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3fea

A. M. R. Barret

A Complete Method

for the Oboe

OriginalEdition

J. R. Lafleur " Son, Ltd.Sole SettingAgents : Boosey " Hawkes^ Ltd.

Loadoo, New Yotlc*Ixw Angeles,Sydney, Toronto, Cmpe Town, Puis.

i'ft/ltcU III, ArtlKtlWi

INDEX

Principles of Music- - - -

1

The Oboe- - - - -

-

1

Scales and Exercises- - - -

19

Forty Progressive Mdiodies- - -

-57

Sonata No. 1- - - - -

108

Sonata No. 2- - - - -

119

Sonata No. 3- - - - "

130

Sonata No. 4- - - -

-144

Fifteen Grand Studies- - -

'159

First Air Varic- . . . .

207

Second Air Varie- - -

-213

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London " Wjw Vor* " Loj Angeles" Sydney ' Cape Toon " Toronto " Paris

Preface to the Second Edition.

Since the publicationof the first edition of this work, my attention has been directed towards the far-ther

improvementof the mechanism of the Oboe,and I have succeeded I "believe,in forming a new combi

nation of the keys,which work easier than before and give greaterfacilityto the performer,without ma-terially

interferingwith the old systemci fingering.

The principalobjectsI have attained have been to procure the same fingeringfor each octave,from C

bdow to the upper C,(thatis to say, a passage written in that compass may be playedwith precisely

the same fingeringin one or the other octave.)To have more perfectshakes on each note, some of

which were before impossible;to do away with the half hole and the factitious fingeringsof the old

system,which not onlyadded greatlyto the difficultyof many passages, but deadened the 'tone of se-veral

notes very perceptibly,correspondingin some measure to the stoppednotes of the Uom. Besides

allthese improvementsacquiredby the instrument it alsoposesses a greaterfacilityof slurring*es-pecially

from the highto the low notes,and vice-versa,this vns formerlyimpracticable,but now by a

slightmodification in the fingeringand a new combination of the octave keysit is as easy to slur

as from E to 6.

It would be difficultin so short-a space to enumerate allthe advantagesof thisnew insfaramentwhich

1 believe possesses allthe goodqualitiesof the systemspreceedingit,without their disadvantages,and

which requiresa much less time to become master of it,owdngto the parityof fingeringin both

octaves, and yet these good results have been obtained by so very sU^itan alteration in the fin-gering:

onlytwo notes beingabsolutelychangedin its whole extent. This will at once be seen by

examining the scale I have added and the passages I have written with marked fingeringsaccording

to the new method,allof which are very difficult,and some impossibleon other Oboes, but on this

will be found comparativelyvery easy, even in the most rapidmovement.

I have also made further experimentsas regardsthe best wood to be adoptedfor the instrument and

I find that violet wood answers better than any other. It unites,in my opinion,the best qualitiesof

Boxwood and Rosewood,that is to say softness and briUiancyof tone,and by a slightmodification

in the bore,the instrument has acquiredgreaterforce and body without changingits quality.This is

also the opinionwhich has been givenby many eminent artists,whohave not onlyspokento me on

the subject,but have written in the most flatteringterms, amongst others I may cite the names

of Costa, Fetis pere, Berlioz "c. "c. It is scarcelynecessary to say that the instrument I use is one

of that description,and I may add at the same time,that alreadymany professorsand amateurs have

adoptedit and have expressedtheir greatsatisfaction at the change,and its good results.

It would be unjustnot to mention the parttaken by Mons IViebert in thf construction of this

Oboe; both in regardto the ingenuity,as well as soHdityof mechanism,eleganceand finish,it leaves

nothingto be desired, and placesMon's Triebert at the head of this branch of wind instrument manu-facturers.

I have carefullyrevised this Edition of the method and the few errors which w"" beforeuncorrect

ed have now entirelydisappeared.

PRINCIPLES OF MUSIC

ARTICLE I.

OF MUSIC.

Music is the art of combining souadi) in a manner agreeable to the ear; it is diTided into two parts.

I Melody, II Harmony.

Melody is a combination of sounds which by their elevation, duration and succession serve to form

a tone.

Harmony is another combination of sounds which by their spontaneous union serve to form Chords.

ARTICLE II.

OF NOTES AND LINES.

Music is written with seven figures called Notes, which are named after letters of the al_

phabet.

G, D, E, F, G, 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, 6, A, B.

These notes are placed upon fire horisontal and parallel lines called the Staff or Stave,

Example: |

The lines are counted upwards, the lowest being called the first line. These five lines contain

fou/ 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.

_.i"ZZZT Ledg^er lines

Example:

Ledger lines

ARTICLE III

OF CLEFS, THEIR POSITION AND USE.

There are three different .oris of Clefs, namely: the G Clef ^, the C CFef g, "ometimes

written 12 or M, an.l the F Clef 9* aUo written C'

These Glef:i are familiarly known asi:

G ,Clef.

" I TiClef. F Clef.

Soprano or Treble Clef. Viola and Tenor Clef, fiass Clef.

These Clefs are placed at the beginning of the stave upon different lines according to the in-struments

or voices for which they are used. They give th"ir names to the lines upon which the,

are placed, and serve as starting points to determine the names of the oJher notes. BUt as all of

them are not of equal use, those least required will be indicated by a star "

There are two different sort, of G or Treble Clefs placed thus:

C^

G

On the T.'^ Line anand 1'. Li

-o-

ne

Four different sorts of C or Tenor Clefs:

C^

C

^ mOn the t. Line

2r Line

Two sorts of F or Bass Clefs

^5'." Line

i

and 4\ Line.

1

m s n

On the 4*^ Line and 3". Line,