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3fea

A. M.

A

R. Barret

Complete Method for the

Oboe

OriginalEdition

Son, Ltd.

J. R. Lafleur " Sole Loadoo,

New

SettingAgents : Boosey

"

Hawkes^ Ltd.

Yotlc* Ixw Angeles,Sydney, Toronto, i'ft/ltcU

III,

ArtlKtlWi

Cmpe Town,

Puis.

INDEX

of

Principles

1

Music -

-

The

Oboe

1

Scales

-

-

-

-

-

-

No.

-57 -

No.

108 -

-

-

-

130 -

-

"

-

-144

4

No.

-

-

-

-

'159

Studies

Grand

-

-

-

207

Varic

Air

-

Second

-

119 -

-

First

-

3

No.

Fifteen

-

2 -

Sonata

-

1 -

Sonata

-

Mdiodies -

Sonata

-

19

Progressive

Sonata

-

Exercises

and

-

Forty

-

-

Air

.

.

.

Varie

.

-213 -

-

-

AiD^TS"

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EXERCISES

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Preface Since

improvementof the mechanism

keys,which

nation of the

with interfering

bdow the

in fingering

same

not

to only added greatly

the

from

highto

with the half hole and

and fingering

a

also posesses

be difficultin

It would

of the octave

much

requiresa

less time to become

it,without systemspreceeding of it,owdngto the

master

octaves, and yet these good results have been obtained by

only two

notes

beingabsolutely changedin

examining the scale I have

added

method,all of which

new

I have also made

further

I find that violet wood

and difficult,

very

even

easy,

is

as

by a

now

easy to slur

is to say

softness

and

bore,the instrument has acquired greaterforce

but subject,

have written in the most

of that

and description,

adoptedit

and

It would

be

have

I may

I have ed have

unjustnot

be desired, and

revised carefully now

at the

wood

with

to mention

as ingenuity,

placesMon's

this Edition

disappeared. entirely

well

be

once

other

Oboes, but

this

on

the opinion, a

the instrument and

best

qualitiesof

modification slight

have artists,who

Mons

not

onlyspoken to

others I may

cite the

to say that the instrument

professorsand its

I

names

is

use

amateurs

IViebert in thf construction

the few

errors

on

one

have

good results.

Triebert at the head of this branch of wind

and

is

me

of this

of mechanism,elegance it and finish, soHdity

of the method

by

seen

This body without changingits quality.

and

by

both

fingerings according

for adopted

time,that alreadymany

as

will at

of tone,and by briUiancy

eminent

the part taken

and disadvantages,

alteration in the fingering:

marked

to be

unites,in my

scarcely necessary

same

This

and expressedtheir greatsatisfaction at the change,

Oboe; both in regard to the nothingto

add

their

sU^itan

terms, amongst flattering

It is

of Costa, Fetis pere, Berlioz "c. "c.

insfarament which

rapidmovement.

other. It

also the opinionwhich has been givenby many the

Besides

in parityof fingering

on impossible

some

in the most

better than any

answers

very

its whole extent.

as experiments regardsthe best

Rosewood, that

and

Boxwood

so

and the passages I have written

are

comparatively very

will be found

in the

keysit

allthe advantagesof this new

short-a space to enumerate

so

of the 1 believe possesses allthe good qualities

to the

veral se-

of slurring* especially greaterfacility

a

but formerlyimpracticable,

vns

combination

new

the 'tone of

E to 6.

from

which

it

old

the

of the Uom.

notes stopped

of

some

of fingerings

the factitious

to the

measure

some

note,

each

on

passages, but deadened

of many the difficulty

C

playedwith precisely

be

may

shakes perfect

more

the low notes,and vice-versa, this

in the

modification slight

have

the instrument

by improvementsacquired

allthese

To octave.)

in perceptibly, corresponding

notes very

terially ma-

each octave,from

for fingering

same

in that compass

say, a passage written

the other

or

combi

new

without to the performer, facility greater

give

attained have been to procure the

to do away before impossible;

were

which system,

as

one

in forming a "believe,

I

systemci fingering.

is to C,(that

to the upper

which

the old

ther directed towards the far-

attention has been

have succeeded

easier than before and

work

I have objects principal

The

Oboe,and I

of the

Edition.

Second

the

first edition of this work, my

of the publication

the

to

which

w""

instrument

leaves facturers. manu-

beforeuncorrect

PRINCIPLES

MUSIC

OF

ARTICLE

I.

MUSIC.

OF Music I

a

is

the

Melody,

II

Melody

is

combining

of

art

souadi)

in

agreeable

manner

a

to

the

it is diTided

ear;

into

two

parts.

Harmony. combination

a

of

sounds

by

which

elevation, duration

their

and

succession

to

serve

form

tone.

of

combination

is another

Harmony

which

sounds

their

by

ARTICLE OF Music

phabet

is

written

with

AND

called

LINES.

Notes,

which

G, D, E, F, G,

equivalents,in

use

the

on

Do, C, These

notes

placed

are

fou/

lines

spaces

being

est

But lines

named

are

after

letters

of

the

al_

when are

counted

are

in

upwards, notes

the

first

the

added,

instrument under

equally familiar

almost

are

Mi,

Fa,

Sol,

La,

Si.

D,

E,

F,

6,

A,

B.

and

called

lines

parallel

English

to

the

Staff

or

minds.

Stave,

|

which

called

continent,

A, B.

Re,

horisontal

fire

upon

Example:

The

Chords.

form

to

serve

.

Italian

The

union

II.

NOTES

figures

seven

spontaneous

are

placed.

being The

called

spaces

line.

first

counted

are

stave

for

a

greater the

lower

compass notes,

than and

_.i"

Example: Ledger

the

the

These

same

as

five the

lines lines

contain the

low.

space.

requires the

lowest

the

also

lines

the

stave, for

over

ZZZT

the

"small

lines

upper

Ledg^er

notes.

lines

called

Ledger

ARTICLE

OF

There

12

written

These

M,

or

Glef:i

F

the

an.l

familiarly

are

G

Clefs

These

known

and

them

There

are

of

not

are

serve

different

two

they

those

Viola

and

of

g,

F

Tenor

G

or

stave

They

Clef.

the

will

different

th"ir

of

placed

Clef.

lines to

names

names

indicated

be

Clefs

Treble

fiass

upon

give

determine

to

required

least

Clef,

by

the oJher

the

a

star

according lines

upon BUt

notes.

"

thus:

G

C ^

-o-

the

On

Four

different

of

sorts

C

T.'^

Tenor

or

Two

sorts

of

F

or

Li

ne

i

^ 2r

t.

1'.

Clefs:

m the

and

an

^

^ On

Line

C

C

5'."

Line

Line

and

4\

Line

Clefs

Bass

s

m On

the

"ometimes

C'

the

used.

are

points

of

sort,

CFef

C

the

Ti

beginning

starting

use,

^,

Clef

asi:

Clef.

the

at

G

the

written

I

which

as

equal

aUo

USE.

AND

Clef.

Treble

or

for

voices

or

placed,

are

namely:

,Clef.

placed

are

9*

Clef

" Soprano

Clefs,

of

.oris

POSITION

THEIR

CLEFS,

different

three

are

III

4*^

Line

and

n 3".

Line,

1 Line.

to

the

which as

struments in-

the, all

of

ARTICLE

THE

OF

A

Scale

The

seven

It*

ll|e

!:"

from

of

composed

is

of

notes

sound

Example

sounds

of

succession

The

music

with

the

of

name

S?"* Degree

Degree. Tonic

or

only

called

is

Gamut

a

(each

degrees

seven

or

being

note

8*.'' degree

of

degree)

a

of

repetition

a

Scale.

the

5^.''Degreei

4l** Degree.

Mediant.

V}

e*.** Degree. Saper-duminant

OoHiin"nt

8"b-Ooaia"n"

81*

Degree.

Leadings

Note

Degree.

Octave .

also

i

Sensible

or

Sub

also

Sub-Mediant.

Note.

Key

Scale.

or

notes.

Octave

the

SCALE.

Octave

its

to

note

3

degree.

each

3!^Degree

Tonic

Super

form

to

DIATONIC

degrees

giving

employed

is

one

eight

lY.

Tonic.

ncc TT. 3X

ft

is

word

degree

half

note

The

is

gree

the

the

note

Scale

The

octave

*The

Intervals.

is

8^''

explanation

with

bears

degree that

of

tone

a

name

semitone

or

which

descriptive

is

(the

latter

of

familiarly

itself.

known

distance

the

or

between

interval

one

degree

and

the

next,

whilst

the

itself.

five

comprises or

confounded

each

The

as

lone.)* semitone

or

that

example be

not

must

half

or

tune

above

the

by

seen

G

B

E

D

note,

of

the

as

nords

tones

in

the

tone

and

aboye

and

semitones,

two

the

after

addition

of

V}

the

sound

producing

example.

semitone

is

fiven

in

a

special

article

vrith

the

different

Chromatic.

de"

4

It will to

be

the

When

VI

Article

in

between

When

two

notes

.Interval

becond

which

the

of

degrees

Scale

semitones

and

these tones

are

of

to

is called

next

farther

scale

the

D-E

D

G-G,

etc.

E-F

or

well

as

Intervals

Conjoint

are

D

from

as

E

to

E

or

DisjunctIntervals

are

to

said

As.

other On

on

between

the

a

because

and

the

distance

it

is called

them

between

is

there

because

only

between

the distance

ou

to

(see Ex.)

