INDEX
Principles of Music .... \
The Oboe ------ j
Scales and Exercises - - - - 19
Forty Progressive Melodies - - - -57
Sonata No. 1 - - - - 108
Sonata No. 2 - - - - -119
Sonata No. 3 - - - - 130
Sonata No. 4 - - - - -144
.Fifteen Grand Studies - - - -159
First Air Vane* ..... 207
Second Air Vane - - - -213
f A®®[PTE® ©f TSOE
^BAMOSO^THE ROYALREC,^
^ACADEMY Of *«S^ CS^Naifa^fcT") "°*S£ tf00T ouM<OS
«o«saiamT@iBi-'8a'ilrfa]iE us tfimsisis.
THE NEW FINGERINGS NEWTABIESOF SHAKES SCALES EXERCISES &c.&c.
V~0 W,TH AN <
THE EARLOF^^STMOREIAND
•K*l$AAiK£ 7
First Oboe ofifieJloyalItalian Opem CoventGanten.
Snt Sta Nail
BOOSEY & HAWKES
Preface to the Second Edition.
Since the publication of the first edition of this work, my attention has been directed towards the further
improvement of the mechanism of the Oboe, and I have succeeded I believe f in forming a new combi
nation of the keys, which work easier than before and give greater facility to the performer* without materially
interfering with the old system of fingering.
The principal objects I have attained have been to procure the same fingering for each octave, from C
below to the upper C,(that is to say; a passage written in that compass may be played with precisely
the same fingering in one or the other octave.) To have more perfect shakes on each note, some of
which were before impossible; to do away with the half hole and the factitious fingering* of the old
system, which not only added greatly to the difficulty of many passages, bat deadened the tone of several
notes very perceptibly, corresponding in some measure to the stopped notes of the Horn. Besides
all these improvements acquired by the instrument it also posesses a greater facility of slurring, especially
from the high to the low notes, and vice.versa, this was formerly impracticable, but now by a
slight modification in the fingering and a new combination of the octave keys it is as easy to slur
as from E to 6.
It would be difficult in so short a space to enumerate all the advantages of this new instrument which
I believe possesses all the good qualities of the systems preceeding it, without their disadvantages, and
which requires a much less time to become master of it. owing to the parity of fingering in both
octaves, and yet these good results have been obtained by so very slight an alteration in the fin*
gering: only two notes being absolutely changed in its whole extent. This will at once be seen by
examining the scale I have added and the passages I have written with marked fingerings according
to the new method, all of which are very difficult, and some impossible on other Oboes, but on this
will be found comparatively very easy, even in the most rapid movement,
I have also made further experiments as regards the best wood to be adopted for the instrument and
I find that violet wood answers better than any other. It unites, in my opinion, the best qualities of
Boxwood and Rosewood, that is to say softness and brilliancy of tone, and by a slight modification
in the bore,the instrument has acquired greater force and body without changing its quality. This is
also the opinion which has been given by many eminent artists,who have not only spoken to me on
the subject, but have written in the most flattering terms, amongst others I may cite the names
of Costa, Fetis pere, Berlioz Ac. &c. It is scarcely necessary to say that the instrument I use is one
of that description, and I may add at the same time, that already many professors and amateurs have
adopted it and have expressed their great satisfaction at the change, and its good results*
ft would be unjust not to mention the part taken by Mons Triebert in the construction of this
Oboe; both in regard to the ingenuity, as well as solidity of mechanism, elegance and finish, it leaves
nothing to be desired, and places Mons TViebert at the head of this branch of wind instrument manu-
facturers.
I have carefully revised this Edition of the method and the few errors which were before uncarreet
ed have now entirely disappeared.
PRINCIPLES OP MUSIC
ARTICLE I.
OF MUSIC.
Music is the art of combining sounds in a manner agreeable to the ear; it is divided into two parts.
I Melody, II Harmony.
Melody is a combination of sounds which by their elevation, duration and succession serve to form
a tune.
Harmony is another combination of sounds which by their spontaneous union serve to form Chords.
ARTICLE II.
OF NOTES AND LINES.
Music is writteu with seven figures called Notes, which are named after letters of the al-
phabet.
C, Df E, F, Gt A, B.
The Italian equivalents, in use on the continent, are almost equally familiar to English minds.
Do, Re, Mi, Fa, Sol, La, Si.
C, D # E, F, G; A, B.
These notes are placed upon five boriiontal and parallel lines called the Staff or Stave,
•
Example: f
The lines are counted upwards, the lowest being called the first line. These five lines contain
foujr spaces in which notes are also placed. The spaces are counted the same as the lines the low.
est being called the first space.
But when the instrument requires a greater compass than the stave, -small lines called Ledger
lines are added, under the stave for the lower notes, and over for the upper notes.
_-ZIZIZI Ledger lines
Example: ^^^^^^^^^^^^^^^^^^^^E.
Ledger lines ZZ
ARTICLE III
w
OF CLEFS, THEIR POSITION AND USE.
There are three different sorts of Clefs, namely: (he G Clef $>, the C Clef E, so
ritten |2 or M, and the F Clef 9:
aUo written C:
These Clefs are familiarly kuowa hs:
inetimes
E==#
G ^Clef.
mClef F Clef.
m
Soprano or Treble Clef. Viola and Tenor Clef. Bass Clef.
These Clef* are placed at the beginning of the stave upon different lines according to the in.
•truments or voices for which they are used. They give their names to the lines upon which they
are placed, and serve as starting points to determine the names of the other uotes. Bfil as all of
Ihem are not of equal use, those least required will be indicated by a star *
There are two different sorts of G or Treble Clefs placed thus:
G ^ G
4On the 2ld
Line and IV Line.
Four different sorts of C or Tenor Clefs:
^ mOn (he IV Line
Two sort* of F or Bass Clefs
C
m i
2°.a
Line 3V* Line and 4,h
Line.
mOn the 4
!
. Line and 3 rd
Line
ARTICLE IV.
OF THE DIATONIC SCALE.
A succession of sounds from one note to its Octave is called a Gamut or Scale.
The Scale is composed of eight degrees or notes.
The seven notes of music giving only seven degrees (each note being a degree) a repetition of
the l
bt
sound is employed to form the Octave or 8
th
degree of the Scale.
Example with the name of each degree.
$
l*
f
Degree,
Tonic
or
Key Note
4* Degree.
Sub-Dominant
5l
.
h
Degree)
Dominant.
6,
.
h
Degree.
Super-dominant
also
Sub-Mediant.
7!
h
Degree.
Leading Note
or Sensible
alto Sub Tonic.
8l
.
h
Degree.
Octave.
i
in
2£ 3T
B
It is seen by the above example that each degree bears a name which is descriptive of itself. The
word degree must not be confounded with that of tone or semitone (the latter familiarly known as
half note or half tone.)*
The tune or semitone is the distance or interval between one degree and the next, whilst the degree
is the note itself.
The Scale comprises five tones and two semitones, after the addition of the I*
1
sound producing
the octave or 8
th
note, as in the above example.
*The explanation of the words tone and semitone is given in a special article witb the different Chromatic.
Intervals.
It will be seen in Article VI between which degrees of the Scale these tones and semitones are
to be found.
When the notes proceed from line to space, or from space to line as in the above example the
distance from one note to the next is called a Conjunct or Diatonic Interval from whence it comes
that the scale is called a Diatonic scale or Scale by Conjuuct Intervals.
When two uotes are farther apart from one anoter, the distance between them is called a Disjunct
Interval.
For instance C-D, D-E or E-F are Conjoint Intervals because there is only an Interval of a
second from C to D as well as from D to E or E to F.
