Beruflich Dokumente
Kultur Dokumente
A. M.
R. Barret
Complete Method
for the
Oboe
OriginalEdition
Son, Ltd.
J. R. Lafleur "
Sole
Loadoo,
New
SettingAgents : Boosey
"
Hawkes^ Ltd.
III,
ArtlKtlWi
Cmpe Town,
Puis.
INDEX
of
Principles
Music
-
The
Oboe
Scales
No.
-57
-
No.
108
-
130
-
"
-144
No.
'159
Studies
Grand
207
Varic
Air
Second
119
-
First
No.
Fifteen
2
-
Sonata
1
-
Sonata
Mdiodies
-
Sonata
19
Progressive
Sonata
Exercises
and
Forty
Air
Varie
-213
-
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Preface
Since
keys,which
nation of the
with
interfering
bdow
the
in
fingering
same
not
to
only added greatly
the
from
highto
and
fingering
also posesses
be difficultin
It would
of the octave
much
requiresa
it,without
systemspreceeding
of it,owdngto the
master
only two
notes
beingabsolutely
changedin
added
method,all of which
new
further
and
difficult,
very
even
easy,
is
as
by a
now
easy to slur
is to say
softness
and
but
subject,
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
best
qualitiesof
modification
slight
have
artists,who
Mons
not
onlyspoken to
others I may
cite the
professorsand
its
names
is
use
amateurs
the few
errors
on
one
have
good results.
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
and
disadvantages,
marked
to be
unites,in my
scarcely
necessary
same
This
and
expressedtheir greatsatisfaction at the change,
add
their
sU^itan
terms, amongst
flattering
It is
insfarament which
rapidmovement.
other. It
Besides
in
parityof fingering
on
impossible
some
in the most
answers
very
as
experiments
regardsthe best
Rosewood, that
and
Boxwood
so
are
comparatively
very
will be found
in the
keysit
so
of the
1 believe possesses allthe good qualities
to the
veral
se-
of slurring*
especially
greaterfacility
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
of many
the difficulty
playedwith precisely
be
may
shakes
perfect
more
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
the other
or
combi
new
without
to the performer,
facility
greater
give
to do away
before impossible;
were
which
system,
as
one
in forming a
"believe,
systemci fingering.
is to
C,(that
to the upper
which
the old
ther
directed towards the far-
have succeeded
work
I have
objects
principal
The
Oboe,and I
of the
Edition.
Second
the
of the
publication
the
to
which
w""
instrument
leaves
facturers.
manu-
beforeuncorrect
PRINCIPLES
MUSIC
OF
ARTICLE
I.
MUSIC.
OF
Music
I
is
the
Melody,
II
Melody
is
combining
of
art
souadi)
in
agreeable
manner
to
the
it is diTided
ear;
into
two
parts.
Harmony.
combination
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
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
the
an.l
familiarly
are
Clefs
These
known
and
them
There
are
of
not
are
serve
different
two
they
those
Viola
and
of
g,
Tenor
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
star
according
lines
upon
BUt
notes.
"
thus:
C
^
-o-
the
On
Four
different
of
sorts
T.'^
Tenor
or
Two
sorts
of
or
Li
ne
^
2r
t.
1'.
Clefs:
m
the
and
an
^
On
Line
5'."
Line
Line
and
4\
Line
Clefs
Bass
m
On
the
"ometimes
C'
the
used.
are
points
of
sort,
CFef
the
Ti
beginning
starting
use,
^,
Clef
asi:
Clef.
the
at
the
written
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
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
(each
degrees
seven
or
being
note
8*.'' degree
of
degree)
of
repetition
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
Sensible
or
Sub
also
Sub-Mediant.
Note.
Key
Scale.
or
notes.
Octave
the
SCALE.
Octave
its
to
note
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
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
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
special
article
vrith
the
different
Chromatic.
de"
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
G-G,
etc.
E-F
or
well
as
Intervals
Conjoint
are
from
as
to
or
DisjunctIntervals
are
to
said
As.
other
On
on
between
the
because
and
the
distance
it
is called
them
between
is
there
because
only
between
the distance
ou
to
(see Ex.)