3'.*

a

Two

comes

junct Dis-

a

Interval

an

of

a

them

exceeds

th*" in.

Intervals

or

different

one

Space)are

derive

their

Two

notes

degrees

placed,

notes

called

the

on

a

natural

Second

order.) name

from

placed

IV

degree

or

Interval

on

the the

distance gree de-

same

of the scale, and of

a

the

Second.

Third.

4*.''a

Fourth.

5\^

a

Fifth.

6'.''a

Sixth.

7\^

Seventh.

a

the

on

8*"'an

Octave.

9'.''a

Ninth.

11\S W\ 10*.*',

the

etc

etc.

descending

in

same

placed

(in the

DISTANCES

OR

degree (Line the

"

80

whence

Intervals.

T.

the preceedingarticle,

notes

Unison

nearest

11* and

INTERVALS

in the

the

called

the

and

Interval

the

example

second.

a

8: 1. OF

are

above from

F.

ARTICLE

existing

ijn the

as

Diatonic

or

by Conjunct

anoter,

one

line

to

space

Conjunct

a

Scale

or

from

apart

from

or

space,

.

to

G-F,

G-E, ierval

G

from

line

Diatonic

a

are

G-D,

instance

the

to

note

one

scale is called

the

For

proceed from

notes

from

distance that

seen

found.

be

EXAMPLE INTERYAL8

IM

ORDER.

NATURAL

THE

Ascending. 1112

1

1

Secoud.

Third.

Fourth.

6

1

7

Fifth.

Sixth.

1 113

Seventh.

Octave

Descending. 8 n

8 n

8 xx

7

8

6

JXIZ

5 zx:

JUL

_8_

8

8_

zx:

zx:

azz

IX

xx:

=:3E5:

zx:

"*Tr

8 =xr

T"e-

:;=xi:

-r-e-

3r

TT

Unison

5

": 2? The

inversion

Unison

OF

of

becomes

THE

INVERSION

interval

an

Ontave,

an

OF

consits

in

Second

a

(in the

INTERVALS

becomes

lower

the

making

Seventh^

a

Third

a

and

higher

the

note

order.)

natural

becomes

vice

EXAMPLE.

Unison.

1

A

Secoiid.

2

3

4

TMrd.

^."7-..||M.l

isrz

ixr

A

inverted

Unison

To

be

1 and

8

in

correct

becomes this

9, second

make

Octave,

an

nine

becomes

Second

a

2

or

7

and

make

In order

they

are

A

note

altered

the

change

to

signs,

called

order

of

and

so

etc.

becomes

unison

octave

will

at

Avhieh

raise

been

it has or

lower

to

add

the

notes

necessarj

by

semitones

the

tp

before

seven

which

placed.

sharpened

flattened

or

is called

Augmented

or

(The

Diminished.

French

call

simply

them

notes.)

SHARP

Raises

OP

Double

"

X

the

or

another

ALTERATIONS

PRODUGEO

or

the

the

ready

raised

AMD

SHARPS

NATURAL

(even

sign)

(^ Lowers

note

the

note

Semitone.

a

Lowers another

al.

one

PLATS.

Flat

Double

.#.

Semitone

above

BY

FLAT

Sharp -X-

Raises

note

Semitone.

below

by

the"note

Restores

Semitoue the

one

lowered

in ready al-

the

both

Sharp

bj

to

single b.

single ^

its

note

eases

Flat

or

natural

position and

sound, tone.

EXAMPLE.

The NATURAL

i

raised

note

same

by

NOTE

of

means

a

a

semitone

The

same

Sharp.

Sharpened by

NATURAL

NOTE

NATURAL

NOTE

The

The

note

same

bv

of

means

I

* NOTE

The

same

Sharpened.

a

a

semitone

The

same

note

The

same

Flattened

Flat.

by

a

semitone

Natural.

restored

means

its natural

to

note

raised

of

Natural.

a

a

tone.

semitone

^

o-

note

a

^

lowered

note

same

lowered

note

of

means

t^CC

XE

NATURAL

or

on.

INTONATION.

OF

semitones

Flats

Seventh,

a

Thus

VI.

SIGNS

the

tt and

Sharps

EFFECT

a

THE

9

Unison.

Second.

becomes

obtained.

be

ARTICLE

notes

3X

"^

Third.

inverted

always

must

seventh

OF

nr

ZE ^

number

the

8

3X

-s-e-

Fourth.

Fifth.

Sixth.

Seventh.

^e

Se^^i; ^''-^^^

7

T-eTT

^0_o

Octave.

a

on.

so

.

^Ji^

Fifth.

5

Fourth

xi:

tl..'

and

Sixth

a

then

versa;

Flattened.

The

same

note

restored

to

its natural

tone.

ft

A

proceeds hy

which

scale

Scale; (The

Art.

8

intervals show

will

by

of semitones

the

order

numeric

of

means

the

of

Sharps

flats.)

and

sharps

seven

tic Chroma-

is called

Flats,

or

EXAMPLE

(

UUIU

by

Same

by Sharps

scale

A Chromafifi Villi l\.

tL

!""

:

Ji.Ni'UiJi"lUJP5

E

es

JiJ|JJl'lj|J,i|iJJlJ.l

Flats.

ARTICLE

iril.

MODE.

OF In the

and

y^

and

Degree

Octave

of the

Scale

The

Mode

which is

which

which

given rise

to

form

tbemselv^a

between

chord

Thi"

Chord

"

is

ba""

the

when

Major

there

or

Mode

Major

the

and

full tones

two

are

Minor

Scale) By adding(he

It is always

Mode.

in any

It' to

the

seal from

the

I** third

the

.V** Degree.

the

S'.** Degree

E

D

C

XE "JOl.

is

there

when

is Minor

1".^Degree, the Median!

or

Diatonic

of the

is obtained.

Chord

Common

Tonic

the

are

Mode.

the

characterises

Mode

the

Tone

Tone Mode

this has

semitones;

Chord,)

Common

or

constitute

The

Mode,

of

# The

and

tones

SS**Degree. (See Art III Ex:

or

the Perfect

Sounds

kinds

two

are

(

Chord

perfect

Dominant

the

three

these

to

There

both

principalionnds

three

of the

principalsounds

three

found

be

to

are

Mode.

of all music

constitution

The or

Union called

entirely Consonant

there

is called

signifiesthe

Mode

scale

the

of what

formation

the

of

compass

IJ U"jl|,jJ

tz

only

and

tone

a

from

semitone

a

V}

the

to

ABC

$ Tone II

REMARK. of

posed The

minor

2

second

producinB'

is

seen

semitones is the

to same

be

there

thai or

full

soiniH

in

of

sorts

two

are

tone

(major second) the

when

known

m

JCC

e"el)

case

1"* note (Th"ce

Semitone Interrakuf and

or

the

deg^ret

note*

second

ather

are

of

or

unlyone

semitone

sharpened

is

in the

Coigunct Degrees (minor or

scale

t""

i*

coai_

second.).

the

second

flattened

Enharmonic)

called

EXAMPLE.

B

#

Natural

Sharpened

Sama

3^ Enharmonic

aoand

as

xi:

Notes.

C

nataral

and

/i

#

C

Watqral 3X

Flattened

Same

innr

I

Enharmonic

sound

as

Bnahiral vrai

i Notes.

The

signature signifies

word

certain

a

number

of

after

placed immediately

Flats

and

Sharps

Clef

the

Wlten

Sharp

neither

The

Key

Flat, conseqaently

nor

Natural

G

of

of

Example

the

Major Scale

is the

of G

Natural

is at the

signature

no

model

of all

Major,

Major with

Clef,

it is

Key.

natural

a

Keys. distances

the

each

between

degree:

Degree 8

I

ssde: -o-

xe:

-e^

jje: A

B

c

D

The

All and

Scale

above the

thai

other

In

they

The

Key

of

Example

Scale

Scale

the

of

the

Minor

Nataral

A

the

It is

all

in

Model

of

Key

the

in

follow

semitones

the

is

of

another Minor

all

Natural

A

Major

scale

It will

It will scale

In

key

be

be it

relative

is

relative

thna

Minor,

with

the distances

found comeK

between

each

degre:

4

Major

i'^ third

preceediug the in

Minor

of

Ex:

in the first

4

Minor

Minor

scale

scale

scale

its

scale Scale

Minor

8".' semitoue^aKin

every

Tone

A. and

of the

G

Tone

Major key.

key"

the

that

the

the

F

Tone

(

a

that

tone

the

Minor

1*.^semitone

combs

baa the

on

a

the

the

same

occurs

7^} and

in the first

between

notes

sharpened

in

ascending*become

3'.**, whilst

in the

natural, in descending.

Descending.

Ascending. zx -"^

B

ixr

E

4o-T^

I

ZE zr

P

the

S*.**Degrees.

.

the

gnature si-

S*.*^ Degree of the

semitone.).

1".^semitone

theMajorcomnbetween the

key

commences

and

A

Semitone

EXAMPr.E.

$

ever what-

on

8

7

6

db^

E

0

Tone

and

in

seen

playing*

to

bringii^ the

31^ Degrees

S"^ and

G

Semitone

Tone

its

semituues

Scales

11

irr

B

Distance.

aM

tones

"

A

Minor

Diatonic

seen

five

that the

remember

Major

IV)

Art:

in

be

will Scale.

order.