C-E f C-Ff C-G, etc. are Disjunct Intervals because the distance between them exceeds th* in^
terval of a second.
ARTICLE V.
?! 1. OF INTERVALS OR DISTANCES (in the natural order.)
As said in the proceeding article, the Intervals derive their name from the distance
existing between the notes placed on the different degrees Two uotes placed on the same degree
are called a Unison (see Ex.) Two notes placed,one on the 1*.* degree of the scale, and the
other on the nearest degree (Line or Space) are called a Second or Interval of a Second.
On the l"
1
and the 3
r
.* a Third.
4l
.
h
a Fourth.
5
,b
a Fifth.
6'. b
a Sixth.
»
i)
» 7*h
a Seventh.
8l
.
fc
an Octave.
9«.
h
a Ninth,
and so ou to the 10\\ 11\\ 1«*\ elc etc.
and the same in descending
EXAMPLE
INTERVAL8 IN THE NATURAL ORDER.
Ascending.
1112 1 1 5 6 1 7 1 8
Unison
Descending.
B 8
n n
Second.
8 7
T-O-
Third.
XC XC
JO.
Fourth.
XC
5^
Fifth.
8
x^:
xc
TIT
Sixth.
8_
xc
-r-e-
Seventh.
8_
XC
•
o '
%J
xc
Octave
XC
?! 2? OF THE INVERSION OF INTERVALS (in the natural order.)
The inversion of an interval consits in making the lower note the higher and vice versa; then a
Unison becomes an Octave, a Second becomes a Seventh, a Third becomes a Sixth and so on
EXAMPLE. ^ e
o rum. ~ -——-. jjev^: ~ c
i
1 Unison. 2 Second. 3 Third. 4 Fourth. 5 JFiflh.
*Jj?^ ? Sgfi^ 8^IOC
I
ii n
i
X2= tt-t
i
1
I m xn EC xc XX
Octave.
:CT
Seventh.
=^ 31
Sixth. Fifth.
^^LP xc
Fourth. Third. Second. Unison.
A Unison inverted becomes an Octave, a Second inverted becomes a Seventh, etc.
To be correct in this the number nine must always be obtained. Thus unison becomes octave or
1 and 8 make 9, second becomes seventh or 2 and 7 make 9 and so on.
ARTICLE VI
OF THE SIGNS OF INTONATION.
In order to change the order of the semitones at will it has been necessary to add tp the seven
notes signs, called Sharps tt and Flats which raise or lower by semitones the notes before which
they are placed.
A note sharpened or fl&tleued is called Augmented or Diminished. (The French simply call them
altered notes.)
SHARP
I
Raises the note
a Semitone.
EFFECT OF ALTERATIONS PRODUCED BY SHARPS AMD FLATS.
FLAT
b
Lowers the note
a Semitone.
Double Sharp
x or -x- or .f.
Raises the note
another Semitone
above the one already
raised by
single tt
Double Flat
M>
Lowers the>note
another Semitone
below the one al.
ready lowered by
single b.
NATURAL (even sign)
I
Restores the note
in both eases
Sharp or Flat
to its natural sound,
position and tone.
EXAMPLE,
NATURAL NOTE
i
The same note raised a semitone
by means of a Sharp.
The same Sharpened note lowered a semitone
by means of a Natural.
i2E #EE n:
:
NATURAL NOTE The same note Sharpened. The same note restored to its natural tone.
NATURAL NOTE.
i
The same note lowered a semitone
bv means of a Flat.
The same Flattened note raised a semitone
by means of a Natural.
* SNATURAL NOTE The same note Flattened, The same note restored to its natural tone.
A scale which proceeds hy intervals of semitones by means of Sharps or Flats, is called Chroma,
tic Scale; (The Art. 8 will show the uumeric order of the seven sharps and flats.)
EXAMPLE
A A Chromatic scale by Sharps
i l l 1 1 I I I
l
^q^ffffpJ liM M *
I
' 1
°'
W w \\\ I
JJ Uj^P
Same by Flats.
F=
JJIIJJI^I'I'UJ,)IJUJJ I] L]IJJI II
ARTICLE VII.
OF MODE.
In the compass of the scale there are to be found both tones and semitones; this has given rise to
the formation of what is called Mode.
Mode signifies the Union of the three principal iounda which form between themselves a Chord
entirely Consonant called perfect Chord ( or Common Chord.) This chord is the base
and constitution of all music
The three principal sounds which constitute the Mode are the Tonic or l
8
.
1
Degree, the Mediant
or 3
r
.
a
Degree and the Dominant or 5\
h
Degree. (See Art III Ex: of the Diatonic Scale) By adding the
Octave to these three Sounds the Perfect or Common Chord is obtained.
There are two kinds of Mode, The Major Mode and the Minor Mode. It is always the l*
f
third
of the Scale which characterises the Mode.
The Mode is Major when there are two full tones in any seal from the l*
1
to the .V d
Decree.
D E
i
*
# 3X
i
3X
Toue Toue
I
The Mode is Minor when there is only a tone and a semitone from the l*
1
to the 3r
.
d
Degree
A. B C
• 3T O -M
Tone
T—^ II
Semitone
i
REMARK. It is seen that there are two sorts of Intervals of second or Conjunct Degrees io the scale una is composed
of 2 semitones or full tone (major second) and the other of only one semitone (minor second.).
The minor second is to be known when the l*
1
note or degree is sharpened or the second flattened
producing* the same sound in each case (These notes are called Enharmonic)
*
EXAMPLE.
B Natural Sharpened aem^toqnd atC natnrai and
11
i° ii
oral ana /) C Nntaral Flattened Seme sound «« B natural
s I I
IDC -UEnharmonic
Notes. Enharmonic Notes.
The word signature signifies a certain number of Sharps and Flats placed immediately after
the Clef
When neither Sharp nor Flat, consequently no signature is at the Clef, it is a natural Key.
The Key of G Natural Major i$ the model of all Major Keys.
Example of the Scale of G Natural Major, with the distances between each degree:
Degree
* i 2 3 «'
5 6 7 8
i ~cr M- 1 o I " I —I-' II
^ B
F G A B C
Distance. Tone Tone Semitone Tone Tone Tone Semitone
The above Scale is the Diatonic Major Scale proceeding by tones and semitones. It will be seen
that the semitones occur between the 3fd
and 4'.b
and the 7'h
and 8'h
Degrees of the Scale.
AH the other intervals are whole tones making altogether (as mentioned in Art: IV) five tones
and two semitones in the Diatonic Major Scale. It is most important to remember that the semitones
occur between the 31* and 4\
h
and the l\
k
and 8'* Degrees in all Major Diatonic Scales on what,
ever notes they may be founded.
In the Minor Diatonic Scale the semitones follow another order.
The Key of A Natural Minor is the Model of all Minor Keys.
Example of the Scale in the Key of A Natural Minor, with the distances between each degre:
Degree. _ _ „ 7 8
< » 1 « I- I
°
I
" 1
'
I 1 mC/ I B C D I P 5 A
Distance. Tone Semitone Tone Tone Tone Tone Semitone
The Minor key is relative to the Major key. A. Minor key has the same si.
gnatnre aa its relative Major key* and its scale commences on the 6l
.
k
Degree of the
Major scale thus bringing* the l!
1
third of the Minor scale ( a tone and a semitone.).
It will be seen in the preceeding Ex: of Minor Scale that the It* semitone occurs between the
It* and 3r
.
d
Degrees and the fit* semitone, an in the Major come* between the 7l
k
and 8l
.
h
Degrees.
It will be found that in every Minor scale the It
1
semitone comfes in the first 3td
, whilst in the Major
scale it comes in the first 4\h
In playing* the Minor scale the notes sharpened in ascending* become natural, in descending*
EXAMPLE.
