INDEX Principles of Music : : - ; 1 The Oboe - - 5 : : - Scales and Exercises - : : : 19 Forty Progressive Melodies - 5 - 57 Sonata No.1 - : 5 - - 108 Sonata No. 2 - : : : 9 Sonata No.3 - : : : - 130 Sonata No. 4 : : : ; - 144 Fifteen Grand Studies - ss : - 159 Firet Air Varié - : = 207 Second Air Varié : : 5 - 213cA® ADOPTED BY THE a wae “wt BANDS OF THE ROY ROYAL LRECIMENTS 9 ROYAL acapewy oF MUS'°™ Cerin it" "HORSE & Foot GUARDS CONSEAVATOIRE WILITAIRE D3 FRANCE. Gi BIS COMPLETE, METRO, meri ND) Oo zy So aan nis ine SING ri THE NEW FINGERINGS NEW TABLES OF SHAKES SCALES — &e. Ke. ——— 6 _ ite wor AN . 2) Zee ty OF REED Ui MAKING. — Fy 3 Yeinfiow, Z Sencdso™ 3 by Ween sion) © nig Brows atte ‘fan Re RT HOME f a=) NU Ty THE EARL ‘or WESTMORELAND. (Ye LZ EMA by wes) A.H.R.BARRET. First Oboe of the Kayol Italiun Opera Covent Garden: Ent Sta Hall. ——__ BOOSEY & HAWKESPrerace To THE Secono Eoition. Since the publication of the first edition of this work, my attentlon has been directed towards the fur- ther improvement of the mechanism of the Oboe, and Ihave succeeded I believe, in forming » new combi nation of the keys, which work eosier than before and give greater facility to the performer, without ma terially interfering with the old system of fingering. ‘The principal objects Ihave attained have been to procure the same fingering for exch octave, from C delow to the upper C,(that is to say, a parsage written in thet 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 ; to do away with the half hole and the factitious fingerings of the old aystem, which not only added grestly to the difficulty of many passages, but deadened the tone of se- ‘veral 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, ex- pecially from the high to the low notes, and vice-versa, thin was formerly impracticable, but now by» slight modification in the fingering and a new combination of the octave keys it is ns easy to slr as from E to G. which were before impossi 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 im both octaves, and yet these good results have been obtained by so very alight an alteration in the fin. gering: only two notes being sbsolutely 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 find that violet wood answers better than any other. It unites, Boxwood and Rosewood, that is to my opinion, the best qualities of ind brilliancy of tone, and by « slight modification in the bore,the instrament has acquired greater force and body without changing its quality. This ix alto 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 &e. &e. It is scarcely necessary to say that the instrument Iuxe 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. It would be unjust not to mention the part taken by Mons Tricbert in the construction of this Oboe; both in regard to the ingenuity, as well ax solidity of mechanism, elegance and finish, it Leaver nothing to be desired, and places Mons riebert at the head of this branch of wind instrument manu- facturers. soft I have carefaily revised this Edition of the method and the few errors which were before uncorrect ed bave now entirely disappeared.PRINCIPLES OF MUSIC ARTICLE I. OF MUSIC. Musie is the art of combining sounds in » manner agreeable to the ear; it ie divided into two parts. I Melody, I] Harmony. Melody is a combination of sounds which by their levation, 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 written with seven figures called Notes, which are aamed after lette: phabet of the al CD, E, F, 6, A,B ¢ on the continent, are almost equally familiar to English minds. Do, Re, Mi, Fa, Sol, La, Si. c,d, ER G A, B. notes are placed upon five horizontal and parallel Ii re counted upwards, the lowest being called the fi Jao placed. The spaces are counted the The Italian equivales called the Staff or Stave, The: t line, These five lines contein me as the the tow. The lin fouy spaces in which notes ext being oalled the first space. But when the instrument requires a greater compass than U small lines called Ledger jod, under the stave for the lower notes, and over for the upper notes. are Ledger lines Example: Ledger linARTICLE III. OF CLEFS, THEIR POSITION AND USE. There are three different sorts of Clefs, namely: the G Clef é. the G Clef E- sometimes written Bor Ff. and the F Clef 9 alvo written C# These Glefs ure familiarly known as G , Clef. G. Chet F Clef. Soprano or Treble Clef, Viola and Tenor Clef. Bass Clef. These Glefs 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 their names to the lines upon which they are placed, and serve as starting points to determine the names of the other notes. BGt as all of them 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 6 * @ On the 2% Line and“ 4%" Line Four different sorts of C or Tenor Clefs c * c G c % rd Bi 7" Oa the t'' Line 2%" Line 3° Line and 4!" Line. Two sorts of F or Bass Clefs: F 5 F ESS SS} On the 4'* Line and 3°4 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) u repetition of the 1° sound is employed to form the Octave or 8" degree of the Scale. Example with the me of each degree, 13! Degree] |@*4 Degree||3*Degred| 4‘ Degree. ||5%* Deg 6 Degree. || 7!" Degree. || 8°* Degree.| Tonid| Mediaat. ||Seb-Dominaat || Do super-duminant} 1g Note || Octave. Key Note seb. It is seen by the above example that each degree bears a name which is descriptive of itself. The word degree must uot be confounded with that of tone or semitone (the latter familiarly kaown av half uote ur half tone.)* ‘The tone or semitone is the distance or interval between one degree and the next, whilst the de- kre is the uote itself ‘The Scale comprises five tones and two semitones, after the addition of the 1° sound producing the vetave or 8 note, as in the above example. explanation of the words tone and semitoIt will be seen in Article VI between which degrees of the Scale these tones and semitones are to be found When the nutes proceed from line to space, or from space to line as in the above exemple the distance from one note to the next is called a Gonjunct or Diatonic Interval from whence it comes that the scale is called a Diatonic scale or Scale by Conjuuct Intervals. When two notes are farther apart from one anvter, the distance between them is called » Dis- junct Interval. For instance C-D, D-E or E-F are Conjoint latervals because there is only an Interval of a second from G to D as well as from D to E or E to F. C-E, C-F, G-G, ete. are Disjunct Intervals because the dist terval of a second. between them exceeds the in. ARTICLE V. 2: 4, OF INTERVALS OR DISTANCES (in the natural order.) Ae id in the preceeding article,the Intervals derive their name from the distance sting between the notes placed on the different degrees Two uotes placed on the gree are called « Unison (see Ex:) Two notes pluced,one on the 1%* degree of the scale, other on the nearest degree (Line or Space) are called « Second or Interval of » Second. me de- ad the On the 1% and the Third. » Fourth. » ifth. » xth. » 7 a Seventh. » a Octave. » 9 a Ninth. and so on to the 10", 11", 42%, ete ete. and the same in descending EXAMPLE INTRAVALS IN THE NATORAL ORDER. Ascending. 