Transcription

1 Using "Frked F"- The first scale the beginning be player learns is-- yu guessed it- the Cncert Bb scale. When yu lk at the fingerings fr Eb (R1, R2, R3, Eb key) and regular F (R1, R2, RHF), yu will ntice there just isn't a way t get frm ne t the ther withut playing an E natural (R1, R2) in between (unless yu have a "Left Hand F" key, which beginner instruments DO NOT). Obe players are frced t use the alternate fingering fr F-- the "Frked F" (R1, R3). Mst beginning band music is written in the keys f Cncert Bb r Eb, s the be player must use the "Frked F" mst f the time. The prblem is, the be player usually learns this alternate fingering as the ONLY "F" they ever play-- even when it wuld be easier t use the regular fingering fr "F" (fr example, when ging frm "F" t "E" natural). Slutin- the best slutin is t get a "Full Cnservatry" be. This be will have a "Left Hand F", which all but renders the "Frked F" bslete. If yu can't d this thugh, the best yu can d is remind the student t use t the "Frked F" nly when ging t r cming frm a D, Db/C#, r Eb/D#. I have my students mark an "X" abve all "Frked F's". Using the wrng ctave mechanism- the be has three different ctave mechanisms. There is the half-hle, the thumb ctave key, and the side ctave key. Sme bes als have a "third ctave key", t be used n ntes abve the High Eb. The half-hle is used fr furth line C#/Db, D, and furth space D#/Eb.

2 besfridigets.cm/tips2. htm -Bad Habits, Trubleshting, Reeds P.1~ I began playing the be in the eighth grade. My band directr, wnderful as he was, just didn't knw much abut the be (unless yu're an be player, yu're just nt ging t get all the infrmatin yu need frm yur "Duble Reeds Methds Class" that yu had t take in cllege!). And since I never had the pprtunity t take private lessns, I had acquired a multitude f bad habits. I spent my entire freshman year trying my teacher's patience while breaking these bad habits. In my years teaching private lessns, I have seen these same bad habits in yung players. It really is n ne's fault. The be is just a finicky instrument! In additin t bad habits, ne f the mst cmmn prblems I find is that the bes are nt wrking prperly. Again-- n ne's fault. The be has a very intricate adjustment system, and it desn't take much fr it t get ut f quack--1 mean whack. In the repairs sectin, I will tell yu the mst cmmn prblems I have encuntered. And last, but mst certainly nt least, are reed and embuchure prblems. If a student has a bad reed, that's the end f the stry-- n matter hw gd a player (s)he is, r hw gd an instrument (s)he has, they still wn't sund very gd! In the reeds sectin, I will give yu tips n hw t select a reed. Hpefully this page will address sme f thse cncerns. If, hwever, there are questins yu have that are nt answered here, please send me an ! Bad Habits

3 bttm and nt enugh frm the sides. When they pretend t whistle, it brings the sides in. Pull yur bttm lip ver yur teeth. This ne is a little harder fr students t understand. I tell them t curl the bttm lip ver the bttm teeth, as if they are trying t put the bttm lip in their muth. Then pull the lip ut and dwn and stretch it acrss the teeth. This makes them "flatten" ut the chin. The chin muscles shuld be pulling away frm the reed, nt pushing up t it. The teeth shuld nt be t clse tgether when playing the be. If the student is "biting" dwn, (s)he is using a "duble lip" embuchure, where bth lips are curled acrss the teeth. The tp and bttm teeth are nly abut 2 centimeters apart and are biting dwn n the reed. The teeth shuld be further apart, and the nt putting any pressure n the reed. The lips shuld be the nly part f the bdy in cntact with the reed.

4 Lk at bth blades f the reed. If they dn't lk exactly alike, the reed will prbably nt be very stable, and therefr a bad chice. Symmetry is everything! Lk at the sides f the reed- If the blades d nt tuch, the reed will leak. If a student has a leak n the side f the reed, there are tw "quick fixes". If yu happen t have "fish skin" (it's an be supply), apply that up t the pint f the leak. Yu can als apply a very light, thin layer f clear fingernail plish up t the pint f the leak. Make sure the plish is cmpletely dry befre playing! Als, check t see if the blades are "slipped" (ne blade t the left r right f the ther). Sme bists prefer slipped blades. The pint t slipping blades is t make sure the reed desn't leak, but I have fund this causes mre prblems than it fixes. Reed Secret- If yu have a really gd reed, but it is really ld and starting t "die", there is a last resrt quick fix. This prcedure is highly cntrversial amngst the bists f the wrld, but hey, it wrks fr me. Here it is Sak the reed in perxide instead f water. This srt f cleanses the "gunk" ut f the reed, and gives it ne last play befre yu have t give it the wall test. It als damages the reed, s it's a "ne time, last resrt, desperate mve" fix. Use sparingly! Embuchure Because there is n muthpiece, and the reed is s small, many yung bists cme up with sme very interesting embuchures! T help them achieve the crrect embuchure, here are a cuple f tips I give them. Pretend t whistle. Freeze that psitin, and put the be reed in the muth. This sets the pening f the lips in the shape f an "O". One f the mst cmmn prblems with be embuchure is that the student "bites" dwn n the reed. (S)he has t much pressure cming frm the tp and

5 lutp://ww\v.besfridgcts.cm/tips2.htm in the key. The pening f the ctave key is very small and traps water easily. Slutin~A gd swabbing shuld fix this. If swabbing desn't, take the tp jint ff, hld yur right hand ver the tenn crk (t cmpletely blck the air flw) and press all the keys dwn with the left hand. Blw really hard, and press the ctave key. This shuld frce any water in the key ut. Tp f Page Reeds Let's face it-- be reeds are the bane f my existence, and yurs t if yu have an be player in yur band. I can't even begin t tell yu hw t adjust a reed if it isn't perfect, but I can give yu sme tips n chsing them. Buy frm an be specialist-- When yu buy a reed frm yur lcal music stre, chances are it is a mass prduced, machine-made reed. Chance dictates that yu will get a decent reed every nce in awhile. But mre ften than nt, and crrect me if I'm wrng here, yu'll have a substandard reed. And yu prbably paid ver $10.00 fr it. Reeds frm be specialty shps are hand made. Many ffer "student" reeds, r quantity discunts. The prices range frm $8.00 fr a student reed t $14.00 fr an advanced reed. Even if the price is higher than yur lcal music stre, yu've gt a much better chance f getting a better reed. I wuld suggest rdering tw r three reeds frm different cmpanies, and have yur students tell yu which nes wrk the best. Lk at the reeds - If yu're in a pinch and MUST buy frm a music stre, lk at the reed. The finished length f the reed shuld be 70 mm (fr thse f yu wh carry a ruler arund in yur shirt pcket). If it is lnger, it will be flat. If it is shrter, it will be sharp. Als, lk int the pening f the blades. If ne blade is flat and the ther is curved, dn't buy it. Is the pening t wide? It will be very hard t play and prbably flat. Is it t clsed? It will be t easy t play and prbably sharp (and will last abut tw days). Hld the reed up t a light - Hld it just in frnt f the light in such a way that yu can see thrugh the blades f the reed. Yu can usually spt a crack this way (it will lk like a dark vertical line). Yu can als tell if the reed is handmade this way. The machine made reed will start dark and prgressively get lighter. The hand made reed will have definite areas-- windws, spine, rails, a heart, and a tip.

6 The ntes n the tp jint f the be cme ut, but the ntes n the bttm jint dn't- This is usually caused by a leak in the pad between the secnd and third key n the tp jint (see P3 abve). The first finger f the bttm jint is cnnected t a bridge key. This bridge key pens the pad in questin (finger a third space "C" and yu'll see what I mean). When yu press dwn all the keys f the tp jint, this pad shuld clse. It shuld stay clsed when yu press dwn the first finger f the bttm jint. If the be is ut f regulatin thugh, the pad will pen slightly when yu press the first finger f the bttm jint. Smetimes the pening is s slight yu can barely see it, but it's there. Slutin- This ne requires a screwdriver. If yu fllw the mechanism frm the leaking pad, it will lead yu t a cuple f adjustment screws. Yu can usually clse the pad by turning ne f these screws. The nly prblem is, if yu turn it t far, yu'll pen anther pad n the bttm jint. If yu MUST try t fix this yurself, turn the screw a little at a time. Play a scale n the be t make sure yu haven't caused ther prblems. I wuld suggest taking it t a repair shp r smene wh teaches be lessns. The third line B and furth line C sund the same- the pads (P2 and P3) that lift when yu press the first finger f the right hand (R1) are prbably ut f adjustment and are nt lifting high enugh. Slutin- This is anther ne that requires a screwdriver and invlves an adjustment screw. And again, I wuld send it t a repair technician. RHF The lw E, E6/D#, D, Db/C#, and C dn't speak easily- This is usually caused by a leak in the pad P1 at left. This pad shuld clse cmpletely when yu press the E key dwn (R2). Slutin- This can be fixed by turning the adjustment screw attached t this pad. Just press dwn R1 and R2, and turn the adjustment screw until yu feel R2 start t lift. If it lifts at all, back the screw up a quarter turn. The high ntes cme ut t lw when the ctave key is pressed- Smetimes this is just a reed prblem. If the pening f the reed is t wide r if the reed is t hard, it will nt hld the ctave. Als, check t see if there is water

7 usually affect anther, and then yu're in real truble. When yur be needs repair r adjustment I strngly suggest that yu take/send it t an be specialist. I highly recmmend Bruce McCall fr be repairs. He wrks ut f Rush's Musical Services in Knxville Tennessee. I recently sent my be t him and culdn't be happier with the results! It's like an entirely new instrument! Nne f the ntes n the be cme ut-- There are tw trill key pads abve the first finger n the left hand (see T1 and T2 at left). Mst f the time, if n ntes are speaking n the be at all, ne f these pads is leaking. Leaks can be caused by trn pads r bent rds. Hld dwn the pads while the student plays t check. Slutin- A quick fix is t simply put a rubber band arund the pad in questin, but this is very temprary. Smetimes the rubber band will start t disclr the silver f the key. Take it t a repair shp as sn as pssible.

8 Left Hand psitin- I ntice this t be a prblem mstly when a flute player switches t be. Flute players will try t hld their left hand in the same psitin they held it fr flute. This bends the hand at the wrist (bringing the palm very clse t the bdy f the be) and causes the fingers t be VERY "crimped" and tense (see tp pht at left). Slutin- Straighten ut the wrist and pull the palm f the hand away frm the be. I tell my students t pretend they are hlding an egg between their palm and the bdy f the be (see bttm pht abve.) Articulating incrrectly- There are tw cmmn mistakes here- articulating with the thrat, r tnguing n the rf f the muth (as ppsed t the tip f the reed). Bth f these will sund bad and slw dwn technique. S/uf//7--Tell students t put their tngue n the tip f the reed (clsing ff air flw), and blw. While they are blwing, have them drp the tngue. This shuld shw them what prper articulatin feels like. After that, it is just a matter f reminding them when yu hear them d it incrrectly. Cmmn Trubleshting The prblems listed belw are sme cmmn causes cupled with sme cmmn slutins- they are by n means the ONLY causes r slutins. I usually lk fr these first, Being an be player, I can usually fix these prblems with a screwdriver. I d nt suggest this fr mst peple. Adjusting ne pad will

9 What happens mst f the time is the student either uses the thumb ctave key fr the half-hle ntes, r the half-hle fr the thumb ctave key ntes. If their reed is easy enugh, they MIGHT be able t get away with it, but I can usually hear it. If they are using the thumb ctave key n a half-hle nte, the nte will prbably crack r cme ut an ctave t lw. If they are using the half-hle fr a thumb ctave key nte, the nte will prbably sund airy r fuzzy. If the student frgets t use the side ctave key n the high ntes, the ntes will either crack r cme ut an ctave t lw. Slutin-- this ne is just a wdshed prblem. They just have t practice playing the ntes with their crrespnding ctave mechanism. Sliding r lifting the half-hle- The first finger f the left hand shuld act as a hinge n the half hle. Mst students will either slide it up and dwn, r actually lift it ff the key and place it n the half-hle. Bth f these habits just require t much mvement and will slw the player's technique dwn. Slutin- I actually take a pen and draw a vertical line dwn the center f the pad f this finger. Tell the player t put this line n the line that separates the main part f the key frm the half-hle, and use this cnnectin like a hinge. They can "swing" it up fr regular play and "swing" it dwn fr the half hle. Head psitin- The angle f the be t the bdy f the player is a small cncern, but ne that needs t be addressed. If a student switches t be frm clarinet, (s)he has a tendency t hld the be t clse t the bdy. While this psitin is apprpriate fr the clarinet, it will cause the bttm lip t pinch ff the pening f the be reed. On the ther hand, sme students will try t hld the be almst parallel t the grund s that they can insert the reed straight int the muth. Besides lking silly, this psitin will TOP blade f the reed. Sme players will just tilt the be- AND THE HEAD- dwn t crrect the angle, but this cnstricts the air passage in the thrat. Slutin- Hld yur head straight and bring the be t YOU- dn't g dwn t the be! The crrect angle f be t bdy shuld be abut 45 degrees.

10 The thumb ctave key shuld be used fr furth space E up t G#. The side ctave key shuld be used fr A and up.

11 ve\vjn KaVV\weA\>0*.?ni OWinrsrtsij Pr^ss, $7*) INTONATION 4. Playing in tune 7;,,:, mei.t,>pt.d briefly in Xtll/4a: ft is nw time t. urs.der -nv.n.itin mi greater detail, ^.jy.ng /. ell in tune depends n: (al (b) The sensitivity f yur musical ear. Yur instrumental cntrl. (c) The cncentratin with which yu listen, and strive t play in tune. Since Lessn XIII yu shuld have been listening particularly carefully t yur intnatin. By nw yu shuld nt be playing needlessly ut f tune thrugh sheer carelessness. (A bad habit all t easy t acquire!) Hwever, yu will knw the frustratin f hearing an ut-f-tune nte withut having the skill t crrect it. 5. General pitch It will be almst impssible fr yu t play well in tune if yu are cntinuusly struggling t keep t a pitch which is t high r t lw fr yur nrmal playing. Buy yurself a tuning frk fr At]. In England this wuld be Aij = 440. (A pian tuner nrmally uses a frk fr CS 2. His C 522 is the equivalent pitch f yur A 440.). If the whle pitch f yur be is cnsistently flat r sharp with yur tuning frk, there may be reasns t accunt fr this. (See App. 11/7.) Remember that any be plays flatter than nrmal when it is cld, and sharper than nrmal when it is particularly warm. Bear this in mind when checking yur instrument's general pitch. 6. Prblems f very flat r very sharp general pitch (a) If yur be is EXTREMELY sharp (a quarter t half a tne) it may be a sharp pitch instrument. The undeniable disadvantages f such bes are discussed in App. 11/7. (b) If yu find that yu play cnsistently rather sharper r flatter than the nrmal pitch f A 440, yur be may have been built t a very slightly different pitch. Many f the lder French bes tend t be a little flat sme were built t a pitch f A 435. Certain new instruments (particularly German nes) may be n the sharp side even as high as A 445. Within these reasnable limits, variatins in pitch can be adjusted by using staples f different length, by the pint where the cane is tied n t the staple, and by the way the reed is made. 2 3 Tell yur reedmaker f yur prblem and he shuld be able t help yu. (Read App. IV/1-4 fr general advice n buying reeds.) r when playing with a pian r with ther instruments. This may r may nt be yur fault! (a) Playing with pians The pitch f pians varies. Sme tuners are mre particular than thers abut the A 440 (Pian C 522) pitch. It is ften very difficult even fr an expert tuner t get a pian t this pitch and make it stay there, if previusly it has been tuned differently. Pians are affected by temperature. They are inclined t flatten in the heat, whereas bes will get sharper when warm. (b) Playing with rgans These vary in pitch t a greater degree than pians. If yu are ging t play with an rgan, check it first with yur tuning frk. Yu may find it impssibly sharp r flat. (c) Playing with strings String players very ften tend t play sharp. By retuning their strings, it is simple fr them t adjust their general pitch. Explain t them that it is virtually impssible fr yu t alter yurs. (d) Playing in an rchestra Unless an rchestra uses a mechanical device fr tuning, the cnventin is fr the players t take the A frm the first be. If yu are playing in the be sectin in a lwlier psitin, discuss the pitch prblem with yur principal. (e) Intnatin and pitch c-peratin Yu shuld certainly use yur tuning frk in disputes abut general pitch, but try t c-perate with yur fellw players. Nearly all wind instrumentalists have their wn built-in prblems f pitch and intnatin. Certain ntes are habitually sharp r flat n sme instruments, and these are nt necessarily the same as the awkward ntes n yur be. Here are tw examples. The middle and tp c are ften sharp ntes n the be: these are usually flat n the flute. On many bassns the F$ tends t be very sharp, whereas the lwer F$ n the be is ften slightly flat. As I said earlier in this lessn (XX/5), temperature can have an effect n pitch. Remember that the bassn is a very large instrument cmpared t the be: it will take lnger t warm up. Clarinet players have t use tw instruments. The ne they are nt playing n may get cld, and s will tend t be flat when they have t use it again. (f) Playing with gramphne recrds Many students and amateurs enjy playing with gramphne recrds. (It is ne way f learning rchestral wrks and the parts yu play in them!) Remember that gramphnes can play the recrds at a sharper r flatter pitch than they really are. Als sme recrds are faultily prcessed and are wrng in pitch. 2 4 (c) As a general rule, the staple shuld be pushed right hme in the scket f the be. Pulling it ut will flatten the general pitch - nly a very little but, unfrtunately, this will flatten sme ntes mre than thers. In any case, this pulling ut must be very slight (nt mre than 3 mm f an inch r s) therwise the general intnatin and respnse f the be will be disturbed. 81? 1 and B'b 2, C\ 2 and C^J 3 1 and als and Bb 2, will be the ntes mre seriusly affected, particularly the C- 2 and C': Ensemble playing v -.», '>-- t\> i ft :' th it y.-..ir pin-h veins al! right when yu are rr K-thmn n v jr.vn, -ven /.hen yu check it with yur.r. ' '} ' p v,-.v\ r. yuu p-.iv rve fuble in the rchestra, 8. Pitch and intnatin as affected by breath and embuchure cntrl (a) Playing flat Yu may nt have enugh f the reed prjecting int yur muth beynd yur teeth. Yu will then be pinching n the extreme tip f the reed. The reed may be pressing t hard n the upper lip, and lsing the supprt f the lwer lip and the lwer jaw framewrk. The angle f the be with the bdy wuld prbably be t wide. Re-read Vtl/lOa. See /// Elementary reedmaking is discussed fully in Vlume II, App. IX. 24. Sme years ag I made a recrding f the Mnrcell Cncert. On sme pressings, this cmes ut nearly a semitne sharper than the prper pitch at which it was made and s f curse it is faster in speed. Frtunately, I have re-recrded this Cncert fr anther cmpany (H.M.V.-E.M.I.) and thi lder recrd is withdrawn frm circulatin.

