FERNAND GILLETT Hi Slits de Opt de Ps, des Concets Lamoureux et a Boston Symphony (U.S.A) Ex-Membre dea Faculty de University de Boston, du New England Conservatory de Boats ‘et du Conservatoire de Montréal (Canada) EXERCICES POUR LA TECHNIQUE SUPERIEU DU HAUTBOIS j EXERCISES FOR ADVANCED OBOE TECHNIQUE UBUNGEN FUR DEN FORTGESCHRITTENEN UNTERRICHT DER OBOE EJERCICIOS PARA LA TECNICA SUPERIOR DEL OBOE Editions Musicales Alphonse 175, rue Saint-Honoré, 75040 Paris QC NUSIAORa WronIUMT mateFERNAND GILLET x-Soliste de POpéra de Pati, des Concerts Lamouteus et de Ia Boston Symphony (U-S.A.) Ex-Membre de la Faculty de "University de Boston, du New England Conservatory de Boston. ct du Conservatoire de Montréal (Canada) METHODE POUR LE DEBUT DU HAUTBOIS Method for the beginning of the Oboe Rét: BA POUR L’'ENSEIGNEMENT SUPERIEUR DU HAUTBOI de GEORGES GILLET REFONDUES ET AUGMENTEES DUNE METHODE DE TRAVAIL Studies for the advanced teaching of the Oboe, by Georges GILLET, revised and with the addition of a practice Method Rees CC — EXERCICES POUR LA TECHNIQUE SUPERIEURE DU HAI Exercises for advanced Oboe technique Ubungen fiir den fortgeschrittenen Unterricht der Oboe Ejercicios para la Tecnica superior del Oboe Refs BT EXERCICES SUR LES GAMMES, LES INTERVALLES ET LE Exercises on the Scales, the Intervals and the Staccato Ejercicios sobre las Buscalas, los Intervalos y ¢l Staccato VINGT MINUTES D’ETUDES Refs BF Alphonse Leduc Editions Musicales, 175, Rue Saint-Honoré, Pa Inia Prone = Prd France (De hg dank Muskionsertotu ‘BeteSICES POUR LA TECHNIQUE SUPERIEURE - DU HAUTBOIS EXERCISES UBUNGEN FUR DEN EJERCICIOS FOR ADVANCED FORTGESCHRITTENEN | PARA LA TECNICA OBOE TECHNIQUE UNTERRICHT DER OBOE SUPERIOR DEL OBOE FERNAND GILLET Bxercises for the diatonic | _ithungen fir diatonisehen Bjercictos para tas escalas dia. scales on groups of $,5,and6 | tore, iber Gruppen von 4,5 und 6 | tdnieas en grupos de 4,5y 8 m9. notes £0 the Beat, to be practi. | Noten jn Taku, din mit einer | tas por cada tiempo, Deberdntra. ced in all major and minor | xorgestellten Vorzvichaung in | bajarse en todas las tonalidades tonalities witha figured key | allen Dur-und Molltonarten Imayores ¥ menores con arma. Signature, but retaining the | iben sind, aber mit bribehaltewem | dura figurada, conservando en @ clef. First practice the exer. | G-Schliesrl. Zucrst div toto momento la clave de sol. tteasuiteappliquer | cise ail legato", then use an | “gchuadea” brn, sodana ie aus | Trabdjese primero el ejercicio Srlivwlation auchoix danse | articulation selected from the | der Artikulationstatel, die jeder | ‘uy ligado’, aplicando,segus. sauWarticalations qui pré. | chart of articulations preced. | Uhuog vorausgeht, grvihlte Arti. | damente, a eleccidn una de las thague exercice. ing each exercise ulation anwenden ‘articulaciones gue figura en ed euadro de articulactones que precede a cada ejercicia, TABLEAU D’ARTICULATIONS SUR 4 NOTES CHART OF ARTICULATIONS | ARTIKULATIONSTAFEL | CUADRO DE ARTICULACIONES ‘ON 4.NOTES UBER 4 NOTEN SOBRE 4 NOTAS i” 5 6 7 8 9 10 2 = sce aitas ea ee CSS ee a a PREMIERE POSITION | — FIRST POSITION | ERSTE LAGE PRIMERA POSICION é a pare ES a ES Se Eteteere iste,DEUXIEME POSITION | SECOND POSITION ZWEITE LAGE SEGUNDA POSICIONa TABLEAU D’ARTICULATIONS SUR 5 NOTES CHART OF ARTICULATIONS ARTIKULATIONSTAFEL | CUADRO DE ARTICULACIONES ON 5 NOTES UBER 5 NOTEN SOBRE 5 NOTAS Legato 7 # PREMIERE POSITION | FIRST