5

The

to

of the

Keys.

3X

3E 3X

It

semitones.

mentioned

important

most

S*-^ Degrees

Semitone

S^** Degrees

Degree.

i

and

tones

7*} and

altogether (as

Scale.

1\^ and

the

Tone

proceeding by 4^.^*and

making

Major

4\''and

Tone

founded.

be

may

Scale

3f^ and tones

Diatonic

3'.' and

Diatonic

Minor

the

Major the

whole

are

in the

the

between notes

Diatonic

intervals

Tone

Semitone

between

occar

semitones

two

occur

is the

semitones

the

Tone

Tone

Distance.

jor Ma-

s

IMPORTANT

By taking Minor

its

thus

and

sharpened, becomes

scale

and

has

been

mni:h

in

formed in

use

semitone)

a

from

the

Major

scale.

old

Style

of

Degree

By

this

it is

scale

a

that

the

written

as

Minor follows

Music.

3X

m-

-O:*-

XT

3X F

E

G

A

A

Id this scale

'

the

seeming

f

the

regular to

more

ascending (which

SemiUne,

Semitone, Tone,

."

"

**"*)"

yet it is

eye, is

B

Tone

Semituue,

.,

*^^X

sharpened in ascending remains

note

in

semitones

Semitone,

Tone. "

E

P

6

Toii" tone.

"

and

I

ZXsi

l^/s^Ace.Tone.Semifoae,

four

shown

clearly is formed

means

788

B

ear

1^.'

perfectly the

shows

scale, which

2

i

*

Mnjor

leading note,

or

the

very

SCALE.

MINOR

by sharpening lh6 5'.*' Degree of the .said Major scale,which,

and

Tl**Degree

its

THE

6'.'' Degree of fhe

the

starting point un

(one tone

third

CONCERNING

REMARK

in

so

to

be

Tone. "

descending.Although agree*hle to this scale

that

seen

incorrect) instead

Tone." Semitone,

"

of

five

contains

and

tones

four

tones

(whith

semitones

two

the and

correct.)

is

To

obviate

aud

Minor

Observe the

Major

In

whii.h

Scales

the

with

Scale

which

descending

only

T^*"Degree

the

that

Minor

the

61''and S*.** degrees (See

is the

difference

is

is thus

between

occurs

4*.** Degree Major, which

-also the

en

difference

the

mentioned

sharpenedin every

sharpt"nedand

descending.(Very

in

the

but

we

becomes

is

(hat the

reason

mu-st

accept

OP

7

SII;NATUKE

THE

once

what

4:

3E

* C

F

6

FlatH.Their

#

i

on positions "

E E

B

2:

which

2?

A

sharp is placed on iu

the

t^

ORDER

aud

sharpened iu

S*.** Degree

the

of

Minor.

the

of

between

occurs

are ascending

has beeii intimated

OF

7

THE

:t: Of

X

SHARPS

by

(he

natural

in

Masters.)

our

7

8b

FLATS.

The

F

the bta^e.

^

Doable

F last

Major Mode,

C

F

OF

THE

the

and

DIf

the

the

series

l-ERENT

of

f.lef

followingthe

beginning and

4*''degree

placed on

flat:

"

3E

G

B

B

key

of

2".'* Degree of the

tone

another

of 7

Major

and

6, and

always becomes

order.

same

followingthe

(

MODES

ihe

of 7

series

S

E

EXPLANATION

ascending order.

follows

E

A

D

1/

first

it is

inverted

more

uo(es

1*^ semitone.

(he

that

leadinguote

and

The

about

and

agreedto sharp,

the Major et^ualizing

D"Kible sharp.* MHARPsTIieirpnsitioiiKontheiitave. beginninganother

it

fifth in

scale, thus

VIII.

NUMERICAL

AND

VII

Scale

the

ARTICLE

8:1?

7*.*Degrees, it has been Minor

Artr

Minor

of the semitones

Scaler,one

Example) by

imperfectScale

6'.'' and

the

6*.*" Degree of the

the

which

Minor

the

same

order.

Keya.)

six others

from

7!''Degree of

preceedsfor

fifth

the

the Minor

to

key Mode.

Thus of

the* F E

tiharppoints out

first

in the

of G

the totiic

case

Major,

and

second

the

in

the

case

tonic

Minor EXAMPLE.

Keys

Maior

y

iiS,

fr

w

"

W

0

Minor

The to

first

key F

that

fifth in

itAm

P

XE

w

B

flat

sharp

placed on

is

S*.** Degree

the

'Major, and

XJl

seventh

R, (he

Minor the

rase

vvithout

degree

key.

tonic

D

of

of

the

first, and

the

key

clef

the

In

ii^s

P

"1

placed on

last

the

of

Iff

placed

is not

The

second

in the

P

t^

second

the

P

iO:

descending order.

and

P

xc

m

keys

P Observe

^ 31

becomes

the

case

B

xs:

with

on

G, and

of

always

first

the

so

r

others.

the

from

fifth

the

six

others

the

4^.

Degree

of the

jor Ma-

the

tonic

of

flat

points

out

Minor.

EXAMPLE.

Major Key.s

im

3X

$^^

$u

^ i E

XE

xc

D

r.

It

i

xn

Observe

Either

REMARK.

degrees

9ame

unless

a

the

of

that

is

placed

not

flats, found

or

octave^

upper

or

without

at

the clef

at

the

is

flat

Or

available

of which

and commas

is

interval

an

is Chromatic

always

and

between

occurs

always

with

on

the

others.

the

the

whole

notes

of

a

VT

placedon

piece

the

Music,

of

effect. of

bar

one

only, unless

natural is met

a

with

bar.

composed the two

between

occurs

TONES

of nine

other

of

the of

notes

AND

The

same

called

chromatic The

name.

different

1.

SEMITONES.

partialintervals

Diatonic.

notes two

JO

ARTICLE

INTERVALS,

OF tone

during

octave

their

SPECIAL

The

so

$m

signature, influence

as

the whole

for

k

i^te

m

first, and

the

Ipwer

accidentally to suspend

comes

sharp

course

Flat

sharps

at

or

natural

Accidental in the

second

the

that

E

te

^'commas^

semitone

diatonic

is

or

of two

composed

semitone

of

semitones five

composed

OTie

commas

of

four

names.

EXAMPLE

Chromatic "rf

Diatonic

Semitonei liommwM

ftp

P

4

Semitone,

(jommos

i

i

i

Chromatic

k

{"

Semitone.',Diatonic

tiommuB

i

li

d

Semitone.

Gomia"w-

i

"

lo

SPE"I4L TABLE

IntervaU

OF

THE

Jg

of

I

Secouda

INVERSION

OF

I

1 tone.

1 ioiie

1

and

/

1 sfniitone. ^

Mi

7'"

OOP

Sevenths.

.

become

I

3r:

3 tones

and

i2 semiiones

.

.

"1

"

tone* {{2

"Bd

2.semitoBe".

3 tones

"^n

'

and

2 semitone J\lseinitoneJ\l

semitones

t.

5'."'YAugment."ff 5'.'^ fDiminislied St.YP*'*"***

33=

and

2 tones

Illsemttone.

and

2 toaes

Perfect 5^*^

Augmented Fiflhb.

5*.''Diminished

aa:

3 tones and 2 semitone "J

2 tones

and

3 tones

6Vrr

"Major

Au

and

*

J

beinginverted]^2 semitones. become

d6f?^ gmentedo

Dimini

i

Minor

become

ff^P V

aiid

J

"^'U

I

3x:

4 tones

and

and

5 tones

2 semitones

semitones.

I1

tone

H

and

llsemiton* .

and

i semitone.

2"""1

Minor

mi

=cx:

2 semitones.

J

and

semitones

Major Tt"*

Major 2 -^u^mented2^(

Seconds.

[

1 tone and 1 semitone.

tones.

i tone 2

^

beinginverted]y3 3^

^^

33=

aa=

tftrMiaor

I 3 tones

and

3':'*Diminished

ox:

2

tones

2 semitones-

.1 semitone.

Major 3":"*

^

4

tones

semitones

3x:

and

ones

semitone.

Sevenths and

4 tones

and

3DC

3 tones

Sixths

J3toneri.

113

4".*'DiminishedV.*) fAuffmented4^Ypepfeet "" 1 I 3S

S'.^ I Fourth.

3x:

zxsz

id sAd "

2 semitones

1 semitone.

6\^

Minor

^^

33=

33=

tones {13

and

beinginverted] 2 semitones.jlltemilon J^

2 semitones.

become

become

Thirds.

u

14 ione"

and

6V'"

11

Fifths 1 tone

beinginverted

I

l2

3semitnues.

"

6*.'' )fMiuor Auymentede'.^Major

4 tou4s

and

4*^ Augmented***' fDiiiiiBi8hed4'.*lfperfect

4

Foarths

I

Sixths

*nrcr 4 tones

of

being iiiverler

Dimiuished?!''

=cx:

INTERVALS.

Thirds ,

-^

'

.

2.

THE

ALL

and) Auifineuf6^2*^1 *"^ lulervals I M

beiugiuverled become

X

ARTICLE

1 semitone.

1 tone

Jl

It resnlts

from the preveeding table that every Major interval become" Minor, and terval inevery Minor Diminished and every Major, when inverted. Every Augmented Interval becomes Diminished Perfect intervals which interval Augmented. The the Fourth are and the Fifth remain Perfect when inverted.