12 LESSON XX ([)} Playing sharp The reed may be drawn t far int the muth by the hps rlling t far ver the teeth. Yur embuchure may be gripping the reed and pinching it, as if yu were thinking 'EE', instead t pursing firmly rund it. thinking '0'. The reed may be pressing t hard n the lwer lip, which is being held tightly against the lwer teeth: the angle f the be with the bdy wuld prbably be t narrw. (c) Re-read VI1/1 Ob. See ///. 60. Yu may be 'verblwing'. (This is described in XIX/4a.) General advice Whatever yur intnatin prblem: keep yur teeth apart. Remember t pull yur lwer jaw slightly dwn and back. Re-read VII/8. Check yur embuchure with lking glasses: full face and in prfile. Remind yurself f embuchure instructins by re-reading Lessn VII, and lking at the ills Study the ihustratins f crrect psture (38, 39, 44, 45). As yu knw, psture can influence the embuchure. (VI1/10, ills. 59, 60.) Remember the imprtance f the abdminally supprted breath clumn. Test that yu are inhaling crrectly and adequately (XVI/13). 9. Flexibility N dubt, yu have realized that many ntes n the be are very flexible in pitch. It is mst certainly NOT just a matter f blwing them anyhw t play them in tune. Sme ntes can be varied in pitch, with the embuchure nly, by as much as a semitne. As I have said befre, all embuchure adjustments are very sensitive and small. Listen carefully t yur intnatin, and yur muscles will learn t adjust it (r at least try t adjust it!) autmatically. 10. Getting t knw yur be and yur reeds All bes, hwever fine, have certain ntes which tend t be less gd than thers. These may be sharp, flat, r uneven in quality, and they must be 'humured' by the player. Get t knw yur wn be really well, s that the humuring f its weaknesses becmes instinctive and unthinking. Different reeds vary greatly in intnatin, particularly n certain ntes as well as in general pitch. Sme staples will affect the intnatin f certain ntes - particularly the Q\ 2 and Ct} 3 (XX/6c). 11. Pre hearing ntes Re-read XI1I/5: it is mst imprtant. Yu will always play a nte better in tune if yu can hear it in yur mind BEFORE 12. Lking and listening befre yu plav Wis: (;tun.-ss:n ;:s st,u\ a i'ki^.!.; ' i ' -> - 1 ' th^ut. ::!, i.iyng it n t'v,; r a",str.,m t r* < < -a'. '. f t ' y, n t<-.- rtnudx '.'.u\s. '.'.'hen >,uu.<.; -. A v,t \ at \,, '. at it carefully and try t hear it in,oui i t 'tre,.. u tiy.t n the be. In the early stages yu ' n av r.--t h n d th,-; but as yu prgress yu will leain that this 'nisek'ss' :.ay f practising is mst valuable. 13. Reminders fr Practising, and Exercises XXa, b (a) Prepare the reed s that it is in gd playing rder befre yu attempt t start t use it. Misten, crw and squeak it. If yu still find that the crw is difficult t btain, persevere with it. Until yu can manage it, squeak the reed very thrughly t get it ging nicely. (b) Start with the Preliminary legat slw scales They are ideal fr limbering up yur embuchure and reed befre yu tackle mre exacting music. (c) Practise little and ften Never miss a day ~ even if yu can manage nly a few minutes. (d) Never g n wrking when yur embuchure is tired, nr when yur cncentratin starts t wander. Remember the ther kind f practice (XX/1 2). (e) D a breathing exercise ccasinally during every practice sessin. It will relax yu and re-charge yur energy (f) Yawn and d the 'shaking' exercise smetimes t lsen up tense muscles. (g) Stand fr part f every playing perid. Always adjust yur music stand t the right height fr standing r sitting: never play frm music withut it. (h) Listen very critically t yur tne and intnatin. (i) Observe carefully phrasing and signs fr alternative fingerings. (j) Ntice any imperfectin. First finish the passage. THEN remember the faulty place: g back t it and practise it carefully befre trying the whle passage again.

13 Obe Basics (Part I) ElizabethRaum SPOTLIGHT ON WOODWINDS / LES BOIS DE PLUS PRES In this, the first part f a tw-installment article abut the be cmmissined by Canadian Winds / Vents canadiens, I discuss selecting students t play the be, sund prductin, reeds, and the be mechanism. The secnd installment, t be published in the next issue f the jurnal (Fall 2007), will address additinal aspects f be playing. Selecting Student Obists When 1 was in grade schl, my parents decided 1 shuld learn an instrument t play in the schl band. It was a traditin in ur family that we all had t learn musical instruments and play in the band. My lder brther played the clarinet, and since I idlized him, I wanted t play it, t, but ur band, directr had ther ideas. He suggested the be, an instrument 1 had never heard f and feared was that big bedpst-like thing that I had seen in pictures f rchestras. I was really depressed! Well, imagine my surprise when the directr handed me the be, hused in a small bx that was similar t my brther's clarinet case, and tk ut an instrument that lked t my eyes just like a clarinet! I was relieved. gd slid hnking. Once the student has develped a sund, then she can start t wrk n mdifying it. Reeds There are several ways t begin that sund mdificatin, the first being a gd reed and instrument. Of curse, the best reeds are hand-made, preferably by the student's teacher, but mre cmmnly the reeds are purchased frm the lcal music stre. I tend t ignre the classificatins f hard, medium, and sft (and varius permutatins) with which the reeds are labeled, because they ften d nt fit. There are t many utside influences like climate (reeds that play in the summer ften d nt play in the winter), humidity, and the resistance f the instrument itself. S I usually recmmend getting a reed with a gd-sized pening, since the clsed nes, even when saked prperly, tend t stay clsed. Reeds wrk best when placed in water fr arund five t ten minutes prir t playing, depending n the humidity f the atmsphere (summer r winter). Smetimes the reeds with large penings arc t "wild" and hard t cntrl, but yu can salvage them by varius means. The easiest is t sand them with 1000 grit sandpaper. Try the reed and if it is still t hard, sand a bit mre and try again. Let it dry ut and try it again the next day. Keep ding that until it feels cmfrtable. This als serves the duble purpse f breaking the reed in. If this des nt get it t wrk, try massaging the back, rubbing it between yur fingers t simulate playing while squeezing t help clse a t-large pening. One f the first things t take int cnsideratin when assigning a student t play the be is her persnality. Will she be embarrassed at being different r will she thrive n being special? Will she be hurt if the ther kids make fun f her fr playing such an unusual instrument, r des she like t stand ut? Granted, I wanted t fit in with the rest f the kids, but when 1 realized that, with the stentrian sund a beginner bist is capable f, I culd dminate the band, 1 decided the be was fr me after all. I 'm ging t assume fr the rest f this article that we're wrking with that type f persnality. Sund Prductin Regarding the unique sund f the be, this can actually be the first prblem that bth the band directr and the student encunter. The ld saying that the be is "an ill wind nbdy blws gd" had t be inspired by smething, after all, and smetimes it is difficult fr a band directr t accept that sund permeating his band. Hwever, I recmmend patience. It is hard enugh fr a prfessinal bist t play as sftly as sme cnductrs require let alne a beginner with an uncntrllable reed and weak embuchure, and if the yung bist feels tli at his sund is ffensive, he will tend t develp all kinds f bad habits trying tu squelch it. 1 have had s many students wh purpsely did nt supprt the sund adequately because that might make it luder, r wh used painfully distrted embuchures in their attempts t quiet the reed. >n the cntrary. I generally encurage my beginner students t play with what 1 call primary clrs, which is a metaphr fr a slid tne. The shading can cme later, but they will never develp a gd be MUind if they're afraid f it frm the start. S if the band directr wants an be in the band, he shuld expect t put up with a few mnths f Finally, yu can "slip" the blades, r push them in ppsite directins by hlding the wden part f the reed between yur thumb and first finger and srt f rlling yur fmgers t cause the blades t verlap, t he upper blade t the right and the lwer t the left (r vice versa). This stabilizes the reed and narrws the pening even mre. Yu usually d nt have t d all f these things fr every reed, thugh 1 have ften fund myself ging thrugh the entire regimen with mine, but yu cannt d any f the abve unless the reed starts ut with a gd pening. Anther tip is t use tefln plumber's tape, available at such lcatins as Canadian Tire r Wal-Mart, in case there are air leaks frm the sides. The way t test fr leaks is t frm an embuchure n the reed while blcking ff the crk end with yur finger. If air is escaping, yu will hear it, and can remedy the situatin by wrapping a tw-centimetre piece f tefln plumber's tape arund the lwer part f the wd t seal it ft: Air can als escape if the crk des nt fit snugly int the reed well. I either misten a piece f cigarette paper and wrap it arund the crk, r use sctch tape t thicken it. Or if the reed was t tight and the crk has been shredded, I use Crazy Glue t fix it. Once a week, it is a gd practice t run a small pipe cleaner (the kind they use fr pipes, nt crafts) thrugh the saked reed t clean it ut. It is amazing hwclgged they can get, and that hampers the vibratin. Be sure t d it frm the crk end, and nce it has started ut the reed end, keep ging. Dn't try t pull it back r yu will wreck the reed. It is als easy t break an expensive be reed if the student walks arund with the reed in the instrument. I always take my reed (il if 1 am ging t be mving arund, and when yu take the be apart, the Vents canadiens Canadian Winds Spring/printemps

14 first thing that cmes ut is the reed. Always be sure t have a few spare reeds simply because they are s fragile. One last thing abut be reeds is that they must be wet t play! Althugh this seems bvius, I was at a festival nce where the band directr wanted the musicians t sit at attentin when nt playing, with their instruments resting n their right knee until the mment f their entrance. It lked great, but the stage was unusually dry and when the bists went t play, nt a sund came ut because the reeds had becme dry and clsed. There were many tears that day, and a lessn learned. Obists always must prepare a few secnds befre they start playing by hlding the reeds in their muths and mistening them with saliva. Mechanism Nbdy can play n a pr instrument r an instrument that is ut f adjustment, and the be is prbably the mst persnickety f all instruments. Befre I get int adjusting the be, I want t tell a stry f my wn first attempt. My yuth rchestra was ging t Carnegie Hall and then n t Washingtn t play fr President Kennedy. I was s thrilled and excited that I plished up my be and checked t see if all the screws were tight. After all, were the screws nt suppsed t be tight'/ I d nt have t elabrate n the hrrr f the mment when I tried t play, but after an hur r s f frantic examinatin, I realized that sme f the keys were nt even tuching the wd f the instrument when I pushed them dwn. I figured ut what was wrng, and then spent the next few hurs trying t rebalance the adjustments. It was a frightening learning experience but I did discver that the slutin was cmpletely lgical and mechanical. 1 was able t bring the be t my teacher fr a final check, and he tld me abut his first attempt t fix his be. He had t bring it t the stre in a paper bag! The pint f this stry is that yu can adjust the be mechanism if yu're mechanically inclined, but it is best t learn the prcess frm smene wh knws the instrument, since many f the adjustments depend n ther adjustments in a srt f dmin effect, and it is imprtant t be familiar with the line f causes and effects. There are a few simple nes, hwever, that ften cause the be t seem unplayable but are easy t fix. The first is simply lining up the tp and bttm jints crrectly. The cnnecting bridge mechanism between the tw jints, especially n the left side as the keys face yu, must be lined up crrectly fr each particular be. As thse keys are easily bent, the lining up is nt always the same frm ne instrument t the next, and ften they d nt lk lined up at all but wrk best that way. I always experiment with different settings n my students' bes and when I find the ptimum psitin, I will pint it ut t them and tell them t be sure t put the be tgether that way every time. Anther typical adjustment is the screw n the key that lks like a little arm curving up between the tp and bttm jints. (See Adjustment 1 in the diagram at the end f the article.) This key is there t keep the Ab key clsed fr ding varius crss-fingerings, but if the screw is t tight, it will nt allw the F# key t clse, thereby negating all ntes belw G, Lsen the screw and then test it by playing a lw I ) while 80 Spring/printemps 2007 Canadian Winds Vents canadiens pushing dwn the Ab key. If it is t lse nw, yu will hear the sund change, s tighten it slightly and try again. It is just a matter f trial and errr t get it right. When yu reach the pint where yu can play a lw D while pressing the Ab key, it is crrect. Smetimes the ctave keys can stick, caused by the edge f the tne hle cutting int the crk pad. Humidity can swell the pad, making it wrse. A trick is t take a five-dllar bill (I used t use ne- r twdllar bills but Lnies and Tnies d nt wrk), putting it between the hle and the pad, and pushing dwn hard. The thickness f the bill seems t stretch the grve created in the crk pad, lsening it enugh s it des nt stick. Water in the key is anther prblem that puzzles new students. Yu have t shw them the technique f blwing acrss the key with an abrupt burst f air t blw the water ut. If that des nt wrk, they can take the instrument apart, swab it, and then cver all hles and the bttm end f the jint and blw int the instrument, lifting nly the key with the water t clean it ut. Cigarette paper is ften used under the watery key as a bltter, but I have never had much luck with that methd. A gd trick fr water in the ctave key is t take the tp jint, clse all the keys, put yur finger in the bre (the hle n the bttm), pen the water-lgged ctave key, and suck (nt blw) thrugh the reed well at the tp. D this with bth ctave keys. Then I rap the upper jint n my knee, with the keys facing up, t knck ut any remaining water. Wrks like a charm. I d that several times during practice and every time I put my be away. Anther cmmn prblem is fr the tp tw trill keys t leak, causing the be nt t play at all. (See Adjustment 2 in the accmpanying diagram.) Yu can test thse by having smene hld them dwn while yu tiy t play. If that is the prblem, it will play nrmally when they are held dwn. I have temprarily fixed thse keys by putting a rubber band arund them t hld them shut. I have als lsened the rd screw a bit, as that smetimes causes the key t bind, but if neither f the abve wrks, yu'll want t take it t a repairman, as the springs may need replacing. But befre yu d that, check t see if the springs have nt simply cme ut f their mrings and just need t be hked back in. Finally, smetimes the pads n the little keys between the direct cntact keys f the upper jint are nt making prper cntact and need adjusting. (See Adjustment 3.) Yu can test thse by putting a piece f cigarette paper under the small keys, cvering the upper fingerings, and pushing dwn the F# key n the lwer jint. The F# key raises thse tw keys when the ther cntact keys are nt being held dwn, but when they are, the adjustment shuld be such that the little keys stay snugly dwn. If yu can pull the cigarette paper ut t easily, then air may be escaping. Tighten (ever s slightly at first) the screw that cntrls that cmbinatin f mechanism that causes the Bb key t hld dwn the little key abve it. The placement varies frm ne make f be t anther, but yu can find the prper screw by fingering a C and then a Bb, nticing which screw is invlved with cupling the Bb key t the small key just abve it. (See Adjustment 4.) That is the screw that must be tightened if the cigarette paper desn't