3'.*
Two
comes
junct
Dis-
Interval
an
of
them
exceeds
th*" in.
Intervals
or
different
one
Space)are
derive
their
Two
notes
degrees
placed,
notes
called
the
on
natural
Second
order.)
name
from
placed
IV
degree
or
Interval
on
the
the
distance
gree
de-
same
the
Second.
Third.
4*.''a
Fourth.
5\^
Fifth.
6'.''a
Sixth.
7\^
Seventh.
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.
8: 1. OF
are
above
from
F.
ARTICLE
existing
ijn the
as
Diatonic
or
by Conjunct
anoter,
one
line
to
space
Conjunct
Scale
or
from
apart
from
or
space,
to
G-F,
G-E,
ierval
from
line
Diatonic
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
Secoud.
Third.
Fourth.
Fifth.
Sixth.
1
113
Seventh.
Octave
Descending.
8
n
8
n
8
xx
JXIZ
5
zx:
JUL
_8_
8_
zx:
zx:
azz
IX
xx:
=:3E5:
zx:
"*Tr
8
=xr
T"e-
:;=xi:
-r-e-
3r
TT
Unison
": 2?
The
inversion
Unison
OF
of
becomes
THE
INVERSION
interval
an
Ontave,
an
OF
consits
in
Second
(in the
INTERVALS
becomes
lower
the
making
Seventh^
Third
and
higher
the
note
order.)
natural
becomes
vice
EXAMPLE.
Unison.
Secoiid.
TMrd.
^."7-..||M.l
isrz
ixr
inverted
Unison
To
be
1 and
in
correct
becomes
this
9, second
make
Octave,
an
nine
becomes
Second
or
and
make
In order
they
are
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
"
the
or
another
ALTERATIONS
PRODUGEO
or
the
the
ready
raised
AMD
SHARPS
NATURAL
(even
sign)
(^
Lowers
note
the
note
Semitone.
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
raised
note
same
by
NOTE
of
means
semitone
The
same
Sharp.
Sharpened
by
NATURAL
NOTE
NATURAL
NOTE
The
The
note
same
bv
of
means
*
NOTE
The
same
Sharpened.
semitone
The
same
note
The
same
Flattened
Flat.
by
semitone
Natural.
restored
means
its natural
to
note
raised
of
Natural.
tone.
semitone
o-
note
lowered
note
same
lowered
note
of
means
t^CC
XE
NATURAL
or
on.
INTONATION.
OF
semitones
Flats
Seventh,
Thus
VI.
SIGNS
the
tt and
Sharps
EFFECT
THE
Unison.
Second.
becomes
obtained.
be
ARTICLE
notes
3X
"^
Third.
inverted
always
must
seventh
OF
nr
ZE
^
number
the
3X
-s-e-
Fourth.
Fifth.
Sixth.
Seventh.
^e
Se^^i; ^''-^^^
T-eTT
^0_o
Octave.
on.
so
^Ji^
Fifth.
Fourth
xi:
tl..'
and
Sixth
then
versa;
Flattened.
The
same
note
restored
to
its natural
tone.
ft
proceeds hy
which
scale
Scale; (The
Art.
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
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
XE
"JOl.
is
there
when
is Minor
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
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
from
semitone
V}
the
to
ABC
$
Tone
II
REMARK.
of
posed
The
minor
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
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.
Natural
Sharpened
Sama
3^
Enharmonic
aoand
as
xi:
Notes.
nataral
and
/i
Watqral
3X
Flattened
Same
innr
Enharmonic
sound
as
Bnahiral
vrai
i
Notes.