Ascending. Descending.
{mm i
,n
i
fn
~PiVy°ym"«ui.. ii
IMPORTANT REMARK CONCERNING THE MINOR SCALE.
By taking its starting point on the 6
l
.
h
Degree of the Major scale, which shows perfectly the I
s
!
Minor third (one tone and a semitone) and by sharpening tht* 5
f
.
h
Decree of the said Major vscale, which,
thus sharpened, become* its 7
l
.
h
Degree or leading note, it is clearly shown that the Minor
scale has been formed from the Major scale. By this means is formed a seal** written as follows
and much in use in the very old Style of Music.
Degree
1 2
^ 4
=zxr
5 ^6 x
»
7 i x a
T-8" , o OX ZEE
I31
B E BFGA AGFEOCTone Tone
Disfence.Tone9
$emiione, Tone, Tone, Semitone,
(
Semituue, Semitone, | Semi t on e, Tone, Toue, Semitone, Tone.
Id this scale the note sharpened in ascending remains so in descending. Although agreeable to the
ear and seeming more regular to the eye, yet it is to be seen that this scale contains four tones and
four semitones in ascending (which is incorrect) instead of five tones and two semitones (whifch
is correct.)
To obviate the difference which occurs between the 6*.
h
and 7
l
.
b
Degrees, it has been agreed to sharpen
«1*0 the 4\
h
Degree Major, which is the 6\
h
Degree of the Minor scale, thus equalizing the Major
and Minor Scales with the only difference mentioned in Art: VII about the l"
1
semitone .
Observe that the 7' h
Degree is sharpened in every Miuor Scale and that it is the 5\
h
Degree of
the Major Scale which is thus sharpened and becomes the leading note of the Minor.
In descending the Minor Scale-, one of the semitoues is once more inverted and occurs between the
6l
. aud 5
l
.
h
degrees (See Example) by the reason that the notes sharpened in ascending are natural in
descending. (Very imperfect Scale but we must accept what has been intimated by our Masters.)
ARTICLE VIII
i: 1? OF THE SIGNATURE AND NUMERICAL ORDER OF THE 7 SHARPS 8c 7 FLATS.
7 SHARPS Their positions on the stave. Double sharp: beginning another
i
± * =F=F=*fc £
F C G J> A E B
T Flats.Their pottitinns ontbe btave.
£ E £
!> '
l i
:t; Q'1
.
x
F
Doable flat
=»=
series of 7
and following the same order.
B B A D O C P B
beginning another
aeries of 7
and following the same order.
2: S? EXPLANATION OF THE DIFFERENT MODES ( Major and Minor Key*.)
The first sharp is placed on P the 4\
h
degree of the key of G, and the six others from fifth to
fifth in ascending order. The last placed on the clef always heroines the 7!
h
Degree of the key
which follows in the Major Mode, and the 2 nd
Degree of the tone whi«:b precetds for the Minor Mode.
Thus tho F sharp points out in the first case the tome of G Major, and in the second case the tome
of E Minor
Maior Kevs.
EXAMPLE.
fJ G %J D
Minor keys.
isiil1=
ft) " "
9
i
a
A
P
*=
$
ft A 1
»
p
E
C
ft* n
i
A*pg
i
ts
B
G
^
$
%?=^
$
*&*
P
D
a
pm
$
<fe9iT=fi=HHX r
Observe that the second sharp is not placed without the first, and so on with the others.
The first fiat is placed on B, (he seventh degree of the key of G, and the six others from fifth
to fifth in descending order. The last placed on the clef always becomes the A\ Degree of the Major
key and the 6\h
Degree of the Minor key. In the first case the B flat points out the tonic of
F Major, and in the second rase the tonic of D Minor.
Major Keys
EXAMPLE.
*
Minor
D
Keys
i i $
j&
$
te
i
£ 8 m a33C
** s 33:
irtr
Observe that the second Flat is not placed without the first, and so on with the other*.
REMARK. Either sharps or flats, found at the clef as signature, influence the notes placed on the
$auie degrees or at the upper octave, or at the Ipwer octave during the whole of a piece of Music,
unless a natural comes accidentally to suspend their effect.
Accidental sharp Or flat is available for the whole of one bar only, unless a natural is met with
in the course of that bar.
SPECIAL ARTICLE TO 1.
OF INTERVALS, TONES AND SEMITONES.
The tone is an interval composed of nine partial intervals called "commas*' or of two semitones one
of which is Chromatic and the other Diatonic. The chromatic semitone is composed of five commas
and always occurs between two notes of the same name. The diatonic semitoue composed of four
commas always occurs between two notes of different names.
EXAMPLE.
P
z 7 —v ~
m
*\ / \/ #
" .
\
i Chromatic Semitonei Diatonic Semitone, i i Chromatic Semitone.! Diatonic Semitone. }
fr LI o minus ti p ft iiommae
p
A b lio annuo —\f£ \ OuUHtt**-
10
Intervals of
Seconds
being inverted*
become
Sevenths.
SPECIAL ARTICLE JO 2.
TABLE OF THE INVERSION OF ALL THE INTERVALS.
. (Diminished K^jf Minor 3 r
.*)( Major 3r.
d
'£< l,n
II u b " II
Major2I
i
d Ait £ in eu ted 2^]
Major 7 l
.
h Minor 7 lb
4 tones and
l2 semitones
Intervals of
1 tone and 1 Thirds
t semitone. / , .
^
^
' being inverter:
Diminished/!^ become
tones and
semitones.
Sixths
i 2 tones.12 semitones. II 1 tone and
^ J\i semitone.
[Augmented 6f
.^fMajor 6 l
.
h
Y" Mtuor 6 l
.
h
4 toues aud
2 semitones
J4
tone* and *
\i semitone JlJ
3 toues and
2 semitone*.
Diminished*' 1*
Fourths
being inverted]
become
Fifths
I 1 tone and
I 2 semitones.
[^Perfect ^.^JAuy mea ted th
S
tones aad
semitone.
Fifths
Augmented 5^fPerfect 5M^| Diminished 5^
3 tones and
2 semitones.
3 tones and
1 semitone.
2 tones and
2 semitones.! being inverted
become
2 tones and
2 semitones.
Fourth.
Sixths
being inverted}
become
Thirds.
3 tone;;, and
2 semitones.
Major 6lh "
At tones aod
lsemitone.
Aurmented6l
.
R
4 tones and
2 semitones.
2 tones. 1 tone and
1 semitone.
-N
Major 3 rd
|f
Minor 3 i
:
d ]|Diminished3d
2 semitones.
Sevenths
being inverted
become
Seconds.
It results from the preceeding table that every Major interval become> Minor, and every Minor interval
Major, when iuverted. Every Augmented interval becomes Diiniuishetl and every Diminished
interval Augmented. The Perfect intervals which are the Fourth and the Fifth remain Perfect when
inverted.
ARTICLE IX.
OF NOTES AND RESTS.
There are seven characters which determine the value of notes. It is from these characters that
we learn to know and to measure the time to be given to each of the said notes.
There are also seven rests or silent notes which correspond exactly with the value of the notes.
EXAMPLE OF THE SEVEN HE3T8.
Semi breve. Minim .Crotchet. Quaver .Semi Quaver . Demi-semi Quaver. SeuaUdtjini-seini .
i . j .
j>
aeim^cieu]
Quaver. R
Bar rest.
5Half bar
rest.
Crotchet
rest.
w
$
:t
Quaver Semi Quaver : Demi-semi Quaver
rest. rest. rest.