15 "grab" prperly. If yu tighten it t much, hwever, the Bb key wn't clse prperly, s prceed slwly. After yu have tested this key, g t the next by fingering a Bb and then an F#, nticing which screw is invlved with the cupling f the small key between the A and G keys. (See Adjustment 5.) Fllw the same prcedure as abve regarding the tightening f the screw. It is a balancing act, but it can wrk miracles. Still, I always keep track f hw much I tightened r lsened each screw s I can get back t "square ne," if necessary. These are the adjustments I ften have t make n student bes (and my wn!) that will render an unplayable be playable again. If nne f these things wrk, there may be bent keys r wrn pads, which are best fixed by a prfessinal. One ther thing: I always carry cigarette paper in my case, but I always remve it when ging acrss the U.S. brder, as it is hard t explain its use t the brder guards. Please watch fr the secnd installment f Obe Basics in next fall's issue f Canadian Winds / Vents canadiens, when I will discuss such issues as embuchure, breath supprt, phrasing, tnguing, fingering, and hw t assemble and disassemble the be crrectly. Meanwhile, questins abut be playing may be sent t me at the fllwing address: elizabeth@elizabetmaum. cm. Elizabeth Raum is the principal bist f the Regina Symphny Orchestra and an accmplished, prlific cmpser. She earned her Bachelr f Music in be perfrmance frm the Eastman Schl f Music, her Master f Music in cmpsitin frm the University f Regina, and in May f 2004, she was awarded an hnrary dctrate in Humane Letters frm Mt. St. Vincent University in Halifax, Nva Sctia. Raum has been an rchestral bist fr ver frty years. When she lived in Bstn, Massachusetts, she perfrmed ften as an extra musician fr the Bstn Symphny and the Bstn Pps Orchestras. She als played regularly with the Bstn Opera and Ballet Cmpanies. Later she mved t Halifax, Nva Sctia, t assume the psitin f principal bist with the Atlantic Symphny Orchestra and the Charlttetwn Festival Orchestra. In 1975, she and her family mved t Regina, where she began her career in cmpsitin. Her wrks include three peras, ver sixty chamber pieces, 17 vcal wrks, chral wrks including an ratri, several ballets, cncerti, and majr rchestral and band wrks. She is cnsidered ne f Canada's mst "accessible" cmpsers, writing fr varied media and in a wide range f styles. Adjustment 2, Adjustment 4: screw fr small key between 1st and 2nd fingers. Adjustment 5: sere w fr small key between A and G teys. Adjustment 3 Ms. Raum has been featured in articles in the New Grve's Dictinary f Music and Musicians, the New Grve's Dictinary f Opera, and the New Grve's Dictinary f Wmen Cmpsers. She is presently wrking n a scre fr the Winnipeg Ballet's feature-length prductin f The Passin f Carmen, based n the Prsper Merimee nvella. Adjustment 1 Figure 1. Obe mechanism with reference t adjustments discussed in the abve article. Vents canadiens Canadian Winds Spring/printemps V

16 Obe Basics (Part II) ElizabethRaum SPOTLIGHT ON WOODWINDS / LES BOIS DE PLUS PRES This is the secnd part f a tw-installment article abut the be. In the spring 2007 issue f Canadian Winds / Vents canadiens, 1 discussed selecting student bists, sund prductin, reeds, and the be mechanism. Depending n the bradness f the hand, the bist might have t have the furth finger f the right hand straight in rder t reach the D key. I c it must be OK. Then frm the embuchure arund the reed, take a breath, and blw. I can ften tell frm that first attempt if a student is right fr the be r nt. One wh takes t it immediately prduces a healthy hnk. One wh is ging t have truble has her lips blw ut and might manage t prduce a breathy buzz, but nt the kind f hnk that indicates that this child has what it takes t be an bist. Embuchure The be embuchure is ne f the mst tiring, and ften takes many mnths fr the student t be able t hld it fr mre than a few minutes, s it is nt a bad idea t have be candidates start n anther instrument with easier requirements until the muscles are develped. The saxphne is prbably the mst cmmn duble, as the fingerings and range are similar (allwing fr the sax being pitched in anther key), and many f the study bks are actually interchangeable. One way t describe the be embuchure is t say "eee" with the inside f the muth and "h" with the utside (as in saying the French wrd, "t"). Anther is simply t try t whistle with the lips ver the teeth. I always advise t "keep the inside f the muth small." Smetimes in the beginning, it is helpful t have them try t play simple tunes n the reed alne as they need t use their muth muscles t prduce different pitches, and this frces them t use the very muscles they will need fr playing the be. Alng the same lines, an excellent exercise is t play "dips" by lipping the tne s it dips in pitch. Fr smene watching this exercise, it lks like the bist is pushing the reed in and ut f the muth, but in actual fact, he is rlling the lips in and ut t cntrl the pitch. I always thught f this as lip "push-ups," and it achieves the same results: building lip muscles. Often there is a prblem with a small student wh has nt cmpleted her grwth but has her adult teeth, which are large in prprtin t her size and therefre very difficult t get her lips arund. I actually had my frnt teeth filed dwn t make playing easier, but by then I had decided t becme a prfessinal bist. A gd way t shw students hw the embuchure affects the reed is t have them pretend their index finger is a reed and put it in the muth as they wuld the reed. I have had students wh used t play clarinet hld the be t clse t the bdy If they pretend their finger is the reed and hld it in their embuchure, they can see hw the pressure is nt evenly balanced between the tp and bttm lips, and will tend t clse the reed. Likewise if they hld the be t far ut, althugh that is nt usually a prblem, since it is t heavy t hld that way fr lng. Anther thing the reed cntrls is the pitch level. If the student is playing sharp, he can pull ut the reed a millimetre r s, but n mre, as it will affect the verall intnatin. If he is flat, he can "lip" it up a bit, althugh if he des that t much, he will be biting n the reed, which is nt a gd practice. In the beginning, yung be players tend t have truble with pitch simply because f pr reeds, s it is imprtant t find a gd reed surce. Hld the be at a 45 angle frm the bdy and keep the wrists straight. 24 Fall/autmne 2007 Canadian Winds Vents canadiens Breath Supprt Fr sme, the effrt t get a sund makes them dizzy, but this happens mre because they aren't supprting prperly than because they are small r weak. I have never gtten int the "diaphragmatic breathing" schl f thught partly because the be takes s little air t prduce a sund that the biggest prblem is getting rid f the excess, as ppsed t nt having enugh. In actual fact, I find filling the lungs t capacity causes me t becme dizzy! Rather, I've fund the fllwing exercise t be invaluable fr teaching the cncept f breath supprt. I hld the be fr the student but turn it backwards s I can finger it. Then I psitin it with the reed in his muth t simulate his playing it himself, and have him put his hands n my shulders, lck elbws s the arms are straight ut, and push dwn n my shulders. Smetimes I have t cach the student t push with all his strength. When students d this, the stmach autmatically engages the supprt muscles and they find blwing the be easy! I am cnstantly amazed at the results, and s are they. Where befre they try this exercise they dn't seem t have the strength t make a sund, while they are pushing dwn n my shulders they prduce the kind f tne bists are knwn fr with a fractin f the effrt they used befre. I suggest they find smething shulder height at hme t rediscver thse supprting muscles, and d the exercise several times during their practice. Anther unique prblem f the be is that yu deplete yur xygen befre yu use up all yur air, much like swimming under water, s yu must exhale the stale air befre yu inhale again. This is smething yu have t pint ut, as students will just keep inhaling at the breath marks until their lungs are ready t explde. I actually have them practice exhaling and then inhaling at the breath marks t avid this. As they play mre cmplicated music, they may have t exhale in ne spt and wait a secnd fr anther spt t inhale, as there might nt be time in the phrasing f the music t d bth. Since the be requires s little air t play, this is pssible. Phrasing A universal tendency f yung wind-instrumentalists is t breathe when they want t, regardless f the phrase, s it has t be pinted ut that there are right and wrng places t breathe. Yu can demnstrate this simply by speaking t them and pausing in inapprpriate places. They'll get the idea. Often the breathing places have t be planned ahead f time, as they'll ignre a perfect pause in the phrase because they dn't need a breath that mment, but create prblems fr themselves if the cntinuatin ui the phrase takes them beynd their air capacity. With bists especially, remember that it's mre xygen they eventually need, nt just air. Ending phrases is anther technique t refine. Mst students simply stp

17 OBOE BASICS (PART II) blwing when the music ends, giving the impressin that their heads were suddenly chpped ff. Obists shuld learn t rund ff the end f the larase by dampening the sund with their lips. I describe it as clsing dwn n the reed while keeping up the supprt until the end, s there's a fast decrescend. Als, there are different types f starts and finishes t ntes, all f which have t be learned. The attack happens when the student bist is already blwing and the tngue is taken frm the reed, allwing it t vibrate. Sme peple actually bject t the term "attack," as it's mre f a "release," but this isn't smething that a yung student cares abut. He just wants t knw hw t start the sund prperly. Tnguing Many f my beginner students start the sund simply by blwing int the reed, and it takes effrt t cnvince them that this isn't the mst efficient way t d it. Here's where yu must explain "tnguing" t them, and I find the easiest descriptin is t say "ta" when yu want the sund t begin. If yu get mre technical than that, they'll be cnfused. The refinements can cme later, but fr nw, it's enugh fr them t differentiate between tnguing and slurring. Eventually, they'll want t master different types f tnguing, and I've fund that the simplest technique is the best. I've had students wh accmpany each tngued nte with a chewing mtin f the lip r a glttal accent. This might wrk nicely fr very slw tnguing, giving shape t the ntes, but fr fast tnguing it gets in the way, s I advcate starting and stpping the nte ;ith the tngue alne. I have them play a lng tne and interrupt it with the Jngue, nt allwing anything else t mve. The length f the nte depends n hw lng they keep the tngue n the reed, s a staccat is cntrlled by leaving the tngue n the reed lnger than having it ff. Yu can als cntrl the abruptness f the attack by taking the tngue ff lightning fast fr a sudden attack, r with a "th" feel fr a mre gentle attack. Sme d this naturally, but sme have t wrk at it. Much f this is mre advanced and needn't be discussed with a beginner but later, when yu want mre finesse in the perfrmance, this technique is helpful. An excellent teaching device fr supprt and tnguing is t have them hum and play at the same time. The best way t learn this is t take the reed ut f the instrument and hum while hlding it in yur embuchure. Then hum luder and luder with a faster and faster air speed until the reed is als making a nise. Many students find that their thrats clse as sn as the hum starts, and they stp humming, s it takes c-rdinatin but mst get it eventually. Next, put the reed int the be and d the same thing. When the reed is in the be, yu have t blw much harder t prduce the sund, s it wrks as a supprt exercise. When they d manage t prduce a sund, it will be quite raucus and uncntrlled, as the embuchure tends t relax, but that desn't matter. Have them keep playing and tngue 'as they're humming. If they cntinue t practice this, they'll learn t cntrl the embuchure and the sund will be nrmal, much like the perfrming techniques f sme jazz musicians. This is als a device cmmnly used in ^temprary music, especially with brass instruments. ccasinal half nte. Or equally, I've seen be parts that were s full f flats, I wuld have t practice t play them well. T accmmdate the mre numerus B-flat instruments in the band, cmpsers and arrangers frequently end up with be and flute parts in keys like A-flat r D-flat s the trumpets and clarinets, which are written a step higher than the C instruments, can play cmfrtably in B-flat r E-flat. When this happens, I feel it's perfectly legitimate fr the band directr t rewrite the be parts t make them mre playable by students. First, we will cver sme f the unique fingering prblems encuntered by bists. There are three fingerings fr F: frked F, right F, and left F (the latter is nt fund n sme student bes). Since mst bands begin with the B-flat majr scale, the bist will start with the frked F, as he'll be cming frm an E-flat which requires merely lifting the middle finger f the right hand t get t F. This is nt the best F fingering fr mst ther situatins, hwever. Have the student practice the C majr scale using the regular right-handed F, and fr mre advanced students the left F can be substituted fr the frked F. This is smething a private teacher wuld cver using exercises specifically written t practice the three frms f F. The half-hle is anther prblem specific t the be. First, there's always cnfusin as t when t use the ctave key and when t use the half hle. Just remember, D, C#, and Eb in the middle register use the half-hle. When using the half-hle, dn't let the student lift the finger ff the key; the finger shuld either slide r rll ff the hle, nt leaving the key. I like t slide mine but sme students have mist hands and their fingers stick, making it difficult t slide. By the way, be sure they dn't try t use bth the half hle and the ctave at the same time! Use the thumb ctave key up thrugh high Ab, and then switch t the side ctave fr A thrugh C. By the time the student needs the fingerings abve high C, he's prbably with a private teacher r knws hw t read the fingering chart. Anther difficulty is the required use f the alternate fingering fr Eb when ging t a Db. Since the fifth finger f the right hand is needed fr bth Eb and Db, they had t invent an Eb key n the left side f the be t avid having t slide the right-hand little finger arund. This always causes prblems fr small hands because when the little finger f the left hand stretches t reach the Eb key, it pulls the furth finger ff the G key and yu lse the sund. Even prfessinals can have that prblem, s that's why bists hate t play in keys with Db's. There are myriad fingering tricks that help playing in difficult keys but mst f these are fr advanced musicians. I think it might be mre practical at this stage t suggest sme changes the music directr culd make. With music-ntatin sftware widely available and easy t use tday, it is nt that difficult t rewrite be parts t make them mre playable. A gd general slutin wuld be t substitute an easier prgressin f ntes while staying within the pitches f a given chrd. {See Musical Examples 1 & 2). Or ne culd simply leave the awkward ntes ut withut cmprmising the integrity f the music. {See Musical Example 3). Fingering Cmpsers and publishers ften assume there wn't be an bist in the band, and thus write parts that dn't suit the instrument. I've cached many a sessin where the be parts cnsist f many measures f rests with an While sme might feel that students learn thrugh being challenged, what usually happens is that they leam t fake and accept that as a legitimate way t play music. 1 agree that setting high gals helps t make students imprve, but ne has t be realistic abut the distance between their current Vents canadiens Canadian Winds Fall/autmne '

18 Simplified part fry ^ V JT p { I if P~~~~~ OBOE BASICS (PART II) level f playing and the gal. Als, ne must take int cnsideratin that ride, have her put it under her arm fr a few minutes t get it up t rm the levels f playing ability within a band can vary greatly, and it's prbably temperature befre trying t play it. ging t be pretty discuraging fr a beginner bist t try t play at the same level as a senir clarinetist. I've had s many students cme t their There are several rules that must be bserved s that keys are nt bent, i lessns nearly in tears because they had n hpe f playing be parts begin by taking the bell in my right hand and the secnd jint in my left which, as I mentined earlier, wuld give me a run fr my mney, but they abve the three keys n the bttm (t avid bending them), and I twist feel pressured t d it "smehw." the bell back and frth nt the crk f the bttm jint If it's hard t maneuvre, I use crk grease, but nly if it's really tight. Then I grip the At the ther end f the spectrum are be parts that are t easy, cnsisting upper jint in my left hand under the side ctave (almst as if hlding it t mainly f rests and half ntes. When that happens, why nt write smething play), and I line up the lwer jint s the keys match, gripping under the fr the bist that duplicates the clarinet r flute parts, transpsing the three lwer keys this time, and again twist back and frth gently t put them clarinet part r putting the flute part in the be register if it's t high? tgether, being very careful nt t bang the arm ver the F# key. Here's where the side mechanism can get caught and bent if the student tries t turn the be t far ut f line in putting the jints tgether. They shuld line up the side mechanism as I described earlier. Original part Ctird backgrund Music Example 1: Here the difficulty lies in having t use the ctave key, n ctave key, and the half-hle in quick successin, always a prblem at first. The clarinet has a similar challenge when having t g back and frth acrss the "break" quickly. Als here, the left-handed Eb must be used in the third beat withut much time t prepare. Dubling ntes gives the same rhythmic energy but allws time t get ready fr the next fingering. Simplified part Original part Chrd backgrund Music Example 2: Here, I've simply turned the patterns arund and stayed belw D t avid ging back and frth ver the half-hle. The jump frm lw Eb t high F in the third beat is easily accmplished with the ctave key. T take the be apart, reverse the rder, being equally careful abut the mechanism between the upper and lwer jints. Then swab ut the instrument using either a clth swab made specifically fr the be r a turkey feather. Often there are tw swabs fr the be, ne fr the upper jint which is very narrw, and anther fr the lwer. If the swab gets stuck in the upper jint, never try t pull it ut thrugh the tp. It's impssible and nly becmes wedged tighter. What yu need fr this peratin is a very thin knitting needle r a piccl swab rd which will fit thrugh the reed well f the upper jint. Then gently push the stuck swab dwn until it cmes ut the bttm, being very careful nt t scratch the sides f the be. Usually this wrks, but if it desn't, take it t a repair shp. Final Wrd I hpe I've been able t pass n sme insights and tips fr wrking with be students, but at the end f the day the best way t learn abut the be is t take private lessns, even if nly nce a mnth. The be is a cmplicated and difficult instrument what with reeds and adjustments, and a beginner can easily becme discuraged. But if they stick t it, playing the be is ne f the mst rewarding musical experiences there is. And nthing impresses like an be in the band! Questins abut be playing may be sent t me at the fllwing address: elizabeth@elizabethraum.cm. Music Example 3: The scale pattern is preserved but mitting every ther nte f the pattern makes an extremely difficult passage quite easy. If the student plays the eighth-ntes staccat, n-ne will ever ntice the nes that are missing. Then there's the be part that just wn't quit! The cmpser desn't realize that the be has an endurance prblem thers dn't have, and by the end f a Larg chrale they culd be in severe pain. A slutin fr that is t have the be rest r pretend t play where they wn't be missed. That's dne (surreptitiusly) even by prfessinals. Assembly and Disassembly A wden be is always in danger f cracking if it gets cld and is played befre being brught up t rm temperature. Blwing ht air dwn a cld instrument expands the inside, ptentially causing it t crack. S, if yur bist has just arrived fr an early mrning rehearsal after a cld schl-bus Elizabeth Raum is the principal bist f the Regina Symphny Orchestra, and the frmer principal bist f the Atlantic Symphny Orchestra in Halifax, and the Charlttetwn Festival Orchestra. She earned her Bachelr f Music in be perfrmance frm the Eastman Schl f Music and her Master f Music in cmpsitin frm the University f Regina. In additin, she hlds an hnrary dctrate in Humane Letters frm Mt. St. Vincent University in Halifax. She is als a cmpser, ne f whse band wrks was discussed in detail in the Spring 2006 issue f Canadian Winds / Vents canadiens. % Fall/autmne 2007 Canadian Winds Vents canadiens