The
signature signifies
word
certain
number
of
after
placed immediately
Flats
and
Sharps
Clef
the
Wlten
Sharp
neither
The
Key
Flat, conseqaently
nor
Natural
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
Keys.
distances
the
each
between
degree:
Degree
8
ssde:
-o-
xe:
-e^
jje:
A
The
All
and
Scale
above
the
thai
other
In
they
The
Key
of
Example
Scale
Scale
the
of
the
Minor
Nataral
the
It is
all
in
Model
of
Key
the
in
follow
semitones
the
is
of
another
Minor
all
Natural
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:
Major
i'^ third
preceediug
the
in
Minor
of
Ex:
in the first
Minor
Minor
scale
scale
scale
its
scale
Scale
Minor
8".' semitoue^aKin
every
Tone
A.
and
of the
Tone
Major key.
key"
the
that
the
the
Tone
that
tone
the
Minor
1*.^semitone
combs
baa
the
on
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
-"^
ixr
4o-T^
ZE
zr
the
S*.**Degrees.
the
gnature
si-
S*.*^
Degree of the
semitone.).
1".^semitone
theMajorcomnbetween
the
key
commences
and
Semitone
EXAMPr.E.
ever
what-
on
db^
Tone
and
in
seen
playing*
to
bringii^ the
31^ Degrees
S"^ and
Semitone
Tone
its
semituues
Scales
11
irr
Distance.
aM
tones
"
Minor
Diatonic
seen
five
that the
remember
Major
IV)
Art:
in
be
will
Scale.
order.
The
to
of the
Keys.
3X
3E
3X
It
semitones.
mentioned
important
most
S*-^ Degrees
Semitone
S^** Degrees
Degree.
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-
IMPORTANT
By taking
Minor
its
thus
and
sharpened, becomes
scale
and
has
been
mni:h
in
formed
in
use
semitone)
from
the
Major
scale.
old
Style
of
Degree
By
this
it is
scale
that
the
written
as
Minor
follows
Music.
3X
m-
-O:*-
XT
3X
F
Id this scale
'
the
seeming
the
regular to
more
ascending (which
SemiUne,
Semitone, Tone,
."
"
**"*)"
yet it is
eye,
is
Tone
Semituue,
.,
*^^X
note
in
semitones
Semitone,
Tone.
"
Toii"
tone.
"
and
ZXsi
l^/s^Ace.Tone.Semifoae,
four
shown
clearly
is formed
means
788
ear
1^.'
perfectly the
shows
scale, which
Mnjor
leading note,
or
the
very
SCALE.
MINOR
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
SII;NATUKE
THE
once
what
4:
3E
*
C
FlatH.Their
on
positions
"
E
E
2:
which
2?
sharp is placed on
iu
the
t^
ORDER
aud
sharpened iu
S*.**
Degree
the
of
Minor.
the
of
between
occurs
are
ascending
OF
THE
:t: Of
SHARPS
by
(he
natural
in
Masters.)
our
8b
FLATS.
The
the bta^e.
Doable
F
last
Major Mode,
OF
THE
the
and
DIf
the
the
series
l-ERENT
of
f.lef
followingthe
beginning
and
4*''degree
placed on
flat:
"
3E
key
of
2".'*
Degree of the
tone
another
of 7
Major
and
6, and
always becomes
order.
same
followingthe
MODES
ihe
of 7
series
EXPLANATION
ascending order.
follows
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?
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
iiS,
fr
"
Minor
The
to
first
key
F
that
fifth in
itAm
XE
flat
sharp
placed on
is
S*.**
Degree
the
'Major, and
XJl
seventh
R, (he
Minor
the
rase
vvithout
degree
key.
tonic
of
of
the
first, and
the
key
clef
the
In
ii^s
"1
placed on
last
the
of
Iff
placed
is not
The
second
in the
t^
second
the
iO:
descending order.
and
xc
keys
P
Observe
^
31
becomes
the
case
xs:
with
on
G, and
of
always
first
the
so
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
r.
It
xn
Observe
Either
REMARK.
degrees
9ame
unless
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
VT
placedon
piece
the
Music,
of
effect.
of
bar
one
only, unless
natural is met
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
i^te
first, and
the
Ipwer
accidentally to suspend
comes
sharp
course
Flat
sharps
at
or
natural
Accidental
in the
second
the
that
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
Semitone,
(jommos
Chromatic
{"
Semitone.',Diatonic
tiommuB
li
Semitone.