ARTICLE OP There

"r"

seven

learn

we

There

are

to

also

characters and

to

rests

or

know seven

which

NOTES

breve. Minim

the

the time

measure

silent notes

.Crotchet.

AND

determine

EXAMPLE

Semi

IX.

Quaver

to

which OF

RESTS.

value be

of notes.

given

to

each

correspondexactly THE

.Semi

Quaver Demi-seini

4

Quaver.

:

Demi-semi

rest.

6

of the

.

5

P^

3:

Quaver

Semi-demi-^"'ml

Quaver

rest.

^

rest.

or

i Two

Biirs Rest. Four

Bars

Rest.

Six

Bars

notes.

Semt-^d^i-semi Quaver.

w.

Quaver

characters

notes.

with the value

1

J Semi

these

HE8TS.

SEVEN

.

J^

It is from of the said

Rest.

Seven

Bars

Rest.

that

11

T4BLE VALUE oMeSemi

BrcTe

Semi

ona

is the

equLTalent

or

or

4

Crotchets.

or

8

OP

16

Semi

"

'"

"""";r """"/"'

Bar.

oue

O. .

MinimB

.

"T^ .

.

T

T

.

T

T

Quavers

T

T

L

quavers.

64

or

trTrrrrrrrrrrrrrrrrrrrrrrrrrrrr\ /

BBS

l^^^s

B^s

Bsss

i^^^s

BBB9

^^^a

IBEs

'^''*''^''-^

Semi-demi-semi

18

NOTES.

Breve

of:

2

It

OF

tlff^^^ri^r^^ff^m^^fmm^^^'

to

easy

semiquavers

from

see

ohets etc, the

minim When

etc.

crotchets

two

several OF

EXAMPLE

Semibre"e

two

that

the the

etc:

semi

breve

crotchet

CONTRACTIONS

or

equivalentto

IN

sixteen *n^leeu

and

MUSICAL

the be

four

or

crot.

to

quavers

joined

as

two

below.

NOTATIONS.

j^t^f^^^

two thirty thirly^wo

or

minims

two

etc:

quavers

togetherIhej must

come

ABREYIATIONS

OR

eight oi^gi^ "'*

is two

to

etc: semi-quavers,

quavers,

four

or

tabl"

above

the to

rnrrrr Minims.

Equal

Crotchets. Semi

Quavers.

quavers. Demi-semi

ARTICLE THE

OF The

dot

equals etc.

to

serves

minims

two

This

the

icrease is

preceeding

equivalent

applies equally to

when

three

to

note

AFTER

by it is

half

its

NOTE.

A

a value; consequently,

dotted; and

so

EXAMPLE.

-X s

Triplet

next

inferior

Sometimes this

case

a

is

of three

duration,

which

the

curved

notes

line

are

breve

which

crotchets, quavers

i

B^

S7

?

Jn

1

group

a

semi

minims,

i

Jl

fff JL

for

on

N-

/

fTT

rrr

quavers.

rests.

i "

Semi-demi-semi

X

PLACED

DOT

quavers.

notes to

are

divided

is drawn

over

arising from performed

be

into it

the

division

in the

time

of

(5,7, 9, etc:)equal parts ^

"",^

'^

'5^

h!"

in the

a

of two

note

instead

above

in three

such

equal parts

of the

notes.

of

example

4, 6,

or

8,

as

usual; in

IS

ARTICLE

Musical

A

Compositionis which

the stave and

aceross

divided

XI.

equal portions,called

into

also called bars.

are

Measures

Measures

Bars, by short linesdrawn

or

in their turn

divided into

are

equdlparts

called beats. There

three kinds

are

byl^

beats indicated

of

th.it of four beats

measures;

2, and

or

that

of three

beats

EXAMPLE

Of four -fHf-

I

or

*"

I

ft

PF=e^ how

Beats

Common "

f

r

I

"

f

y

rrJrrrr'curmF beat it

2^=^3

these

N

"

1

"

I

Derived

from

of two

In two

it ?

from

that of three Beal

OP

H

1"

is also

called

are

Compound

TIMES.

Beats.

that of four

from "

Times.

"

1"

#

"

"

"-

a

semi

breve.

four

In six

time.

In six

eight time.

four

time

f

iir-iixr."''r\r''rrT"'[ir;'r"'^ 'rr.r'rrrr

...

a

(aliaBreve)

\rrrrrr

COMPOUND

^

^"

of

eightpart

eighttime.In

In three

There

f-

^

f

y

Derived

"4

rr 'rrrrTT I

rirri[iir'"'r'r.r'fa[j:ri'" -irf'rrrrrr"

i

Beats

time.

"-

rf-^TT'f'Liimrcirca' the

times

Common

2-^^

or

others which

many

"f-"

-O-s-

12

or

-4

""

31

eight time, derived I

1

,

I

it i_i^2

Beat

ffft

.M

that of two

.

EXAMPLE

In twelve

by C,

jL.

-4*-

to beat

ir rirrr

derived

are

measures

time indicated

or

Beats.

3. to

5

Beats

'i

OP

how

-M4

how

two

n

?^

to

by

a

TIMKK.

Of

'

"*""^ r

that

SIMPLE

time. f

Of three

From

OF

Common

or

indicated

composed

measure

of

nine

five

In three (wo

eight time

times .

times.

5

how II

So written

g

t"o

l"

beat f

"

it f

5^^ I

"

f

"

"

"

I

M

M

f

""^r rrr'LrLrtrtJLf 'r r r

II

"

In five four time

(Observation concerning beaten

the

^ time.) When

a

slow-

differently

Mov^

has

to

how

to

beat

it in

a

slow

Mov!

played

be

6

6 ""

or

b^-j4 3'

in

-fttime

it is

14"

XV.

ARTICLE

SLURRED

OF

In order This

and

ly

music Slur

which

united

one

as

called the

Mezzo

Tie

This be

should

sign

of the

different

monotonous

When

bow\

it embraces

which

notes

called

ttM

NOTES.

it

Staccato

that the

note"i

be

must

signs are

shows

separatedbut

playedsmooth-

notes

in unison

each

that

bow in

employed.

are

to be

two

over

occurs

played shortly and crisplystopping the

shows

staccato

less

that the

shows

single stroke

a

note.

it is written

agreeableand

more

or

connectedlywith be

must

called

'""

r-

render

to

DETACHED

AND

of

the

stroke

over

This

each.

on

one

th^y

notes

of (he

bow.

EXAMPI.RS

^ITI'IH II ^'flTi'li Slurred*

Staccato.

Mezso

ARTICLE

SIGNS

OF

In order that the this

and

sound

.^T

"

until the end. of ten

are

jy

To

To

tbe

/zy sJZf/jp cale

a

P

thus

is

cres

or

marked

-4^.T1ieword

even

accent

or

Dol.

to

of sound

Diminuendo

or

a

hmr is borrowed

a

increased

from

from

and

the Violu

even

to

to

diminution

give an

a

To

loud

as

two

in

of sound

words

from

i)im.

play loud the

areaddreviated

passage

The

to

ihe word

y* cres^

soft is shown

ablireviations

signs of expression;

idea of this expression.

diminished

employed. They to

loud

Chord.

exact

then

are

when

long

a

and

Dolce

show

that

gradually diminished

be

and

shows

"~

the middle

Piano

and

Zmorz.

employed

on

as

loud. These

soft

This

it must

PP

marked

play very

also

are

far

as

Italian words

abreviated

single note

single note

that

Very softly is when

employed.

are

Z

used, and similarlythe

/"over on

be

must

signs

this

play softly the

gradual increase

the

Zmortando

words

to

used, and Fortissimo

is

show

c"it"/o abbreviated

by

when

show

sound

EXPRESSION.

OF

gradually increased, ^^'^^ ^^^

"^

abbreviated

Forte

word

and

be

m"ist

XVI

different

music

give expression to

to

staccato.

"-,

A, V,

r/^sf, indi.

u

ARTICLE

OP

GRACE

(PORTAMENTO

A

Notte

Grace

them.

called

a

sjualler ibau

note

a

1'/ instance

lu the

iU value

is

from

fhe

note

Grupetto

or

its value which

Turn

XTII.

OR

(he

APPOGGIATURA

is (hat of half

and

should

be

TURN.)

OR

others, and

preeeed*. When

(m)

NOTES.

the

note

several

frequently

placed more which

occur

executed

more

follews

and

before

in the

togethereither before

ihan

it^ it borrows af ter^they are

or

briefly.

Sign

used

for

a

Turn

with

the

lowest

note

made

"harp Z*^^

Sign

used

for

a

Turn

with

the

highest

note

made

flat

(c^)

EXAMPLES

as

played.

\vrit(eu

Effect,

t

xc

as

written.

I

played.

1

I

Effect.

-nr

as

^^^

written.

EXAMPLES

n"*TORN. Effect.

^rruM as

written

played. Effect.

as

written

played,

after

33:

I"

XVIII.

ARTICLE

OF

The

tauce

Mode.

Shake

Trill

i"

or

them

between

by

18

several

of

ways

a

little

are

both

produced

by

than

more

Hr:

cross

Shakes,

employing others

whilst

nation,

being

never

marked

It

effect

aji

SHAKE

THE

or

and

and

rapid for

tone

which

tr

being

some

prepared

the

a

by

TRILL.

