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    15 views40 pages

    Oboe Student

    Uploaded by

    David Rodrigues

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 40
    A METHOD FOR INDIVIDUAL INSTRUCTION % Bl ea ce cstichovation tes Fred Weber pre Doe % Blaine Edlepsen Me eae catth Fred Weber To The Student This book, with the aid of a good teacher, is designed to help you econ St excellent player on your instrument in @ most ‘enjoyable manner. It will take a reasonable amount ‘of work and CAREFUL practice on Jour part. If you do this, learning to play should be 2 ‘valuable and pleasant experience. To The Teacher “The Belwin “Student Instrumental Courses the fist and only complete course for individual instruction of all band instruments, Like instruments may be taught in see ‘Comets, trombones, baritones. and basses ‘ay be taught together, The course is designed (0 #4 the student a sound musical background and at the same Time provide for the highest degree of interest and ve tiation.” The entire course is correlated to the band oriented sequence. ‘To make the course both authoritative and practical, most books are co-authored by a national authority of each instrument in colaboration with Fred Weber, perhaps the most ‘widely-known and accepted authority at the student level. “The Belwin “Student Instrumental Course” has three levels: elementary, intermediate, and advanced intermediate. Each level consists of a method and (hres, irrrelating supplementary books. In addition, a duet book is available for Flute, Bb Clarinet, Eb Alto Sax, Bb Comet and Trombone. ‘The chart below shows the correlating books available with each part. ‘The Belwin “STUDENT INSTRUMENTAL COURSE” of LIKE instruments, at three levels, forall band instruments A. course for individual and class instruction METHOD ALTHOUGH EACH BOOK CAN BE USED SEPARATELY. IDEALLY. "ALL SUPPLEMENTARY BOOKS SHOULD BE USED AS COMPANION ‘BOOKS WITH THE METHOD The Oboe Student For individual or Oboe Class instruction. EACH BOOK IS COMPLETE IN ITSELF BUT ALL BOOKS ‘ARE CORRELATED WITH EACH OTHER ‘THE OBOE SOLOIST STUDIES AND MELODIOUS ‘TUNES FOR TECHNIC ETUDES Supplementary scales, warm-up and technical dil, ‘musicianship studies and mel- ody-like studies. How To Read The Chart a _When two ways to finger + nota are given, the fit way it the one most often Tied. The second flogorng is used In special sieuetions fe When two notes ar given together (Ffand Gbfor example they sound the same Ditch ad ar, of cours, fingared the sme wey. tn onder to maka this carta ety to understand ss possible, only thom ogerings necessary to ply this method book w=. san. & tor F c_——c# mw ° : 2 : . ole tos) A Bb ary © BELWIN, Inc., 1969, Rockville Centre, Lil, NY All Rights Reserved Printed in U.S.A, 2 Getting Started SETTING THE EMBOUCHURE. Setting the embouchure described below will work well with one having normal teeth and jaw structure. Within this framework, however, certain variations are possible and often necessary. 1. Open the mouth naturally, ie. without moving the chin forward as the jaw is lowered. 2. Place the tip of the reed on the lower lip about even with the line which separates the smooth from the somewhat rougher and dryer surface. 3, The reed is then rolled into the mouth with the lips as they are folded over the upper and lower weth. As this is done, the ring muscle contracts and thickens to form @ secure and féxible boundary for the reed blades. The ing muscle is taken into the mouth behind the upper land lower teeth, No air pockets between the gums and cheeks or lips should be allowed to form. 4, The testh act at a support for the lips but do not exert pressure directly onto the reed. This pressure must be ‘accomplished mainly by the lip muscles and by the lower jaw via the teeth and lips. 5. Ordinarily, only a small amount of reed, about 1/16 to 1/8 inch, should protrude into the mouth beyond the lips. 6. The front and back of the tongit are held in a position as if saying 