Gomia"w-
"
lo
SPE"I4L
TABLE
IntervaU
OF
THE
Jg
of
Secouda
INVERSION
OF
1 tone.
1 ioiie
and
1 sfniitone.
^
Mi
7'"
OOP
Sevenths.
become
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
beinginverted]^2 semitones.
become
d6f?^
gmentedo
Dimini
Minor
become
ff^P V
aiid
"^'U
3x:
4 tones
and
and
5 tones
2 semitones
semitones.
I1
tone
and
llsemiton*
.
and
i semitone.
2"""1
Minor
mi
=cx:
2 semitones.
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:
tones
2 semitones-
.1 semitone.
Major 3":"*
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.
14 ione"
and
6V'"
11
Fifths
1 tone
beinginverted
l2
3semitnues.
"
6*.''
)fMiuor
Auymentede'.^Major
4 tou4s
and
4*^ Augmented***'
fDiiiiiBi8hed4'.*lfperfect
Foarths
Sixths
*nrcr
4 tones
of
being iiiverler
Dimiuished?!''
=cx:
INTERVALS.
Thirds
,
-^
'
2.
THE
ALL
and)
Auifineuf6^2*^1
*"^ lulervals
I M
beiugiuverled
become
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
Quaver.
Demi-semi
rest.
of the
P^
3:
Quaver
Semi-demi-^"'ml
Quaver
rest.
rest.
or
i
Two
Bars
Rest.
Six
Bars
notes.
Semt-^d^i-semi
Quaver.
w.
Quaver
characters
notes.
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
Crotchets.
or
OP
16
Semi
"
'"
"""";r
""""/"'
Bar.
oue
O.
.
MinimB
"T^
.
Quavers
quavers.
64
or
trTrrrrrrrrrrrrrrrrrrrrrrrrrrrr\
/
BBS
l^^^s
B^s
Bsss
i^^^s
BBB9
^^^a
IBEs
'^''*''^''-^
Semi-demi-semi
18
NOTES.
Breve
of:
It
OF
tlff^^^ri^r^^ff^m^^fmm^^^'
to
easy
semiquavers
from
see
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
value; consequently,
dotted; and
so
EXAMPLE.
-X
s
Triplet
next
inferior
Sometimes
this
case
is
of three
duration,
which
the
curved
notes
line
are
breve
which
crotchets, quavers
B^
S7
Jn
group
semi
minims,
Jl
fff
JL
for
on
N-
fTT
rrr
quavers.
rests.
i
"
Semi-demi-semi
PLACED
DOT
quavers.
notes
to
are
divided
is drawn
over
arising from
performed
be
into
it
the
division
in the
time
of
"",^
'^
'5^
h!"
in the
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
Compositionis
which
aceross
divided
XI.
equal portions,called
into
are
Measures
Measures
or
in their turn
divided into
are
equdlparts
called beats.
There
three kinds
are
byl^
beats indicated
of
measures;
2, and
or
that
of three
beats
EXAMPLE
Of four
-fHf-
or
*"
ft
PF=e^
how
Beats
Common
"
"
rrJrrrr'curmF
beat it
2^=^3
these
"
"
Derived
from
of two
In two
it ?
from
OP
1"
is also
called
are
Compound
TIMES.
Beats.
that of four
from
"
Times.
"
1"
"
"
"-
semi
breve.
four
In six
time.
In six
eight time.
four
time
iir-iixr."''r\r''rrT"'[ir;'r"'^
'rr.r'rrrr
...
(aliaBreve)
\rrrrrr
COMPOUND
^"
of
eightpart
eighttime.In
In three
There
f-
Derived
"4
rr 'rrrrTT I
rirri[iir'"'r'r.r'fa[j:ri'"
-irf'rrrrrr"
Beats
time.