OR

simple

an

and

and

Mode

Major

the

is

of

alternation

equal

a

of

abbivyiation

introduced

the

without

two

for

semitone

word

Trill.

preparation

Minor

the

There

or

are

termi.

terminated.

EXAMPLES.

written.

as

fc_

I Simple,

without

p preparation

or

B Terminated

as

played

written as

Major

m

^

termination but

not

prepared.

Minor.

dis.

the

notes,

"(3(!)3

7033 The

Oboe,

as

with sweetness

and

of tone" flexibility

ing feelingwith every shade In Ihe orchestra it is above

lower notes

heard and the peculiarity of its tone, which is distinctly indispensable,

tone, which

of

stringedand

also

have be

for system prevailed the compass

and

appliedto

modifications

made

en

to

in instruments

to discover the

improve

superioria pro

delicate manner:the

the tone

and

fingering of the of that

present improved state, is

a

very

to make

me

perfectinstiument, and

preserved the fine qualityof its

have

.

Oboe,

system.which

changes entirelythe qualityof the tone,has induced

in

tone

the its

state.*

increase

advise those persons

I would

than utility

habits of

to

derives

In the selection

or ,

to

detect

*

indifferent

JVOT".

These

one

look

.

pupils should

unable

have

of themselves

to

point of

will bear

ihe

the

advice of

followingmark.

Paris.

London.

Several

Method.

on

leaxonB instruments

in this not

Method

descending having that note

to

the

lower

B

Hat,' hare

been

a

master,

strument appreciatea good in-

Barret

t

bad

.

TRIEBERT

placed

economy

keys,otherwise

"

improved Oboes

the

greatercertainty.!

in

more

difficult to eradicate

are

enables

throughout,which

it has the full complement of

theyare

as

to

of which,

keys,two

the greaterlength of the bell

" and F above the lines,with

as

and which engendered,

an

tone

requirean instrument

who

other competent person,

some

of certainty

a

exchange of instruments

or

to G alt: it has fourteen

to siitteen;from

the number

external beanty takingcare

fingeringare

Bb

ranges from

of this instrument

compass

performer to producethe upper notes, such

Oboe

wood and Rose-

manufactured of other woods

time, but the great inconvenience

some

far

that wood

in the softest and most

than quality

(rtlate improvement) the instrument

or

having found

Rosewood,

its mcdianism

having additional branches,

to

instruments.

wind

experimentshave been made

various

be modified

can

finer

a

researches. The Oboe, in its

The

of the

.

are especially

diminishes

embody,

.

preference I recommend

endeavours

Boehm's

natural

any otherof

capablethan

rendering it more

force

varietyof expression

of this instrument,

ducing a fall hoUy of

Many

thns

and combining delicacy qualities,

adapted to produce a good tone; experiencehas clealy proved that Boxwood

best

claim the

new

and

all others, participates both

In the manufactore

wood

the finest

solo instrument, possesses

a

arranged

to

as

to

be

.

BARREr.

The

relation to both

Anglais,or

Cor

Oboe

the

and

Orchestra

in the

as

does

solo instrnment.

a

No

same

capable of prodncinggreatefTpct.

Violin, is

the

to

the

it bears

since

Oboe,

tenor

rotce, and in Italyit is called

of the human

the tone

the Viola

as

called, the

be

it may

as

ANGLAIS

COR

THE

inslrnment

only

not

nearly approaches

so

"Corno

the

laglese

but

and

in

"Xlmana Voce."

qualily'^fits tone

The Caatabile

is

peculiarly adaptedto it is nnrivalled

slow movements

and

melancholyin

express

this

Mosic.

oufits itibr

however peculiarquality,

great rapidityof execution. The

is precisely the fingering

as

same

fifth

producedbeingone

Oboe, the tone

the

on

lower. The

Baryton

fingeredin botn

the

in the

Of teurs.

it is not

Cor

difficult to

so

of the

mentioned

exactly the

same

varieties

better

produceu good toae

tone, and is heard

advantage

to

it,as

practiceof

ama.

As the

same

the Oboe.

on

proficienton

easilybecome

can

merely accustomingthemselves

of malting reeds

Oboe, but

the

adaptedto

on

Oiioe

play the

of it,by

process

for the

as

is also

the Oboe, and

pitch than

qualityof

finer

Anglaisis

those who

Tae proportions.

a

in

Obiigatoinstrument.

an

as

bqth instruments,

these before

is

and

lower

octave

an

it possesses

manner;

Orchestra

suits

ence

same

Oboe, is

these tMo instruments, the

as

music

bass

or

for the

differ

the

to

Anglaisand

Cor

the machine, tools,and re(piires

Baryton be

to

cane

of

larger proportions. In addition to these varieties of the Oboe,tHO than the

ordinaryinstrument, and

ineut.in

militarybands,

ON

The

qualityof

instance, if the Oboe tone

line from

vith

amateurs. Oboe

be

a

at

Pupils Method.

time

a^:r

(\ill at and

uiy

held

to similarly

at a proper

be

kappy 3 1

minor

to

most

highdr.in"K

third

THE

are

the

of

manner

the

in

note

lower ia

use

common

])iteh

the Con.

on

is position

to

holdingthe instrument;

rarelyhappensthat

place(he

about six inches from declination,

exhibit

Bh,one

INSTRUMENT

the Clarinet, it very

natural

in

effective,playingwiththe"bandBl'Clar

OF

dependsgreatlyon

best and

revidenoc

a

POSITION

the tone

the month,

I shall tat!

are

THE

produced. The

is

and

one

found to be very

Oboe

others; an

of "apul"ilitieM

thette instnuMBts

Gfvticeater Street, Gloucester Gnta,

to

Regcnh Park, and

instrument

the

Maatcrii aLiO

in

good

a

a

for

straight

body,measuring from

of

Bandh

to aelet^

who

Ma/

hiHtrumeiitf

othen.

BARRET.

liivuur

Tcr

THE

However

sentiment

quen% be

that

improved by

and

will be

found

THE

The

brilliaat execution, and

duces

It is

no

the

particularlyin The

succeed.

(3 )

reed

must

the

tip of

the

the

pnpil drawing reed

the

cause

with

to pass

The

be

ly equalin

mouth

must

touch

the

puffed out

to

vibrate. force

some

order

Metkod.

in

forming

cane

The into

In

to

order

(3 )

Hnish

management

to

and

the of

tongue

sustain do

the

.

may

TONE.

Stringed Instrument8.it pro.

is to

articulations.

varietyof

long practiseIhat with

be "attacked"

end

the

of the

together,

act

the

the

pupil

will The

tongue.

leave

close the

to

page

aperture

filled with

air.bylhe

sufficientlyto

quickly to

from deviating'

lips must

be

of air forced

care

at

allow the breath

tongueing.

note, without

stream

as

his cheeks

reed

the

laid down

rules

is then

compressing

this, the

breath:

reed, so

reed; the mouth

must

the

the

according to

note, whether lue

fre

it

recom. previoosly

fingers sympathise,or

after

itifAis constitutes

to

THE

_

tone, which

bad

a

con

followingmanner.

the

of

bow

relyon

must

point,for

I have

study

infinite

an

must

long breath, retainingit,and

a

the tone.

practice and

phrase

in the

tone.

and

only

placed in

tongae

ition indicated at page

Oboe

of every

is great difficulty

justness of

of

tongue

it is

the

pnpil

if not

tone; quite the

the

essential

most

scale

the

what

means

the

performed

pieces

two

make

commencement:

be

The

between

to

beginning

must

tongueing

task

easy

is the

improve

"ATTACKING''

OF

Instruments

follow tliat the

of

mode

improving

MANNER

is to Wind

tongue

that

comparativelyuseless

is

stag^es of study,have

The

practice.

not to

to

earlier

the

be, it

may

it does

devoted

very useful in

ON

tone

endeavonr

not

be

must

pupils,in

care

the

sentiment; but

attention

utmost

happens

mended

and

taste

expression alone, and

or

trary; his

beantifnl

exqnisiteand

accompanied by

TONE.

it be

forte

must

be

or

the

quality

carefully kept

into

the

reed

piano: this

taken

that

the

must

in the pos" be

requires cheeks

playing.

BAKRtT.

or

perfect, great are

not

RESPIRATION

ON The

pils generallynse the reed.

In

formance.

bars,

tigue find

beginning

As

musical

pnpil of the

a

be

has

sufficieot it must

be

done

delicate in

too

remaining

the

quantityof

Articulation

is to

and it intelligible, which

without There dicated the

by

notes

tacked

by

The over

are

a

so

it

modes

two

curved

line

marked

must

the

degree of

ON

ARTICULATION. Accent

is to music

^

be

fa_

in

middle

the

have

to

care

of

a

passage,

used in

power

Speech;it is made

forte is

it into the forcing

to express

instrument.

playingclear

the

renders

duced pro-

subjectand

and

passidn,

above

or

under

a

and

the of

group

The

staccato. notes:

it

first is in

that signifies

played smoothly,exceptingthe first,which

is to

be

all at.

tongue.

B...

^.r. rrrr[^i^iriLc{ra^^Mi

second,

or

each

note,

the

staccato, is indicated

that signifying

those notes

by dots, round must

be

or

placedunder pointed;

accentuated, short

and

JV9

7.

" I

" .

I

t

J.