19 PITCH OF THE REED Pitch f the reed is determined by: 1 Length f the reed The reed shuld play in tune when it is inserted int the be t the stpping pint mm is a gd average ttal reed length fr mst instruments and players. 2 Opening f the reed is equally imprtant. Reed penings can be easily adjusted A reed that is t pen will usually play flat. A reed which has a t-clsed pening will tend t be sharper in pitch. Old and wrn-ut reeds becme mre clsed and becme t sharp in pitch. The pening f the reed is an imprtant factr fr ther reasns as well. If a reed is t pen, playersare frced t "bite", whether they are aware f it r nt. and the embuchure will quickly fatigue. If the reed is t-clsed, it is impssible t blw int it with adequate breath supprt. T pen T clsed Crrect pening 1 IPS FOR SOLVING SPECIFIC REED PROBLEMS: A // the reed is t sharp 1 The reed may be t shrt Scrape a little mre wd frm the back f the reed. 2. The reed pening is t small. There is n remedy fr crrecting this. One may apply wire, but this can have an adverse affect n the vibrating qualities f the reed. 3. The reed can be pulled ut f the instrument a small amunt befre it adversely affects the intnatin f the instrument. B If reed is t flat 1. Check t see if the reed is split. A cracked/split reed is ften flat. 2. The reed is t lng. Cut ff the reed abut 1 mm r less. Thin just the end f the reed tip t make it respnd. If it is still flat, repeat this prcedure a few times. It is smetimes necessary t cut ff the entire tip and scrape a new ne in rder t make the reed respnd. 3. Cane is t wide. Making the reed shrter might cmpensate. 4. Opening ist large. If it seems t respnd well, try hlding the tip f the well saked reed clsed fr several secnds between the fingers. This will weaken the reed slightly Repeat this prcedure a few times. If unsuccessful, it will be necessary t scrape the shulders a slight amunt. C The reed is stiff, stuffy r slw t respnd t. Make the very end f the reed tip thinner. 2. Remve a little wd frm behind the reed tip. 3 If it appears that the back is still tp thick, scrape a bit mre ff, particularly if the lw ntes d nt respnd. Be careful nt t remve the "backbne" r the reed will becme flat, r the ctaves will be flat, frcing the player t "bite" D. The reed is t free and easy t blw 1 T much wd has already been taken ut f the reed r the tip may be t thin. Clip the tip and readjust. 2 Prceed as in B-2 abve It is pssible that the reed will becme t shrt and sharp while ding this If this happens, discard the reed and try anther. Yu can always la^e mre wd ut f a reed but bviusly it is impssible t put it back.

20 THE COMMERCIAL REED Serius students f the be will begin learning the reedmakmg prcess as sun as they are ld enugh and careful enugh t manage the necessary tls If reeds are nt available frm a private teacher r lcal player attempt t purchase the American r "lng scrape" reed. French r "shrt scrape' While the French scrape is mre easily btained, there are a variety f "lng scrape" style reeds available Almst all prfessinal bists "i the United States nw use sme variatin f the "lng scrape" The thinner, shrter tip may be nre f. agile, Dui ihe pleasant tne quality they prduce will make the extra care the reed takes very wrthwhile The grading f be reeds as sft, medium r hard has little relatinship t the fact and varies frm ne manufacturer t anther Many cmmercial reeds are t sft. Try reeds frm several manufacture, v «e*nrm r, e wh.rh is mst cnsistent and best suited t yur mstr,<f T Hir <* i t,:vi»». * p'ly rig There shuld be sme "resistance" in the reed t enable the player t play witli gd breath supprt American r lng scrape' ADJUSTING THE COMMERCIAL OBOE REED It is jnprtant t knw the techniques used in adjusting cmmercial reeds 1 lie fllwing fur pieces f simple equipment are essential fr students t begin adjusting reeds A Sharp Knife: A sharp knife fr scraping the reed is the mst impr tanf tl It can be purchased frm reed-making suppliers r handmade The blade may be either hllw grund r with a beveled edge A sharpening stne and hning il are als imprtant It is necessary t keep the knife edge sharp and free frm nicks Plaque: The plaque is a small piece f metal that is inserted between the blades f the reed while scraping It Si ipprts the blades. Plaques are av. ulable cmmer chilly r they can be handmade frm a >nq(e edge Cutting Blck: The cutting blck is used t supprt the tip f the reed while clipping it with the knife I hy are available cmmercially r can be handmade frm a piece f hardwd that has been smthly sanded t elimi nate all grves Fishskin: Cmmercially, fishskin is called "Gldbeaters Skin" k is used t seal the sides f the reed withut adding weight t the reed. Added weight will inhibit the reed's vibrating qualities A reed must nt leak air belw the prtin that is in the muth Cut a strip f fishskin abut IV2" by W While slightly mistened, pull the strip f fishskin tightly arund the reed, starting midway r less up the reed Pull tightly arund the reed spiral mg dwnward until if verlaps the tp f the winding thread D nt ver misten If the fishskin is t wet if will shrivel up and disappear A jittie practice is

21 An Obist's.. an^utline- qfs^sk perfrmance leve^simr gals Watd- r fr eawr : lev0i and David Hite 1997EMtin S u t h e r n M u s i c C m p a n y SAN ANTONIO, TX 78292

22 INTRODUCTION This Obist s Study Guide utlines seven levels f study. It can be used t identify a student.s level f accmplishment and prvides a list f publicatins fr study and perfrmance at each level. Prgress f individual students will, f curse, vary greatly, and sme students may find it apprpriate t wrk in materials frm different levels simultaneusly. Fr remedial wrk at mre advanced levels, slwer scales, interval studies and expressive meldic etudes arc recmmended. It is imprtant that students realize that careful, thughtful daily practice is a primary requirement fr effective prgress. Inspired guidance frm a gd teacher and gd ensemble experiences arc vital cntributing factrs, but in the end the student must d the learning himself! This guide rganizes literature fr be and English hrn by level and is intended t be a prgressive utline f repertire t which aspiring student bists may refer. There is certainly n shrtage f repertire fr the be, and many ther ntable wrks are available. Fr many years Suthern Music Cmpany has been a recgnized leader in the field f wind repertire. A majr cntributin t the Suthern Music listings was made when Albert J. Andraud, frmer bist and English hrn player f the Cincinnati Symphny, transferred his extensive catalg t Suthern in Much f this literature was in the public dmain. The sls, ensembles, cllectins and etude bks f Andraud have becme staples in the persnal libraries f all serius bists. LEVEL I Study f the be can begin as early as age eleven r twelve, as sn as the secnd teeth are well established. Prir experience with music basics such as ntatin and rhythm, and basic crdinatin and cncentratin will, f curse, greatly enhance early prgress with the instrument. It is generally recgnized that the duble reed instruments, including be, are the mst difficult f the wdwind instruments. Fr this reasn, it is recmmended that bistsfirststudy anther instrument such as flute. Often a band directr will switch ne f the better wdwind players t a duble reed instrument smetime during the student'sfirstyear f band. Prir study f pian is als helpful. In rder t develp gd initial playing habits, learning where t put fingers, hw t shape and cntrl muth muscles, and hw t care fr the expensive reed is very imprtant. Private lessns fr individual attentin are recmmended in additin t class lessns at schl fr ensemble experience. Many schls prvide duble reed specialists fr be and bassn students. Sectinal rehearsals held befre, during r after schl with an experienced duble reed teacher can help the student attain maximum ptential. A minimum f thirty minutes a day shuld be devted t individual practice. In the beginning tw r threefifteenminute sessins are best. (Excessive practice pushing beynd the capacity f the muth muscles can lead t bad habits.)

23 . wvucmeiy imprtant t invest in gd, preferably handmade, reeds. Mst cmmercially made reeds are nt adequate, even fr the beginner. Althugh handmade reeds are mre expensive, fewer reeds shuld be needed as they will be much higher in quality. Pr reeds can defeat every effrt t play well. Technical and perfrmance gals: 1. Knw the chrmatic fingerings frm lw B b t high D including alternate fingerings. Learn gd finger psitin and mvement. 2. Develp a full rund tne that cmes frm a prper embuchure (muth muscles), crrect breathing and a gd reed. Always listen carefully. Practice making small embuchure and breathing adjustments each day t make the sund better. Listen t gd players: 3. Learn the prper use f the tngue. Start the tne by releasing the tngue frm the tip f the reed. A cmmn mistake is t strike the tngue t the reed. Instead, blw, then release. Learn bth legat and staccat tnguing styles. 4. Practice t cntrl all technical aspects in slid rhythmic cntexts. Thery study gals: 1. Knw the G clef (the names f the ntes n the spaces and lines), ledger lines and accidentals (sharps, flats and naturals). 2. Cnstruct and perfrm the majr scales and related tnic chrds in the keys f C, F, G, B b and D. Play the scales up and dwn in ne ctave in eighth ntes at 60 beats per minute.. 3. Understand time signatures and the related time values f ntes and rests. 4. Learn all the terms and signs encuntered in music at this level. LEVEL I STUDY MATERIAL AUTHOR-EDITOR TITLE GRADE Hvey, Nil Rubank Elementary Methd VE-E Skrnika, J.E. Rubank Intermediate Methd ME Herfurth, C. Paul A Tune a Day, Bks 1, 2 and 3 VE-ME Andraud, Albert J. Practical and Prgressive Obe Methd VE-E There are many class and private study be methds available. Persnal preference will vary. The class and band methds used by mst schls are cmpatible with methds designed fr private study when used simultaneusly. LEVEL I REPERTOIRE AUTHOR-EDITOR TITLE ^ GRADE FOR OBOE WITH PIANO Burkhardt, Jel G. Chansn E Datshkvsky-Ephrss Lullaby fr Alexandra E Slmn, Ed Lking Glass E

24 LEVEL II Cmpletin f the gals in level ne shuld instill a cmfrtable familiarity with the be. At the same time, enthusiasm t tackle mre advanced skills with bth the be and musical expressin shuld develp. As muscle stamina develps, practice time shuld be increased t frty-five minutes a day. Listening t accmplished players will establish gd tnal and musical standards. During individual practice sessins, self evaluatin and crrectin - playing, listening, thinking, adjusting, then playing again - will lead t small imprvements each day. Practice in the recmmended study materials will impart an understanding f scales and chrds and will drillfingerpatterns s that new music can be perfrmed mre cnfidently and accurately. With the basic theretical backgrund utlined belw, the student shuld begin t study music carefully befre playing. As a result, mre will be achieved during practice perids. Technical and perfrmance gals: 1. Refine finger mtin and cntrl. 2. Develp the ability t sustain lng tnes fr ten secnds. Cntinue t imprve tne quality. 3. Imprve tngue and finger crdinatin. Always maintain clean articulatin. Strive fr cntrl at faster speeds. 4. Cntinue t develp slid rhythmic cncepts and cntrl. Thery study gals: 1. Knw and perfrm majr scales and tnic chrds up t three sharps and three flats. Cnstruct minr scales and minr tnic chrds up t three sharps and three flats. 2. Aurally and visually recgnize intervals up t a fifth. 3. Aurally identify majr and minr triads. 4. Expand vcabulary f temp and style terms.

25 LEVEL II STUD YIMMATERIAL «AUTHOR-EDITOR TITLE GRADE Andraud, Albert J. Practical and Prgressive Obe Methd VE-D Hite, David Fundatin Studies E-VD Patterned after the methd bk by Carl Baermann, this vlume cntains scales, chrds and interval studies fr develping the fundamentals.. It serves as a lifelng daily study bk which can be used t slve nearly,every technical prblem the bist will encunter. "Hw t practice" rutines and general advice sectins are included. Hite, David Meldius and Prgressive Studies, Bk I Cntents: Demnitz 75 Expressive Studies (based n scales) ME Demnitz 18 Expressive Studies (based n chrds) ME Ncentini 9 Meldic Studies Baermann 14 Meldic Studies Kayser 5 Prgressive Studies, p. 20 M Hite Majr and Minr Scales E-M This ppular study bk cntains musical, prgressive style studies which extend t fur sharps and fur flats in majr and minr keys, using basic time signatures, rhythms and articulatins. Hite, David Frty Prgressive Meldies by A.M.R. Barret Cntents: Barret 40 Prgressive Meldies E-M Dnt 8 Prgressive Exercises E-M Hite. Scale studies The Barret meldies are wnderful studies fr meldic phrasing. They include an accmpaniment fr a secnd be t emphasize the develpment f rhythmic independence, intnatin, and balance sensitivity andflexibletnal cncepts. Later, these studies can be used as transpsitin exercises. The Dnt exercises prvide daily exercise fr the tngue t build strength and agility. This bk can be used with r fllwing the Meldius and Prgressive Studies, Bk 1. M M LEVEL II REPERTOIRE AUTHOR-EDITOR TITLE GRADE FOR OBOE mm PIANO Mendelsshn-Zverv Sng Withut Wrds ME Telemann-Chidester Andante and Prest ME White, David A. Episdes ME Widr, Ch. M. Pavane ME OBOE DUETS AND TRIOS Barret-Hite Frty Prgressive Meldies E-M McCarty, Evelyn Obe Duets and Tris ME-M

26 LEVEL III A real sense f accmplishment cmes with prgress thrugh level three. The player shuld becme a gd, cmpetent member f the schl band. An interest in ensemble music culd be develping. One hur a day practice sessins shuld be rutine, and as a result, the fingers shuld becme ttally cmfrtable in the patterns f the mst used keys. A higher level f technical advancement shuld allw mre time fr attentin t musical expressin. The imprtance f tnal develpment thrugh effective lng tne study shuld be emphasized. The activities that supprt cntinued develpment shuld be cultivated. Reeds shuld be carefully selected fr vibrancy, respnse, tnal clarity and gd dynamic range. Playing n ld wrn ut reeds shuld be avided. At least tw well adjusted, brken in reeds shuld be maintained at all times. Reedmaking study shuld begin with a private instructr. Every bist at this level shuld btain a gd knife and ther necessary accessries. Technical and perfrmance gals: 1. Imprve reliable and accurate reading f music, making schl band and ensemble music rutine. 2. Develp a quicker, mre self assured apprach t newly assigned music. 3. Learn t sense prper temps. 4. Cntinue t refine tne in three aspects: greater beauty and depth; mre pwer and sfter dynamics; agility t cntrl crescends and diminuends. 5. Master all articulatins, staccat, legat and slurring, in any cmbinatin. 6. Perfrm scale patterns in thirds. 7. Perfrm sls publicly. Thery study gals: 1. Knw all majr and minr scales up t fur sharps and fur flats. 2. Understand the cnstructin f the tnic, dminant and subdminant chrds and hw these chrds relate t the scales; recgnize the scales and chrds in the music being studied. 3. Develp the ability t sing and/r recgnize any ascending interval up t a fifth frm a given nte. 4. Expand vcabulary f terms, signs and temps encuntered in the music being perfrmed. 5. Study phrasing including the recgnitin f phrases and hw they relate t ne anther.