11 424031 41 5 1 61 74 8@. 9° OF THE INVERSION OF INTERVALS (in the natural order. ) ‘The inversion of an interval cunsits in making the lower note the higher and vice versa; then s Unison becomes an Octave, a Second becomes a Seventh, a Third becomes a Sixth and so on RKAMPLE. | 4 Fourth, 5 Fifth. © Sixth reve jh 7 ‘a 80 Taisoi juverted becomes an Octave, a Second inverted becomes a Seventh, ete. To be correct in this the aumber nine must always be obtained. Thus unison becomes octave or 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 to the seven notes signs, called Sharps # und Flats which raise or lower by semitones the uotes before which they are placed. A note sharpened or flattened is called Augmented or Diminished. (The French simply call them altered notes.) BFFECT OF ALTERATIONS PRODUCED BY SHARPS AND FLATS SHARP Double Sharp FLAT Double Flat NATURAL (even sign) ' xor % orf. b ® 4 Raises the note Raises the note | Lowers the note Lowers the note Restores the note a Semitone. another Semitone a Semitone, another Semitoue in both eases ubove the one al_ below the one al_ Sharp or Flat ready lowered by | to its natural sound, single b. pos jon and tone. EXAMPLE. ‘The same note raisedasemitone || The same Sharpened note lowered a semitone NATURAL NoTE| by means of a Sharp. by means of a Natural. a = + Fx Natunat noTe|| The same uote Sharpened The same note restored to ite natural tone. The same note loweredasemitone] | The same Flattened note raised a semitone NATURAL NOTE, by means of a Flat. by means of a Natural. = is ‘ t= =} atunat nore|| The same note Flattened ‘The same note restored to ils uatural toneA soale which proceeds hy intervals of semitones by means of Sharps or Flats, is called Chroma_ tie Seale; (The Art: 8 will show the uumeric order of the seven sharps and flats.) EXAMPLE # Chromatic scale by Sharps. 2p ee al fae = 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 sounds which form between themselves a Chord entirely Consonant called perfect Chord ( or Common Chord.) This chord is the bi and constitution of all music The three principal sounds which constitute the Mode are the Tonic or 1" Degree, the Mediant Degree. (See Art III Ex: of the Diatonie Scale) By adding the Octave to these three sounds the Perfect or Common Chord is obtained. These are two kinds of Mode, The Major Mode and the Minor Mode, It is alwave the 1" third of the Seale which characterises the Mode The Mode is Major when there are two full tones in any scal from the 1°‘ to the 3 Degree. c D E é Tone Tone ‘The Mode is Minor when there is only a tone and semitone from the 1‘ to the 3‘! Degree. or 3% Degree and the Dominant or REMARK. U1 is seen that there posed of 2 semitones or full tone (major se: when the it im enoh case (The ‘Treminor second is to be ke pened or the second flattened producing the sam re called Baharmonie) EXAMPLE. B Natural Sharpened sams sound os C naterat aud © Nataral Flattened Same sound st Bratural Enharmonic Notes. Enharmonic Nott1 ‘The word signature signifies a certein oumber of Sharps and Flais placed immediately after the Clef When neither Sharp uor Flat, consequently uo signature is at the Clef, it is « natural Key ‘The Key of G Natural Major is the model of all Major Keys. Example of the Seale of C Natural Major, with the distances between each degree: Pesres —? 3 ‘ 8 6 1 8 SS SS SS ee : . ? 7 ¥ z Tone ° Tone “Semitone Tone © Tonw Tone Sensitone The above and semitones. It will b that the semitones oceur between the 3° and 4! and th 7! aud 8! Degrees of the Scale All the other intervals are whole tones making altogether (us mentioned in Art: IV) five tones and (wo semitones in the Diatonic Major Scale. It is most important to remember that the semitones occur between the St and 4! and the 7! and 8 Degrees in ull Major Diatouic Scales on what. ever notes they may be founded. In the Minor Diatonse Seale the semitones follow another order. The Key of A Natural Minor is the Model of ull Minor Keys. sale ix the Diatouie Major Seale proceeding by tou Example of the Scale in the Key of A Natural Minor, with the distances between each degre: Degree. 2 3 + 8 & A = = Distance, Tone Semitone Tons Tons Tone = Tone Semi ‘The Minor key is relative to the Major key A Minor key hav the same si guature ax its relative Major key, and its scale commences on the 6'* Degree of the Major scale thas bringing the 1" third of the Minor scale ( a tone and a semitone.). It will be seen in the preceeding Ex: of Minor Scale that the 1" cemitone occurs between the 2° and 3% Degrees and the 9% semitone, as in the Major comeubetween the 7% and 8'* Degrees. It will bo found that in every Minor scale the 1%* semitone comes in thefirst 3", whilst in the Ma. Jor seale it comes in the first 4"* In playing the Minor seale the notes shurpened in ascending become nataral descending. xal Ascending. Descending.IMPORTANT REMARK CONCERNING THE MINOR SCALE. By taking its starting point on the 6! Degree of the Major scale, which shows perfectly the fy Minor third (one toue and 4 semitone) and by sharpeuing the 5' Degree of the said Major scale, which, thus shatpened, becomes its 7% Degree or leading note, it is clearly shown that the Minor scale has beew formed from the Major scale, By this means is formed « scale written as follows and much in use in the very old Style of Music. Degree i ex, 2 8 ix 6 S46 os x BG D -€ Distance. Tone, 8 fone, Toae, Tone, Semi To this scale the note sharpened in ascending remaine so in descending. Although agreesble to the ear and seeming more regular to the eye, yet it is to be seen that this seale e s four tones and four semitones in ascending (which is incorrect) instead of five tones aud two semitones (whith is correct.) To ubviate the difference which occurs between the 6!" aud 7'* Degrees, il has been agreed to sharp. en ulso the 4° Degree Major, which ix the 6t Degree of the Minor scale, thus equalizing the Major and Minor Scales with the only difference mentioned iu Art: VII about the 1" semitone. Observe thut the 7!* Degree is sharpened in every Miuur Seale aud that it is the 5 Degree of the Major Seale which is thus sharpened and becomes the lending uote of the M In descending the Minor Seale, one of the semitones is once more inverted and occurs between the 6 wud 5! degrees (See Example) by the rensou that the uotes sharpened in xscending are natural in descending. (Very imperfect Senle but we must accept what lias beet intimated by our Masters.) ARTICLE VIII. 2:42 oF THE SIGNATCKE AND NUMERICAL ORDER OF THE 7 SHARPS & 7 FLATS. mon the wt 7 SUAKPS Their pos series of 7 and following the same order. E Flats Their positions onthe stave. beginning smother series of 7 d following the same order. 