"-
rf-^TT'f'Liimrcirca'
the
times
Common
2-^^
or
others which
many
"f-"
-O-s-
12
or
-4
""
31
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
Beats
'i
OP
how
-M4
how
two
?^
to
by
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.
how
II
So written
t"o
l"
beat
f
"
it
f
5^^
I
"
"
"
"
""^r rrr'LrLrtrtJLf
'r r r
II
"
(Observation concerning
beaten
the
^ time.) When
slow-
differently
Mov^
has
to
how
to
beat
it in
slow
Mov!
played
be
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
shows
staccato
less
that the
shows
single stroke
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
"
are
jy
To
To
tbe
/zy sJZf/jp
cale
thus
is
cres
or
marked
-4^.T1ieword
even
accent
or
Dol.
to
of sound
Diminuendo
or
hmr is borrowed
increased
from
from
and
the Violu
even
to
to
diminution
give an
To
loud
as
two
in
of sound
words
from
i)im.
areaddreviated
passage
The
to
ihe word
y*
cres^
soft is shown
ablireviations
signs of expression;
diminished
employed.
They
to
loud
Chord.
exact
then
are
when
long
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
/"over
on
be
must
signs
this
gradual increase
the
Zmortando
words
to
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.
ARTICLE
OP
GRACE
(PORTAMENTO
Notte
Grace
them.
called
sjualler ibau
note
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
Turn
with
the
lowest
note
made
"harp Z*^^
Sign
used
for
Turn
with
the
highest
note
made
flat
(c^)
EXAMPLES
as
played.
\vrit(eu
Effect,
xc
as
written.
played.
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
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
by
TRILL.
OR
simple
an
and
and
Mode
Major
the
is
of
alternation
equal
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
termination
but
not
prepared.
Minor.
dis.
the
notes,
"(3(!)3
7033
The
Oboe,
as
with sweetness
and
of tone"
flexibility
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
very
to make
me
perfectinstiument, and
have
Oboe,
system.which
in
tone
the
its
state.*
increase
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
Hat,' hare
been
master,
strument
appreciatea good in-
Barret
bad
TRIEBERT
placed
economy
keys,otherwise
"
improved Oboes
the
greatercertainty.!
in
more
difficult to eradicate
are
enables
throughout,which
theyare
as
to
of which,
keys,two
as
and which
engendered,
an
tone
requirean instrument
who
some
of
certainty
exchange of instruments
or
to siitteen;from
the number
fingeringare
Bb
ranges from
of this instrument
compass
Oboe
wood
and Rose-
some
far
that wood
than
quality
or
having found
Rosewood,
its mcdianism
to
instruments.
wind
various
be modified
can
finer
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,
Many
thns
and
combining delicacy
qualities,
best
claim the
new
and
In the manufactore
wood
the finest
arranged
to
as
to
be
BARREr.
The
relation to
both
Anglais,or
Cor
Oboe
the
and
Orchestra
in the
as
does
solo instrnment.
No
same
capable of prodncinggreatefTpct.
Violin, is
the
to
the
it bears
since
Oboe,
tenor
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,
is precisely
the
fingering
as
same
fifth
producedbeingone
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
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
pitch than
qualityof
finer
Anglaisis
those who
Tae
proportions.
in
Obiigatoinstrument.
an
as
bqth instruments,
these before
is
and
lower
octave
an
it possesses
manner;
Orchestra
suits
ence
same
Oboe, is
as
music
bass
or
for the
differ
the
to
Anglaisand
Cor
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
line from
vith
amateurs.
Oboe
be
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
exhibit
Bh,one
INSTRUMENT
natural
in
effective,playingwiththe"bandBl'Clar
OF
dependsgreatlyon
best and
revidenoc
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
to
instrument
the
Maatcrii
aLiO
in
good
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
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.
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
tongueing.
note, without
stream
as
his cheeks
reed
the
laid down
rules
is then
compressing
this, the
breath:
reed, so
must
the
the
according to
note, whether
lue
fre
it
recom.
previoosly
fingers sympathise,or
after
itifAis constitutes
to
THE
tone, which
bad
con
followingmanner.
the
of
bow
relyon
must
point,for
I have
study
infinite
an
must
the tone.
practice and
phrase
in the
tone.
and
only
placed in
tongae
Oboe
of every
is
great difficulty
justness of
of
tongue
it is
the
pnpil
if not
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
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
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
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
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
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
and
the
of
group
The
staccato.
notes:
it
first is in
that
signifies
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
"
.