POSITION | "Weg e DeUXIEME PosiTiON | SECOND PosiTiON | _—«ZWEITE LAGE ——|__—SEGUNDA POSICIGN ep gr te eet:TERCERA POSICION TROISIEME POSITION | THinD posiTiON =| DRITTE LAGE | sttttenston, = b 5 oaparttat 3 = 3 TABLEAU D’ARTICULATIONS SUR 6 NOTES CHART OF ARTICULATIONS ARTIKULATIONSTAFEL CUADRO DE ARTICULACIONES ON 6 NOTES BER 6 NOTEN SOBRE 6 NOTASF PREMIERE POSITION | FIRST POSITION | ERSTE LAGE | PRIMERA PosiciON * , ae eerste f Ef eecte - a = 6 DEUXIEME POSITION | SECOND POSITION | IWEITE LAGE | SEsuNDA PosicioN Pe asacttteross«s siege fs aoe ‘TeP ee, Seer ares = | Sia ee ea epostcsettiitense: = : pre PSS ee a : $5 Leta saotondtttetiterttseese,: jenonsittette eee , : eet | « eseeect tit f is eeekte2 pie Of two measures several tim: and progressing one measi atatime, fintando deuncompas ola GROUPES MAJEURS =| MAJOR GROUPS | Legato Age DUR-GRUPPEN | GRUPOS MAYORES GROUPES MINEURS | __—_—MINOR GROUPS. | MOLL-GRUPPEN \ GRUPOS MENORES pers 2c. #atia at scene @® ‘48 basseApercicios sobre 08 sen regulares, comensando sacs’ sivamente por cada gradey da escala. Repetir varias: a -Reorcises on the regulat set tee, starting on each des T0® ine seate. Repeat ever) 100 sercices sur Tes 60 1 doot le départ = chaque ter ple Qisures several times, (ROR mest ‘progress one at a time. ThE 0 je cada grupo de dos compa, wa sain difficulty of this exer. schreiten,DieHauptschwierig kit basdsendo conpeaplegs ses, Megan der Wie- | 2 principal dialed pari petition des deux mesures ¢ measures in two different {0% derholung zweier Take, ejercicio consiste en la ot deus tvualinés-T erate iba precicadcuiet | saledeuma augehiren. | Hein de Los dos com ‘ge ‘one dapris Ie tableau | culation from the chart aa eo aus der Tafel fir | bdjese, sobre todo,*en ligad feat de cet exercicn est Ia 76 Hauptsitehlich gebunde® Artibulati de Vexere Tes aceil wi. | The accidentals between naa als betwee! ‘in el cuadro N? tesis son solamente para las only. tonalidades menores. Se Fine. Secondo al segno @ieer @ (i) A 2.0. = g2ai'sTine, Secondo aleegno loco Do, H acatta at segno ® 82%assaa segno A a2 base0 cal seg? g3 bass!(») (x Ww, gt Pine rst EE seco? al S.4 _ ice 2 | Same principle as for Rxer. el mismo princt temps. | cise 2, but jercscio, pero con the beat, inco notas por cada tiempo, MAJEURS — | MAJOR GROUPS DUR-GRUPPEN GRUPOS MAYORES Legato aentlas que Vs ots teeote ® way fs bass0 bebas bi MINEURS MINOR GROUPS MOLL-CRUPPEN CRUPOS MENORES see.“4 Idéntico principio el ejercicio 3, pero co notas por cada tiemp, que Teverciee | Same principle as for Rxer- pa. | cise 2, but with five notes 0 the beat. ‘Select the articulations from Blijanse las articutacs segun el cuadro con 5 noi, prise Tableau sur Sautes. | thechart on 5 notes.Deaset fee p ones? Woe + ) att eerie (4) Sf fee, ii) ! cea a, (a)= Adéntico principio que en jercioto par te 8 for wer. Six notes 10 JPES MAJEURS fi Bad grasa ee ROUPES MINEURS | MINOR GROUPS: | MOLL-GRUPPEN | GRUPOS MiNoRES peesE G passelbe Priozip wie fir N&S, | Idéntico Princip Ot, pe que Tienes | Same prénctple a8 or 21 par temps. cise 5, but with six Robes 10 aber je 6 Noten per Taktteil eb ejercicio 5 pg the bea! notes por cadas lis der Tafel | Sléjanse tas art, segun el curdroe ‘Select the articulations from | Artitelt fiir 6 Noten will ihe chart on 6 notes. Cd ach Om 6 xan ta Se a ee (a) w W apaete £Ee wo) (i), 2:. peer8 Bxercise on broken arpeggios, bungee Wher gsbrochonw Ak. | Ajereieto de