"

4L

i

33:

i

3a:

I

Ex:^

:^r^f^pf^ "^l^gfe4^^ r. I

Method

or

distinct with

the tongue.

Oboe

per. four

or

this without

effect of piano zjid

The

articulation:the slorred

^

its

understood.

be of

fur

in

respiration.

avoided.

the

articulation that

never

can

taking breath,

and

air

Music, what

by

is

be

must

nose

apertnre

two, three,

portionescape, taking

a

half

is termed

more

Pu

playinga phrase,the pupilshould

If in

In

than

easilyaccomplish

may

let

must

passage.

what

quickly,by

of

composed

are

of the

smaUaess

skilJ.

and

mauagemeni

inflated sufficiently

be

must

moYement.

air,he

finish the

to

the

requiredfrom

constitution

slow

a

much

Breathingthrough the by

is

phrasesseldom,

even

retained

than

much

reqnires

phrase,the Inngs

a

most

exhaustion,

or

breath

more

Oboe

the

breathinginto

of

manner

BARRET.

6*

The the

difference between

same

as

ii is maiked

There

is

must

be

short,

playedvery

(Ex:^),while the ronnded

line of

in the second

pointedone

must

one

be

eqnallydistinct.

soft bnt

more

the Ivro dots is,that the

another

of

mode

""hich articniating.

marks:

unites both

^--"^^^1 This on(

must

be

playedeach

note

bnt with distinct,

the

soft tongne. and

a

note

held

to its fnll valne.

Fnpilsshonld carefnlly practisethese tribute

greatlyto giving varietyto

the

fonr different ways

playingand

form

of

the

as articnlating, theycon.

groundwork

of

a

good

execution.

There

are

some

ways

of

articulating passages

in solo performing: the ticnlarly and

best

selection must

the instrnmenl.

adaptedto

.VPi.

I will

than others,par. advantageous

more

depend on

give a

few

which

is the

most

effective

examples:

1 fifrgfrrfgrrffi -

Bx:5.

^^ In

rapidpassages is to be

In passages

of

to requiring triplets

as suitingbetter preferred,

of four notes,

the Oboe, whilst NV 3. is

as

in the

be

the

executed

with

vigour,N?

ample 1. of this ex-

Oboe.

following example,N?

1. is the

most

effectiveon

t)f execution. for rapidity preferable

Ex: 6-.

Obne

MeChoil.

BARRET.

la passages

of six

notes

"vliea it is better to take

moveiueut

be

preferred, excepl

of the above

modes

of the passage

of articaiatiou may

which

to

be

used: the choice mnst

-and applied,

they are

ON

the time

exhibited where this

has

nature

bestowed

by taking the

latter

at all events expression,

The '"nuances" simo,to

a

no no gift, practice, study,will

to ing good music, and listening

i.

OT

so

far

shades

and fortissimo,

as

of

vice

the

favourable

the

the movement.

to be

one

be

is only acquiredby study,

organisation Upon

artists,will give a can

able to

in

some

notion of what

and phrase correctly

intermediate "nuance"

an

versa,

for instance,a phrase abrupttransition;

marked

as

play_

is meant

In

from goinji-

executed

by real

affectation.

without

is necessary

N9i, mustbe

have

sapplythe placeof

measure

to music. expression, give variety

who

those

the habit of

confer it. Nevertheless

ever

best

models,

as

of

dependon

EXPRESSION.

unlike those musical attributes which may Expression,

it;and

rapid

very

a

N9 3.

7.

Any

not

la

^^"^Mrr^0frr^frrr^.^'?0.

i Ex:

lo

1.

"Vo

nature

Ex: 7. N9 i. is

as

to as

pianis.

a

avoid

an

N? "^.

Ex:i.

marked, differently

Ualess

increase the tone, and

it is

decrease

a

it in

generalrule

that in

ascendingpassages

we

should

descendingpassages.

Ex:;?.

It is

a

great

error

to make

it to thinking exaggeration, and

onlyshows Obue

Method,

their want

be

a

"nuance"

on

every note.

Many persons practisethis

they deceive themselves, it expression:

of real

the feeling

more

is but

affectation,

strongly. BARPET.

8

"Nuaaces*' should be used than to

butoneinapbrase.

to use to say, it is preferable

that is spariugly,

it away destroythe good effect by frittering

in several smaller

**naauces.

good.

In

syncopatedpassages

"x: N9

note

Ex:

1

is

as

it is

jyo

1

care

to avoid

be taken

must

usuallymarked.

N?

the second half of the

avoided. carefnlly

be

must

2

marking

-

4. JV9 2 bad.

like the

In passages

it is eqaally following necessary

is specially marked: bar,unless the composition Jr9 1

which "nnancing,"

ten iion to this most

to

be

performed,and

dominate

over

activ the

same

an

Oboe

the

must

to

never

Method.

is bad*

2

only by a long practiceof acquired and

I advise

pupilsto

largelyevery

the Orchestra, the solo

positionas

and equalise

must

make

the dif.

the utmost

pay

in his power

means

playerbeing,for

at.

be then

In soli, or

than

to

passages

one

as

contrary the

not to be heard above an

or

to pre.

in performance,

not

for several ins tuments, the

assisting part of

solo has

produceeffect,and

and playedas piano as possible,

blend his tone,so

making himself more

the

a

to allow the solo instrument

the time of his

accompaniedsinger.If on

an

When

few remarks.

a

subdued accompanimentis sufficiently

use

solo instrument.

eiideavonr

N?

essential part of Music.

shonld accompaniment.it

above the

ments.

be

regardto orchestral performancesI

scope, the solist

ns

can

modifications of the tone isa greatresource,

With

it shonld be marked;

as

beat in the

good.

In fact the art of ferent

N9i is

markingevery

to avoid

Oboe be

e\

be used heard

performermost

below the other instru

harmuaious

whole. BARRET

SMALL

ON No

that

been

fixed rales hare

Their

execution

to the taste and

JW^

as

and in this

be

In

in which

the

there

point in are

by

is sotroe,

I-

I

35:

^ one

artist.

another

II gy Ii^^l

n

r

is

the other: onlyE\:2

modern

in the

more

which

every

body

of the passage

agrees

in the

are

manner

note; they must principal

a

on

the

intention

of the composer,

tone,which

written. of

executingsmall

then be slurred

notes,

qaic^yon

is

nhen

that note,

note. principal

when

same

can

be

a

the distance of the small note.fromthe

third,a fourth,a fifth,"c

note, is principal

more

"c.

"x:o.

J IifQIjI II AH

Method.

for,

4.

It is the

Uboo.

than

taste

of abbreviation, and in passages

means

of changingthe impossibility

doubt, all the notes

in order to arrive in time

a

m

by

manner

only employedas

are

in the

st'veral before

Ex:

or

way

notes

playeris

if there is anj A

player. This

preferable.

course

da^s,small

our

I,.!.I

follows

ry jn1 frg-i

..

good one equally

Ex:^, and of

the

is(ftrf^) ^i'A ^cfiirii

ex:..

and

GROUPETTES.

capriceof

^

!sa

be executed

can

Bx:

AND

thus.

jr.^ T^

Ex: J.

TRILLS,

written on"smail notesr

left entirely

written

passage

a

is

NOTES,

plajred, BARRET.

than

10

Tiie (rill,or

is

mordenfe,

iu quicklyas possible,

as

iu N9 1 of the

shake,placedon

a

order

to

give

following example,bnt

if it is pecially

moderate

a

it

be execated

is

indicated

in N?

as

^

it is marked

as

of the

"x:Es^

same

movement.

^ .

of short value,and which is strncli

It brilliancy.

more

it mnst

note

a

-.

---V--"

.ji

.

Ex:".

If

the

on

contrarythe

is

movement

it is executed rapid,

follows:

as

febT-^^fg^-^-^jT^^T The which

groupette, which is indicated in this

employedin

are

be execated

if

as

passages

as

is also ("%")

manner

those of N? 1 of the

written in N? S

of the

one

of those abbreviations

bnt example, following

which mnst

"x:

same

.voy

Bx:

7

There is I have

great deal

a

given of

known, the

rest

it is

to

more

quite sofficient

will be learned with

CN

the

they

most

to

on

this

show and

time

REED

but,in subject,

the

my

be formed

of reed description

to

suit the

requiresfor

he

view

opinion,the

is the most

pupil what

that

be

essential

lo

their

reeds.

practice.

MAKING.

importance that performers should be able

It is of paramount As

be said

and teeth,none \\\fs a

reed

adapted for

to make

well

own

the

can

Judge so

one

performerwill be

as

player

un. totally

fit for another. There

ityof

are

three

thingsnecessary

tone, bnt it is almost

Difficult

as

reed

and

Ohoe

size of the reed

Method.

can

constitute

a

and quaL certainty, good reed, justness,

combined. impossibleto have all these requisites

leaking may

the introduction of the

to

be, it is

machine

new

be

simplecompared

and tools (a recent

with what

it

was

invention), by which

previous to the thickness

as regulatedas precisely possible.

BARRET.