ISemi~demi-M*mi
Quaver rest.
i
6 or
i
6 «r
Two B»r» Rest. Four Bar* Rest.
5
Six Bars Rest. Seven Bars Rest.
m
oaeSemi Breve
is the equivalent of
2 Minims
or 4 Crotchets
or 8 Quavers
or 16 Semi quavers
or 32 Demi-semi quavers.
or 64
Semi-demi-semi quavers.
T4BLB
VALUE OF NOTES.
one Semi Breve or oue Bar.
11
gggggigBBBBBSiSS
It is easy to see from the above table that the semi breve is equivalent to two minims or four crotchets
etc, the minim to two crotchets etc: the crotchet to two quaver* etc: and the quavers to two
semiquavers etc. When several quavers, semi-quavers, etc: come together they must be joined as below.
EXAMPLE OF CONTRACTIONS OR ABREVIATION8 IN MIT81CAL NOTATIONS.
Seinibre\e two or four °L-£i«!!
1 or *ixleen or thirty^wo or
rnrrrr
£&£ sixty four 9
i
maw OTKfEqual Minims. Crotchets, w t + ? JlmM f f
Quavers. Semi quavers. Demi-semi quavers. Semi-demi-semi quavers
ARTICLE X.
OF THE DOT PLACED AFTER A NOTE.
The dot serves to icrease the preceeding note by half its value; consequently, a semi breve which
equals two minims is equivalent to three when it is dotted; and so on for minims, crotchets, quavers
etc. This applies equally to rests.
/n °*. - -
r-^—i
EXA11PLE.
r—A—i
—
l-fTf-
\H
——*
-fTtr
"
-trr
j .
> •
\l.. xl. n n— —p—*— T
'— —1\—*_1
J • 1
A Triplet is a group of three notes arising from the division of a note in three equal parts of the
next inferior duration, which are to be performed iu the time of two such notes.
EXAMPLE.
circurr ' r r r rrr i
Sometimes the notes are divided into (5, 7, 9, etc:) equal parts instead of 49 6, or 8, as usual; in
this case a curved line is drawn over it ^ 5, ^ "7? TP as in the above example
rrrrr eu:
t«
ARTICLE XI.
A Musical Composition is divided into equal portions, called Measures or Bars, by short lines drawn
aceross the stave and which are also called bars. Measures in their turn are divided into equal parts
called beats.
There are three kinds of measures, th.it of four beats or Common time indicated by C, that of two
beats indicated by<£ or 2, and that of three beats indicated by a 3 or 3-.
EXAMPLE OF SIMPLE TIMES.
Of four Beats or Common lime.
i
tttf ft f t i t t f t f t f * p i .
—*+
Of two Beats or Common lime.
4 • r-* *how
to beat it
2^3 how to beat it ? (alia Breve)
f » * > , t t n
r r
'
frrr '
n »
Of three Beats.
-M4 ,—N 1 , f f t-
a
"* f r Mm + p p
how to Beat it 1^.2 or 2-^
^
From these measures are derived many others which are called Compound Times.
EXAMPLE OF COMPOUND TIMES.
In twelve eight time, derived from that of four Beats.
mw\ ff f f
-e-*-H
H- -f f fr
rTfTnumfcifco'12 times the eight part of a semi breve
th
n v • A f ~~ 1 1 ii f f 1
f f 1 t t n u M 1 t —f—rf 1
n v " 1
t f i t t
^.£1. hi fifriiccriiir"' '
•f'cificf" °
Tr'rrrrrr"In two four time. In six eight time. In six four tiin*
tin
n A f ,.« n » f t f i t t t IMI M t , t t t , t .?..!. 1 1 » t>t 1 t t f i f t t -n
°r£i *... .
11 n
f- 1
1^ iiiif\r'r,rr 'ci/h'
11
'
1
'f rr'rrrrrr"
In three eight time. In nine eight time
There is also a measure composed of five times.
5
In three two times
£how to beat it
f t f f t
"
i f f t t 1- f M t-11 w ** f f f I f f f f ,
f 1 ff ff f
sowriiu
" i» r f rMirLrcfiiLr'f ffl
^1
In five four time
(Observation concerning the # time.) When a slow- Movt ha« to be played in * time it i;
beaten differently. 6 $
to beat it in a slow Mov! a^J5 or 5 ^ ahow
f~2 3
19
ARTICLE XII
OF SYNCOPATED NOTES.
A Syncopated Note is one which is divided into two others of less value, aud which finishes
one beat and commences another.
EXAMPLE
>Tr
7'rr'r r
r!rrrlrr
i
f |
f
!
rrrf!erjic;rP
r
rirrrifrrf! r
1
''
Syncopated Minims. Crotchets. j Quavers, j
Semi quavers.] Crotchets Quavers.
ARTICLE XIII
OF REPEATS.
To avoid writing the same thing twite, signs called Repeats are employed, the dots showing how
often the different parts or strains are to be played.
This Sign is This oieans
EXAMPLE
this this
i i i
and this/7\
±414-
t
1 a double Bar
• without repetition
j
straight forward
a repetition
of the preceeding atraiu
a repetition j
a repetition
of the following ifraiaJof the strain on each side.
LA8T
to conclude
the piece.
Dm Capo or D. C. means that the piece must be recommenced. This sign 8 means the same,
and also refers back to a previous 8.
ARTICLE XIV.
A Pause is marked thus ^ or C/. When this sign is found over a note its value or duration should
be increased <<iid it may be sustaiued at pleasure, and a prelude or cadenza even executed if thought
desirable. This however is only admissible in the first part, aud when, in modulating,it happens that
the original key has been quitted, it must be adroitly resumed in order to terminate the phrase or
return to the melody. Rut when the pause is. found placed oy^t a rest the uote must not be sustaiued,
ou the contrary it is the duration of the rest which is prolonged.
KXAMPLB8.
^jJj./Uci?igi^w^^ir 'iii
|J
Mi j i
j
ii
nr ^Sustained note.
Long pause.
frjjflliUhJJB i j. qj.lii'iiiiktjjjifiiifjjjl i
f ^^ Short uot^ D.C
1 +
ARTICLE X\.
OF SLURRED AND DETACHED NOTES.
In order to render music morfe Agreeable and lees monotonous "different signs are employed.
This > n called Slur or Tie shows that the notes which it embraces are to be played smoothly
and connectedly with a single stroke of the bow\ When it occurs over two notes in unison thfey
must be united as one note. This sign t ft I called Staccato shows that each of the notes over
which it is written should be played shortly and crisply stopping the bow on each. This r. .". . . ^
called the Mezzo staccato shows that the notes must be separated but in one stroke of the bow.
EXAMPLES
Slurred* Staccato Mezzo staccato.
ARTICLE XVI.
OF SIGNS OF EXPRESSION.
In order to give expression to music different signs are employed. This '_"
shows that
that the sound must be gradually increased, this 1_ that it must be gradually diminished
and this — - ~ »- that the sound must be increased as far as the middle and then diminished
until the end. To show when to play softly the Italian words Piano and Dolce are employed. They
are of ten abbreviated thus P or Dol. Very softly is marked VP To show when to play loud the
word Forte is used, and Fortissimo when to play very loud. These two words areaddreviated f
and Jlf To show the gradual increase of sound from soft to loud in a long passage the word cres~
ctndo abbreviated cres is used, and similarly the diminution of sound from loud to soft is shown
by the words Zmoriando or Diminuendo abreviated Zmorz. and Dim. The abbreviations rft sf9
«/*» sfz* fP or even/* over a single note are also employed as signs of expression; >~, A, V, indicate
a marked accent on a single note and even on a Chord.
+ The word bow n borrowed from the Violin to give an exact idea of this expression.