00 as in the word foot. The tongue point is always held (when not moving) very close to the end of the reed. The under-tip of the tongue may rest on top of the lower lp. STARTING THE SOUND. To start the sound we must (1) inhale, (2) form the embouchure for the tone desired, (3) place the very point or top tip of the tongue on the middle or a comer of the lower blade tip, (4) build up the pressure in the airway to the desired level, then (5) quickly drop the tongue tip away from the reed tip as if pronouncing the word too. PRODUCING (ARTICULATING) ENDINGS OF TONES. The articulation of tone endings is done in several ways. The two main methods are as follows: 1. We simply move the tongue point back to the reed tip corner while maintaining constant air pressure. 2. We move the lips tighter toward and around the reed tip while blowing less aic into the reed. The breath support must remain strong as long as the tone sounds. The length of this ending is determined by the speed of the articulation. Right Side View Of Embouchure And Hand Position Left Side View Of Embouchure And Hand Position Front View Of Embouchure And Hand Position . elo Lesson 1 Reading Music r ‘You should know the following rudiments betore starting to play: Re Sinch dove Cacce, de Guupasso Baca Dupe, , STAFF CLEP SIGN (Treble) BAR DSc MEASURE ove: Ga J Marks the ond of ‘ection wove nove weioLe REST Te sjonarune B con-fassO Peres ve ae ees Reis 4 sae Feces «beet Counc or Bats ‘each mesure wt af ee ee a ee ee ee ‘i Notes and Musi! Term uae forthe Fist time are printed in RED. ‘They should be memorized sf se. 8 ea ‘5 e ° ocoloee| SLUR: Tongue only the first note of a slur Ao2.23. Les reed on lower tip sd open mouth to breathe x © BELMIN, Inc., 1969, Reckville Centre, L.l., N.Y. AIURighis Reserved Printed in USA B.tscaat a Lesson 2 QUARTER NOTE 1 Count oY aS HALF REST ‘2 Counts HALF NOTE ‘2 Counts o\d > —p Vv. Finger Movement Study © BY / ‘Strand Tongue Excerie Repent 8 Repeat each section unt lan, = ki anal Fe aie Night g th er Tig freee ‘4. Always move th fagrs in precie hythn. CAT tram ey be eld fn flaxed and ight cured position touching the oboe very light jst Blow the fet octave Key i p/ 1 \ ° ae. Mw om 1 ale — SS Riedl well -E) O Oana ek une. Merrily We Roll Along (22¢3") hat satel ~ alle Come satel at andl teeta — a =z sa.c.321 re Lcd les Oe Te - Teens ¢ feombines notes of same pitch: ‘Do nat tongue second note.) = under te notes, = —— Com (41234 12346 7 eer plAy: ey 4 . x / i f Finger Movement Study / . Use “nappy” Bg movements E © ] D Ze g Dp 7 = Mary Had A Little/jamb S| Putt following on the st, Atine useter batt Tie Two Wnole shar uarer me ‘Nowe 7 # i 4 w GS SaaL TOT aoe ote sane Str INSTRUMENTAL COURSE. A-Tiskit] A-Taskit iy \ _.. Gountin Duet aa.ce12 / > 0B: - ; Se 3 Lesson 5 Bé/ Comparing © (Common) And@ (Cut) Time 22341296 12 3 6 1294 Lightly Row Ps ee a Yankee Doodle / Tenino hatin ot et merets gory. Using The Right Hand F Key , i} . >. _! 2 © ‘ i 2 . = . SSeS SNe We a Merrily We Roll Along ~ a At Pierrot’s Door ures sbov the staff, @Fill incorrect Fingering, © Put names of notes in sa o Q i # gE eoojsee c09|e00, 8 3 8 = 3 cos|ooe coaioo~ cosieoe o0lo0e 0001 Bc. i ie a ob (etan Alm Bb. Flat or sharp carries trough the entre measure, ® a o* i . jg ERBATURE— AU Kaa ] ed 62 a. Jingle Bells Pav intime Py etn == aOR “= z=! saad Hime a Practica both parts Counting Duet ® nk cob ed lee ly he Oa Hy cee ad Playing The Forked-F WMamerethis i: Um forked -f when te flog fs note comin Inmediny bao or ft he hi ner ofthe ah hand. e agp lament nani ttt f MM er q : Forked-F Studies / ‘ Fey aire ted ecprtin, rote fie ze 4.0 S50 ==)9) - = Tea The Volga Boatman . Gye = | Bac. ° ae fet ee ae ae ° The Cuckoo a ®.. 