49992279 Oboe Method Samples
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OBOE METHODa classical method for beginners
Elaine ReidThank you for downloading the free pdf sample pages fromElaine Reids new 54 page Oboe Method for beginner oboe.Elaines distinguished 44 year career as a teacher and oboistwith the Vancouver Symphony Orchestra give her greatcredentials to write the best oboe beginner book on the market.
The Oboe Method is laid out in a logical way and graduallyleads the new performer (this can be an adult also as this bookdoes not discern between younger or more mature beginners)through 40+ lessons, including all of the fundamentals of oboeplaying, which are so necessary in developing perfect techniqueand musicianship. The method book also includes a removablefingering chart for easy reference.
Elaine combines technical exercises with beautiful melodiesfrom the Baroque, Classical and Romantic masters, providing acomplete and enjoyable musical experience.
The Oboe Method can be used for self-teaching, although itsuse is recommended with an experienced teacher.
Cherry Classics Music is proud to publish and distribute thisnew Method for Oboe. For inquiries please email us at:
a classical method foryoung musicians
2006 Elaine Reidpublished & distributed by Cherry Classics Music
Poor PositionThis is a poor hand postion. Some ngers extend pastthe keys, but they should be in the centerof the keys. Some ngers are not curved and theleft hand ngers are not pointeddown toward the bell.
Good PositionThis is a good hand position with the ngers over the keys and the rst nger of the left hand is right over the second octave key. Always keep your ngers curved, on the center of the keys and pointed slightlytoward the bell of the oboe.
Oboe Hand Position
& 44 w1234 12 34 12 3 4
Note Values are our way of indicating how long each note is to be played, or how many beats each note will get. The most common note values are whole notes, half notes, quarter notes and eighth notes. We can take a whole note (4 beats), cut it in half and get 2 half notes (2 beats each), cut the half notes in half and get quarter notes (1 beat each), then eighth notes and sixteenth notes. All the combinations of notes in a bar or measure must add up to the value indicated in the time signature.
Notes are written to indicate the sounds we play. If the notes go up, the sounds get higher.Like the alphabet, we can start on A, then go to B, C, D, E, F and G, then we can keep going with another A, B, C, D, E, F and G (in the next octave) . When the notes go down it is like going down the alphabet backwards. Every note can also have a sharp or flat. A sharp raises the note, a flat lowers the note.
Beats are the way we indicate how fast or slow we want the music to be played. Beats are important to coordinate everyone so we play together at the same speed.
Measures are a group of notes separated from each other by bar lines and each measure will have the same number of beats. Music begins with a time signature telling you how many beats will be in each measure.
The Time Signature is made up of 2 numbers. The bottom number tells us what kind of note gets the beat, the top number tells us how many of those notes are in each bar. For example,3/4 time means there are 3 quarter notes in each bar, 6/8 time means there are 6 eighth notes.
Here the notes are going up (higher) the same as the letters of the alphabet go up. When we get to G, we continue, starting with A again and keep going up into the next octave.
whole notes w
half notes quarter notes 1 2 3 4 12 34 1 2 3 4half rest 1234
quarter notes and rests 1 2 34
& 44 A B C D E
Music is written on a staff made up of 5 lines. In treble clef, the lines are E G B D F. You can remember them by saying Every Good Burger Deserves Fries The notes in the spaces spell F A C E
A B C D E F GA B C D w
& wELearn the names of the notes by saying these notes every day until you can say them quickly.
wG wB wD wF wF wA wC Ew
Table of ContentsPage 1 - starting notes G, A & B. Page 2 - adding C & F sharpPage 3 - adding a key signature, adding E & DPage 4 - adding F natural, quarter notes & restsPage 5 - different fingerings for FPage 6 - octaves using the half hole and 1st octave keyPage 7 - slursPage 8 - adding low CPage 9 - scales & 2nd octave keyPage 10 - eighth notes and different time signaturesPage 11 - practising different time signaturesPage 12 - ties, low B, adding E flatPage 13 - reviewPage 14 - adding C sharpPage 15 - left E flat & enharmonicsPage 16 - intervalsPage 17 - adding A flatPage 18 - enharmonics, chromatic scalePage 19 - review of octavesPage 20 - Handel, Bach & BeethovenPage 21 - dotted notesPage 22 - dotted notesPage 23 - dotted notesPage 24 - major scalesPage 25 - major & minor scales, high D and C sharpPage 26 - sixteenth notesPage 27 - sixteenth notesPage 28 - dotted rhythmsPage 29 - Handel, Brahms & repeat signsPage 30 - Handel, Mozart & HaydnPage 31 - different time signatures with quarter & half notesPage 32 - alla brevePage 33 - alla brevePage 34 - Brahms, Beethoven, Weber & MozartPage 35 - 6/8 timePage 36 - 6/8 timePage 37 - 6/8 timePage 38 - new rhythms in 6/8 timePage 39 - new rhythms in 6/8 timePage 40 - review of 6/8 rhythmsPage 41 - Handel Siciliana & tripletsPage 42 - trills & grace notesPage 43 - syncopationPage 44 - reviewsPage 45 - tenuto and slow practise, HumperdinkPage 46 - dynamics, Handel & GluckPage 47 - Bach, Schubert, Kuhlau & MozartPage 48 - Bach & Biehl
& 44 wPlaying G, A and B
1 2 3 4 Oboe Method
1 2 3 4 w w w w1
& 44 w2 w w w w
& 44 w3 w w w w
& 44 w4 w w w w w w
& 44 w5Start every note with your tongue the same way you would say 'ta' when speaking
w w w w w w
& 44 6 1 2 3 4 w
& 44 7
& 44 8 w w& 44 9
1 2 3 4
w w& 44 10
published & distributed by Cherry Classics Music 2006 Elaine Reid
w w w . C h e r r y - C l a s s i c s . c o m
& ## 43 1Fireworks Music
a tie (joins similar notes to make them longer)
& 44 2
& 44 3
Adding E flat
& # 44
& bb 44
& bb 44
& bb 6
use your 1/2 hole for these notes in this octave
& bb 44Allegro.
1 . G. F. Handel . .n
& bb n
. . .b
& bb 42 pAndante. .
& bb .. ..f. . J p.
& bb . . . . .
& bb f.
& bb ... G. F. HandelAir from Suite #1 in F Major
& b 44F. . 3 . . . . . . . . J
& b .. .. . . . .
f. . b R L p
. . b
& bF. .b . . . . . .
& b .. . . * Go back to the beginning of the music and play it again
* * Go back to the other repeat sign and play this section of the music again
. . . .
& bb 86 .1G minor
. .n # J J # 37
. . j# .
& bb Jn A minor
# J J #
& 86 . . J # . . . .# . .
& J # . . . .
& . . .. . . J . . . .
. # J J # J .
& . . .. . . . . .
. # .& J . J . # . J . J . # # .
& J J # . J J# # .
& . . J # . . . # J .
& J # . . . # .
& b cAndante
- - - -1
Hansel and Gretel
Tenuto is marked as lines over the notes. The composer is asking for very long notes to be played. The notes are nearly connected, but should still be started with the tongue.
- - - - - - - ., j-
- - - -
& b - - - - . j b . J b . Jn . J - - - -
& b - b - - -Practise moving from note to note very cleanly. Move your fingers at the same time so no extra sounds are heard between the written notes.
- - - - n . J w
& c 2
& b bL
& 3 b 3
Practise this very slowly keeping the air moving from one note into the next.
& # cLargo
& b 43Molto sostenuto