27 LEVEL III STUDY MATERIAL AUTHOR-EDITOR TITLE GRADE Andraud, Albert J. Practical and Prgressive Obe Methd VE-D Hite, David Fundatin Studies E-VD Cntinuing wrk in this vlume, the familiar scales shuld begin t flw accurately. The tnic chrds, brken chrds and dminant seventh chrds, and the interrupted and returning scales shuldflwwell. The fur sharps and furflatskeys shuld be rutine. Hite, David Meldius and Prgressive Studies, Bk 1 ME-M Cntents: (See level II) Cntinued study in this bk shuld develp gd reading and stylefluency.effrts t stabilize a beautiful sund shuld be pursued carefully befre appraching etudes requiring greater speed. Sensitivity t dynamics and tnal flexibility shuld be stressed at this time. Hite, David Meldius and Prgressive Studies, Bk 2 Cntents: Gambar 16 Caprices M Misc. etudes fr special prblems M-MD Hite Scales in thirds M-D While refining the slwer Ncentini and Baermann etudes f Bk 1, it is well t begin practicing these Gambar studies fr fmger and tngue dexterity.. Wrk in specialized areas - tngue, speed, chrmatics, trills, etc. - can be apprached as needed. Hite, David Frty Prgressive Meldies by A.M.R. Barret E-M Eight Prgressive Exercises by Dnt Cntinued use f this vlume can cnstitute recreatinal playing, giving vent t imaginative phrasing style. LEVEL III REPERTOIRE AUTHOR-EDITOR TITLE GRADE OBOE WITH PIANO Bach-Andraud Andante M Bach-Andraud Menuet and Famus Aria M Bach-Andraud Sicilian and Aris M Baermann-Hite Adagi M Beethven-Andraud Adagi Cantabile (Snate Pathetique) M Brdier-Perkins Berceuse M Busser-Andraud Eglgue (Pastral Pem) M Clin-Andraud Les Echs de Marnes M Dnjn-Guertin Invcatin M Dremlyuga-Zakpets Andantin M Kreisler, Alexander vn Snatina M Paradis, Maria T. vn Sicilienne M R-Krsakv-Thurstn The Rse and the Nightingale M Smlanff, Michael In Memriam M Slmn, Edward S. Danza Italiana M Tchaikvsky-Zakpets Rmance M Telemann-Andraud Fur Shrt Meldic Pieces M Telemann-Andraud Snata in G Minr M

28 LEVEL IV At level fur, pprtunities fr many exciting activities begin t emerge: auditins fr sl chair psitins at schl, sl and ensemble cntests, schlarship auditins. Summer enrichment prgrams, music festivals and reginal band-rchestra chairs shuld be pursued.. Cntinuatin f private study is imprtant t effectively fcus n detailed preparatins fr sl appearances, cntests and auditins. If pssible, a prfessinal level instrument shuld be btained t attain the best in sund, intnatin and technique. An interest in better reeds, including bth the skill f adjusting reeds as well as fundamental reedmaking, shuld cntinue t evlve. Beginning wrk n dubling n English Hrn shuld be cnsidered at this pint. Mre extensive listening habits shuld be develped. Fllwing gd music radi statins, learning the classical rchestral repertire, learning abut great cmpsers, and identifying music perids and jazz styles will cultivate high perfrmance standards and ambitins. Technical and perfrmance gals: 1. Develp mre sphisticated tnal cncepts and cntrl: tnal beauty, natural use f dynamic flexibility, and awareness f perfect intnatin. Observe the effects f instruments, reeds, rms, halls, recrding techniques and gegraphic lcatin n tnal vicing. 2. Experiment with varius acquired techniques t create a md experience fr the listener. Avid lackluster mechanical playing. 3. Imprve prficiency and fluency in sight-reading. 4. Prepare and maintain gd reeds. 5. Perfrm majr sl wrks by memry. 6. Begin study f extended pitch range t high F, F* and G. Thery study gals: 1. Understand the cycle f majr and minr scales. 2. Knw and perfrm the chrmatic, diminished and whle-tne scales. Begin wrk n perfrming scales in intervals. 3. Aurally and visually identify all intervals within the ctave, and learn t sing these intervals frm a given pitch. 4. Sightsing unfamiliar meldies. 5. Rutinely study assignments withut the instrument befre practice, analyzing each etude as t key, scale and chrd patterns, phrases, temps rhythms, alternate fingerings, etc.

29 AUTHOR-EDITOR TITLE ORADB Ferling, W. 48 Famus Studies M-MD Als includes: Ferling 3 Dus Cncertants Bernards / 0 Dus Beethven-Andraud Tri, p. 87 (fr 2 bes and English hrn) Nte: The first and secnd be parts are published in separate vlumes. Bth bks are required fr perfrmance f the dus and tri. Hite, David Fundatin Studies E-VD Practice shuld extend int the intervals f thirds, furths and fifths. Wrk n the scales, chrds and interrupted and returning scales in five and six sharps and flats, as well as chrmatic scales and diminished chrds shuld be in prgress. Hite, David Meldius and Prgressive Studies, Bk 2 M-MD Cntents: (See level HI) Cntinued study in this vlume shuld encmpass finishing the Gambar studies in advanced speeds. The Dnt etudes develp the ability t play larger intervals that require eye and ear crdinatin t maintain gd tne. The expressive etudes shuld be analyzed s that they can be played with cnsummate style. The tnguing exercises strengthen the tngue and increase staccat speed and clarinet, while the trill and chrmatic studies prmte finger dexterity. Hite, David Fur Snatas by A.M.R. Barret and Five Meldius Studies by D. A lard MD Study f these three mvement Barret Snatas fcuses n refinement f musicianship, accuracy f reading and stability f perfrmance. Intermediate in difficulty, they can supplement the Meldius and Prgressive Studies, Bk 2 y and are als apprpriate fr cncert perfrmance. The Alard studies prvide a slid review f technique and articulatin. LEVEL IVREPERTOIRE AUTHOR-EDITOR TITLE GRADE FOR OBOE ALONE Kawarsky, Jay Rejice, 0 Yung Man MD OBOE WITH PIANO Baird, Kenneth Shadw Dance and Lament MD Barnes, James Autumn Slilquy (band acc. available) MD Barthe-Andraud Petite Wuite Pittresque MD Bellini-Peters Cncert in E b MD Gdard, Benjamin Legende Pastrale, p. 138 MD Gdard, Benjamin Highlanders March, p. 138 MD Handel-Andraud Cncert Grss, N. 8 in B b MD Jaffe, Gerard Overture t a Cmedy MD Lunde, Ivar, Jr. Fantasy MD Rbinsn, Stanfrd The Mn Maiden's Dance MD Stne, Gregry Hra Extique (Rumanian Dance-Caprice) MD Telemann, G.P. Cncert in F Minr MD Telemann-Andraud Snata in A Minr MD Yshika, Emmett Intermezz MD

30 LEVEL V Arrival at level five is indicative f serius dedicatin t the be. In many high schls there is very little cmpetitin n this level. Hwever, all-city and all-state ensembles ffer challenging learning experiences. Cllege music students n this level will find new mtivatin in their capable clleagues and mre mature perfrming grups. Sling in recitals and with ensembles brings special artistic self identity. Cllege atmspheres als prvide a brader range f listening pprtunities. Career plans shuld be cntemplated at this level t give mre specific directin t immediate gals. Cnsideratin shuld be given t wrk in cmmercial studis, service bands and educatinal institutins. Prfessinal engagements shuld be sught. Depending n individual interests, an even mre cncentrated specializatin in English hrn might be pursued at this pint. Membership in the Internatinal Duble Reed Sciety is highly recmmended. (Fr infrmatin cntact: Lwry Riggins, Exec. Secretary; IDRS; 626 Lakeshre Drive; Mnre, LA ; lwre4idrs@al.cm.) This rganizatin's jurnal The Duble Reed prvides a wide variety f infrmatin which is bth interesting and beneficial t the serius bist.* The Internatinal Duble Reed Sciety site n the Wrld Wide Web at prvides membership infrmatin as well as ther helpful infrmatin and services. Technical and perfrmance gals: 1. Develp a persnal cncert and recital repertire ready t be perfrmed n shrt ntice. 2. Establish memrized daily practice rutines fr the maintenance f basic techniques including tnal inflectin, finger cntrl and speed, and tnguing skill. 3. Organize daily practice t include a well runded balance f mechanics, etudes and repertire. 4. Observe imprtant supprt activities: selectin, adjustment and maintenance f reeds; instrument care; music strage; and selectin f a practice area with gd acustics, lighting, air and temperature. Thery study gals: 1. Understand and perfrm: majr and minr scales in all keys in the rder f the cycle f fifths r furths and chrmatic rder, the chrmatic scale (ver the entire range); whle tne scales; diminished scales; mdal scales. 2. Recgnize and perfrm: majr and minr chrds, primary and secndary chrds, and chrd prgressins; diminished, augmented, seventh and ther added nte chrds. 3. Study and recgnize musical frms: aria frm, snata frm, dance frms, theme and variatins, jazz frms, etc. Analyze music as t frm and style.. ' * * jj^*; r t n fjrer mpiftrfic. then harmnic.

31 LEVEL V STUDY MATERIAL AUTHOR-EDITOR TITLE GRADE Andraud, Albert J. Vade-Mecum f the Obist M-D Cntents: 87 Selected Technical Studies Selected Orchestral Studies fr be and English hrn Ferling, W. 48 Famus Studies M-MD Cntents: (See level IV) Hite, David Fundatin Studies E-VD Cntents: Baermann Methd, Part III These exercises shuld be practiced fr ttal reflexive familiarity with all diatnic patterns f scales, chrds and intervals. Whle tne scales and augmented chrds shuld be added, then diminished scales and studies n ctaves, staccat and trills and triplets. LEVEL VREPERTOIRE AUTHOR-EDITOR TITLE ' GRADE FOR OBOE ALONE Telemann-Frrest Fantasies I-XII D FOR OBOE WITH PIANO Clin-Cailliet Eighth Sl MD Guilhaud-Andraud First Cncertin D Lenm, Clement Musette D Marcell, Benedett Cncert in C Minr D Mzart-Desprtes Cncertin, K 370 D Verrust, Stanislas Suvenir f Old Quebec D Vgt-Andraud 2nd Cncertin in F D SOLO COLLECTION FOR OBOE WITH PIANO Andraud, Albert J. 15 Grand Sls de Cncert D Cntents: Mzart Cncert in E b Dallier Fantaisie-Caprice Bertain Serenade Guilhaud 1st Cncertin Busser Eclg (Pastral Pem) Paladilhe Sl de Cncert Nielsen Rmance (IV) and Humresque Clin 3rd Sl de Cncert Lefebvre Andante et Allegr J.S. Bach Andante, Menuet, Famus Aria, Rnd, Sicilian and Aris. Handel-Andraud Cllectin D Cntents: Handel-Andraud Cncert in G Minr Handel-Andraud Three Snatas Handel-Andraud Famus Larg

32 LEVEL VI Students n level six are generally in thefinalyears f undergraduate wrk r are pursuing a Master's degree. At this juncture cmmitment t cntinuus refinement f artistic style and tne shuld be made. Althugh basic skills have been well established, small refinements may be suggested by a particular chsen artist teacher. On this level it is imprtant t braden persnal tastes in music - nt. nly music fr be and English hrn, but als music fr ther wdwinds, brass, strings, keybard, vice and ensembles. General music educatin shuld encmpass the study f bth classical and jazz histry, thery, cnducting and educatin. In metrplitan areas varius prfessinal playing pprtunities can be btained thrugh lcal music cntractrs. The musicians' unin paper annunces auditins fr pen psitins. Technical and perfrmance gals: 1. Cntinue t develp, refine and rutine musicianship. The inspired, ambitius cllege student will want t give frequent recitals, nt just the required ne(s). 2. Participate in as many different perfrmance grups as pssible. Private practice is essential but ensemble skills can nly develp by playing with ther musicians. 3. Cntinue t search fr the very best playing equipment (instruments and reeds) and reedmaking equipment and supplies. 4. Cntinue t expand repertire. Thery study gals: L Develp imprvisatinal skills. 2. Extend harmnic vcabulary t include secndary chrds and their relatinship t key. Recgnize them in perfrmance music. 3. Recgnize and understand mdulatin. 4. Cntinue t imprve dictatin and sightsinging abilities.

33 LEVEL VI STUDY MATERIAL AUTHOR-EDITOR TITLE GRADE Andraud, Albert J. Vade-Mecum f the Obist M-D Cntents: 87 Selected Technical Studies Selected Orchestral Studies fr be and English hrn Hite, David Fundatin Studies E-VD Cntents: Baermann Methd, Part III These studies may nw be used as a'daily warm-up r as a test fr new reeds. Use them fr maintaining the sharpness f basic technique. They can be emplyed in making small embuchure changes r develpingflexibilityr endurance. LEVEL VIREPERTOIRE AUTHOR-EDITOR TITLE. GRADE FOR OBOE ALONE Stephensn, Rbert Twinkle Variatins D FOR OBOE WITH PIANO Adler, Samuel Snata D Kauder, Hug Snata D Ken nan, Kent Scherz, Aria and Fugat D Mzart-Andraud Cncert in * D Mzart-Gillet-Blair Cncert in C, K314 D Rsetti-Richards Cncert in C D Rsetti-Richards Cncert in D D COLLECTION FOR OBOE WITH PIANO Andraud, Albert J. The Obist's Cncert Album D Cntents: J. S. Bach Aria, Sicilian Clin Grande Fantaisie Cncertante, Les Echs de Manxes, 1st Sl de Cncert, 3rd Sl de Cncert, 4th Sl de Cncert, 5th Sl de Cncert, 6th Sl de Cncert, 7th Sl de Cncert De BisdeffreScewey Villageises De Grandval Cncert De Vilbac A Cyprian Sng (be alne) Flegier Celebre Villanelle Leclair/lna, Musette Gdard Three Sctch Scenes Handel Cncert in G Minr, 1st Snata, 2nd Snata Lenm Musette Sigt. Meyer 3 Rustic Miniatures (be alne) Mndnville Tamburin Mzart Adagi Religis, Larghett Pierne Piece in GMinr Sler Suvenir de Madrid Verrust 4th Sl de Cncert. Suvenir nf DM fluu**

34 LEVEL VII Frmal study f the be culminates in the arrival at this level. Special interests such as cntemprary styles, artistic study abrad r special research are pssibilities at this pint. Career bjectives may have specific prerequisites. Teaching at the cllege level requires graduate study. Graduate assistantships with a mdest stipend can prvide experience in teaching undergraduate students while pursuing a graduate degree tuitin-free. A secndary specialty field such as music histry, thery r cnducting is ften useful. Many small t medium size cllege teaching situatins ffer the pprtunity t cmbine self-generated surces f incme such as teaching, playing, cntracting and recrding. Prfessinal perfrmance experience is generally required fr the tp cllege psitins. Universities that ffer graduate degrees usually require that their faculty members have dctral degrees alng with an artistic perfrmance backgrund. After settling int a perfrming r teaching psitin and gaining recgnitin, clinician-slist engagements may be pursued t supplement basic emplyment. The perfrmance music listed in this level cntains masterpieces written fr the be. Any r all f this repertire can be studied initially in earlier levels. At this level, hwever, this music shuld be releamed and restyled t reflect cnsummate artistic maturity and style. LEVEL VII REPERTOIRE AUTHOR-EDITOR Albinni, Tmas Britten, Benjamin Cimarsa, Dmenic Francaix, Jean Hindemith, Paul Kalliwda, J.W. Krmmer, Franz Marcell, Alessandr Milhaud, Darius Mzart, W. A Pulenc, Francis Saint-Saens, Camille Schumann, Rbert Strauss, Richard Szalwski, Antni TITLE Cncerts Six Metamrphses after Ovid, p. 49 Cncert L 'Hrlge de Flre Snata Cncert Cncert in F, p. 52 Cncerts Snatine Cncert in C Majr, K. 271k Snata Snata, p. 166 Three Rmances Cncert Snatina

35 MUSIC FOR ENGLISH HORN AUTHOR-EDITOR TITLE GRADE Andraud, Albert J. Vade-Mecum STUDY BOOKS ENGUSH HORN WITH PIANO Datshkvsky-Ephrss Lullaby fr Alexandra ME Akimenk, Th, Eclgue (Elegy), p. 12 M Chpin-Andraud Ncturne, p. 9, n.2 M RKrsakv-Thurstn The Rse and the Nightingale M \ Berg-Ephrss The Shepherd. M Mzart-Andraud Adagi Religis (Clarinet Cncert K. 622) MD Handel-Pezzi-Andraud Cncert in C Minr MD Bssa, Eugene Divertissement, p. 39 D Karlins, M. William Music fr English Hrn and Pian D Kauder, Hug Snata D MUSIC FOR OBOE/ENGLISH HORN ENSEMBLES AUTHOR-EDITOR TITLE GRADE Kreisler, Alexander vn Little Tri TWO OBOES AND ENGUSH HORN FOR TWO OBOES AND PIANO Handel-Vxman-Hervig Allegr (frm Snata N. I) FOR DOUBLE REED QUARTET (TWO OBOES AND TWO BASSOONS) Wetzel, Richard D. Snatina Americana MD M MD