2: G2 EXPLANATION OF THE DIFFERENT MODES ( Major aud Minor Keys.) ‘The first sharp is placed on F the 4'* degree of the key of G und the six others from fifth to fifth scending order. The Inst placed on the elef always becomes the 7” Degree of the key which follows ia the Major Mode, and the 2°4 Degree of the tone which preceeds for the Minor Mode.‘Thus the F sharp points out in the first case the toure of G Major, aud in the secoud case the tome of E Minor , EXAMPLE. Maior Keys © Minor keys. e Observe that the second sharp is not placed without the first, and so on with the others. The first flat is placed on R, the seventh degree of the key of G, and the six others from fifth to fifth in deseending order. The last placed on the clef always becomes the 4" Degree of the Ma. jor key and the 6 Degree of the Minor key. In the first case the B flat points out the tonic of F Major, and in the second ease the tonic of D Minor. Major Keys ae Observe that the seroud Flat is uot placed without the first, and so on with the others. REMARK, Either sharps or Clats, found at the clef as signature, influence the notes placed on the same degrees or al the upper octave, or al the lower octave during the whole of a piece of Music, unless « uatural comes accidentally to suspend their effect. Accidents! sharp or flat is available for the whole of one bur only, auless a natural is met with in the course of that bar. SPECIAL ARTICLE SU 1. OF INTERVALS, TONES AND SEMITONES. The tone is an interval composed of nine partial intervals called ‘commas’ or of two semitdnes one of which is Chromatic and the other Diatouie, The chrematie semitove is composed of five comw aud always occurs between two avtes of the same uame. The diatonic semitone composed of four commas ulways occurs between two notes of different names. EXAMPLE r aa { Chromatic Semitor Diatonic Semitone. ! = caer ame Sa | Chromatic Semitone} Diatonic Semitone.to SPECIAL ARTICLE 9 2. TABLE OF THE INVERSION OF ALL THE INTERVALS. (augmented 22) (Diminished 3A wi + 3° major a) Intervals of Intervals of sag Seconds Thirds a Re ‘semitones.| ‘2 tones, being inverted being inverted =e become become (augmented "(Major 6° Mivor 6! Sevenths Sixths ————| $0 3 tours and Bsewitones 2 semitones )[Lsemitone 2 semitoues, rertoet | (iminnbed 7 eertect G2 hommes : = 4 fee Litt 2 tones ai and || 5 toves aud being inverted ug inverted ig sexton become become eT Fifths Fourth. = 2 ton 1 fone aed (ar Sixths Sevenths Se being inverte being inverted sues become become wajor 208 Thirds. Seconds, =" “La Ttowe. it It results from the preceeding table that every Major interval becomes Minor, aud every Minor i terval Major, when inverted. Every Augmented interval becomes Dimiurshed 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. Thore are seven characters which determine the value of notes. It is from these characters that we learn to kuow 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 uotes. xa oF THE Seven RESTS, Semi breve Minim Crotchet, Quaver Semi Quaver enhee Quaver, Semi-d ee semi, flees ete E = = j Bar rest: Hulf bar :Grotehet: Quaver ‘Semi Quaver: Demi-semi Quever " west frost d eest fo nate ret 2 4 6 or 6 7 or 7 Sea eee] ‘Two Bars Rest. Four Bars Rest. ‘Six Bare Rest ‘Seven Bars RestEte TABLE VALUE OF NOTES. one Semi Breve | or ove Bar. to two minims or four crot IL is easy to see from the sbove table that the semi breve is equivalen chets ete, the minim to two crotchets ete: the crotehet to two quavers ete: and the qua semiquavers ete. When seversl quavers, semi-quavers,ete: come together they must be joined as below. re to two BXAMPLE OF CONTRACTIONS OR ABREVIATIONS IN &! or eight or sixteen or thirty_two CAL NOTATIONS. or Semi breve two or four sixty four = Equal Minis, Grotobets. oie, Seat quevers. Det ARTICLE X. eumi quavers, Semi-demi-semi quavers, OF THE DOT PLACED AFTER A NOTE. The dot serves to icrease the preceeding note by half its value; consequently, « semi breve which equals two minims is equivalent to three when itis dotted; und so on for minims, erotchets, quavers ele. This applies equally to rests. pasa) h } A Triplet is a group of three notes arising from the division of « uote in three equal parte of the next inferior duration, which are to be performed iu the time of two such notes. EXAMPLE. Sometimes the notes are divided into (5, 7, 9, ete:) equal parts instead of 4, 6, or 8, us:vsual; im this case a carved line is druwa over it SD ns in the above example COLE ete:ry ARTICLE XI. A Musical Composition is divided into equal portions, called Measures or Bars, by short ines drawn their turn are divided into equal parte aceross the stave and which are also called bars. Measuri called bente. There are three kinds of monsures: that of four beats or Common time indicated by C, that of two beats indicated by or 2, and that of three beats indicated bya3 or }. EXAMPLE OF SIMPLE TIMES Of four Beats or Common time. Of two Bexts or Gommou time. = ttt ee ++ how to buat it as how to bent it (alln Breve) 4 Of three Beats. 7 at 3 Fi how to Beat it 3X2 or 22% From these measures are derived many others which are called Compound Times. EXAMPLE OF COMPOUND TIMES Iu twelve eight time, derived from that of four Beats. eee 42 times the eight part of a semi breve. Derived from that of two Beats. In two four time. In six eight time. Tu six four time Derived from Hi that of three Beats. SaaS In three eight time.In nine eight time. In three two times There also » measure composed of five 5 how to beat it 5d ttt — tbe tlt In five four time So written (Observation concerning the § time) When a slow: Movt hax to be played in {f time it is beaten differently. 6 ‘ how to beat it im a slow Mov! aon 7 3o ARTICLE XII. OF SYNCOPATED NOTES. A Syncopated Note is one which is divided into two others of less value, aud which finishes ony best and commences snother. BXAMPLE {Quavers.! Semi quavers Crotchetol Quavers { Syacopsted Minims ARTICLE XIII. OF REPEATS. To avoid writing the same thing twice, signs exlled Repeats are employed, the dots showing how often the different parts or strains are to be played. ELAMPLE is Sign is This meane thi fn moan ! ig trae of the fol tevight forward | t Dx Capo or D.C. means that the piece must be recommenced. This sign § meaus the sxme, and leo refers buck to u previous #. ARTICLE XIv. A Pause is marked thus or W/, When this sign is found over 4 note its value or daration should be increaved and it may be sustniued xt ploneure, und » prelude or cadenza even executed if thought desirable. This however is only admissible in the first part, and when, in modulating,it happens that the origioal key bas been quitted, it must be adrvitly resumed in order to terminate the phrase or return te the melody. But when the pause is,found placed over « rest the uote must nol be sustnin- ed,on the contrary it is the duration of the revt which is prolonged. EXAMPLES, rit. | see ‘Sustained uote,ARTICLE Xv. OF SLURRED AND DETACHED NOTES. je more agreeable and less monotonous different signs are employed. In order to render am which it embraces are to be played smovth_ This —~ called Slur or Tie shows that the gle stroke