12

Take

of its roundness, and

part with ( 7 ) until the between

cane

place it

the thumb

(o) slice

on

is of

cane

Hrst

and

a

have

of the gouge

knife

the

if the inside be found

and

the cSiiie out of the groove

and

finger of each hand

small

portion of the in the middle

the middle

proved by taking the

is

bending it contrary ways:

side, at each

out

account

on

it,scrape

on

which flexibility,

proper

a

effect

no

thick

too

cud,

as

figure ( 6 )

at

"

and scrape

slightlythe

surface

must

be examined

to

now

Place small be

reed

the

been

edges of the shape,until the

the knife pare

from the

it touches the

shape:push

the sides to the

V

;

then placethe whole {l4), Take

reed

ly:take place it pass

interstice

on

each

in the niche

A

mouth

for

each

a

few

lower

along the collar,where

the cord

the reed up

to the

part

an

gain to the collar and fasten with

stapleand

reed

jeeied.and

a

of the reed

to make

M.'lhod.

fresh

a

off the mandril, and

reed commenced. them

even,

blow

it

the reed

the

and.

cane,

with(9),to resemble

0.

to prove

the

of

ends

until the reed fits tight,

tie

a

knot

at

the

end,

stapleis divided:

fallingdown: wind

the silk

the collar,so

bring the escaping:

as

down

silk

about

scrape the

each slightly

16^J*part of

un

to

a.

to

this,it will be necessary

into it:if the air escapes, it must

surface

two.

after

is above

Cut the silk off,and

file the upper

or

top, between that

the collar of the

staplewhich

slipknot:

minute

the reed off, and

it down

edge prevents

of the

a

minutes.

staple,press

part, where

for

{n\ then put the

the mandril

close the aperture at the sides,and prevent the air

Oboe

side

to

necessary

will fix the

shape of the steel. Take

side of the

in the

the

over

silk cord, sufficiently strong not to break, and

some

tightlyround

take

it

spring {(\)) up, which

staple(/o) and place it on

the

in the

in the

bend

other side: observe

file (he top a little on making the edges straight, gnre

mouth

in the

reed

The

across.

("):itis

illustratiou

the

scraped, by placingit

along the shape ( d )

placed on equally

with

has

the part which

moisten

if it resembles

see

the line goes

where

be

re.

side

inch

BAftflEt.

13

each

on

reed

the block

oa

of the

reed

in order

J,

the blades,

between

small

portion off

that there is

care

sign the

a

top,if

too

small

very

a

little on

a

will be

strong,scrape

a

good

off to prevent its

steel

(ll)into

the

sarface

smooth

at

side.

each if

one;

dle aboat the mid-

the

top.snffieieuL blow into the

Now

thought too weak,

that it has

the

the reed,

of

the form

eat

taking

it until it suits the embonchnre,

and scraping,

the

pieceof

thin and

very

pared

reed

a

the tip of

portion of

knife, scrape

same

also

be

in inequality

be taken

must

corner

the

no

the

side,nntilit becomes

if it '*crows,"it is

reed, and

off

it;introdnca

open

(le),and with

as

each

on

(7^) cut to

allow it to Yibrate;it mnst

ly to

a

\viih the knife

side,and

(77):each

Hnished^to resemble

breaking,it ought,when

ex.

actlythe drawing (77). It is

only experience which

embouchure: he

with

msiy have In

thiaaer

to the

the

the

pay

I trust

add

that

and

taken

a

Method.

greatest

derive

may

now

be found

too

then cut

attention

have

to

much,

difficult and

a

or

at the

commencement

making

his

own

a

know

service

some

from

suits the

the reed

when

a

reed

good

too little vibration,it must

the tone

small

is tooshrill, scrape

piece off

the top,as

delicate part in reed

to this

at first

which

master

are

master

method of

from

scraped the bottom

the finishing

to persevere

reed.

is

ad.

until

he

of it.

of

making value

more

of his studies, would

in

be

making,the pupil

importantpoint,and

clearlyexplainedthe

lessons from

pupil to

nothing

thoroughlyacquainted with, and

I have

few

the habit of

Olii"e

is the most

the

himself

makes

should

of the reed, and

middle

to

reed

for

top:if it vibrates

Scraping vised

little trouble,he

thought good

case

at

a

will enable the

soon

a

than

good reed, but all written

enable the

pupilto

reeds.

BARRET.

I must

rules;

acquire

14

T^.JxJjJ^'J

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0

0

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".

TABLE

OF

CHROMATIC

THE

SCALE.

_.vt^ Chromatic scales, placedexactly in ascer intended to assist papils, The foiejunin;;: one over the other, are the written sound exactly tainingthe idetnKythat exists between certain notes, which althootChdifferently See. The ohjectof these scales is to show al a glance that the. sach an AJtand B^ E? and FI| same, only difference is in the notation.

i

,

t-

EXPLANATION

2__

OF

the

TABLE.

this table,which is not covered "ith a key,is represented hy a hori6 lines; ^iz: three for the righthand and three for the left. conseqaently These are crossed by dotted perpendicular lin"-"jeach leadingto a note in the scales ahove. Wien the hole is to be closed, it is indicated by a black dot, "; when it is to remain open, hy a white one, o; the vhite with a liiif across it thus.izf; that the hole must he half covered. The numhers placedabove th"'dot on signifies the pf-rprndicular with them, are to lin". are to show that,the kejswhich ha"e been numbered to correspond with double branches, and have two to theirposition. Tvo of the kejn are provided open or clost^d according numbers with each. The highest denotes that the key is to he opened hy moving the double branch, one (N?6.) the littl"iiun-rof the lefthand. This is used with in passages liVe the following. greatadvantage

E"pryhole

of the Oboe, drawn

sontal line.There

are

on

6 holes and

,

Olwi-

WfduM

PARRET.

1

I I

1. 2,

2

1

a

1

'3

2

1

TT

2

1

1

3

2

JS

2

1

"

1^

*

3

2

^

2

:i

);,.IJjjjiii,ii;i.iii.iJ.iii 1- I!

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1

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1

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I

I

I

I

I

I

I

I

-f

2

IZ

n

i:

!

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13

13

13

0

8

0

J^

.

14

J^ 13

13

13 12

I I

1 I

i

i

1

"

I

4

I

3

I

'

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14

24

I

I

I

!

1

I

l^ t.}

13

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1^ i^ L^

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Jl I ^ M

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I I I I I

8

8

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with the othi'r(N*MO.)

thumb

I

I

o

o

e-

"

of the left hand

"

"-

o

o

Q

"

o

o

o

o

I

I

o

"

-e

o

"

o

"

is rery useful in

a

"

o

o

-"

"

"

e-

"

of this kind.

passage

^^^Tgr.f^ The

key(N9w.)is

liijC beingthe

same

as

ased from

^^

Ei]to Ai|

|l|

\ \ 1

to

down. the finger prevent these notes from breaking

in the lower octave, ami also to shih ih: ocUives

has the The key{N?14.)

same

effectfrom

bI" to C| thus .

5-"L_

thns

/"p ""* '*f

m ^

.

"*

M

gv=s

.

:"

'

m

.

and connected by a brace to have double, triple, or quadruple thoyare numberd seperately fingering, The first fingering is the most used. The others are to facilitate passages ofdificult occur where such difficalties execution in the ordinary way of fingeringIn the differentlessons in this Method Some

notes

denote the

of sound identity

.

.

I have

as

numbered

notes ^^^Ttain

and

it is necessary

to

The

thus.

refer to this table notes

over

for the

which there is

and figure corresponding

note

line

to be

a

carved

are

not

note. attacked by a tongue, but slurredwith the preceding It *-iIlbe troublesome at first, but in a short time, the differentmodes of fingeringwill be committed

to

the

nieraory Utiot' Method

BARRET .

I

i

r::iL

._-8

9 ,^-

^

I

I

I

I

I

I

I I

I

o

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o

I I

I I

I

o

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o

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I I I I

I I I I

I

I

I I I

I

I

I. i

(

I

I

I

I

I

o

"

I

...J

Explanation The the

(^

black

marks

of

irhieb t^n to be

the holes

degi^ate

"

TABUTURE

the

of

Oboe

on

closed, the

aeros

the

the holes to be left open

.

.

The

marks

+

cross

raised; it is pariicalarly

is to be

with, the thamb

is met

plAte for the tharob ofihe left band, and whenever this mark

Systew

New

Barret's o

fingering;but when the cross is found and tt aToid cross foUowin^ in both octaves preceedingexam*" *''"*" ^^*" **'* "P****"**^*^* ** **"**""' ^^^^ t k'^t fLTl l^e.*^n *" "*oable branch of the octare key No UB mast be used rfflrCfrrVfr^r'Tnri' ^ UTI HHI ffffl *J^^^ ^f g^*=b#**=l"'" =t AD the levers of the keys are numbered and have the corresponding TO Jj JJ'* *ftJ^* indicated by the same figureas the prin lines Some keys have donMe branches ; they are figures above the perpendicular us.d

to facilitate sacb

the

as

passages

+

4.+

+

+

+

,

+

.

.

cipal branch, but with the letter B added

"i

These which The

are

levers have new

ty the maiks

indicated

any

.

^

at

are

shakes

which

Some

examples will suffice

to prove

jf

traced above the notes with those numbers

of

one

some

levers

2

which

*J1^

EX.3,

^i^

in the

hitherto done;

been

which

shakes

fingeronly;when

^

an

press down

those that the levers

are

as

it rendere

before

were

impossi

formerly two easy

iRvery

above

the notes

of the

theyrepresent. The

were

re

Look .

corres

examples

dotted

,

lines

that the loers corresponding or other signs .indicate passages and preceded by numbers the first example: kept down as long as the lines continue above the notes. For instance take down by the littlefinger of the left hand and ke|"tm above the first note are to bv both pressed and T placed

signs oaght

as

the lines

are

not

to be

are

above the notes. |"rolonged

The

is marked, the ordinaryfingering

same

to he

for the other passages

used; for those which

.

which

have several

always be prefered.