36

37 Of O b e s and R e e d s by Kathryn Frst Buying a new be is such a wnderful event that it is hard nt t sit dwn and play it fr several hurs, but the wd f a new be shuld be brken in slwly. I suggest playing a new instrument fr minutes a day the first week, then fr 25 minutes in the secnd week, and fr 40 minutes during the third week. By the furth week this can be increased t 60 minutes per day. The keys f a new plastic r wd be will have t be adjusted after abut fur t six weeks because the pads will change psitin and create small leaks. Even lder bes have t be adjusted nce r twice a year. The inside f a new be shuld be iled thrughly. Take each f the lng sectins and put tw r three drps f bre il alng the back wall. Watch the drps descend t be sure they d nt enter any tne hles. As the drps reach the bttm, insert a chicken feather inside the bre frm each end and spin it t spread the il. The bell is iled by putting a drp n a finger and rubbing the inside f the bre. Oiling the bre f an be slws dwn the absrptin f water by sealing the pres f the wd. A prperly iled instrument will appear smth and shiny inside while an instrument in need f iling is dry and rugh. The il absrbed int the wd frm the inside gradually seeps t the utside surface. Althugh the inside m»v appear smth, mre il may be needed t clse the utside pres. Apply bre il nly t the inside f the be. The utside receives enugh il frm iling the inside and frm the natural il frm the fingers in handling the instrument. Spring and fall are particularly harsh seasns n wd as the temperature and humidity fluctuate. Signs f drying ut are rughness r dullness n the inside bre, pen pres n the utside, and intnatin difficulties unrelated t key regulatin. A new instrument shuld be-iled tw r three times in thefirstseveral weeks. As be students imprve, there cmes a time t purchase a reed made f high-quality cane with a refined cut. American Cut Reed The tip is the thinnest and mst breakable part f a reed, and it cntrls the pitch and tnguing. The thick and runded sectin just dwn frm the tip, called the heart, cntrls the strength and respnse f a reed. The heart shuld be cut dwn if a reed is t stiff, but the reed will sund quacky if t much is remved. The next part dwn, the spine, is the thickest part f the reed. Withut a strng spine a reed may cllapse during a cngive strength t the tne and nte respnse. Reeds shuld be chsen by lking first at the tip. When fully saked, the tip shuld be pen in this shape: Players cannt sak an be reed at the stre; hwever, a dry reed can be tested by squeezing the tip, which shuld respnd equally n the sides and clse in the middle last. Withut a tip that clses prperly students cannt play with dynamic cntrast. The blades f a reed shuld be in line r they will leak air. Examine bth sides f a reed and check that the heart, spine, and windws are at the same psitin n each side. Hld reeds in frnt f a bright lamp and lk fr symmetrical shading n bth sides. Cheaper reeds are ften wrapped with wires r clred plastic, a way sme cmpanies slve leaking prblems, regardless f whether the reed leaks. Because a reed is flashy and clrful and has mre gizms des nt make it a better chice. Avid French cut reeds, which have a nasal tne. French Cut Reed

38 Of O b e s and R e e d s by Kathryn Frst Buying a new be is such a wnderful event that it is hard nt t sit dwn and play it fr several hurs, but the wd f a new w be shuld be brken in slwly. I suggest playing a new instrument fr minutes a day the first week, then fr 25 minutes in the secnd week, and fr 40 minutes during the third week. By the furth week this can be increased t 60 minutes per day. The keys f a new plastic r wd be will have t be adjusted after abut fur t six weeks because the pads will change psitin and create small leaks. Even lder bes have t be adjusted nce r twice a year. The inside f a new be shuld be iled thrughly. Take each f the lng sectins and put tw r three drps f bre il alng the back wall. Watch the drps descend t be sure they d nt enter any tne hles. As the drps reach the bttm, insert a chicken feather inside the bre frm each end and spin it t spread the il. The bell is iled by putting a drp n a finger and rubbing the inside f the bre. Oiling the bre f an be slws dwn the absrptin f water by sealing the pres f the wd. A prperly iled instrument will appear smth and shiny inside while an instrument in need f iling is dry and rugh. The il absrbed int the wd frm the inside gradually seeps t the utside surfar*> Al«-k L appear smth, mre il may be needed t clse the utside pres. Apply bre il nly t the inside f the be. The utside receives enugh il frm iling the inside and frm the natural il frm thefingersin handling the instrument. Spring and fall are particularly harsh seasns n wd as the temperature and humidity fluctuate. Signs f drying ut are rughness r dullness n the inside bre, pen pres n the utside, and intnatin difficulties unrelated t key regulatin. A new instrument shuld be-iled tw r three times in thefirstseveral weeks. As be students imprve, there cmes a time t purchase a reed made f high-quality cane with a refined cut. American Cut Reed heart windws The tip is the thinnest and mst breakable part f a reed, and it cntrls the pitch and tnguing. The thick and runded sectin just dwn frm the tip, called the heart, cntrls the strength and respnse f a reed. The heart shuld be cut dwn if a reed is t stiff, but the reed will sund quacky if t much is remved. The next part dwn, the spine, is the thickest part f the reed. Withut a strng spine a reed may cllapse durine a cngive strength t the tne and nte respnse. Reeds shuld be chsen by lking first at the tip. When fully saked, the tip shuld be pen in this shape: Players cannt sak an be reed at the stre; hwever, a dry reed can be tested by squeezing the tip, w' shuld respnd equally n the si and clse in the middle last. Withut a tip that clses prperly students cannt play with dynamic cntrast. The blades f a reed shuld be in line r they will leak air. Examine bth sides f a reed and check that the heart, spine, and windws are at the same psitin n each side. Hld reeds in frnt f a bright lamp and lk fr symmetrical shading n bth sides. Cheaper reeds are ften wrapped with wires r clred plastic, a way sme cmpanies slve leaking prblems, regardless f whether the reed leaks. Because a reed is flashy and clrful and has mre gizms des nt make it a better chice. Avid French cut reeds, which have a nasal tne. French Cut Reed

39 Obes Obes aremade f either grenaditia wd r f high quality plastics, generalyknwn as resnite. Althugh grenadilia wd has a lng traditin and is used by prfessinal bists wrldwide, the quality f nn-wd instruments has risen t a highly respected level and is used by bth students and prfessinals alike. The plastic resin frm which instruments are manufactured is highly stable. These bes require less maintenance and are nt susceptible t cracking like wd instruments.many f the mst respected be manufacturers ffer their prfessinal mdel bes in plastic r, alternatively, with a plastic tp jint in place f the traditinal grenadifla wd. This is advantageus because the tp jint n the be is the prtin mst likely t experience cracking due t temperature and humidity fluctuatins. Key Optins LwB Many basic student mdels play nly t lw B natural.when yu lk at the be and see pen hles in the bel and n mechanism (pad) t cver them, there is n lwbb n that instrument. Left /land F key This alws the player anther ptin t fingering an F. This is essential t mre advanced players in executing certain passages and in chsing the desired tne clr versus the frked-f Frked F and B b resnance keys These imprve the quality and pitch f their respective ntes. "Die mre basic student mdels as wefl as the tabuteau mdels f the prfessinal line f bes d nt have these resnance keys. Ab-Bb trill mechanism This greatly simplifies the fwgering f this tril. Withut this mechanism, creating a true trill between these tw ntes is nt pssible. C/-A trul key Depressin f mis key simplifies the tri and imprves the intnatin f the A. Duble KingD*~E This mechanism afiws an easy fingering fr the tri and imprves the intnatin f the E. Left hand OD trill This prvides an alternative t the right hand C D tril lever. Auxiliary LwC This key facilitates the lw C t C# transitin and simplifies the tril Lw B'C trill mechanism This aflws fr a seamless transitin in executing this trill. m Break-in Prcedures fr Obe and English Hrn New wden duble reed instruments benefit greatly frm a break-in perid which alws them t gradualy adjust t the changes in temperature and humidity that they are subjected t when they are played regularly. A little care in the first three weeks f wnership can greatly reduce the chances l cracking at the tp jint Week One - Play the instrument fr nly five minutes n the first day. Each day thereafter add five minutes s that by the end f ne week yu are playing the instrument fr thirty minutes a day. D nt play fr any lnger than the abted time. It is wise t have a secnd instrument available t prevent any temptatin. If the break-in prcedure is interrupted during the first week, then it is necessary t start ver again at the five minute leve Week Tw Play the instrument fr thirty minutes a day fr three days, then buildup in increments f five minutes fr the next three ddys. The last tw days shuld have yu playing 45 minutes each day. Week Three By this time the instrument shuld be very stable. It is wise t give it a litde extra care by nt playing fr mre than ne h a day fr this week. Yur instrument wil nw be ready fr rigrus playing. I lwever, because al wden instruments are at risk during abmpt changes f humidity and temperature, it is imprtant t Uike extra care during seasns where this cmmnly ccurs. Care f Wd Instruments The initial care f wd instruments is crucial t their wefl being and lngtime tnal beauty. The amunt f misture in the air affects wd greatly. Idealy wd instruments shuld be kept at a cnstant humidity level. Unfrtunately, few f us live in that kind f envirnment There ara ways, hwever, t actively care fr die wd. 1 Use a Dampit type humidifier inside the case. A smal damp spnge inside a pfl bttle (with vent hles) wrks quite well. 2 Sme experts recmmend fresh range peels be kept in the case. 3Try t avid using wd instruments extensively utdrs (eg. in marching bands.) 4 Perhaps the mst imprtant prcedure is t always warm die utside f the instrument befre playing. Simply hld it in yur hands fr several minutes. If this is nt dne, the player wil be blwingwarm mist air int the cld bre. This causes the bre t expand utwardly. The utside is cld and is nt expanding alng with the bre. This type f stress is ften the cause f cracks.

40 Obe Cmparisn Chart v v v r O v ^ - v BUFFET 4051 X X X X X X X X 4052 X X X X X X X X X 3613 X X X X X X X X X X X X X BULGHERONI I i 'H *w > - Student X X X I. 1 xj,f>h 1 X X Artist X X X \x\ X X'J ' X X X X S90 X X x x X x,:i m 'X X X xi ; X X 95L (Cm) X X X ' x; X xi fx* ix X X X, X X FOX 333 X X X X X X X X 330 X X X X X X X X X X 300 X X X X X X 'X X X X X X 400 X X X X X X v'-x X X X X X 450 X X X X X X X X X X UP LB X HOWARTH All Wd X X X X X X X X X X X X Plastic Tp Jint X X X X X X X X X X UP LB X LARILEE 12SW X X 150W X X X X X 210W X X X -X' X X 235AW X X X X X X X X X X X X 400W X X X X X X X X X X X X X LOREE X X X X X X )X X X X X X X PATRICOLA Standard X X X X X X X X X X X Prfessinal X X X X X X X X X X X X X SELMER 1292 X X X 1492 X X X 122F X X X X X X 123F X X X X X X 120 X X X X X X X X X 121 X X X X X X X X X 104 X X X X X X X X X X X 101 X X X X X X X X X X X YAMAHA - < i ) 211 ; ' X X X 411 X X X X,., Ix. X 811 X X X X X X X X X - X 821 X X X X X i : x; X X X X X Ntes: G Gldplated Keys, UP - Upper Jint, LB - Lwer Jint and Bell

41 DRS Library Hldings - Music: Obe and Pian 9/17/ :01 internatinal Duble Reed Sciety.. Library Hldings - Music: Obe and Pian The fllwing is music fr Obe and Pian. The entries in this list are srted by Cmpser. COMPOSER-TITLE 1. Addisn, Jhn-Rhapsdy 2. Ah, Kalevi-Snata 3. Albeniz, Isaac-Taagjfi 4. Albinni, Tnmmflsn-Cncert e 5. Op. 9. N Albinni, Tnmmasn-Cnncert e 5. O. 9. N. 8 Andraud. A. J. 6. Albinni, Tnmmasn-Cnncert. Op. VII. N. 6 Prfile. Hennk 7. Albinni, Tnnimaxn-Cncert. Opus 9 8. Albrespic, Jacques-EJegje 9. Alexander, Jsef-Mvement 10. Amdahl, Magne-Cantilene Andraud. Albert J. 11. Amdahl, Magne-Tranquill dlce 12. BUttcher, Eherhard-Fantasia da camera 13. Babeil, William-Snata in F minr Andraud. Albert J. 14. Babeil, William-Snata in G minr 15. Bach, Jhann Christian-Cncert in F. N Bach, Jhann Sebastian-Aris frm Cantata N Bach, Jhann Sebastian-Jesu. Jy f Man's Desiring 18. Bach, Jhann Sebastian-Menuet frm Anna Magdalena's Ntebk 19. Bach, Jhann Sebastian-Musette 20. Bach, Jhann Sebastian-Sicilian and Aris 21. Bach, Schumann, Dvrak, Schubert, Kabalevsky, and Mendelsshn-Classic Pieces 22. Baden, Cnrad-Snata fr Obe and Pian. Op. 1 i Bakaleinikff, Vladimir-A Danse 24. Bakaleinikff, Vladimir-A Danse 25. Bakaleinikff, Vladimir-Pastrale 26. Baksa, Rbert-Obe Snata 27. Ballard, Gregry-Mercury 28. Barbirili, Jhn-Cncert n themes f Perglesi 29. Barret, A. M.-Chansnette 30. Barthe, A.-Petite Suite Pittresque 31. Barthe, Adrien-Cuvre Feu 32. Bassi, L.-T.ament fnccntrne) 33. Bassi, L.-Ncturne Duttn. David 34. Bavicchi, Jhn-Snatina 35. Beethven, Ludwig van-adagi fr wine Spieluhr 36. Beethven, Ludwig van-snatina 37. Bellini, Vincenz-Cncert Waiter. David 38. Benjamin, Arthur-Divertiment n Themes bv Gluck Wve. Trevr 39. Bensn, Warren-Evening Piece 40. Berthelt, Rene-Cavatme et Scherzett 41. Bizet, Gerges-Aragnaise frm "Carmen" 42. Bizet, Gerges-Barcarle frm "The Pearl Fishers" Gaylrd. A. F. 43. Bjelinski, Brun-Kncert za Obu i Gudace Stuffer. Paul M. 44. Bguslawski, Edward-Essays 45. Bisdeffre, Ren A de-villate Scenes: Three Shrt Pastral Pems Pazemis. A. W. 46. Bnelli, Ettre-Il givane bista. Op. 44 Vxman. Himie 47. Brdin, Alexander-Plvetsian Dance frm "Prince Igr" 48. Bzav. Attila-TAtelpcr (tw mvts.). Op. 18 Fte. Richard 49. Bzza, EugAne-Air Pastral Isaac. Merle J. and Feldman. I. 50. Bzza, Eugene-Berceuse Jhnsn. Clair W. 51. Bzza, Eugene-Fantaisie Itaiienne 52. Bzza, Eugene-Pastrale Walters. Harld L. 53. Brahms. Jhannes-Adagi frm the Vilin Cncert. Op Britten. Benjamin-Tempral Variatins (1936) 55. Britten, Benjamin-Tw Insect Pieces: The Grasshpper. The Wasp (1935) 56. Brwn, James ed.-mzart and Haydn fr Obe 57. Brun, Franiis-Julien 58. Bunncini, G. B.-Rndeau 59. Bush, Geffrev-Dialgue (Rev, editin 1988) 60. Busser, Henri-PiAce en si BAml. Op Byrne. Andrew-Fur Pieces fr Obe: Oseinat: Waltz: Reflectin: Fanfare and March