of the bow* When it occurs over two notes in unison they ly and conaeetedly with « must be united us one note. This sign 1111 called Staceato shows that each of the notes over which it is written should be played shortly and crisply stopping the bow on each. This rv7>> called the Mezzo staccato shows that the notes wnst be separated but in one stroke of the bow EXAMPLE} Blurred. Staceato~ Mesto staccato. ARTICLE XVI. OF SIGNS UF EXPRESSION. different signs are employed. This ——<— shows that this ———— that it must be gradually diminished Iu order to give expression to masi that the sound mast be gradually incre: and this —<—— ——— that the sound must be inereased us fur as the middle and then diminished til the end. To show when to play softly the Italian words Piano and Dolce are employed. They + often abbreviated thus P or Dol. Very softly is marked PP To show when to play loud the word Forte is used, and Fortissimo when to play very loud. These two words srenddreviated f° and ff To show the gradual increase of sound from soft to loud in » long passage the word cres. ind similarly the diminution of sound from loud to soft is shown nuendo abrevinted Zmors. and Dim. The abbreviations rf, ne of expression; >, A, V, indi condo abbreviated cres is used, by the words Zmorsando or D: Se, sft, Sp or even f over a cate a marked accent on x single note and even on» Chord Je note are also employed a ‘% The word bow is borrowed fram the Violin to give an exact iden of this expression.1s ARTICLE XVII. OF GRACE NOTES. (PORTAMENTO OR APPOGGIATURA OR TURN.) A Grace Note is « note smaller than the others, and placed more frequently before than after them, Iu the 1" instance its value is thas of half the note which follows and in the 2 its value from the note which proceeds, When several occur logether either before or ufter,they are t borrows ealled a Grupetto or Turn (oe) and should be executed more briefly. Sign used for a Turu with the lowest note made shurp (2) Sign used for a Turn with the highest uote made flat (a>) EXAMPLES 4 Effect. av written played. Effect. “9g? as written. as written, played EXAMPLES of TURN, i ieaeh> — ae written, played soe Fee as written rr T played. Sas16 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 dis. tauce between them never being more than a tone for the Major Mode and a vemitoue for the Minor Mode. It is marked by alittle cross + or by f& which is au abbreviation of the word Trill There are several ways of employing Shakes, some being simple and introduced without preparation or termi — nation, whilst others are both prepared and terminated. EXAMPLES. as written. be, Simple, withoat preparation or termination py uinsted but wet prepared. as played Major Minor Major Minor as written a == = Boe SI} Prepared by the uote over aud termiuated. |[Prepared by the note uuder and terminated as played MajorTag OB808. The Oboe,as a solo instrument, possesses the finest qualities, combining delicacy and force with sweetness and flexibility of tone, thus rendering it more capable than any other ofembody- ing feeling with every shade and variety of expression. In the orchestra it is indispensable, and the peculiarity of its tone, which is distinctly beard above all others, participates both of the stringed and wind instruments. In the manufacture of this instrament, various experiments have been made to discover the wood best adapted to produce a good tone; experience has clealy proved that Boxwood and Rose. wood claim the preference. Irecommend 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 manner:the 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, Boehm's system prevailed for some time, but the great inconvenience of that system.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 state, is a very perfect instrument, and the modifications applied to its mechanism have preserved the fine qualily of its tone in its natural state. * The compass of this instrument ranges from Bb to Galt: it has fourteen keys.two of which, having additional branches, increase the number to sixteen; from the greater length of the bell (alate 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 t I would advise those persons who require an instrument to look more in point of economy to utility than to external beanly ‘aking 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 in- strument, or to detect an indifferent one - a * Nore. These improved Oboes will bear the following mark. ‘Tacoent Panis. BARAET Lonoon. ‘T several Lessons im this Method descending fo the lower B flat have been arranged 0 as to be Played on instruments not having that note. Ovoe Method. paneer.THE COR ANCLAIS. The Cor Ang! relation to the Oboe as the Viola does to the Violin, is capable of producing great effect both in the Orchestra and as the tone of the buman voice, and in Italy it is called not only the “Corno Inglese but “Umana Ve The quality of its tone is peruliarly adapted to express melancholy in Music, and in Cantabile aud slow movements it is unrivalled this peculiar quality, however uofits it for oras it may be called, the tenor Oboe, since it bears the same solo instrument, No instrament so neatly approaches 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 iu piteh than the Oboe, and is alo fingeredin 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 two instruments, the Cor Auglais is better adapted to the practice of ama. teurs, as it is not so difficult to produce a good toue on it,as on the Oboc. As the same music suits both instrumeuts, those who play the Oioe 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. In addition to these varieties of the Obve,two others; an Oboe in Bb, one note lower iu pitch than the ordinary instrament,and one a minor third higher, in Kb, are in common use on the Con. ineut.ia military bands, and are found to be very effective, playing with the Eb and Bb Clarinets* ON THE POSITION OF THE INSTRUMENT. The quality of the tone depends greatly on the manner of holding the instrumeut; for instance, if the Oboe be held similarly to the Clarinet, il very rarely happens that 2 good tone is produced. The best and most natural position is to place the instrument ina straight line from the mouth at a proper declination, about six inches from the body, measuring from he any time be happy to exhibit the expabilities of these Invtmumente to Masters of Bands whe ame with a call at my residence 31 Glowester Street, Gloucester amateurs, Pupils and others, 7 sour » Regents Park, and also to select tmstruments ter Oboe Methud. ‘aanacr.3 the thumb of the right hand. The head must be nearly erect.the arms not too far nor too close to the body, but placed naturally; the hands must rest lightly om the instra. meat, in a slanting position; tarniag them the contrary way not only has a bad ap. pearance, but is the means of paralysing the fingers; this must be more particularly attended to in the position of the left hand. This observation is addressed to those who 