Bb andJCil ihe only notes changedfrom the old scale, are made as indicated in the Tablature E("key N95 may be used for holding steady tb"- instrument from Fjf up to Cj(on both octaves. .

,

baf"re,l""t

of the scale (or the numbers

lines perpendicular

^ ~"

fts

this;.

jJJJ^Ipondingwith

m

keys. C!|

the Bb and

same

tune.

all that has of

tne

of the different

or

that position so long

j

_

(ft

"^

The

neany

To find the fingering of these passages

Ex.".

The

small levers above remain

in perfectly

the

j:"" P_jaiia_^ "jjj*'jjj^.i njj^l ~^ZZZ^

the first must

false

were

over superiority

immense

r

R"r the notes

also two

fingeringand makes perfectlyeasy the execution faculty of producing many effects by the simple motion

change of

quired actingin contrary direction:

The

are

for the shakes, wliictt

used generally

of the

ble. Itirives also the

There

the side of the number.

and

advantageof rendering those and G" has an keys E^. f1|

the

system

unnecessary

D

fingerings,

in the

follovring passages,many

iave

to imite attempteH

tin

allthe atUaiitages of the practice

of Orchestral music and

s

theyhave

formerly very

le

and

of the

^hich the

resources

I have

tr"i c"n]y

it is for the only,

This impossible.

even

not to

teginners.

l"estmode for allto

these practice

to take the passages

as

fast

as

chief advantages of this

le

of the following short fingering make

a

system

over

whnt ;"hewing

commence

a

frag

mistake to Relieve

^e done with it;and

can

with these jwi.ssages

execute

can

after

,

care

whicF facility comparative

certain knowledge ef a already possessing

observation is addressed to persons

small studies is to

the

at Jeast sufficientof them

itwould be

and amplified,

of in rapidity increasing slov/ly,

possible, observingall the time to slur each passage

le

to possible carcefy

cribed and

sole purpose of

short time,the student will T)e astonished to find that he difficultor

or offers, sj'stem

new

whenever there is occasion for it. Many of these passages I have found in

dVnsemWe*V-hich "musique

T)een composed for this instrument

for a pplication

instrument

mechanism

exactly

as

movement

until

they

is it is markedjas slurring

are one

,

preceding

ones,

exercises is to "befound

by the rules I

have

givenabove;with

a

Kttle

care

and

studyit

will

mistake.

^J7S_pl'

'"'

6j'' 'lib ''W^'Wlj^" 'if'" 1111111i"i I[iih"'f|f"' w

^r*-*

t

he foUnuingare

1

t

F

iVi

'

'

vTYV^rZNTVt

\

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m

SHAKES. the

new

The to the passage. the octave key NVlland NV IIB according "* "

is to be fingering V

in the octave above, same fingering by indicafed for the Examples. already 9^ J^..z.^zzr-t-"Jl

be made by *he

of the firstcan shakes,which Mith the exception

found

-----^

w rrggf-'Q" y

"

t

as ^

"

adr

^

'^^^^f^ [^'t ^" '-y--

IS

ON The

shake

is indicated

"trillo': they ure shake

be of

can

semitone,

a

fonrth, it then,changes its

in many

There

ar^

In the

kiiown

pupilcannot There

of the

shakes

table of following of the

mistake

piece.

as

abbreviation of the abbreviation

an

be balanced

mnst

the distance of the

avoid

to

writing the

rapidlywith

balancingis

of

all the notes

case,

,

Italian word

third

a

a

or

written.Bat

are

becanse it would be

the

snperior

impracticable

.

the a

and preparation,

the termination, demand

pupilto find out, without

particular fingerings,

the assistance of

master.

a

I have I believe providedfor this defect,existing in allthe tables

,

the shake, and preparation,

the termination, are

indicated in

that

manner

a

.

several ways

are

When

tone.

also

thus,

an

piano,and stringedinstruments

for possible

not

are

All the notes

.

the

shakes in which

many

and which

a

used

are

mari"ed

axe

and is called "tremolo",in this

wind instruments

upon

cases

or

name

onlyemploy it for

composers

the

the note, and

in fall. It signifiesthat the note

which

one,

placedover

letters "tT" which

the two

by

SHAKES

prepariog and terminatingshakes

of

If the movement

is slow, the

shake

mast

be

,

the

depends on

it

terminated

preparedand

movement the

in slowly

'm

following manner, If

the

on

/f-^' fibril'

thus:

contrary the

is ver^

movement

quick, the

shake

terminated

preparedand

be

must

thus

These The

usual preparations and terminations

the most

are

this table

in fingerings

in the chromatic

scale

to be found

are

in

of shakes

the precisely

.

those marked

as

manner

same

.

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AfriMATO

219

TERMS.

MUSICAL (ITALIANJ THE

FOLLOWING

ARE

VERY

HEART.

BY

LEARN

TO

IMPORTANT

AbkNTiatloD

Accelerando

Adagio Ad

.

libitnm

With gradually increasing of movement velocity .

.

A very slow movement At will, or discretion

.

.

.

Andante

.

.

Animato

.

.

.

A slow movement

.

.

.

.

.

.

Slower than Andante Animated,life Apocoipoco By littleand little Atsai Very A tempo time Original Ben Well Bis Over again Brio Brilliant Cantabile Graceful Head or b^iinning. Capo Coda Termination Con With Crescendo To increase Da. By, for,from From the b^iinning DaCapo. Di Dtminiieiido To decrease Dolce Sweet,delicate Andantino

.

.

....

Allegretto Not so quickas Allegro All^ro Quick

.

.

.

.

.

.

....

Marziale

Al^

Meno

And*?*

Moderato

And^

Molto Morendo

A tem.

.

D.C.

....

.

Dim. Dol.

.

.

Express.

.

.

.

"

End of movement, Loud Very loud

.

Grand

style Very slow,solemn

.

.

Stricttime

Grand^

.......

.....

Irresolato

.

.

Slow measured movement

.

.

"" "" "t

WITH

maestoso

grave

.

.

.

.

.

.

.

.

.

.

Andantino sostenuto

Allegroagitato tf t" "* "t (t

With pleasure

.

.

.

.

Very soft

.

assai brio con

.

.

.

.

.

....

.

.

con

fuoco

con

moto

con

spirito

.

.

.

.

.

PP-

More Littie

.

.

.

.

Very quick

.

The

.

.

.

Rallentando Ritard .

Signo Sempre Spirito .

.

.

.

.

.

Sostenuto Staccato

degree of quickest

.

In the

ment move-

styleof

Less speedof movement Retardation

,

.

Rail. Rit.

Sign (dalsigno) repeatfrom sign Always lively Spirit, Sosf.

.

Sustained

.

Short, distinct

Stringendo Acceleratingthe .

degree

of

Quickly

Subito Tacet.

Silent ;.....'.... Time Too much To play, to join

.

.

.

THE

.

Vivace Vivo Void Subito

ADDITION

ma non troppo Slow, but not too slow. cantabile Slow, but in a singing style. molto con Slow, but with emotion. Slow, but gracefully. grazioso

" "

.

Presto

Quasi

Tutti

......

Laige

TERMS Andante

Indispensable

.

Tempo TiDppo

Elegantly Impetuously. Irresolutely

Larghetto Largo

Fine.

/ ff

.

.

.

Not.

.

movement

.

.

.

....

.

Fire,animatioB

.

,

etc

Impetuoao

.

.

D.

.

.

.

.

.

.

Non

More, much

Agitation

.

Cret.

.

.

.

.

Eneigico Energy. Esiwessivo Expression Finale Forte Fortissimo Fooco. Grandioto Grave Goisto Gusto

.

.

.

"

.

Graduallydying away

.

Poco Presto Prestissimo

.

.

.

.

Moto

.

Maest? Marzl^ Men. Mod*?

.

.

Piacere Piano. Pianissimo .

..;....

.

.

.

.

.

.

.

Obligato

.

.

Martial Less Moderate Much

.

.

connected

Majestic

Piu

.

"

.

.

Mosso

.

.

.

But

.

C.

.

.

.

.

AU*^

.

.

.

.

.

Lento Ma Maestoso

...

.

.

.

Accel. Ad? Ad. lib.

.

.

.

Smooth Slow

L^;arto

Slow, majestic. Slow, solemn. Slow, and sustained.

Quick,with agitation. Very quick. Quick,with brilliancy. Quick,with fire. Quick,with agitation. Quick,with spirit.

Quick Lively Turn quickly

OF

Allegromoderato piu mosso

.

.

" "

vivace

.

Ben marcato Con forza Con brio ed animato Con espressivo Dolce con gusto .

.

.

.

.

.

.

.

L'islesso tempo Meno mosso Meno vivo Piu lento Piu presto

WORDS.

OTHER

.

.

.

.

.

.

.

.

,

.

.

.

.

.

.

.

.

.

.

.

.

.

Moderatelyquick. quickly. Very quick. Rather

Well With With With

marked. force.

animation and brilliancy. expression. with elegance. Sweetly,

The same time. Less quick. Less spirit. Rather slow. Rather accelerated.