IS
ARTICLE XVII.
OP GRACE NOTES.
(PORTAMENTO OR A.PPOGGIATURA OR TURN.)
A Grace Note is a note smaller than (be others, and placed more frequently before ihan after
them. In the l
9
.
1
instance its value is thai of half the note which follows and in the 21d it borrows
its value from the note which preeeeds. When several occur together either before or after, they are
called a Grupetto or Turn (<?*) and should be executed more briefly.
Sign used for a Turn with the lowest note made sharp /**)
Sign used for a Turn with the highest note made flat (&>)
EXAMPLES
j*-i
as yritteu pluyed.
i»<
2nd
:rd
. Effect.
as written. I played. r I
**+
Effect..
as written. played t*
^^Q
EXAMPLES of TURN.
Effect.
ir
ZEE
as written played.
i
fr'
rtrri'
i
mmjrgtri
yas written. played.
I«
ARTICLE XVIII.
OF THE SHAKE OR TRILL.
The Shake or Trill is an effect produced by the rapid and equal alternation of two notes, the distance
between them never being more than a tone for the Major Mode and a semitone for the Minor
Mode. It is marked by a little cross 4 or by 6* which is an abbreviation of the word Trill. There are
several ways of employing Shakes, some beiug simple and introduced without preparation or termination,
whilst others are both prepared and terminated.
as written.
EXAMPLES
_fc _jfc*= Jfc-= =5^:
ffP P mpSimple, without preparation or termination
Terminated but not prepared.
as played Major Minor mor.
as written.
Wfm £ 3X
r err—-'re pared by the note
^i
JCC
repared by the note over and terminated,
an played Major
Prepared by the note under and terminated.
Minor
The Oboe, as a solo instrument, possesses the finest qualities, combining delicacy and force
with sweetness and flexibility of tone, thns rendering it more capable than any other ofembodying
feeling with every shade and variety of expression
In Ihe orchestra it is indispensable, and the peculiarity of its tone, which is distinctly heard
above all others, participates both of the stringed and wind instruments.
In the manufacture of this instrument, various experiments have been made to discover the
wood best adapted to produce a good tone; experience has clealy proved that Boxwood and Rosewood
claim the preference . I recommend Rosewood, having found that wood far superior in pro
ducing a full body of tone, which can be modified in the softest and most delicate mannenthe
lower notes especially are of a finer quality than in instruments manufactured of other woods.
Many endeavours also have been made to improve the tone and fingering of the Oboe,
Boehms system prevailed for some time, but the great inconvenience of that systcm.which
diminishes the compass and changes entirely the quality of the tone, has induced me to make
new researches. The Oboe, in its present improved slate, is a very perfect instrument, and the
modifications applied to its mechanism have preserved the fine quality of its tone in its
natural state.*
The compass of this instrument ranges from Bb to Gait: it has fourteen keys, two ofwhich,
having additional branches, increase the number to sixteen; from the greater length of the bell
(a late improvement) the instrument derives a certainty of tone throughout, which enables the
performer to produce the upper notes, such as E and F above the lines, with greater certainty.!
I would advise those persons who require an instrument to look more in point of economy
to utility than to external beanty taking care it has the full complement of keys, otherwise bad
habits of fingering are engendered, and which are difficult to eradicate
In the selection or exchange of instruments, pupils should have the advice of a master,
or some other competent person, as they are unable of themselves to appreciate a good instrument
, or to detect an indifferent one
* •YOTK. Theee improved Oboe$ will bear the following mark*
TRIEBEftT
Paris.
Barret
London.
t Several lesions in this Method descending *° the lownr B flat,' hare been arranged to as to be
played on instruments not hiring that note .
BARRET.
Oboe Method.
Q
THE COR ANGLAIS.
rit^irTCT?r,"~-,M'^- ...
The Cor Anglais, or as it may be called, the tenor Oboe, since it bears the same
relation to the Oboe as the Viola does to the Violin, is capable of producing great efoct.
both in the Orchestra and as a solo instrument. No instrument so nearly approaches
the tone of the human voice, and in Italy it is called not only the 'Corno Inglese but
4
limaaa Voce."
The quality of Us tone is peculiarly adapted to express melancholy in Mosic, and in
Cau labile and slow movements it is unrivalled this peculiar quality, however unfits it tor
great rapidity of execution.
The fingering is precisely the same as on the Oboe, the tone produced being one fifth
lower.
The Baryton or bass Oboe, is an octave lower in pitch than the Oboe, and is also
fiugeredin the same manner; it possesses a finer quality of tone, and is heard to advantage
botn in the Orchestra and as an Obligato instrument.
Of these t^o instruments, the Cor Anglais is better adapted to the practice of amateurs,
as it is not so difficult to produce a good tone on it, as on the Oboe. As the same
music suits both instruments^ those who play the Oboe can easily become proficient on
these before mentioned varieties of it, by merely accustoming themselves to the differ
ence of the proportions. Tue process of making reeds for the Cor Anglais and Baryton
is exactly the same as for the Oboe, but requires the machine, tools, and cane to be of
larger proportions.
Iu addition to these varieties of the Oboe,t»o others; an Oboe in Bb, one note lower in pitch
than the ordinary instrument,and one a minor third higher, in Ek are in common use on the Con.
ineut.iu military bands, and are found to be very effec tive, playing w ith the Eb and Bb Clarinets*
ON THE POSITION OF THE INSTRUMENT.
The quality of the tone depends greatly an the manner of holding the instrument; for
instance, if the Oboe be held similarly to the Clarinet, it very rarely happens that a good
tone is produced. The best and most natural position is to place the instrument in a straight
line from the mouth at a proper declination, about six inches from the body, measuring from
I shall at an,r time be happy to exhibit the capabilities of these instrument* to Masters of Bands who msjr ftMiur
inc \uth a call at my residence 3 t G/vtuester 8(net. Gloucester Gntc, Regents Park, and also to seleet Instrument* f*cr
amateurs. Pupils and others.
Oboe Method. BARRET,
3
the tiiuinb of the right hand. The head must be nearly erect, the arms not too far nor
too close to the body, bnt placed naturally; the hands must rest lightly on the i astro,
meat, in a slanting position: turniug them the contrary way not only has a bad ap.
pearance, but is the means of paralysing the fingers; this must be more particularly
altended to in the position of the left hand. This observation is addressed to those Mho
play the Flute, and who are most liable to fall into this great error.
The left hand holds the top joint, and the right hand the middle joint of the in
strument (See the illustration.)
The second joint of the first finger of the left hand must not touch, nor rest, on
the Oboe: it would have a similar bad effect to that which has been previously pointed
out and impede the freedom of the hand.
The fingers must be placed on the instrumenl without stiffness, slightly curved,
and raised sufficiently high, when off the holes, to allow the free passage of air; but
not too much so, as that would detract from their agility.
The holes must be covered by the under or fleshy part of the first joint, not by
the tip of the finger.
ON THE POSITION OF THE REED ON THE LIPS.
It requires great care and practice to arrive at the best manner of placing the
reed on the lips, as on this mainly depends good quality of tone, it is essential to ad
here strictly to the following rules.
The lips must cover or close over the teeth, so as to form a sort of cushion on
which the reed must rest: the blade of the veed must be placed centrally, not too farm,
nor too far out of, the mouth, fixed so that it does not move from its place either in
producing the higher or the loner notes, nhich must entirely depend on the management
of the pressure of tbe lips, and the greater or less quantity of air forced into the reed.
The best advice I can give to the Student is to practice carefully, for some hours
every day, slow pieces and sustained scales: this will form the lips in the best man
ner and contribute greatly to improviug the quality of tone.