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 instrument without stiffaes slightly curved and raised sufficiently high, when off the holes, to allow the free passage of ai not too much sv, as that would detract from their agility. but 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 nd 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 ou which the reed must rest: the blade cf the reed must be placed centrally, not too far in, nor too far out of, the mouth: fixed sc that it does not move from its place either in prodacing the higher or the lower notes, which mast entirely depend on the management of the pressare 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 waa ner and contribute greatly to improving the quality of tone. Oboe Methods - earaey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 con. trary; his utmost attention must be devoted to that most essential point, for it fre — quently 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 recom. mended will be found very usefal in improving the tone. ON THE MANNER OF “ATTACKING THE TONE. The tongue is to Wind Instruments what the bow is to Stringed Instraments,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 ouly after long practise that the pupil will 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 (3) the tip of the tongue must touch the end of the reed, so as to close the apertare 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 it:this constitutes tongueing. The great difficulty is to s justness of the tone. In order to do this, the lips must be carefully kept in the pos. ition indicated at page (3) and the stream of air forced into the reed must be perfect_ in the note, without deviating from the quality or ly equal ia order to finish the note, whether it be forte or piano: this requires great practice and management of tne breath: care must be taken that the cheeks are uot paffed out in playing. Oroe Method. anner.o ON RESPIRATION. ‘The manner of breathing into the Oboe requires much mauagement and skill. Pu pils generally use more breath than is required from the smalluess of the aperture ip the reed. In beginning a phrase, the lungs must be sufficiently inflated for its per_ formance. As musieal 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 mast be done quickly, by what is termed half respiration. Breathing through the nose must be avoided. The effect of piano and forte is pro- duced by the quantity of air and the degree of power used in forcing il into the instrument, ON ARTICULATION. Articulation is to Music, what Accent is to Speech;it renders the playing clear and intelligible and it is by articulation thal music is made to express subject and passion, without which it ean 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 20 marked mast be played smoothly, excepting the first, which is to be at. tacked by the tongue, ~ Ex. The second,or the staccato, is indicated by dots, round or pointed; placed under or over each note, signifying that those notes must be accentuated, short and distinet with the tongue. Oboe Method. earner,The difference between the two dots is, that the pointed one must be played very short. the same as it is marked in the second line of (Ex:2)while the rounded one must be more soft but equally distinct. There is another mode of articulating, which unites both marks: This must be played each note distinct, but with a soft tongue, and the note beld out to its full value. Papils 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, yar. 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: WoL Iu rapid passages of triplets requiring to be executed with vigour, N° J. of this ex. ample is to be preferred, as suiting better the Oboe. In passages of forr notes, as in the following example, N° J. is the most effective on the Oboe, whilst N? 3, is preferable for rapidity of execution. wel, es Bx: 6. Ode Meth. eanner.7 Tu passages of six notes as Ex: 7, N@ J.is to be preferred, except iu a very rapid moveweut when it is better to take NO 3, WoL, Ex: 7, Any of the above modes of articalation may be used: the choice must depend on the nature of the passage to which they are applied, aud the time of the movement. ON EXPRESSION Expression, ualike those musical attributes which may be acquired by study, is oaly 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 gi jeant by it;and by taking the latter as models, one cau in some measure supply the place of real expression,at all events so far as to be able to phrase «: a notion of what is ‘rectly and without affectation. The “nuances” or shades of expression,give variety to music. Ia going from a pianis. simo,to a fortissimo, and vice versa, an intermediate “nuance”is uecessary to avoid an abrupt transition; for instance, a phrase marked as N° 7, must be executed as N° 2. 92 fey geste ee po PP PP} f— FP Unless differently marked, il is a general rale that in ascending passages we should increase the tone, and decrease it iu descending passages, Ex2. SS SS = It is a great error to make a “nuance” on every uole. Many persons practise this exaggeration, thinking it to be expression: they deceive themselves, it is but affectation, and ouly shows their want of real feeling the more strongly. Obve Method. eanner.“Nuaaces” should be used sparingly, that is to say, it is preferable to use but oneinaphrase. than to destroy the good effect by frittering it away in several smaller ~auances. od. ene = —_ SS SS + < SS SS ee eS OF In syncopated passages care must be taken to avoid marking the second half of the note Ex: NJ is as it is usually marked, N92 must be carefully avoided. wor. m— > > > > > x0 2 bad. E SS i In passages like the following it is equally necessary to avoid marking every beat in the bar, unless the composition is specially marked: N97 is as it should be marked; N22 is bad In fact the art of “nuancing.” which can be acquired only by a long practice of the dif. ferent modifications of thetouelsagreat resource, and I advise pupils to pay the utmost at. tention to this most essential part of Music, With regard to orchestral performances I must make a few remarks. When a solo has to 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 domiuate over the Orchestra, the solo player being, for the time of his performance, in ex actly 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 the solo instrament. In soli,or passages for several instnments, the performer must endeavour to equalise and blend his (one, so as not to be heard above or below the other instro ments never making himself more than one assisting part of an harmonious whole. Oboe Method aaRneYON SMALL NOTES, TRILLS, AND CROUPETTES. No fixed rules have been written on“small note: Their execution is entirely left to the taste and caprice of the player. This is so true, that a passage written thus, Ex: 2. can be executed as follows by one artist. Bx: 2. =-sS >s and in this manner by another Ex: 3. and be equally good one way or the other: only Ex:2 is more in the modern taste than Ex:g, 