100% found this document useful (1 vote)
346 viewsOboe Student
Uploaded by
David RodriguesCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
100% found this document useful (1 vote)
346 viewsOboe Student
Uploaded by
David RodriguesCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 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