J.
"
4L
33:
3a:
Ex:^
:^r^f^pf^
"^l^gfe4^^
r. I
Method
or
distinct with
the tongue.
Oboe
per.
four
or
this without
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
half
is termed
more
Pu
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
much
Breathingthrough the
by
is
phrasesseldom,
even
retained
than
much
reqnires
phrase,the Inngs
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
line of
in the second
pointedone
must
one
be
eqnallydistinct.
soft bnt
more
another
of
mode
""hich
articniating.
marks:
unites both
^--"^^^1
This
on(
must
be
playedeach
note
bnt with
distinct,
the
note
held
Fnpilsshonld carefnlly
practisethese
tribute
the
playingand
form
of
the
as
articnlating,
theycon.
groundwork
of
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,
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
moveiueut
be
preferred,
excepl
of the above
modes
of the passage
of articaiatiou may
which
to
be
-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
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,
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
ever
best
models,
as
of
dependon
EXPRESSION.
it;and
rapid
very
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.
avoid
an
N? "^.
Ex:i.
marked,
differently
Ualess
it is
decrease
it in
generalrule
that in
ascendingpassages
we
should
descendingpassages.
Ex:;?.
It is
great
error
to make
it to
thinking
exaggeration,
and
onlyshows
Obue
Method,
their want
be
"nuance"
on
every note.
of real
the
feeling
more
is but
affectation,
strongly.
BARPET.
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:
is
as
it is
jyo
care
to avoid
be taken
must
usuallymarked.
N?
avoided.
carefnlly
be
must
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,"
to
be
performed,and
dominate
over
activ the
same
an
Oboe
the
must
to
never
Method.
is bad*
I advise
pupilsto
largelyevery
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
or
to pre.
in
performance,
not
assisting
part of
solo has
produceeffect,and
and
playedas piano as possible,
the
accompaniedsinger.If on
an
When
few remarks.
subdued
accompanimentis sufficiently
use
solo instrument.
eiideavonr
N?
shonld
accompaniment.it
above the
ments.
be
ns
can
With
it shonld be marked;
as
beat in the
good.
N9i is
markingevery
to avoid
Oboe
be
e\
be used
heard
performermost
harmuaious
whole.
BARRET
SMALL
ON
No
that
been
Their
execution
JW^
as
and in this
be
In
in which
the
there
point in
are
by
is sotroe,
I-
35:
^
one
artist.
another
II
gy Ii^^l
is
modern
in the
more
which
every
body
of the passage
agrees
in the
are
manner
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
note, is
principal
more
"c.
"x:o.
J IifQIjI II
AH
Method.
for,
4.
It is the
Uboo.
than
taste
means
of changingthe
impossibility
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,
left
entirely
written
passage
is
NOTES,
plajred,
BARRET.
than
10
Tiie (rill,or
is
mordenfe,
iu
quicklyas possible,
as
iu N9 1 of the
shake,placedon
order
to
give
following
example,bnt
if it is
pecially
moderate
it
be execated
is
indicated
in N?
as
it is marked
as
of the
"x:Es^
same
movement.
^
.
It
brilliancy.
more
it mnst
note
-.
---V--"
.ji
Ex:".
If
the
on
contrarythe
is
movement
it is executed
rapid,
follows:
as
febT-^^fg^-^-^jT^^T
The
which
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:
There is
I have
great deal
given of
known, the
rest
it is
to
more
quite sofficient
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.
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
ityof
are
three
thingsnecessary
Difficult
as
reed
and
Ohoe
Method.
can
constitute
and quaL
certainty,
good reed, justness,
combined.
impossibleto have all these requisites
leaking may
to
be, it is
machine
new
be
simplecompared
with what
it
was
invention),
by which
previous to
the thickness
as
regulatedas precisely
possible.
BARRET.