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 when there are several before a principal note; they must then be slurred quickly on that note. in order to arrive in time on the prineipal note. = Ex: 4. ~~ 4, $e Serer = ‘a play It is the same when the distance of the small notefromthe principal note, is more than a tone, which can be a third,a fourth, a fifth, &c &c. Ovoe, Method. earner.10 The crill.or mordente, is a shake, placed on a note of short value, and whichis struck as quickly as porsible, iu order to give it more brilliancy. It is indicated asit is marked iu NO 7 of the following example, but it must be execated as in N02 of the same Rx: Es. pecially if it is a moderate movement. pee eee > = = The grouperte, which is indicated in this manner (x) is also one of those abbreviations which are employed in passages us those of N° 7 of the following example, but which mast be executed as if written in N? 2 of the same Ex: wed. i Ex: 7, There is a great deal more to be said on this subject,bat,in my opinion, the view that Thave given of it is quite sufficient to show the pupil what is the most essential to be knowa,the rest will be learned with time and practice. ON REED MAKING Itis 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 un_ fit for another. There are three things necessary to constitute a good reed, jastness,certaiuty, and qual_ ity of tone. but it is almost impossible to have all these requisites combined. Difficult as reed making may be,it is simpie 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. Oboe Method. anaer.n It will sometimes happen, notwithstanding the greatest care and attention, that the 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, thongh this is not always to be relied on, Experiments have been tried (but ~ithout 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 ging out 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:(7) in the illustration, and of the description recommended above: divide it leugthways into three equal parts with the knife (3); one of the parts must! be pared down, until it agrees with the illustration ( 2 ), then push it along the slide under the chopper, from A tc B.of the machine; press C, which will cat the cane, giving the exact 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 br straight. for if not,it must be rejected as aseless:it would only slip when placed in the gry and break, Lift up ? small spring E at each end of the grove and place the cane iu il. Jet the springs fall, im order that the cane may be held firmly. The gouge F must be brought down upon the cane in thegroove (lo take out the inside of the eane),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 euts the cane, nore If the gouge takes out too much, or tuo little cane, it may be remedied by altering the macbine thus: turp the serew H which is placed in the side of thexroove, slighty, so av to allow the wedge I to be pushed from one side to the other, If too thin, push the large end of the wedge from left to right if tun thick, the contrary way, but it must be very Tittle, not more than one or two of thy lines marked 00 ong side of the wedge, oue way or the other. Oboe Method. anne12 Take the cane 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, serape the middle vart with (7) until the cane is of a proper flexibi ity, which is proved by taking the cane between the thumb and first finger of each hand and bending it contrary ways: place it on (5) slice a small portion of the out side, at each end.as at figure (6 ) andscrape slightly the surface in the middle where the line goes across, The reed must now be examined to see if it resewbles the illustration (6):it is mecessary to moisten the part which has been scraped, by placing it in the mouth for a minute or two, Place the reed along the shape (8) from W ; 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 (cp) 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 (he top a little on each side with(9), to resemble fi. gure (14), then place the whole in ‘the mouth for a few minutes. Take the staple (15) and place it on the mandril (7), then put the ends of the reed in the interstice om each side of the staple, press i 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 tho 26¢# part of an inch Ode Metnod. Barner.13 on each side, and with the knife (72) 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 (22) into the reed, between the blades, as (76), and with the same kuife, scrape the surface about the mid_ dle of the reed on each side,until it becomes very thin and smooth at the top.sofficieut. ly 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, cat a small portion off the top, if too strong, scrape it until it suits the embouchure, taking 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 may have thought good for noching In case the reed should be found to have too little vibration, it must be scraped thinner at the top: if it vibrates too mach, or the tone is tooshrill, serape from the bottom tothe 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, Oboe Method. warner.1% an ED)" FF of he et hand Thin aed vith grat adrantage ie passages ibe the following TABLE of tHe CHROMATIC SCALE. The foregsing Chromatic scales. placed exactly one aver the ather, ate intended to assist ppils, in ascrr taining the Hentity that exists between certain potes, which although differently written, sound exactly the same. such an Af and Bb, ES and Fh Be. The object of these scales is to show at a glance that the J) only difference is in the notation. 3 EXPLANATION oF tHe TABLE. Esery hole of the Oboe, dravm on this table, which is not covered with a key, in represented by a hori~ sontal line. There are 6 holes and consequently 6 lines; viz: three for the right hand and three for the left These are crovxed by dotted perpendicalar lines, each Teading to a note in the seales abore. When the bole is {to be closed. iin indicated by a black dot, @; when it ix to remain open, by a white one, 0; the white with a Tine acrows it thus, signifies that the hole must be half covered. The numbers placed above thy dot on the perpendicular line. are to show that the keys which have been numbered to correspond with thew. are to ‘ypen or closed according to their position. Two of the key are provided with double tranches, and have two ‘numbers each. The highest denotes that the key ix to be opened by moring the double branch, one (N26) with Ohm Method. = weer ree paaner.