Oboe Method, 6AFPET
THE TONE
However exquisite and beautiful the tone may be, it is comparatively useless if not
accompanied by taste and sentiment; but it does not follow that the pupil must rely on
sentiment or expression alone, and not endeavour to improve the tone; quite the contrary:
his utmost attention must be devoted to that most essential point, for it fre _
qnently happens that pupils, in the earlier stages of study, have a bad tone, which may
be improved by care and practice. The mode of scale study I have previously recommended
will be found very useful in improving the tone.
ON THE MANNER OF "ATTACKING
1
THE TONE.
The tongue is to Wind Instruments what the bow is to Stringed Instruments, it pro.
duces brilliaut execution, and is the means of an infinite variety of articulations.
It is no easy task to make the tongue and fingers sympathise, or act together,
particularly in the commencement: it is only after long practise that the pupil wiii
succeed. The beginning of every phrase must be "attacked" with the tongue. The
tongueing must be performed in the following manner.
The reed must be placed in the mouth according to the rules laid down at page
(s ) the tip of the tongue must touch the end of the reed, so as to close the aperture
between the two pieces of cane forming the reed; the mouth is then filled with air, by the
pupil drawing a long breath, retaining it, and compressing his cheeks sufficiently to
cause the reed to vibrate. The tongue must leave the reed quickly to allow the breath
to pass with some force into \l\thi* constitutes tongueing.
The great difficulty is to sustain the note, without deviating from the quality or
justness of the tone. In order to do this, the lips must be carefully kept in the position
indicated at page ( 3 ) and the stream of air forced into the reed must be perfectly
equal in order to finish the note, whether it be forte or piano: this requires great
practice and management of ine breath: care must be taken that the cheeks are not
puffed out in playing.
01»o« Method. BAfcRET.
ON RESPIRATION
The manner of breathing into the Oboe requires much management and skilJ. Pu
pils generally use more breath than is required from the smalluess of the aperture in
the reed. In beginning a phrase, the lungs must be sufficiently inflated for its per.
formance. As musical phrases seldom, are composed of more than two, three, or four
bars, a pupil of the most delicate constitution may easily accomplish this without fa.
tigue or exhaustion, even in a slow movement. If in playing a phrase, the pupil should
find he has retained too much air, he must let a portion escape, taking care to have
sufficient remaining to finish the passage. In taking breath, in the middle of a passage,
it must be done quickly, by what is termed half respiration.
Breathing through the nose must be avoided. The effect of piano and forte is produced
by the quantity of air and the degree of power used in forcing it into the instrument.
ON ARTICULATION.——^——————« i i »
Articulation is to Music, what Accent is to Speech; it renders the playing clear and
intelligible, and it is by articulation that music is made to express subject and passion,
without which it can never be understood.
There are two modes of articulation: the slurred and the staccato. The first is in
dicated by a curved line ^—^ above or under a group of notes: it signifies that all
the notes so marked must be played smoothly, excepting the first, which is to be at.
tacked by the tongue.
e„ j^rffrc^ i
^jM
The second, or the staccato, is indicated by dots, ronnd or pointed; placed nnder or
over each note, signifying that those notes must be accentuated, short and distinct with
the tongue.
Ex: 2.
4<!
frf rrrr r ir r r rs
i ?
Oboe Method. BARRET.
tf
The difference between the two dots is, that the pointed one must be played very short,
(he same as it is marked in the second line of (Ex: 2\ while the ronnded one must be
more soft but equally distinct.
There is another mode of articulating, *hich unites both marks:
^•^^jgppgi^i
This must be played each note distinct, but with a soft tongue, and the note held
out to its full value.
Pupils should carefully practise these four different ways of articulating, as they con.
tribute greatly to giving variety to the playing and form the groundwork of a good
execution.
There are some ways of articulating passages more advantageous than others, par.
ticularly in solo performing: the selection must depend on which is the most effective
and best adapted to the instrument. I will give a few examples:
£
cffifftrftffrffl - n
Iu rapid passages of triplets requiring to be executed with vigour, N° 1. of this example
is to be preferred, as salting better the Oboe.
la passages of four notes, as in the following example, N?i.is the most effective on
the Oboe, whilst N° 3. is preferable for rapidity t>f execution.
JV9J. —.
Ex: 6\
0b r* Method. BAftRET.
lu passages of six notes as Ex: 7. N? 1. is to be preferred, except in a \eiy rapid
movement when it is better to take N? 3.
Ex: 7.
Any of the above modes of articulation may be used: the choice mast depend on the
nature of the passage to which they are applied, aud the time of the movement.
ON EXPRESSION
Expression, unlike those musical attributes which may be acquired by study, is only
exhibited where nature has bestowed a favourable organisation Upon those who have
not this gift, no practice, no study, will ever confer it. Nevertheless the habit of play_
ing good music, and listening to the best artists, will give a notion of what is meant by
it; and by taking the latter as models, one can in some measure supply the place of real
expression, at all events so far as to be able to phrase correctly and without affectation.
The "nuances" or shades of expression, give variety to music. In going from a pianis.
si mo, to * fortissimo, and vice versa, an intermediate "nuance" is uecessary to avoid an
abrupt transition; for instance, a phrase marked as N? J, must be executed as N? 2.
,JV?7 X
JV92
Uuless differently marked, it is a general rule that in ascending passages we should
increase the tone, and decrease it in descending passages,
It is a great error to make a "nuance" on every note. Many persons practise this
exaggeration, thinking it to be expression: they deceive themselves, it is but affectation,
and only shows their want of real feeling the more strongly.
Oboe Method. BARPET.
8
"Nnances*' should be used sparingly, that is to say, it is preferable to use but oneinapbrase.
than to destroy the good effect by frittering it away in several smaller "naauccs.
In syncopated passages care must be taken to avoid marking the second half of the
note Ex: N? 1 is as it is usually marked. N? £ must be carefully avoided.
Ex.: 4.
JV9J.
^m ^ ^^JW 2 bad.
'^WuOQ^ytjon t
In passages like the following it is equally necessary to avoid marking every beat in the
bar, unless the composition is specially marked: N? J Is as it should be marked: N9 2 is bad*
Ex: 5.
JY9 1 good,
prStmJ*92bad,
piipff
la fact the art of "nuancing;' which can be acquired only by a long practice of the dif_
ferent modifications of the toue is a great resource, and I advise pupils to pay the utmost at.
ten lion to this most essential part of Music
With regard to orchestral performances I must make a few remarks. When a solo has
la be performed, and the accompaniment is sufficiently subdued to allow the solo instrument
scope, the solist must use largely every means in his power to produce effect, and to pre.
dominate over the Orchestra, the solo player being, for the time of his performance, in e\
acllv the same position as an accompanied singer. If on the contrary the Oboe be used
as an accompaniment.it should be then played as piano as possible, and not be heard
above (lie solo instrument. In soli, or passages for several ins tuments, the performer must
endeavour to equalise and blend his tone, so as not to be heard above or below the other instru
merits never making himself more than one assisting part of an harmonious whole.
Obo* Method. BARRET
ON SMALL NOTES, TRILLS, AND CROUPETTES.
ii
No fixed rales have been written on"stnall notes."
Their execution is entirely left to the taste and caprice of the player. This is solroe,
that a passage written thus.
Ex:,. -j^fyli^Tfy l
^. r | |
can be executed as follows by one artist.
«*••
jfr'l jfifrml r?cr'vr
F
| 1
^ —*•
and in this manner by another
** * ^^^-irp-i
Ujff- i
n
and be equally good one way or the other: only Ex:£ is more in the modern taste than
Ex: 3, and of course preferable.