12
Take
cane
place it
the thumb
(o) slice
on
is of
cane
Hrst
and
have
of the gouge
knife
the
and
and
small
portion of the
in the middle
the middle
is
side, at each
out
account
on
it,scrape
on
which
flexibility,
proper
effect
no
thick
too
cud,
as
figure ( 6 )
at
"
and scrape
slightlythe
surface
must
be examined
to
now
Place
small
be
reed
the
been
from
the
it touches
the
shape:push
reed
ly:take
place it
pass
interstice
on
each
in the niche
mouth
for
each
few
lower
the cord
the reed up
to the
part
an
stapleand
reed
jeeied.and
of the reed
to make
M.'lhod.
fresh
reed commenced.
them
even,
blow
it
the
reed
the
and.
cane,
with(9),to resemble
0.
to prove
the
of
ends
tie
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
surface
two.
after
is above
or
top, between
that
staplewhich
slipknot:
minute
it down
edge prevents
of the
minutes.
staple,press
part, where
for
the mandril
Oboe
side
to
necessary
side of the
in the
the
over
some
tightlyround
take
it
spring {(\))
up, which
the
in the
in the
bend
mouth
in the
reed
The
across.
("):itis
illustratiou
the
scraped,
by placingit
placed on
equally
with
has
moisten
if it resembles
see
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
top,if
too
small
very
little on
will be
strong,scrape
good
steel
(ll)into
the
sarface
smooth
at
side.
each
if
one;
dle
aboat the mid-
the
top.snffieieuL
blow into the
Now
that it has
the
the reed,
of
the form
eat
taking
and
scraping,
the
pieceof
thin and
very
pared
reed
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
ly to
side,and
(77):each
Hnished^to resemble
breaking,it ought,when
ex.
embouchure:
he
with
msiy have
In
thiaaer
to the
the
the
pay
I trust
add
that
and
taken
Method.
greatest
derive
may
now
be found
too
then cut
attention
have
to
much,
difficult and
or
at the
commencement
making
his
own
know
service
some
from
suits the
the reed
when
reed
good
the tone
small
is tooshrill,
scrape
piece off
the top,as
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
in
be
making,the pupil
importantpoint,and
clearlyexplainedthe
lessons from
pupil to
nothing
I have
few
the habit of
Olii"e
is the most
the
himself
makes
should
middle
to
reed
for
top:if it vibrates
Scraping
vised
little trouble,he
thought good
case
at
soon
than
enable the
pupilto
reeds.
BARRET.
I must
rules;
acquire
14
T^.JxJjJ^'J
x-m
""
"t
".
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.
t-
EXPLANATION
2__
OF
the
TABLE.
E"pryhole
sontal line.There
are
on
6 holes and
Olwi-
WfduM
PARRET.
I
I
1. 2,
'3
TT
JS
"
1^
:i
);,.IJjjjiii,ii;i.iii.iJ.iii
1- I!
-="
!i
I M
i
'
-f
IZ
i:
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of this kind.
passage
^^^Tgr.f^
The
key(N9w.)is
liijC
beingthe
same
as
ased from
^^
Ei]to Ai|
|l|
\ \ 1
to
has the
The key{N?14.)
same
effectfrom
bI"
to C| thus
.
5-"L_
thns
m
^
"*
gv=s
:"
'
notes
denote the
of sound
identity
I have
as
numbered
notes
^^^Ttain
and
it is necessary
to
The
thus.
over
for the
which there is
and
figure
corresponding
note
line
to be
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
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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
marks
cross
raised; it is pariicalarly
is to be
is met
plAte for the tharob ofihe left band, and whenever this mark
Systew
New
Barret's
o
to facilitate sacb
the
as
passages
4.+
"i
These
which
The
are
levers have
new
ty the maiks
indicated
any
at
are
shakes
which
Some
to prove
jf
of
one
some
levers
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
signs oaght
as
the lines
are
not
to be
are
The
is
marked, the ordinaryfingering
same
to he
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
lines
perpendicular
^
~"
fts
this;.
jJJJ^Ipondingwith
keys.
C!|
the Bb and
same
tune.
tne
of the different
or
(ft
"^
The
neany
Ex.".