‘The other (N° 10.) with the thumb of the left hand is very useful in a passage of thin Kind. Zz Te ‘The hey (NPIS, in ased from Ed to Ab eee to prevent these notes from breaking dowa.the Ainger | ing being the sume ay in the Tower octave, tals to sur th wetanen ging ‘The key (NILE) has the same effect from Bb to C$. thus. Ste dtey—epaet Same notes have double. triple, or quadruple fingering. they are oumberd seperately and connected by a brace to denote the identity of sound. The first fingering ix the sed. The others are to facilitate passages of difica execution in the ordinary way of fingering. In the differeat leseons in thin Method where such difftealties occur T hive numbered certain notes and it ts neceseary {o refer to thin table forthe corresponding figure and note 2 ay thus. ‘The motes over which there in a cursed line are not to be attacked hy/a tongue. but slurred with the preceding, note At will be troublesome at first, but im a short time. the different modes of fingering will be cor memory te to the Oboe Method . anne.Exptanation oF THe TABLATURE oF tHe Osoe on Banner's New System. ‘The black mans © designate the holea which are to be closed, the scree o the holes tobe left open. The crone + marks the plate for the thamb ofthe left hand, and whenever thin mark ic met with, the t in particularly ‘uv {0 facilitate auch pasnages as the following in both ectaven and (0 avoid eroes ‘bat when the eros is found Side shove the Bb I he levers ofthe hays are nambered and have th correspon ds0R keys ave dahle branches they are indicat by the ame igre x the pin "ut with the Iter B added a he aide of he number, There ar alto vo snl levers above the Bb and Chay. cated ty the marks ©. 7 aod are generally used fr the shal, bleh Tema ara the sume at ofere bee ‘hich levers have the adrantage of rendering thone bakes which were (aloe perfect ia ane ‘The new eystem ofthe Le EDF] 40d Gf hi Ab ymmenceauperority oe all that Bas been hitherto dene ay it readers mvvcenanry any change ofthe ogrrng and males perecty easy the execation of some shaken hich were bvfore impos Wes Iegien alo the facaty of producing many ects By the ample mation of oe finger oaly; who formerly (wo wrere Aired acting in contrary direction: Some examplen Wil etfce to prove (hin a To od the fogering of hee passage ery easy - Look mmbre corer a 5 ae pepabar bos oe na ore ee, SEES RAs Sl 8 reas arte es ES yoo i tee ate ter tae horas ‘mu pra down the lever they represent. The dotted Hines tear Forinstanr ae he inte Anple: Thelvers and placed abore thei ate ae lb beth rnd dev bythe ite inger af thetband ad ey {hat poston nag theirs re polnged bore he ones. The eae far he oer pasagen Fert ote which are not marked the erdnary Engrg i lobe eed; Cr thee wich which hare several ingerlags the Crs mest asaya be peered. ‘The Bhan], he only notes changed trom ihe od scale ae mad a adicaed othe Talatare. ‘Thr Eb key MVS may be ased for holding ateady the ins...ment from Ff up to C§ on both octaves.have attempted to unite in the following passages, many of the resuarces which the new system offers,or at Jeast sufficient of them to pat in practice all the mivautages of the mechanism whenever there is occasion for it. Many of these passages I have found in fing, rents of Orchestral masic and “masique densemble”which Ihave only tr cribed and amplifiedand it would be a mistake to believe ‘that they have heen composed for this instrument only, itis for the role parpose of shewing what can be done with it; and after care fil application for a short time, the student will be astonished to find that he can execute these jssages with comparative facility which were formerly very difficalt or even impossible, This abservation in addressed to persons already possessing a certain knowledge of the instrument and not to beginners, ‘The hest mode for all to practice these small studies is to commence aloviy, increasing in rapidity of movement antil they are able to take the passages as fast as possible, observing all the time to alar each passage exactly as it is markedjas slarring is one of the chief advantages of this system over the preceding ones. 8 to be found by the rales I have given above; with a litle care and stady it will ‘The fingering of the following short exer bbe scarcely possible to make « mistake, SS 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 a= ding the octave key N¢IL and NIB according to the passage. The fogering is to be four as slreay indicated for the Examples.16 ON SHAKES The shake is indicated by the two letters “tr” which are au abbreviation of the Ialian word “trillo”: they are placed over the note, and are used also as an abbreviation to avoid writing the shake in fall. It signifies that the note marked thas. 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 noles are written, But composers only employ it for the piano, and stringed instraments, because il would be impracticable in many cases upon wind instruments There are many shakes in which the preparation, and the termination, demand particnlar finger. ings. and which are not possible for a pupil to find ont, without the assistance of a master. In the following tablo of shakes, I have I believe provided for this defect, existing in all the tables known. All tbe votes of the preparation, the shake, and the termination, are indicated in a manner that the pupil cannot mistake There are several ways of preparing and terminating shakes, it depends on the movement of the piece. If the movement is slow, the sbake must be prepared and terminated slowly in the Wee lh following manner, thus fees If on the contrary the movement is very 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 s in the chromatic scale. ye manner as those marked bans 2 2ae teesete Over Method. ‘canner.==: 555655JET) Lay) bbb sBE| BO oDDB Toe cecclecceees seselececcsiecsessle esos \sccosctooocesteccseotoooesleeseeeleeeece| PNR PRIS PME PIO NN Meee E| seca cei cecece}19 SCALES AND BXaRGISES. 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 heginner 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 the scales, is to begin slowly (Sostenvto) and gradually to increase the time to the most rapid movement. Particular care must be taken that each note is heard distinctly and equally. MAJOR AND MINOR SCALES IN ALL THE KEYS. see SS Otoe. Method « manner,eser. Oboe Metnod2t Oboe Method. banner.22 DIATONIC SCALES 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. Tt must be understood that when the pupil transposes the scales into other Keys, the accidentals required must be retained in the memory . Sxcoxps Turrs. Oboe Method. BaRRET .23 FOURTHS. FIFTHS. SIXTHS. Oboe Method aareer.SEVENTHS. No 6. _ ocTarEs MINTHS. = Oboe Method. warner.itenigntgn >a ya ELEVNTAS. No 10. TWELITUS, NOM. “t se Pee. wo. = == SS SSS) ? ——= Oboe Method. onan26 rouRTEENTAS. NO 13. FIFTEENTHS- No 14, SIXTEENTHS. NO15, CHROMATIC SCALES. Oboe Method canner.earner. Obee Method . Ve——, igite tigate triple __ pio san, Otte Etichete Hele Cette —— Oboe Method. manner.