4 ~C Major Scale ——— A HOLD > give extra length a = = == 3 === === 0 2 iia ie March Time; ~ "shot atone sonia or pastes: ® i Ox (Ox en ; stiatar. “Alternate Use Of Forked-F And Right Hand F Key Fy Merkle aah ok F ee ee ee an) ee eS SSS Rook R Jj . F F R Sa nen nce" rotenone: hv let band hy. I your eb batch ky, you shuld pret laying no marked # with the left and? key and forked F throughout the anare book. A-Tiskit, A-Taskit 6 F R FQ) entering te mambo cunt ele torn tne => Lesson 8 Playing The Right Hand Eb Key , bon ¢ © @ ¢ a uo), Xo = Bes fea == min vcad eben (0) neh Aden a nd a td al a OY non Ky sare _ Piece In G Minor y ate et al yet) He fae © Old Mac Donald le } % ae - Peter, Peter, Pumpkin Eater 7 a / 0 for forked a for Hight hed F lin a |g heel dsl ‘cil a cans : x © Deree ts accent acon fr. h say movement lng wd rota movement mor ereond SEIU in onecen vgn boing sine my ron oof flr o 3 @ a /®© i ==H ce = = Fe = € — 19.10 A oe a, Lesson 9 Playing The Half Hole Fingering ‘ASUGGESTED PROCEDURE: he halthole is done by rocking or rolling the fist finger ofthe left hand off and onto the perforation inthe kay. Do not lit the Psying Ftc te kay during eter movement. Keo the far in cured shape a al nese. with te nall-mie-and fukin bent pare (ertand or casera th foge Guting thse movernens. The movements are made ony a the knuckle ot by inreasing and decreasing Counting Tune T eo bong Eb Key e -Ab’aow in Key Signture Putin the bar ies But.cat 12 ) > gant? ,: Lesson 10 Half Hole Study —— (Repaet unt clean and smoot) ———— Xo 3 Bicycle Built For Two 4 — ‘ad ad lead aed ee NE Billy Boy Important Exercises tn the following exercies, neither forked nor cight hand ae mackie Fest mark the F's; F for forked ot R for right, then practice the vrcrcan From this point on, fer forked and right hand fs wil be marked. 6 ee SSS ge een eT a belie atcotat a } } bai 1. Bie 1 i j 1 I j ] | j i 4 Mt sy UK b Lesson 11 Using The First Octave Key re foal £ ee 2 Suggations: The ltt thumbs should trey rot with tdmoet no weight onthe Instrument. To ply the fet ‘Seem key you may Ht the thumé off and then move fete the tnd of the key. You may sso slide or rock ‘the thumb on and of. Octaves , +E Finger Movement Studies On Dk Fanfare 4) Duet For Counting z ——_- Forked-F Duet 8 — Half Hole Rock sand trier int the mouth. Forte wide cnicendig ine rll he end Ot «* Supgestions: On these wide ascending inert, rel the ‘tthe mouth. 0 not drop YOUr am ‘nena oe gp nw out ofthe mouth snot rl e.t.c121, Lesso Repeat n 12 Combining The Half Hole And First Octave Key Movements 6 a ©, On Top Of Old Smokey i — Caisson March Study In G Major Study In F Major Use right hand F key throughout. iit the counting under the measures blow. Lesson 13 ee a 3 3 di } Melody In Eb Major — e The Mouse Ran Up The Clock i } sh ts et Playing The C# Key ore (Playing low C# will help your right hand position.) Little Finger Tunes 1 } t } ——— 3 {coe 3 EE) eee 2S eos S $ 3 3 eg &@& gf & fom Lesson 14 ed ch ge ores © Bm DOO ° steticeerso fatteterer ety tom wow 0s ak oh S- ; Faith Of Our Fathers 2 Forked-F Stud > © Py a fren. e movemects mort sey: be extremely quick and SOAP. tn finger movernant suas sch wis oo, te tempos may be How, but te pe a Chromatic Waltz pit (cheer Fie) D.C. al Fine means epee trom begining to Fine) cote pce pve, mart NOR, thon ae ting nett hay, Mo Shang a land FOX for enw ft oe Mt eatcaaa ' R ms nn Lesson 15 Pe = = eo ta = = cat ‘Slr the two ways marked, tur tongue tach note a F ss as 3 a 24 : Abide With Me ata Rage both cending and descending nti several ies to make enooth 3 b) e = O How Lovely Is The Evening Duet vi Fist belt pays notes with name wo. Second ebeet plays note with rene own. ees Variations On A Familiar Tune 3 AR satseut2 Eighth Notes NX e ~ cunt t+ 2+ TH P+TE 2+ Geode Jingle Bells Skip To My Lou ' | Was Born About 10,000 Years Ago Lesson 17 — Controiting Loudness For More Expressive Playing F, stands for FORTE which means play loudly. mt stands for MEZZO FORTE which means play moderately loud, P stands for PIANO which means play softly. a a t ee xy y % ns Counting Fun ° Johnny Has Gone For A Soldier scum 20 Lesson 18 Forked-F Speed Test fer na. Pegs mt areata Test your ° Captain Kidd She'll Be Comin’ ’Round The Mountain comet 2+ 1+ 2+ anc. a1 Lesson 19 