arpegionquebre. To de practiced alt “Jegator. | verde, Durchwog griundes W. | das Bebe wohaforeraay He Tate exercise te devietarnot | Sen gedgn fete oferesto no dla only for finger ochnigusout | tied ¥t Site eserto parole loenves more particetarly. for ta is ts dodedfetno, sobre tose, lity of emboschure. | Wnktie dt hine para vafaxibitidad delsem- MERtiy, Ut ehoutde | talgedessen muss uesernng. | oceania Ba eonscowonetay Hy soy, 40 a8 10 be | sum ive verder,um aul tes | debard frobajerce may fom? f4re to obtain.on svch not ike | Revol fr dlc ntohels asd | tomate a/oe deeotone sobre change of embouchure required | Qualitit des Tones sitigen Weeh. | cada nota ol cambio de emdo, Sor proper pitca and quality. | Stu Seaura neceserto parole 0. of tone, Sinacion y calidad del sonido, g pas rit fur des doigts mais s I laseupleate doom Hing du son. Legato 5+ i i is : a9 Ubungen tiber diatonische In. | Ayercécios sobre inter valos Tersun bis Daxi. | didtonicos, desde lus"terceras Practiced chiefly “legatovin alt chlich gehunden | Aasta lasndécmas”, Trabijense major and minor tonalities,in | ben, in allen Dus principalmenteven ligado’,en eeordance with the principle toa of Bxercice 1, The exercizes iy menores, segun el principio are written in 6/, so as to pro. del ejercécio 1, La escritura en vide a greater variety of ar, ‘au gestatira, | compas del/, tene como fis aque exrrvice dum | tieulations. Aach exertice of st fir dassetbe Ta. | dad el proporctonar mayor lle est corit sur trois | the same snteroal te written tn schivdenrs La. | variedad de articulactones Cada Biceaul epour batjdane | fAree positions, tas object of | gen geschrivben, dines rarrarita | eferetelo de um mismo (ateroalo iis being on the one hand io | gestattrn, den Rhythmus, ued | estd escrito en bres posiciones tes; at de Vautre: | place the rhythm on different | Eadoverscits die Avtitulsci con el fin: 19 de colocar el ritmo culation cheisin | motes, and on the other to place | aut verschindenc Noten zusctsrn | sobre notas diferentes; 20 de co. dittérentes (con. | the articulation selected on | (worauegescict vatirlich, dass. | locar la articulacién olegida so- es entends decenserver | different notes (provided, of | diesclhr Artikulation fie alle | Bre notas distintas(a condicion, e articulation pour les | course, ‘he same articulation | ivi lagen angewendea wind). | materalmente, de conservar [0 23). is retained forthe three po. ‘misma articulaciin para las sitions). tres posiciones). xerciseson diatonic interoals Srom*ihirdsto "tenths". To be TABLEAU D’ARTICULATIONS CHART OF ARTICULATIONS | ARTIKULATIONSTAFEL | CUADRO DE ARTILACIONES a TIERCES | THIRDS | TERZEN | TERCERAS1 QUARTEN | CUARTAS “i FOURTHS quars | GHEY Ss. a SIXTES. | SIXTHS | SEXTEN I SEXTAS SEVENTHS SEPTIMEN. SEPTIMASDCTAVES | OcTAVES | ™ ORTAVEN | OCTAVAS nevvienes Saves NOVENAS DIXIEMES TENTHS DEZIMEN DECIMAS. sures itervaties chre.| Axercises on chromatic inter. | Ubuogra firchromatische Inter. | Ajercicios sre éateroalos cromi. vruadectjus, | vata from toeconds™ fostenths®, | valle, woo Sekunden bis zu ezimen, | tons desde las eegundas* hasta as seers, | Gawedet for te matter of tonal. | Abgesrhen ven der Tonarhdasilbs | sdecimas” fadependientemente de ‘neque Tea_| éty,. sme principle as for’ | Priazip vic fir N lu cuestién deta tonalidadobsereese Bxercise I. ed nism principio queen ek qe. SECONDS SEKUNDEN SECUNDAS.TIERCES MINEURES =| MINOR THIRDS | KLEINE TERZEN | TERCERAS MENORES fete titeES MAJEURES =| MAJOR THIRDS GROSSE TERZEN | TERCERAS MAYORES Heaithalt ottattie i? stthe38 REINEQUARTEN —|_—CUARTAS Jy; STA e Ss quantes susres | PERFECT FOUATHS =| partial QUARTES AUGMENTEES | — AUGMENTE! 