—S aa Conate esate cc abpibe —, aioiphele GE ret ee ett cieigieiar _otchetatie _ siuherltte _fieiearstp _teltaseipin —— = ———= re Oboe Method,earner. Oboe Method33 I No 0S oan i ee bow Method. sanner,g enaner. Obne. Method:sasner.36 2 — pbahabotprele bares fe 4 ven punipbeteiaie PF aire papeieneet iatarohetete sete rv Ov0e Method. roeOboe Method. sasaererarichete FE aanner.sana Oboe Method.4 O19. = id= SSS Oboe Method « masaNo Ql. oan Oboe Method.bp tp hele = ——- $ bete be tet EF} beterete & Oboe Method. asset.No 23. Oboe Method. aasner.Tr bo tore tn et bebohere tet © ge botobele PEN goes SES Oo" Method.VARIOUS SCALES. FOR THE STUDY OF THE ARTICULATION. Oboe Method. taney.BARRET.. Ovoe Method.anner. Oboe Method.Oboe Method BannerBanner,iy \ 4 x Pin eanner Oboe Method. ==52 — Over Method. banner.53 a a BE > Oboe Method. eannet54 Short exercises in which the different articulations used in the Preceding lessons are introduced. = ze. = —— = Over Method. eanner.ue netetdes— => Ouoe Methor. SSS Se OS er a earner.Oboe Metnoa. eaanerFORTY PROGRESSIVE NaLODIES. oa MopERs70.( = 04) NOI. ro Mopznsro. (J= 64.) Ne2. Pr = | = Cut anise Oboe Method. panner58 Mopxraro. (J=92) oe a N° 3. p< |= anne.59 Atuxcrerro. (4. 104) = smorzando. r= => e == Oboe Methoa. eanner.60 ALLecRstro. (J- 12) Moprraro J= 08 N°6. P ae = — > —. = > = Obve Method. banner.61 Ubdoe Method. eamner62 Moperaro. (J = a8) a : — N°7. Axpaxrixo Pasronate, (J-=60,) Ores Method. spanner63 >> >> > >> Oe Vile cs of = ritard: tS oanner. Oboe Method.8 oe AttRcRo Ex Mancato. (d= 69) Oboe Method araer.Oboe Method wa) ALLEGRO MopER.1TO. (d = 93.) Ne Ml. mf Oboe Method. sanner.Ro. (d = 100) 6r ey a 2 Tempo pr Bol N912. vee Mathes, =f anne.68 ALLEGRO MonEKato. (¢ Oboe Method - banneree Tien No 14, P — «s TF > = |- = Odoe Method. manner.10 decres Oboe Method. ‘aaner.a MODERATO. (J= 8.) NO 15. ‘Ete Woe Method sane.LEGarERo.( J=08) No 16. Obor Method. eaneerALLEGRO MODERATO. (J =104.) — a NO 17. Oboe Method . seanecr.4 ANDANTE SOSTENUTO. (J = 60.) — “mp. a ~ No 18. =o > | = Oboe Method. ‘bannerOrne Method. anner,‘MODERATO. (4 =0s.) NO 19. Oboe Method. Banner.mW Oboe Method, eanner.78 MODERATO(J=¥4) A NO20. Oboe Method , eanner.bee Method, usar80 MINUET LEGGIERO. (d=72) NOQ). P FINE. Ob00 Bethe.Obve Method wanaetANDANTINO. (2 1s) NO 22. ritard. | @ tempo. Ouse Mette sanner.83 ALLEGRETTO FLEBILE.( d= —; Ne 23. Ober Method.sanner. Choe Method.ALLEGRO MODER.ATO. (d= 95) No24. PS Oboe Method. BaRnETritard. et | itard e din. vS A= bee method.ALLEGRO MODERATO ) av Aaa Pies. +e NO 25, Oboe Method.88 P atemo. Ove Method. eamerNO 26. unact One Method.MINUET. ALLEGROJd = 78.) NO 27,a TRIO. Oboe Method « manaAxDAnTE (J=00) No 28- Ouoe Method. eamaerNO 29. P anne Oboe MethodOboe sethod,Oboe Method — warner.f=98 ALLEGRO % —~ N°? 32. a Oboe Method, ‘annecalando ¢——ritard: Oboe Method.4100 Movenato. (J.- 96.) — a N? 33. Uuee Method. eanaerGalanda- ceo ere pata =e t = = Oboe Method « banner.102 AxDAnTE con ESPRESSIOXE. (4-60) araer— Cant aBiLr. (0 = 94.) N° 36. Pr bee Method BARRE10+ Atxexerro.(d= 100.) N37. toe Method. oanner.108 tempo. =S [PP crest Oboe Mett od. oaRRET106 Anpante. (J.=72.) —S =—=— ) mT N40. = z eee Oboe Method. eanner107 < => amorzando. SS SS Oboe Method. ARAET108 Oboe Method. eaneer109 Oboe Method. manner.no Odo" Method. eaaner.m1 f (eo ——~. cres- = - - Oboe. Method « anneuz Oboe Method. earner.us xpanrn(s = 50) leguiera. PP_ anner.dt OLoe Method. —_———_. dim.e ritard.Mopeniro.(s P Oboe Method. eanner.6 Oboe Methe banner.manner.ug Otoe Method. ‘onnner.19 SONATA. Moveraro. (J = 104) _— se tee, N° 2. Pz Oboe Method. P eanner.120 vee Method. ant.Oboe Method. anner.122 Oboe Method « manner123Je ——_ == LENTO CoN ESPRESSIONE. , rome ee ae Over Method « manner.P poco pia ratt| vor Method. ane126 ee : Tempo Te = | ritara: [PP = re dim: Se a, PPALLEGRO. (2 = 96.) RONDO. Oboe Method. anner.128 > Oboe Method, ‘anner.129 legato atle D.C. Oboe Method anne4130 somata, ALLEGRO Makstoso.(4 - 100) Ovoe Method. sanner.anne. Oboe Method.132 F = of Oboe Method.133 Oboe Method. ‘anne.138 “eres. - Oboe Method. BARAT135 Obve Met hod banner.Lexro Sostexcro.(4 = 66. Ff = piutente? lento” — P Oboe Method. anner.‘acéellerando- a. fa) —_—> =—— a piacer. a Piu animato. oie Banner.138 Ps r - > SS = = Oboe Method. sanney139 See = P = Oboe Method. Sanner340 = Oboe Blethod. anner.2] a tempo- Titard legato & dolce. MINORE. — — f fe = P= Obee Method. eanner.142 Obwe Method. Banner.=> ritard: f= P al Segno 8. Oboe Method. eanner.M6 SOMATA. AttxeRo Moveasto. (0 -36.) Ne 4. _ Oboe Mathod. aanner.145 — ritard: Pctempes Oboe Methou. sanner.Oboe Method. eaaner.P Ovoe Method bannerSs fe Oboe Mathoa eanner.19 Oboe Method banner.Oboe Method Banner.151 ANDANTE CANTABILE « ( A Oboe Method eanner.a = simplice, or a ce, Oboe Metnod. bannerOver Method. tanner.s+ Movrnato.(J- 96, RONDO. Oboe Method. annip Oboe Methe eanner156 manner. Ovoe MathodOboe Method.158 dim ¢ ritard: Oboe Method. aanner.159 GUFTEIN GRAND STUDIES. autrcro. (d= u2) Olve Methous earner.160 tempor rol. af Pee Methou. wanner.461 P dim eral: . . — due Methou, eanner.162 ALLEGRO Aoiraro. (d= 112) Oboe Method. BARRETOe Method anner.cress smorzundo e¢ ritard: Oboe Method eannct,165 MoveRaro. (4 = 112.) N° 3. Oboe Method.eanaet. Ouse Method.> Oboe Methost. eanner.168 ‘Oboe Method. warner.169 MopxRito & BEX MARcaTO. (d-: 72) NO4.170 =3 Oboe Methods —7 pannct. =a7 pvt Ky & 7 v Vy] Vv V VI Vy > Oboe Method. warner.172 J ALLeoRo MopERato. (0. ~69) za — se ES > Oboe Method eanner.M4 Mopsnato x srw Mancaro. (4 = 76.) a, Oboe Method. eaRAET.pannet. Oboe “Method.1716 Oboe Method. Banner.nm ALLecRo Mopgraro. (4 = 112,) Obee Method. anne.178 SS SS ESE I SS SS SES > f= eanner. Oboe Method.—S eee ~~ ritard: Ja tempo. | == —— Obve Method. enaner.180 Moprearo. (d 2108 Co . oe. . NO8. Oboe Methnd fanner.181 Oboe: Method. BARner.Banner, Oboe Method.183 2 cres - oe. dim Oboe Method. eanner,Mopgraro. (J = 106.) pei > cress OF Obee Method. eanner.Olee Mehed. Anneti ores. Of Y Oboe Method. BARRE.187 dxparts uncato. (d= 68) N°10. 5 =a —— ‘Oboe Method. eannet.f——— smorzando. - => P t Loe Method. panne.189 Mopgraro..( Ne? IL. Oboe -Metnot. banner190 olny, Stenteo SS —— — ae~ SS SOS OS SS —. — — ¢ = — ——— = a — — eae a Oboe Method Anne.cres- Ovee Method. panne.192 Laxro viaoroso. (d= 50) N?12. ( a oes Fe me me P Oboe Mathed.193 wpbekek bp bee Method. sanacr.195 Presto. (d-= 160.) a ee eee Oboe Method. Banneteres? - Oboe Method. oannet.f f (rei ‘Oboe Method. eanner.198 AwpaxtR GRa21050. (#= 72.) > > S> a cress i bee Methoa. ‘Banner.Owe Method. Sanner.206 Moperato. (d= 112.) NOUS. Ovoe Method. BanneT.201 = ef P Oboe Method. earner.202 cress. Ot -f Oboe Method.No.16. , MODERATO. (4 +=76)FIRST AIR VARIG. Lawto Cow espesstoxn. (d= 72) BARRET. — _—~ «—~ onor. = : => Por ad INTROD: 5 AY LE, . wasso0s nat cette. a> = — 2 : =e — ss = = —— = | het — Oboe Methou. BAKRET.208 — FRET UR Ze Attxonzrro. (d=s8.) nor, EME. Bassooy, CELLO. Ohw Method. Banner.Cox Gusto. Ovoe Method. eanncr,210 ee ee of SHS] OS rf SS SS ‘Over Method, Banner.eu Bex MaRcato. VAR. 3- Oboe Method.212 copa. Od08 Method. panarr. 218 SacoND AIR VARIE. BARRET Avoarre Sprivato. (= 63.) > eee IntRo. —— ar Tpiacee. —— Paenpe — ——_ — Ovoe Methods anne.ait Oboe Method. eanner.— 215 VAR.T = P Oboe Method « eanner.216 ae cress I aaa a ee Ge — = = Pru AxImato~ < Oboe Methud. banner.217 Cow Forza. Se VAR. 3- face =— cres: Ze > hs lento. Lol = Otoe Method. Annet.FINALE Oboe Method «219 PIU ANIMATO ime copa. = a Oboe Method,