Scale Review ‘Scale of F Maiog rl 4 } * Are You Sleeping, Brother John? } > & br ae Q nS a, feeSeertee Lesson 20 EIGHTH REST The Eighth Rest Calas se t+ STACCATO MARK means play ates detached f BDACHES. — @ “The notes in muamaes 1+ 2 should be about the se eth ‘Dotted notes a somewhat short than thos without doo Good King Wenceslas enatano Sree eo. 2 O32 pF “The Magic Flute” WA. MOZART R ~ ? EWawauws 1 » oe - i 3 3 i , z s Senane Etude In C Major — 38 7 " @ Lesson 21 Diminuendo Study 4 w vary How S o F Fx? SP f>P POF > = \ ri means DIMENUENDO Id] — play gradually softer =P P a SS tian , seme Duet In Spanish Style, ” Chromatic Study an a 4 Name fingering 7 X came fingering, ‘Merry Widow Waltz acum, 24 Lesson 22 Crescendo Study Very stow 0 PLS P=s Poof Pos Pos Pos PS PHS ‘means CRESCENDO (cresc.) ~ play gradually louder. —————<— Ff ‘lle. means continue in «like manner. sept thse, second Oct key Using The Second Octave Key Je >. ae: aD, cooloee Stnpons To iy ba mend casa, nly mam om, ‘Do net bend the wre or change the cues af the ‘etme fingers Koop the slbow he sre dace from the body. ae a Dotted Quarter Notes Deze geaetezeaeas ae 3446 1626304* simile ‘America, The Beautiful ak All Through The Night \ a 8 Hymn Of Thanks 7 PS SEP P———_ FSP simite 06 jary sow PSP ps SP simite ‘Apply to see F a Follow On Duet Fee etre Chromatic Study ome key b, ~ same fingering a 8 Signa, Streets Of Laredo ca 26 _—™ i= Lesson 24 7 popait a )il o a EPS P——S aimite to Vary sowy “ar Brent sar two meee. SOs eee ee ‘ Combining First Octave Key And Second Octave Key Movements ‘Suggestion: Always play the octave keys separataly, that is pley onty one octave kay wt atime. DD One cee OTS D A Lee 7 Ore 2 OF8~ : sacAuld Lang Syne “Toms ropertad note sur nen they a0 w Short’nin’ Bread amocucaetnd _ C Major Scale—Two Octaves ae Chromatic Study ™ 2 Lesson 25 rye en oS (2) Combining First And Second Octave Key Movements ©, ore OS OK 29 = Ke ye ° ‘Remember — Pay oly one ota ey #3 te. Swiss Walking Song Johannes Brahm’s Lullaby eens. sacuaa1 28 is ; Nise Keamesteerttsd Chromatic Waltz" a (race owe ett) Rind: Py sly aie ye = — ae D) 4a @ ek Sa ° Sweet Nightingale _——, ya ee a ee 8 fae 8 es Deck The Halls WELSH CAROL Lesson 27 Scale name 2 Thirds & o ‘Scale name __? a e Combining The Second Octave Key And Half Hole Movements — _ 97. 9.02 > Oe > Sr ae Chromatic Review ‘2? Tongue to Pay the oC with he Ht ion pert of the nl Lite Bb = ob finger. Quick Reader’s Waltz Or Half Hole Review” Lesson 28 Siow 2 o S>P S>P S>PFSP f>PFfS>P f>P FSP S>Pf>P f>pr>p S>Pf>P f>Pprop 8 Time oH J tcount J 2counts J.» 3 counts tas 2 aN Playing The Left Hand Eb -D# Key =} 1 Tip nf hand €b Of key used in fingering which come before o far hose eguirng the low Co Ea ey SX, & Paving oe tet hand Eb ey will help you develop the correct hand position. Late hand Eb DF Key Unalettnnd ebis DE Lesson 29 sow SPS P SPFSP SPSP FP Erte cont 6g soe per mene D> 1 count, J= 2Count. d= 3Counts, J 6 Counts eAttia Theme From Verdi's Opera, “Aida” A SPSP FPFP FPLP SP Time a com 12a 5621239486 p——————— mf P ~ > R wa? e “2 ——————— | — A Frog He = f ear dim. é Would A-Wooing Go a 123456 simile 8 R cout 6 129656 Key Of Ab Major L RoR Vive F Amour gprs ‘Children’s Prayer From The Opera, “Hansel And Gretel”” eee % = E. HUMPEROINCK Lesson 30 Accents os > o Pray mensures ¥ and 2 ale. daniel oP aoa ay lander during te fit part of the tone han uring helt part. Accented tones ae louder than wnccentad ones — mentees 1 count J = recive Yount J - mene teoure, Sixteeth Notes Left Hand Eb - DeWith Half Hole eb es tet tN bob g Use lat hand Ebbetore sd ater Db. *- ttt ral Prayer Of Thanksgiving Abo Se SD ee Tv ‘ovay ¥ eatiet ° Key of Ab Major. pecs oo} ore Listen To The Mocking Bird - a a ° & SSS 33 BREET eal Cel Lesson 32 Fat wf 2—— OS = S OR ans mh aaj P ‘eresc. - XX . mewcsdows: sb Major Scale And Arpeggio - c Beene raved Q: P cree. Maite dim: a Theme From The Tone Poem, “Finlandia” ‘Solematy p

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