In our days, small notes are only employed as means of abbreviation, and in passages
in which the player is in the impossibility of changing the intention of the composer, for,
if there is any doubt, all the notes of the passage are written.
A point in which every body agrees in the manner of executing small notes, is *hen
there are several before a principal note; they must then be slurred quietly on that note,
in order to arrive in time on the principal note.
Ex: 4.
It is the same when the distance of the small note fromthe principal note, is more than
a tone, which can be a third, a fourth, a fifth. &c &c.
Ex: 5.
r
ti*nnr t
r
*» played. ^* ^
Oboe. Method. BARRET.
10
The trill, or mordente, is a shake, placed on a note of short value, and which is struck
as quickly as possible, iu order to give it more brilliancy. It is indicated as it is marked
iu N? 1 of the following example, but it must be execa Led as in N? 2 of the same Ex: Es^
pecially if it is a moderate movemeat.
JWlA"~
11 " '
mEx: 6.
If oa the contrary the movement is rapid, it is executed as follows:
The groupette, which is indicated in this manner (*) is also one of those abbreviations
which are employed in passages as those of N? 1 of the following example, but which must
be executed as if written in N? 2 of the same Ex:
Ex: 7
There is a great deal more to be said on this subject, but, ia my opinion, the view that
I have given of it is quite sufficient to show the pupil what is the most essential to be
known, the rest will be learned with time and practice.
ON REED MAKING
It is of paramount importance that performers should be able to make their own reeds.
As they must be formed to suit the lips and teeth, none can judge so well as the player
the description of reed he requires for a reed adapted for one performer will be totally unfit
for another.
There are three things necessary to constitute a good reed, justness, certainty, and quality
of tone, but it is almost impossible to have all these requisites combined.
Difficult as reed making may be, it is simple compared with what it was previous to
the introduction of the new machine and tools (a recent invention), by which the thickness
and size of the reed can be regulated as precisely as possible.
Ulioc Method. BARRET.
11
It will sometimes happen, notwithstanding the greatest care and attention, that (lie reed
turns out badly: this may not arise from any fault in the making, but be attributable to
the quality of the cane.
ON THE CHOICE OF THE CANE.
In choosing the cane, the appearance is the only guide, though this is not always to be
relied on. Experiments have been tried (bat without success) to discover why one sort of
cane is preferable to another. Experience has proved that that which is most likely to be
the best is of a brilliant yellow color, the bark bright and shining, the interior mellow, gou
gingout smoothly. The cane which is too pale, is bad, and should be rejected, as well as
that which is too hard, or too soft: the first produces an unpleasant, shrill tone, and is
deficient in flexibility; the other, a woolly tone, devoid of vibration.
DIRECTIONS.
To make a reed, take a round piece of cane as at fig:(y) in the illustration, and of the
description recommended above: divide it leugtliways into three equal parts with the knife
(3); one of the parts must be pared down, until it agrees with the illustration (# ), then
push it along the slide under the chopper, from A tc B,of the machine; press C, which
Mill cot the cane, giving the e\a<-t length of the groove D: the sides at each end must be
reduced, until they resemble the drawing {4 ); previous to this, observe whether the cane be
straight, for if not,it must be rejected as aselessrit would only slip when placed in the groov
and break. Lift up ? small spring E at each end of the groove and place the cane in it,
let the springs fall, in order ihat the cane may be held firmly. The gouge F must be
brought down upon the cane in thegroove (to take out the inside of the cane), and the handle
G introduced into the hole at the back of the plane: move it backwards and forwards the
whole length of the steel bar, pressing on it until it no longer cuts the cane.
mote If the Rouge takes out too much, or too Jittle cane, it may be remedied by altering the machine
thus: turn the screw H which is placed in the side of thegroove, slight}-, so as to allow the ueiige I
to be pushed from one side to the other. If too thin, push the large eud of the wedge, from left to right.
if too thick, the contrary way, but it mast be ?ery little, not more than one or two of th^ lines marked on
one side of the wedge, one way or the other.
Oboe Method. BARRET.
12
Take the cfene out of the groove and if the inside be found too thick on account
of its roundness, and the knife of the gouge have no effect on it, scrape the middle
part with ( 7 ) until the cane is of a proper flexibility, which is proved by taking the
cane between the thumb and first finger of each hand and bending it contrary ways:
place it on (o) slice a small portion of the out side, at each end, as at figure ( 6 )
and scrape slightly the surface in the middle where the line goes across. The reed
must now be examined to see if it resembles the illustration (ff ):it is necessary to
moisten the part which has been scraped, by placing it in the mouth for a minute or tno.
Place the reed along the shape ( 8 ) from V ; bend it over the top, between the
small edges of the shape, until it touches the other side: observe that the reed
be equally placed on the shape: push the spring ((J))
up, which will fix the cane, and#
with the knife pare the sides to the shape of the steel. Take the reed off, and after
making the edges straight, file Che top a little on each side with ( 9), to resemble figure
{l4\ then place the whole in *the mouth for a few minutes.
Take the staple {is) and place it on the mandril (jj\ then put the ends of the
reed in the interstice on each side of the staple, press it down until the reed fits tight.
ly: take some silk cord, sufficiently strong not to break, and tie a knot at the end,
place it in the niche A in the lower part, where the collar of the staple is divided:
pass the cord along the collar, where an edge prevents it falling down: wind the silk
tightly round the reed up to the part of the staple which is above the collar, so as to.
elose the aperture at the sides, and prevent the air escaping: bring the silk down a.
gain to the collar and fasten with a slip knot: to prove this, it will be necessary to
take staple and reed off the mandril, and blow into it: if the air escapes, it must be re.
jected, and a fresh reed commenced. Cut the silk off, and scrape slightly each side
of the reed to make them even, file the upper surface about the Jtf'A part of un inck
OImhs Method. BAftfttY.
13
on each side, and with the knife {12) cut off a very small portion of the tip of the
reed on the block J, in order to open it; introduce a piece of steel (77) into the reed,
between the blades, as (itf), and with the same knife, scrape the surface about the middle
of the reed on each side,until it becomes very thin and smooth at the top. sufficiently
to allow it to vibrate; it must be also pared a little on each side. Now blow into the
reed, and if it 'crows;' it is a sign the reed will be a good one; if thought too weak, cut
a small portion off the top, if too strong, scrape it until it suits the embouchure, takiug
care that there is no inequality in the scraping, and that it has the form of (77): each
corner must be taken off to prevent its breaking, it ought, when finished, to resemble ex.
actly the drawing (77).
It is only experience which will enable the pupil to know when the reed suits the
embouchure: with a little trouble, he may derive some service from a reed which at first
he maj have thought good for nothing
In case the reed should be found to have too little vibration, it must be scraped
thinner at the top: if it vibrates too much, or the tone is tooshr ill, scrape from the bottom
to the middle of the reed, and then cut a small piece off the top, as in finishing the reed.
Scraping is the most difficult and delicate part in reed making, the pupil is ad.
vised to pay the greatest attention to this important point, and to persevere until he
makes himself thoroughly acquainted with, and master of it.
I trust I have now clearly explained the method of making a good reed, but I must
add that a few lessons from a good master are of more value than all written rules;
and taken at the commencement of his studies, would soon enable the pupil to acquire
the habit of making his own reeds.
Olioe Method. BARRET.
u
jjLjtisJjjj.
1 2
m S*3
» •' '
2 ~ '
3
I VI i I
2
| I M
II
,• -a
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».V6
TABLE of the CHROMATIC SCALE.
OW Mtrlliud .