42 idrs Library Hldings - Music: Obe and Pian 9 / 1 7 / : u 62. Caldini, Fiilvi-Brealh Cntrl Op. 36/a Richardsn. Alan ed. 63! Caldini, Fnlvi-Due Canzni. Op. 6/B Richardsn. Alan ed. 64. Castr, Din-Rverie et Jeu 65. Charpentier, Jacques-Cncert N. 6 Hurrell, Clarence E. 66. Chenette, Edward-Cncert de Cebece 67. Christcnsen, James-Meditatin (based n J. S. Bach's "Prelude in C") 68. Cimarsa, Dmenic-Cncert en Si b 69. Cimarsa, Dmenic-Cncert en Sl 70. Cimarsa, Dmenic-Cncert fr Obe and Strings 71. Clerisse, Rbert-Fantaisie 72. Cke, Arnld-Snata 73. Clidge, Richard-Weeping Dancer 74. Crelli, Archangel-Cncert fr Obe and Strings 75. Cssett, Emil-Kncertantna Suita N. 2 Isaac. Merle J. and Feldman, I. 76. rmiltharrt,.le.an-shi7.fn: Three Nature Sketches frm Japan 77. Culthard, Jean-The Enchanted Island 78. Crawley, Cliffrd-Recitatives and Arias 79. Craxtn, Harld arr.-three Elizabethan Pieces frm the Fitzwilliam Virginal Bk Jhnsn, Clatr W. 80. Craxtn, Harld-Three Elizabethan Pieces Jhnsn. Clair W. 81. CraYtnn, Janet ed.-first Bk f Obe Sls Vxman. Himie 82. Craxtn, Janet ed.-secnd Bk f Obe Sls Vxman. Himie 83. Cundick, Rbert-Turnabuts 84. Damase, Jean-Michel 85. Darke, Harld-Six Miniatures 86. Debussy, Claude-Sarabande 87. Debussy, Clande-The Little Shepherd 88. Dedrick, Arr-A Tune fr Christpher 89. Dedrick, Christpher-Twilight 90. Degenne, Pierre-La Grande Misere. Extrait de "LaNuit Des Temps" 91. Depelsenaire, Jean-Marie 92. Dickinsn, Peter-Lullabv frm 'The Unicrns' 93. Diercks, Jhn-Snata fr Obe and Pian 94. Dittersdrf, Karl Ditters vn-knzert fr Obe 95. Dnizetti, Gaetan-Snatfi Dnnjn, Jean-Tnvcatin. Mrceau pur AlAvatin Smit. Le 97. Drsam, Paul-Snata in F Majr 98. Dubis, Pierre-Max 99. Dubis, Pierre-Max 00. Dubis, Pierre-Max 01. Dubis, Pierre-Max 02. Dubis, Pierre-Max 03. Duck, Lenard-Impressins Vxman. Himie 04. Dutilleux, Henri-Snate 05. Dvrck, Antnin-Slavnic Dance. Op. 72. N Eben, Petr-Snata fr Obe and Pian Judv. R. A. 07. Edlefsn, Blaine arr.-slw Dance 08. Edlefsn, Blaine arr.-sweet Nightingale 09. Eichner, Ernst-Cncert fr Obe and Strings Jhnsn. Clair W. 10. Elgar, Edward-Chansn de Matin Op. 15. N Emnet, Pierre-Aria et Valse 12. Emnet, Pierre-Petite Cnfidence 13. Ericksn, Frank arr. -Flk Sngs frm Grieg 14. Ernest, David J.-Snatine 15. Etler. Alvin-Intrductin and Allegr Hurrell. Clarence 16. Evensen, Bernt Kasberg-Twi light McCathren. Dn 17. FUrster, Emanuel-Cncert 18. Faucnier, B. C.-Rverie Op N. 1 Richardsn. Janet ed. 19. Feld, Jindrich-alAgie Craxtn. Janet ed. / 20. Feld, Jindrich-Burlesque 21. Feld, Jindrich-Snate Isaac. Merle and Feldman. Ivan 22. Feld, Jindrieh-Snate pur Hautbis et Pian Davis. Henry W. 23. Fiala, Jseph-Cncert N. 1 in D mair 24. Finckel, Edwin A.-Pastral. ^ 25. Findlay, Francis ed.-pearls f the Old Master. Cllectins f Obe Sls with Pian Accmpaniment (2 vl.) Langenus, G. 26. Ficc, Jsef Hectr-Allegr frm "Premiere Suite pur le Clavecin" 27. Fischer, Jhann Christian-Cncert in C mair 28. Flemming. Fritz-Twenty five Meldius Studies fr Obe with easy pian accmpaniment (Bk 2) 29. Fngaard, Bjrn-Snata fr Obe. Op. 70. N Fngaard, Bjrn-Snatas fr Obe. Op N Fngaard. Bjrn-Snatinas fr Obe and Pian. Op N Fss, Lukas-Cncert Page 2 f 6

43 IDRS Library Hldings - Music: Obe and Pian 9/17/ : Frauiaix, Jcan-L'Hrlge de Flre 134. Franck, CAsar-PiAce V 135. Frunierie. Gunnar de-cncertin fr Obe. Strakrkester, Harpa ch Slagverk (1960) 136. Garigli, Raymnd J.-Ncturne fr Obe and Strings Vxman. Himie 137. Geiser. VValrhr-Snatine. Op. 38 Hurrell. Clarence E Cerster. Ottmar-Snatine Stuffer. Paul 139. Gjerstrm, Bjrn Cnnnar-Tw Intermezzi 140. GliAre, Rpinhnlri-Andante. Op. 35. N GliAre, Rpmlinld-Chansn. Op. 35. N Gdard, Benjamin-LAgend Pastrale frm "Sctch Scenes". Op Gssec, Franiis Jseph-Gavtte 144. Gund, Charles-Serenade 145. Crandval, C. dp-cncert Stuffer. Paul M. 146 Granrival, C. de-cncert fr Obe 147. Green, Harld Bellman-Berceuse 148. Green, Harld Bellman-Cncert Fugue Lanning. Jerry 149. Green, Harld Bellman-Elegy 150. Green, Harld Bellman-Pastrale Andraud. Albert J Grieg, Edvard-Air frm the Hlberg Suite Op Grieg, Edvard-Slveig's Sng frm "Peer Gvnt Suite N. 2" 153. Grissell, Revnell-Pastrale 154. Guilhaud, Gerges-First Cncertin 155. Guilhaud, Gerges-Frist Cncertin 156. Handel, Gerg Friedrich-Cncert Grss N. 8 in Bb 157. Handel, Gerg Friedrich-Cncert in G Minr 158. HanHpl, Cenrg Friedrich-Cncert in G minr. Three Snates. and Famus Larg 159. Handel, Gerg Friedrich-Cncert N. 9 en Sib maieur 160. Handel, Gerg Friedrich-Snata in B Flat Lanning. Jerry 161. Handel, Gerg Friedrich-Snata N. 1 and N. 2 Philipp. L Hansn, Hward-Pastrale. Op Haydn, Jseph-Cncert in C fr Obe and Orchestra 164. Haydn, Jseph-Knzert fr Obe und Orchester 165. Haydn, Jseph-Trumpet Cncert (Transcribed fr Obe and Pian, and Cadenzas') 166. Head, Michael-Elegiac Dance Rthwell. Evelyn 167. Head, Michael-Prest Best. Arthur 168. Hcaley, Derek-Italian Ntebk: Fur Pieces fr Obe and Pian 169. Hess. Willy-Drei Tnstcke fr Obe und Klavier. Op. 71 Salter. Linel 170. Hidas, Frigyes-Cncert fr Obe and Orchestra 171. Hinriemith. Paul-Snata fr Obe und Klavier Tustin. Whitney 172. Hlbil, Eniil-Snata pr Hbi a Klavir. Op Hemsnes, Bjrn Krsan-Scandinavisches Reutland 174. Hllingswrth. Stanley-Snata 175. Hweils, Herbert-Snata fr Obe and Pian 176. Hueber, Kurt Antn-Musica di Pan 177. Hurd, Michael-Cncert da Camera 178. Hurrell. Clarence E. arr.-meadwland (traditinal) 179. Hurrell, Clarence E.-Peregrine Isaac. Merle J Ibert, Jacques-Escales... Lanning. Jerry 181. Ibert, Jacques-Symphnie Cncertante 182. Israel, Brian-Snata Spiegl. fritz 183. Jacb, Grdn-Snata 184. Jacques, Michael-Sunds Gd! fr Obe Best. Arthur 185. Jhansen, Bertil Palmar-Divertiment fr Obe and Pian 186. Jhnsn, Clair W.-Medi tat in 187. Jllet, Jean-ClAment 188. Jubert, Claude-Henry i 89. Jubert, Claude-Henry 190. Kabelac, Milslav-Snatina fr Obe and Pian Best. Arthur 191. Kalahis. Victr-Suita Best. Arthur 192. Kalliwda, I. W.-Cncertin Stne. Gregry 193. Kaplan, Jsip-Snata 194. Kassern, Tadeusz-Cncertin 195. Kay, Llysses-Brief Elegy 196. Kelly, Bryan-Three Bagatelles 197. Kennan, Kent-Scherz. Aria and Fugat 198. Kisielewski, Stefan-Suita 199. Kleiberg, Stile-Snata fr Obe and Pian Lanning. Jerry 200. Klemcke, L.-Pastrale frm Cncert fr Obe 201. Kch, Erland vn-cncert fr Obe and String Orchestra 202. Kepke, Paul-On Quiet Waters Lanning. Jerry 203. Kssend-Gavtte Page 3 f 6

44 IDRS Library Hldings - Music: Obe and Pian 9/17/ : Kreisler, Alexander vn-snatina 205. Krenek, Ernst-Tw Themes by Handel 206. Krmmer, Frantisek Vincenc-Cncert Fa Maggire. Op Kubi/ek, Augustin-Snate 208. Lillet, Jean Baptiste-Snata in e. Op. 5 (Bk 1). N Lillet, Jean Baptiste-Snate 210. Lillet. Jlin-Snate en RA Maieur. On. 3. N, 9 2 ; 1. Labate, Brun ed.-obists Repertire Album. A Cllectin f Arrangements f Well 212. Labate, Brun-Pastrale abate, Brnnn-Strlling Walter. David arniir, Guy-Chansn Mdale 215. l.adriare, A.-Cantilene amy,' Fernand-Rustique 217. l anren, Serge-Fantaisie Cncertante 218. l.»nf.ftn, Serge-Petite alagie Pur Obe et Pian 219. Langfrd, Alan-Fur Bagatelles 220. Lavrin, Antn-Snatina 221. Lawsn, Grdn-Fur Shrt Pieces 222. Lenm, Clement-Ljiiiaby 223. Lerstad, Terje Rjrn-Suite fr Obe. Op Lesur, Daniel-Cllectin Panrama. Bk Levine, Bruce-Clurs 226. Lewallen, James C. -Mn Child 227. Lunde Jr., Ivar-Five Simplicities fr Obe and Pian 228. Lunde Jr., Ivar-Snatina fr Obe and Pian 229. MacDwell, Edward-Three Pieces by Edward MacDwell 230. Macmahn, Desmnd-Nrthumbrian Suite Walter. David 231. Malthy, Richard-Lnelv Afternn 232. Mamlk, Ursula-Five Capriccis 233. Marcell, Alessandr-Cncert in c minr 234. Margni, Alain-Les Caracteres I. (Variatins') Prdan. James C Margni, Alain-Les Caracteres II. (Variatins') 236. Margni, Alain-Les Caracteres III. (Variatins) 237. Matej, Jsef-Snata Da Camera pr hbi a rchestr 238. Meunier, GArard-Andantin 239. Mindlin, Adlf-Au Mnt 240. Mindlin, Adlf-Berceuse 241. Mindlin, Adlf-Chansn ValsAe 242. Mindlin, Adlf-Le Pantin 243. Mitscha, Adam-Snatina Reff. Paul 244. Mhaupt, Richard-Ncturn 245. Mrawetz, Oskar-Snata fr Obe and Pian 246. Mzart, Lepld-Cncert 247. Mzart, Wlfgang Amadeus-Andante frm the Pian Snata N Mzart, Wlfgang Amadeus-Andante frm the Pian Snata N Mzart, Wlfgang Amadeus-Cncert fr Obe and Orchestra Paumgartner. Bernhard 250. Mzart, Wlfgang Amadeus-Cncert in C Majr. K. 314 Giaztt. Rem 251. Mzart, Wlfgang Amadeus-Cncert in E flat Giegling. Franz 252. Mzart, Wlfgang Amadeus-Fantmime frm "Les Petit Riens" Giegling. Franz 253. Mzart, Wlfgang Amadeus-Snate en ut mineur KV 457 Vxman. Himie 254. Myers, Theldn-Lazv Dav Tilmuth. Michael 255. Nemirff, Isaac-Cncert Lawtn. Sidney 256. Nielsen, Carl-Dance f the Lady's Maids Wastall. Peter 257. Nielsen, Carl-Fantasv Pieces. Op Niverd, Lucien-Elegie Jsen. Ber 259. Nrden, Hug-Serenade fr Obe 260. Nyhus, Rlf-Rmance (1938) 261. Obe Music-Barque Music fr Obe Rhau. Gnter 262. Obe Music-Cllectin Panrama dirigea par Daniel 263. Obe Music-Cn temprary French Recital Pieces Thiide. Jean 264. Odak, Krst-Rndeau Thiide. Jean 265. Olsen, Sparre-Air fr be and pian 266. Ostransky, Lery-Aria and Dance 267. PAcu, Thierry-Snata 268. Paladilhe, E.-Cncertante Barbirlli. Jhn 269. ParAs, Gahriel-CrApuscule (Twilight) 270. ParAs, Gabriel-Crepuscule 271. Paradis, Maria Theresia vn-sicilienne 272. Paradis, Maria Theresia vn-sicilienne Lauschmann. Richard 273. Parrish, Mary Kay-Snata Carse. Adam 274. Pasculli, Antnin-Le Api Strch. Laila Page 4 f 6

45 1DRS Library Hldings - Music: Obe and Pian 9/17/ : Passani, Emile-Pastrale 276. Payne, Frank I.ynn-Tmages I and II Balh, Giuseppe Cesare 277. Paynter, Jhn-Three Pieces 278. Perglesi, Givanni Rattista-Siciliana 279. Petit, Pierre-Fritt Mist 280. Petric, Ivn-Snatina West. Philip 28 I. Petric, Iv-Winter Elegy Andraud. Albert J PiernA, Gabriel-PjAce 283. PiernA, Cahriel-Pi Ace en Sl mineur 284. Pilss, Karl-Snate in E Minr 285. Pinkhani, Daniel-Variatins Andraud. Albeit 286. Pisk, Paul A.-Berceuse Slave Dart 287. Pistn, Walter-Suite Andraud. Albert 288. Pleskw, Ranl-Tw Sngs n Latin Fragments 289. Pnchielli, Amilcare-Capricci West. Philip 290. Pulenc, Francis-Snata 291. Pf"«'"- ) William-Snata fr Obe and Pian 292. Rameau, Jean-Phillippe 293. Ramvs, Primnz-Ricercare sur une thame de Paul Merk 294. Ravel, Manrir.e-Pavane pur une Infante DAfunte 295. Ravel, Maurice-Snatine 296. Reed, Alfred-Cncertin 297. Reicha, Antn-Air 298. Reizenstein, Franz-Snatina Wunderer. Alexander 299. Richardsn, Alan ed.-secnd Bk f Obe Sls Rthwell Evelyn 300. Richardsn, Alan ed.-first Bk f Obe Sls 301. Richardsn, Alan-French Suite Paumeartner. Bernhard 302. Richardsn, Alan-Rundelav Andraud. Albert J Richardsn, Alan-Rundelav Lauschmann. Richard 304. Richardsn, Luis-Three Dances 305. Ridut, Alan-Rmance BAn. Alexandre 306. Rimsky-Krsakv. Niclai 307. Rimsky-Krsakv. Niklai 308. Rimsky-Krsakv. Niklai 309. Rivier, Jean-Cncert 3 10 Rrhherg, Gerge-Cncert fr Obe and Orchestra (1983) Rpartz, J. any-pastral and Dances Vxman. Himie 312. Rse, Miehael-A Miscellany fr Obe. Bk Rse, Michael-A Miscellany fr Obe. Bk Rnuier, Arnld-Snata Rthwell. Evelyn 315. Rssignl, Brun-Elegie 316. Rwley, Alee-Pavan and Dance 317. Rxburgh, Edwin-Images. t.,. ^ 318. srrterlinrl Ragnar-Tw Pieces frm the Desert: A Study in Atabian Music, Op. 21 (1973) 319. Saint-Saans. Camille 320. Saint-Saaens. Camille 321. Sammartini, Guiseppe-Snata in G 322. Sauguet, Henri-The Garden's Cncert Tauskv, Vii em 323. Schlium, Rhert-Snatine. Op. 55. N. 2 Bleuzet, L Schubert, Franz-Imprmptu. N. 3. OP D Schuller, Gnnfher-Snata fr Obe and Pian Cvbnwsky, G. and Tyndall, B Schumann, Rbert-Adagi et Allegr. Op Schumann, Rbert-Humming Sng Clemens. Earl L Schumann, Rbert-Three Rmances. Op Shinhara, Makt-Qbsessin Cleman. Henry 330. Siennicki, Edmund J.-Valse Ballet 331. Silvestrini, Gilles-Tris Apphteumes Brefs 332. Simenv, Blag-Scherzin Wye. Trevr 333. Simns, Netty-Facets Skerl, Dane-Anafra Prdan. James 335. Sklnik, Walter-Snatina 336. Slavicky, Klement-Suita Pr Hbi a Kiavir (1959/60) 337. Smith, David Stanley-Snata fr Pianfrte and Obe, Op Swash, Rick-Snata 339. Spencer, Williametta-Adagi and Rnd 340. Stanley, Jhn-Suite fr Obe and Pianfrte 341. Stewart, Jseph-Fantaisies d'un Clwn 342. Stjkv, Stjan-Snata 3a fr Obe and Pian 343. Stut, Alan-Music fr Obe and Pian Werner, Jean Jacques 344. Strmhlm, Fnlke-Intrduzine. Canzne e Finale 345. Strauss, Richard-Obe Cncert Page 5 f 6

