:1, To learn dotted quavers and semiquavers, staccatu.* 2. Application of this difficult rhythm in famitiar melodies using 2 and qtime. Dotted Quavers and Semiquavers Stacoate (Detached) Dotted quavers and semiquavers played staccato(detached) are separated by a short pause. Notice how theso notes ate written and low they are actually played Joy to the World pe § 0.7 Hanae Allegretto t . ; o.- ‘Think Tea a. Battle Hymn of the Republic Allegretto *A doll.) above oF beluw « note indicates thot tho note is te be played short. Thin in called staccatoLISSDUN 31 ar OBJECTIVE: Continued application of dotted quavers and semiquavers, in 3 and § time Marylond. My Maryland Freee Moderato German Folk Soa. Keytgan? Time signature 21 Pupil ink @ | EGE [res Pupil pp? . — rit a 2 Pp er = 5 oS ° Silent Night, Moly Night Andante Tet) F. Graber “Time aignatece ie? ’ Papil ® Papi ink Count 12 4 8 4588 LESSON 32 ORIECTIVES: 1, To understand and play chromatics. 2. To learn more about enharmonic notes. Chromatics ‘The word “chromatic” means moving by semitones A chromatie seule 13 one that ascends or descends hy semitones. Enharmonic notes sound the same even though they are Written on diff erent degrees of the siuve IE SURF TO LEARN THE PROPER NAMES AND FINGERINGS FOR GOTH ASCEND ING AND DESCENDING CHROMATIC SCALES. (B ifeterdate aS ~. — ENAARMGNIT NOTES — Sats sorinn THE san — ~___ENHARNONIE NOTES > ~~~_hoves SOUND THe sae ae ~~ eNMomc ores __ a NOTES S0URD THE SANE b, —ennannonte nove “~ NOTES SOUND THE SAME ee NOTES SOUND THE Sane Chromatic Scale of C in Two Ootaves Chromatio Etude Pe Wenttabst wire vuuresy caaapiasLESSON 33 Triplets ‘Triplets are groups of three notes played in the time of twa motos of the same valuo, They are indicat od by « figuraF> and a slur placed over or wader 4 group of thren notes. A triplet of qmavers TH in equate two quevers 2 or one eno nap J 2 tor otf omttning to triphto2 EDED ist enn ana taro $in marc tine 3 ® ‘This Equale Triplet Etude (Det)“ Scales and Arpeggios (Broken Chords) ‘The material on this page may be assigned whenever the teacher feels the need for scale and chord atudins Play Ut (allowing scales and arpeggios as indicated: also play as follows,a Onward, Christian Soldiera {Trio)* Modern ‘Str Arthur Sutfivan laderato Pupil anf Pupil; ot Pupil Day” Flate Dook for additioual Tries im which the Ohoe may play second or third part,48 Vespor Hymn (Trio) Polk Melody Pupil Pupil Pupil Silent Night, Holy Night (rri0) muon aay ProLiant Rae Soak G6)