The
in
perfectly
the
j:""
P_jaiia_^
"jjj*'jjj^.i njj^l
~^ZZZ^
false
were
over
superiority
immense
also two
change of
The
are
used
generally
of the
There
and
the
system
unnecessary
fingerings,
in the
follovring
passages,many
iave
to imite
attempteH
tin
allthe atUaiitages
of the
practice
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.
these
practice
as
fast
as
chief advantages
of this
le
of the following
short
fingering
make
system
over
whnt
;"hewing
commence
frag
mistake to Relieve
can
with
these jwi.ssages
execute
can
after
care
whicF
facility
comparative
certain knowledge
ef
a
already
possessing
small studies is to
the
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
or
offers,
sj'stem
new
whenever there is occasion for it. Many of these passages I have found in
dVnsemWe*V-hich
"musique
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
Kttle
care
and
studyit
will
mistake.
^J7S_pl'
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w
^r*-*
he foUnuingare
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vTYV^rZNTVt
^'^ff^^*'^Lcir
* * * *
' i=TTTT^
SHAKES.
the
new
The
to the passage.
the octave key NVlland NV IIB according
"*
"
is to be
fingering
V
be made by *he
of the firstcan
shakes,which Mith the exception
found
-----^
w
rrggf-'Q"
y
"
as
^
"
adr
'^^^^f^
[^'t ^" '-y--
IS
ON
The
shake
is indicated
be of
can
semitone,
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
avoid
to
writing
the
rapidlywith
balancingis
of
case,
Italian word
third
or
written.Bat
are
becanse it would be
the
snperior
impracticable
the
a
and
preparation,
particular
fingerings,
the assistance of
master.
indicated in
that
manner
several ways
are
When
tone.
also
thus,
an
piano,and stringedinstruments
for
possible
not
are
the
shakes in which
many
and which
used
are
mari"ed
axe
wind instruments
upon
cases
or
name
onlyemploy it for
composers
the
which
one,
placedover
the two
by
SHAKES
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
ii
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19
I recommend
degree
is
of
the
proficiencymay
indispensableto
finger:
afterwards
practise
the
to
have
been
him
to
enable
it preserves
scales, is
th"
practiseof
coastanl
to
attained
acquire
and
by
the
these
improves
even
performer
This
be
must
care
qualities.
32
the time
and equally.
distinctly
that
each
is heard
note
SCALES
MINOR
IN
ALL
increase
KEYS.
THE
'o
L^t
rrt^
ra:
CE
jto
ET
IO
EC
32
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t"=m
3a:
CC
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331
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13
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a
Olioe. Method
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t|0|||L^
s:
to
way
taken
L-'iior^
33ZS
best
to
gradually
^^:^:2:^.^
The
beg:inslowly(Sosienuto)and
AND
MAJOR
beginner
rapid movement.
most
Particalar
the
to
of
strengthof lip and agility
and
firmness
whatever
Exercises
following"Scales and
the
o-
52
O-
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za
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cc
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29
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BARRET.
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21
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BARRET.
O1)oe
Method
22
SCALES
DIATONIC
Scales
These
ate
Keys
be
practisedin
by playingthe
notes;
leaving
may
the
out
Scales
abbreviations
SECONDS,
by
as
and
various
THIRDS,
written;
small
by playingthe
notes
by playing the
afterwards
":c
the
by leaving-ont
ways:
they are
FOURTHS
intermedi
or
only, and
scales in different
same
be
It must
accidentals
understood
that when
be
required must
the
retained
pupil transposes
in
the
memory
the
Keys
the
Secojvds.
A"? I
Jb
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Oboe
BARRET
as
FOURTBS
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BARRET.
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SEFEJ^THS.
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NO
7.
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w;f
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fin
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pjij"
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Oboe
Method.
"ARRET.
CHROMATIC
1.
NO
SCALES.
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125
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126
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137
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128
BARRET.
130
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132
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133
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139
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143
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144
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14"6
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247
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148
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150
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154
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151
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160
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163
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168
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171
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173
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178
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180
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CODA.
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
.
Andante
Animato
A slow movement
....
....
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
""
""
"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
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.
The same
time.
Less quick.
Less spirit.
Rather slow.
Rather accelerated.