1 f EN’ r a ‘OFOURTHS | UBERMASSIGE QUARTEN | CUARTAS AUMENTADAS +a te ter ie eee bafraltrefuehtnathel realteisttintnaltaet, ——— QUINTES JUSTES | PERFECT FIFTHS =| _—REINEQUINTEN | QUINTAS JUSTAS40 quintes AUGMENTEES | AUGMENTED FIFTHS SIXTES MAJEURI 3 fs | LC a MAJOR SIX THs; =| eeeernae . E SESE EM | SEXTAS = = MAYORES ie“ SEPTIEMES MINEURES | | MINOR SEVENTHS | KLEINE SEPTIMEN |_—SEPTIMAS MENORES z by by fya SEPTIEMES MAJEURES ete tactsa EUVIEMES MINEURES | MINOR NINTHS | KLEINE NONEN | MOVENAS MENORES: b be be te be NEUVIEMES MAJEURES | MAJOR NINTHS GROSSE NONEN | NOVENAS MAYORES fie fe te te te. ' y “ | KLEINE DEZIMEN | _DECIMAS wey, . s MINOR TENTHS Ones DIXIEMES MINEURES | i Pad ' abe DIXIEMES MAJEURES | MAJOR TENTHS | GROSSE DEZIMEN | _DECIMAS MAYORES 2 # 4 fe1 “ Beercises on arpeggios with | Ubungen ier gebrochror Ak one supplementary note for each Sr0up of four notes, and two Supplementary notes for groups Of five notes, The exira note 13 located between the two no- tes forming the first, second, or third interval, Ajercicios de arpegtos con ner susitatichen Note | una nota suplementarsa enc a grupo de cuatro moras y dos notas suplementarsas en ‘grupos de cinco nota. Con ,| me observar que la nota suple mentaria se halla entre las dos Alte oteva dew fotos que forman el primer in. Atiardes bilden tervalo del arpegia, el seren Legato doo el tercero. want ge vier (Primo Dearalta «(Secondo hi - (Secondo " poet basea sano ai Legato Pettey [Secondo theese, # tate weeseses ae ere. ey * 2.0.88 bassatebe gues (erie by (Secondo * 0.0.89 bassa Legato stand bo anata Urine SSC«d Beco o-1 0.0, 830assaae a Greet eer Baty ere ee aie ba : ier es [Primo 2, en .0.89 60580 Legato acy fee Bee eee a 1 tees tate ain ie we peo * 2.0.88 bassoLegato Pa ae ts a teh babe. (Secondo [Secondo 4 th iOYP 600 occccccccccccceccennnsncneesneseceeeeeeeeeeeeeescatansacncnsnnneeeeceeeeeeeeeeeereeeeneneceeeaaal ra er nee Pri rcrcseggnreztraaaes ! p.0.82baseaice Legato ve(Secondo — al Fever Tee [Primo aeatatta —_____5econaa a be a jecondo er they fee[Primo D.C.Aalta Fe. et, andl yay - toa ly Se? ¥ stand gap. what foro 5 Primo D.Cae alta12 Pegg ton o diminished seventheonsth ene supplementary note accordion tothe principle of Beercieett iibungen ther gebrothens AX Bjercicios de arpegios de orde vos vermin séptimas disminuidas con. na nota suplementaria segtin el principio del ejercicio 11. sprechead dem Prinzip der Ubung rr Legato sie foo PSE, Vpashet bees heDC#3bas80 Legato te, # =13, eee Be aieLegato thd gen ea : =a tr $i E Ss aa Speer eter ee D084 bassaLegato pele Fi $3 phere =e Steer amByercivios ea arpegiadoe. Ca sb — 13 Bxercises on 69.arpegss?, chords. Bach urpeggto should be practiced according t0 he example below.1118 ithe rees Bnerelens par mouvement con Ruercises by contrary motion Gegenbowegung ‘Berciotor seca | Jee ech purehY avec une signature.F 15 Bexercises in contrary motion on groups of different inter | We Kjercicios por movimiento contrario sobre grupos de dis. ‘intervalos, con cambio Gegeobenegung i ae ntrais Asp eone | calf wate he natty a ‘ anged at every group o ape de six Botes, antennae detonalidad en cada grupo was de seis notas. Legato ssdeal pa uod.y s16 