The forcing Chromatic scales, placed exact!}' one oyer the other, are intended to assist pupils, in ascer
taining the identity that exists between certain notes, which although differently written, sound exactly the
same, such a* A} and Bl? , E5 and Fl| &c. The object of these scales is to show al a glance that the
only difference is in the notation.
EXPLANATION of the TABLE.
E>ery hole of the Oboe, drawn on this table, which is not covered with a key, is represented by a horU
lontal line There are 6 holes and consequently 6 lines; uz: three for the right band and three for the left.
These are crossed by dotted perpendicular lines, each leading to a note in the scales above. When the hole is
to be closed, it is indicated by a black dot, •; when it is to remain open, by a white one, o; the white with
a line across it thus,jzr; signifies that the hole must be half covered. The numbers placed above th»* dot on
the pt-rpmdicular lin«». are to show that, the keys which ha\e been numbered to correspond with them, are to
open or closed according to their position. TVo of the keys are prouded with double branches, and have two
numbers each. The highest denotes that the key is to be opened by moving the double branch, one (N? 6.) with
the littl" finder of the left hand. This is used with great advantage in passages liVe the following.
PAflRCT.
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frflfri ffljgMi
iiig being the same as in the lower octa\<
The key (NV14.) has the same effect from
IS
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The key (N? 13.) is used from Etj to At? jL
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Some notes have double, triple, or quadruple fingering, thty are numherd seperately and connected by a brace to
denote the identity of sound. The first fingering is the most used. The others are to facilitate passages ofdificult I
execution in the ordinary way of fingering . In the different lessons in this Method where such difficulties occur
1 hrue numbered^certain notes^andjt is necessary to refer to this table for the corresponding figure and note
The notes over which there is a curved line are not to he
attacked njT'a tongue, but slurred with the preceding note.
^
It will be troublesome at first, but in a short time, the different modes of fingering will be committed to the
memory
Oboe Method , BARRfT.
w
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Explanation of the TABLATURE of the Oboe on Barret's New System .
The black Barks • designate the boles which are to be closed, the seros o tbe boles to be left open . The cross + marks
the plate for the thumb ofthe left band, and whenever this mark is net with, the thumb is to be raised; it is particularly
used to facilitate such passages as the following in both octaves , and to avoid cross fingering; but when the cross is found
above (he Bb or cl| in tbe upper octave as in the preeeeding example,
then the double branch of the octave key N° 11 B most be used.
All the levers of the keys are numbered and have the corresponding
figures above tbe perpendicular lines . Some keys have donble branches ; they are indicated by the same figure as theprin
opal branch, but with the letter B added at tbe side of the number. There are also two small levers above the Bl> and c!| keys.
These are nidi rated by the marks D . T7 and are generally used for the shakes, wnicn remain nearly tne smme as bef»re,b«t
which levers have tbe advantage of rendering those shakes which were false perfectly in tune.
The new system of the keys Et.Fl] and Gf has an immense superiority over all that has been hitherto done; as it renders
unnecessary any change of the fingering and makes perfectly easy the execution of some shakes which were before impossi
ble. It gives also tbe faculty of producing many effects by the simple motion of one finger only; when formerly two were re
quired acting in contrary direction: Some examples will suffice to prove this
izZZZZZZ aw 6B a»
To find the fingering of these passages is very easy . Look
^b^jfn]— in the perpendicular lines of the scale for the numbers corres
W J"J»=* ponding with those that are above the notes of tbe examples
an press down the levers they represent . The dotted lines
traced above the notes of the different passages and preceded by numbers or other signs,indicate that the levers corresponding
with those numbers or signs ought to be kept down as long as tbe lines continue aboie the notes. For instance take the first example:
The levers 2 and T plaeed above the first note are to be both pressed down by the little finger of the left band and kef>t in
that position so long as the lines are prolonged abore the notes. The same for the other passages
For the notes vhich are not marked, the ordinary fingering is to be used; for those which which have several fingerings,
the first must always be prefered.
The Bt andlCq , ihe only notes changed from the old scale, *re made as indicated in the Tablature.
The Ep key N95 may be used for holding steady the ins ^ jment from FJ up to C| on both octaves.
Ex.1 Ex.8.
I have attempted to unite in the following passages, many of the resources which the new system offers, or at Jeast sufficient of them
to pnt in practice aU the advantages of the mechanism whenever there is occasion for it. Many of these passages I have found in frag
nients of Orchestral music and "musique dVnsemhle" which I have only trh cribed and amplified, and it would be a mistake to Believe
that they have been composed for this instrument only, it is for the sole purpose of shewing whnt can be done with H; and after care
fil application for a short time, the student will be astonished to find that he can execute these )»assages with comparative facility which
were formerly very difficult or even impossible. This observation is addressed to persons already possessing a certain knowledge of
the instrument and not to beginners.
The best mode for all to practice these small studies is to commence slowly, increasing in rapidity of movement until they are
able to take the passages as fast as possible, observing all the time to alur each passage exactly as it is marked* as slurring is one
of the chief advantages of this system over the preceding ones.
The fingering of the following short exercises is to be found by the rules I have given above; with a little care and study it will
be scarcely possible to make a mistake.
gf^QO^sr^i fflw^or
ittlkri >$]kfiJM y^fc^i&^^i
SHAKES.
The 'following are the new shakes, which with the exception of the first can be made by the same fingering in the octave above, by adding
the octave key NVll and NV 11 B according to the passage. The fingering is to be fbuna as already indicated for the Examples.
16
ON SH AKES
The shake is indicated by the two letters "tr" which axe ail abbreviation of the Italian word
"trillo': they are placed over the note, and are used also as an abbreviation to avoid writing the
shake in full. It signifies that the note marked thus, must be balanced rapidly with the superior
one, which can be of a semitone, or a tone. When the distance of the balancing is of a third or a
fourth, it then, changes its name and is called "tremolo \ in this case, all the notes are written, But
composers only employ it for the piano, and stringed instruments, because it would be impracticable
in many cases upon wind instruments
There are many shakes in which the preparation, and the termination, demand particular finger
ings, and which are not possible for a pupil to find out, without the assistance of a master.
In the following table of shakes , I have I believe provided for this defect, existing in all the tables
known . All the notes of the preparation, the shake, and the termination, are indicated in a manner that
the pupil cannot mistake.
There are several ways of prepariog and terminating shakes , it depends on the movement
of the piece. If the movement is slow, the shake mast be prepared and terminated slowly in the
following manner, thus:
£S 1
thus
If on the contrary the movement is verj quick, the shake must be prepared and terminated
These are the most usual preparations and terminations of shakes.
The fingerings in this table are to be found in precisely the same manner as those marked
in the chromatic scale .
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Olioe Metfco4. BARRET.
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19
I recommend the constant practise of the following Scales and Exercises , whatever
degree of proficiency may have been attained by the performer . This to the beginner
is indispensable to enable him to acquire firmness and strength of lip , and agility of
finger : afterwards it preserves and even improves these qualities. The best way to
practise th* scales, is to begin slowly (Sostenuto) and gradually to increase the time
to the most rapid movement.
Particular care mnst be taken thai each note is heard distinctly and equally.
MAJOR AND MINOR SCALES IN ALL THE KEYS.
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22
DIATONIC SCALES by SECONDS, THIRDS, FOURTHS &c
These Scales may be practised in various ways: by leaving out the small or intermedi
ate notes; by playing the Scales as they are written; by playing the notes only, and
leaving out the abbreviations; and afterwards by playing the same scales in different
Keys .
It must be understood that when the pupil transposes the scales into other Keys , the
accidentals required must be retained in the memory .
Seconds .
N?l
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88
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84
NO 6.
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CHROMATIC SCALES.
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27
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54
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