q Ajercictos por mo Pi msen, ‘eerctses by contrary motto” contrarsacobpegrtmleny on groups of four different fenton interna cago ge . t rervals by chromatic PTO g = eit gression. syle te ee nama ga hag F42007 ea ru je drei | Tambsen per grupos de tres intervales. | Lise ay eroune of taree intervals, = _ (Primo DGS alta \ SecondoSoncouter dans tou palitcs majeures ot mineures, Consarver In elé dn sol areeu. te armure figurée Legato A: peorcises of intervals OF tnree positions of gras ath gts gts ott ths othe 7th to be practiced in all major and minor tonalities. Retain G clef witha figured Rey signature. othe [ntervall-Ubungen iden drei | Borst 608 den Lagee tres postcioness "Tal von Terzen Quarten Quinten «nn " Fils isiiSuii see Quarten Quiaten Sexten /ARTICULATIONS SUR 6 NOTES TABLEAU D CHART OF ARTICULATIONS ARTIKULATIONSTAFEL CUADRO DE ARTICULACIOn, Aidit UinER 6 NOTEN SOBRE @ Norag OS Pityiis ny - ‘ PREMIERE POSITION | FIRST POSITI ON | ERSTE LAGE | PRIMERA POSICIONfeteteabe 5 DEUXIEME POSITION | | SECOND POSITION = | ZWEITE LAGE = |_— SEGUNDA POSICIONF efeeche sh Db AROISIEME POSITION... o<rorvaal Legatoa i nozza. Ete 7 Garner Fane Fditions Musicales Alphon ENSEIG METHODES BARRET. METHODE COMPLETE, None én 1 tee enter renee, BE artic ena "em Bx: Dar Tt Tea — EXTRAIT DE LA METHODE COMPLETE, par R drat lames chaque Toa Eger Dake Te Tewcine ‘ETUDES ‘TRAITS DIFFICILES is anessymphniquseidre petguy ewe par Ban ANDRAUD. PREMIER CAMIER DETUDES POUR HAUTBOIS OUCOR ANGLAIS, gine sexes Pores commenant Tr fa Eagl ta SBLEUZET. LA TECHNIQUE DU HAUTBOIS — Sono- the mécanene = PAR ETUDE RA MIONNSLEE ‘DES GAMtMES oF.) en 3 paren Chaqe Pani Caner il Meciome I. Son te Areas Pac: Vi Canmesen ewes. Vl. Mécaine. Gane en quae. 1X. Mécaname n X me chroma i beach Tate Engh te. Dae on Apap weTupEs (7) Dench uur heetii poor ee Tot cee seat vrei beau ae made W ETUDES SUR DES M ~ CRAPHISMES. Préparation a = © — S ETUDES @, 9), 75040 Pat aint-Honoré - Leduc - 175, rv 5 So pram erm aguas say nce oes I ao Eudes et 6 grandes Sonate (3 a: 2 a ETUDES i Sse aa we Pye OND BO EXERCICES (7h vance mmo exercces ne sont pas uniquemet oobi de sot, a 3 ment a pur elon sel de} 3. Bath inom S14 10. Froese JDES por haute naophone DERONDUE. 100 EXERCICES (7) spores mal porbey Ranat coh at SST SE es ee cle — 4 ETUDES MELODIQUES (6) nore aa sere acne du han, hs en dane suraige gee dine glnaerndqus par un deigié DDS ob fate Ton seat aver vance ie ail de = 2 ETUDES (a) En dchom de cemaincs particularits techniques, elles gure dig el ema drone eghonomend Sule gatche du naturel aus Be Tae rats Enh tt. ech Te Danse enuemble cr tues som cerponées dans (equated sept dts ou bere) fare de dees grace temas re 4 dele es. Deor fade see oO SIU oe Tae ea apc es oe is Cedex'Ol - Tél, 42.96. NEMENT du HAUTBOIS ‘allele coup de langue on doce ‘TRAITS DIFFICILES, ‘matigues recuells par ~ #8 ETUDES. Dee — © ETUDES. DeCHIFR Phone (3. — 25 ETUDES-DECHIERY phone 1") DUBOIS (P.M. 12 FrUDES. Ce sont surtout des que lations ntereaties, al ages deta GILLET F), EXERCICESSUR TERVALLES EF LESPAG — EXERCICES POUR La, IFURE DU MAUTBOIS" — METHODE POUR LE DEBy — 20 MINUTES DETUDE, Ie cchnigue (7, GILLET (G) ETUDES Po SUPERIEUR, eeonducy THODE DE TRAVAIL, Tew fracas. Entsh em LAMORLETTE. 12 ETUDES, Tete ramet. Exh tet Ces dour crudetsont dane ne slide technique: dtd un tempo moins apie que LOTTMANN.21 ETUDES DO} ides ruven de Boulez, Stravinay, RUGGIERO. 6 ETUDES