46 IDRS Library Hldings - Music: Obe and Pian 9/17/ : Strauss, Richard-Obe Cncert 347. Svara, Danil-Fantasy fr Obe and Pian 348. Swain, Freda-Fantasy 349. Swain, Freda-Tamburin Gai 350. Swinstead, Felix-Pastrale 351. Szalnek, Witld-Pastrale 352. Takccs, Jen-Snata Missulana. Op Tartini, Giuseppe-l.ai uhett 354. Tartini, Giiiseppe-Andante Cantabile 355. Tchaikvsky, Peter Hyich-Danse Arabe frm "The Nutcracker Suite" Op Telemann, Gerg Philipp-Cncert in F minr. _ 357. Telemann, Gerg Philipp-Fur Shrt Meldic Pieces: Winter: Trumpet Air; The Silly Girl: Girl t Naples, 358. Telemann, Gerg Philipp-Minuet 359. Telemann, Gerg Philipp-Snata in G minr 360. Telemann, Gerg Philipp-Snate Walter, David 361. Teml T Jiri-Kmrni Hudba Pr hbi a Klavir 362. Tenipletn, Alec-Scherz Caprice Vxman. Himie 363. Thmmessen, Olav Antn-Gratias Agimus Klement, Mirslav 364. Treille, Gilles-Chant De Printemps 365. Tschaikwsky, Peter I.-Sweet Dreams 366. Tschaikwsky, Peter I.-The Organ Grinder 367. Vanhall, J. C.-Cncert 368;- Verdi, Ginseppe-Addi del Passat 369. Verrall, Pamela arr.-airbics 370. Vidsic, Tihmil-Snatina Suchy. Frantisek 371. VirtnHa, Mari-Cncert pur hautbis et rchestre 372. Vivaldi, Antni-Tl Pastr Fid. Snata N. VI in G minr 373. Vivaldi, Antni-Vivaldi Album fr Obe and Pian. Vl. II 374. Vxman, Himie ed.-cncert and Cntest Cllectin fr Obe with Pian Accmpaniment Bas, Luis 375. Walter, David-Petite Valse 376. Walters, Harld L. arr.-sakura. Sakura (Cherry Blssms, Rbert. Frederick 377. Wanahal, Jhann-Snata 378. Warren, David H.-Meditatin 379. Watkins, David H.-Pastrale 380. Weber, Carl Maria vn-cncertin in C 381. Weber, Fred-Rvening Shadws 382. Weinberger, Jarm/Er-Snatine 383. Weingerl, Alhin-Three Buclics 384. Westerfield, Ry W.-Aire and Dance 385. Whitcmb, Rbert-Snata in One Mvement 386. White, David Ashley-Canzna Pulteau. Pierre 387. White, David Ashley-The Elm is Scattering. Elegy fr Obe and Pian 388. Wieczrer, Jan Michal-Three Impressins 389. Witthaur, J.-Scherz 390. Wlpe, Stefan-Snata fr Obe and Pian Schradieck. Henry 391. Wurinen, Charles-Cmpsitin 392. Wystraete, Rernard-Pasturelle David Walter 393. Zach. Jan-Kncert Pr Obe Und Orchester B Pur 394. Zwilieh, Ellen Taaffe-Cncert fr Obe and Orchestra End f the list. Page 6 f 6

47 Part Tw: The Reed and the Obist Example 5 n Fingering Chart fr Trills 66

48 Part Tw: The Reed and the Obist L L r r i L *» G# 0 0 CO J 0 Gtf -0 0 ~0 0 -» S 0 CO J J J J J J J J 0 0 c«cc#) 0 e e K) Bt> G OGS 0G# Bt7 0 S 0-*» t-*0 0 ^S c 0 0 CO t 0 (Teeth embucher) General Aspects f Mdern Techniques 1. Simply swing bth arms arund in circles frm frnt t back several times, windmill fashin. 2. Then drp bth arms t the sides lsely and shake arms and hands as fast as pssible in a rtating manner in the same spt. (The right hand tires quicker than the left after a lng perid f sustained playing. Players with small hands are likely t suffer mre frm the weight f the instrument.) This exercise imprves circulatin and relaxes the tendns and muscles in perfrmance. Scales The fact that all Western music up t 1900, and much f it after this date, was based n the diatnic scale, is perhaps sufficient qualificatin fr the immense imprtance f scale practice in develping a reliable technique. Tutrs and study vlumes listed in Appendix 2 prvide a catalgue f variable frmatins and practice methds. Hwever, it is nt enugh t begin and end n the tnic, fr music ften demands the use f a mre licentius rhythmic structure than this basic pivt can ffer. Example 6 demnstrates ne pssibility fr ringing the changes f rhythmic stress in scale practice. Example 6 68 Scales 69

49 back ctave key side ctave key "spatula" key - D trill key Ci trill key Gi-A trill key right-hand Ab key left-hand Eb key D trill key Ab key lw B key lw Bb key left-hand F key Fkey lw C key Eb clw C "banana" key Ci key

50 Trill Fir:_ ring Chart Obe and English Hrn by Martin Schuring Each fingering shwn will prduce the lwer nte f the trill. Alternating the key with the arrw pinting t it will prduce the trill. Trills accmplished by alternating tw standard fingerings are mitted frm this chart. Sme vill be impssible r ut f iu. ie n bes withut the full Cnservatire system f keys and articulated mechanisms. Trilling between lw Bt> and is impssible n almst all bes. These trill fingerings can be used in additin t the alternate fingerings shwn n the fingering chart t facilitate rapid technical passages. Trill fingerings shuld never be used in slwer playing r when their inferir tne quality, pitch, and respnse can be heard. Sme trills in the ^me high register cannt b. jyed by mving nly ne finger. In these instances, the tw keys indicated by arrws shuld be beaten tgether. O O O c ' c'.itt>^ia--jilti*,<t*'iiv <»jftt'-w<»fc&«<v La 2 _!*> ^ te * ^= ~? te j, ^ 1(1 is IP 9 9?: ft te " d!-. te -.5. SSfe^cfc "V., ; : r t r ; ' 83 see reverse side fr key IS O O 0 O III a " I a by Martin Schuring http7awvvw.piilicasu.edu/-ichuriitg/ Ifi 8 I " 0 O O O % &

51 Appendix II Ob. d'am. Obe d'amre Tne. Org. Organ Tni. Pic. Piccl Tpt. Pn. Pian Va. S.O. String Orchestra Vc. Tamb. Tamburine Vn. The Obe Repertire Trmbne Timpani Trumpet Vila 'Cell Vilin The Obe Repertire The be repertire in published frm is a strange mixture f brilliant masterpieces tgether with inane rubbish. Therefre, in the fllwing list, arrangements and unwrthy editins f eighteenth-century wrks have been mitted in an attempt t represent a wide range f riginal music fr the be at its best. In a selective list f this kind sme imprtant wrks are bund t be left ut. N claim is made fr an exhaustive research. Amng the finer wrks cnsciusly mitted are many that rest in museums in first editins nly (e.g. tw Snatinas by T. A. Walmisley in the British Museum) and many cntemprary wrks awaiting a publisher. The cmments are designed t assist prgramme planning and nt as expressins f persnal taste. Abbreviatins Al. Fl. Alt Flute Fl. Flute Be. Bass Cntinu Guit. Guitar Bsn. Bassn Hcd. Harpsichrd C.A. Cr Anglais Hn. Hrn (French) Cb. Duble Bass Hp. Harp Ci. Clarinet 0. Orchestra ed. Edited by Ob. Obe The authrs and publishers have endeavured t ensure that the infrmatin in this sectin is cmplete but sme missins are unavidable. 186 Sl Obe (including wrks with magnetic tape) All wrks in this categry are twentieth-century cmpsitins, with a bias twards virtusic display. Arbatsky, Y. Snata. Zimmermann. Arma, P. Slilque. Billaudt. Arnld, M. Fantasy. Faber. Apstel, H. E. Snatine Op. 39a. U.E. Antinin, T. 5 Likes (Ob. d'am.). Barenreiter. Bartlzzi, B. Cllage. Zerbni. Beri, L. Sequenza vu. U.E. Birtwistle, H. Chansn de Geste (4- tape). U.E. Bzza, E. Suite Mndique. Leduc. Britten, B. Six Metamrphses After Ovid. Bsey & Hawkes. Castiglini, N. Alef. Ars Viva Verlag-Mainz." Dbrwlski, A. Music Fr Magnetic Tape And Obe (simplified scre fr slist with recrd f tape part). P.W.M. Extn, J, Three Pieces. Chester. Fillipi, A. de. Ex Tempre. Gen. Music. Pub. C. Gaslini, G. Seguali Fur Obe. U.E. Glbkar. A Tenstudie fr be with thrat and cntact micrphne. Hlliger, H. Cardiphnie (+ tape). Schtt. Ktnski, W. Mnchrmia. P.W.M. Krenek, E. Snatina. Barenreiter. LeFanu, N. Slilquy, Nvell. Maderna, B. Sl per be, musetta, crn inglese, be d'amre (sl esecutre). Ricrdi. Mihalvici, M. Melpeia Op Billaudt. 187

52 Appendix II Muller, G. Snata. Sikrski. Pattersn, P. Mnlgue. Weinberger. Rainier, P. Pastral Triptych. Schtt. Renst, P. Ar-Lth, per be, crn ingle, be d'amre. Ricrdi. Schenker, F. Mnlg. Veb deutscher verlag fur musik Leipzig. Sigtenhrst-Meyer, B. Landelijke Miniaturen (3 Suites). Atsbach. Sigtenhrst-Meyer, B. Snatine. Alsbach. Singer, L. Wrk fr Sl Obe. Zerbni. Stckhausen, K. Sl (-f Riickpplung). U.E. Stckhausen, K. Spiral (Obe mit Kurzwellenempfanger). U.E. Szalnek, W. Quattr Mnlghi. P.W.M. Weber, A. Synecdque. Leduc. Wellesz, E. Suite. Brnde. Obe and Pian The aim here is t prvide a selectin f recital pieces cmpsed riginally fr be and pian (plus an dd few fr rgan). A variety f perids and styles is cvered including: A substantial cncert pieces in traditinal idims B shrt characteristic wrks suitable as preludes t a cncert C interesting perid pieces (e.g. Triebert - a name mre clsely assciated with making bes (rather than pieces) in the nineteenth century D mdern wrks acknwledged as avant garde B, Addisn, J. Inventins/Rhapsdy/Prlgue. O.U.P. A Arnld, M. Snatina. Lengnick. B Arrieu, C. Imprmptu. Leduc. B Auric, G. Imprmptu. Nel-Gallet. 188 The Obe Repertire B Badings, H. Canzna (rgan). Dnemus. A Bennett, R. R. Snata. Mills. A Berkeley, L. Snatina. Chester. B Besszzi, A. Snata in C. Chester. B Besszzi, A. Snata in D. Schtt. A Bismrtier, J. de. Snata in E min. Barenreiter. A Butry, R. Snatine. Salabert. A Bwen, Y. Snata Op. 85. Chester. B Bzza, E. Lied (C.A.). Leduc. A Breville, P. de. Snatine. Rnart. B Breville, P. de. Maneh (C.A.). Leduc. B Bush, A. Nrthumbrian Impressins. Nvell. A Dalby, M. Snatina. Nvell. C Dnizetti, G. Snate. Peters. A Dubis, P. M. Snatine (C.A.). Leduc. B Dukas, P. Alia Gitana. Leduc. A Dutilleux, H. Snate. Leduc. A Evans, P. Snata. Chester. B Faure\ G. Piece. Leduc. B Franck, C. Piece V. Leduc. B Gssens, E. Islamite Dance (3). Leduc. B Grvlez, G. Saraband and Allegr. Leduc. A Hindemith, P. Snata. Schtt. B Hrder, M. Sussex Flk Tune with 6 Variatins (ed. L.G.). Peters. A Hvhaness. Snata fr 2 Obes and Organ Op Peters. A Hrvitz, J. Snatina Op. 3. Mills. D Iliff, J. Syzygy. Int. Mus. C. Ltd. A Jacb, G. Snatina (Pn. r Hcd.). Rumanian State Publishing Huse. D Krenek, E. Fur Pieces. Barenreiter. D Krenek, E. Snatina. Rugwen Music. C Lalliet, T. Fantaisie Originate (C.A.). Cstallat. C Lalliet, T. First Cncert Sl. Cstallat. C Leschetitzky, T. Variatins n a Theme f Beethven. Schtt. B Malipier, G. F. Imprmptu Pastral. Leduc. 189

53 Append...1 Marcell, B. Cncert in C min. Frberg. Martin, F. Cncert fr 7 Instruments (Fl. Ob. CI. Bsn. Hn. Tpt. Tne.). U.E. Martinu, B. Cncert (O.). Eschig. Matej, J. Snata fr Obe and Chamber Orchestra. Supraphn. Milhaud, D, Cncert. Heugel. Mzart, W. A. Cncert in C (O.). Bsey & Hawkes. Mzart, W. A. Symphny Cncertante (Ob. CI. Bsn. Hn.). Breitkpf & Hartel. Nvak, J. Cncert. Supraphn. Pauer, J. Cncert fr Obe and Orchestra. Supraphn. Pistn, W. Fantasy (CA.) (S.O.). A.M.P. Platti, G. Knzert in G majr. Schtt. Prestini, G. Cncert. Bngivanni. Rawsthrne, A. Cncert (S.O.). O.U.P. Richter, F. Cncert in F (S.O.). Kneusslin. Rivier, J. Cncert (S.O.). Transatlantique. Rsetti, A. Cncert (n hire nly). Brietkpf & H&rtel. Schreder, H. Knzert (S.O.). Muller. Schwenke, C. Cncert in C (S.O., Be). Hfmeister. Skalkttas, N. Cncertin. McGinnis. Stamitz, C. Cncert in C minr (S.O., Be). Sikrski. Stamitz, C. Cncert in B? (S.O., Be). Simrck. StSlzel, G. H. Knzert in D (S.O., Be). Sikrsky. Strauss, R. Cncert (O.). Breitkpf & Hartel. Telemann, G. P. Cncert in E and D minr (S.O.). Sikrski. Telemann, G. P. Cncert in E minr (S.O.). Sikrski. Telemann, G. P. Cncert in F minr (S.O.). Peters. Telemann, G. P. Cncert in C minr (S.O.). Schtt. / Telemann, G. P. Cncert in G (Ob. d'am.) (S.O.). Sikrski. Telemann, G. P. Triple Cncert (Fl. Ob. d'am. Va. d'am.). Peters. Telemann, G. P. Cncert Grss in G minr (2 Obs.). Sikrski. Telemann, G. P. Cncert (Alia Francese) in C (2 Obs.). Sikrski. Vivaldi, A. (Cmplete Cncerts). Ricrdi. 204 The Obe Repertire Vaughan-Wiltiams, R. Cncert (S.O.). O.U.P. Veress, S. Passacaglia Cncertante (S.6.). Zerbni. Zimmerman, B. A. Knzert fur Obe und Kletnrchester. Schtt. Zach, J. Cncert (S.O.). Miscellaneus Mst f the wrks in this categry are twentieth-century. Befre Schrjnberg's 'Pierrt Lunaire' was cmpsed in 1912 it was the exceptin rather than the rule fr cmpsers t write music fr any but standard cmbinatins. Nevertheless, I have included wrks by Beethven and Vgt fr Tris f tw Obes and Cr Anglais because this medium is mst adaptable t the mre variegated ensembles f twentiethcentury chamber music. At the ther end f the scale there is Hindemith's Tri, Op. 47, fr the very unlikely cmbinatin f Pian, Vila and Heckelphne. In general, cmpsers have nt been t kind t the bass instrument f the family. Hindemith is an exceptin. By cmbining the vluptuus tne f the vila with the heckelphne he acknwledges its true expressive richness. There is a blissful n-man's land abut mst f these pieces which makes them marry happily with chamber music f any perid r style in music histry. Abbad, M. 'Quindici Pesie T'ang' (Mezz Sp. Fl. Ob. Vc. Pf.). Zerbni. Antnin, T. Synthesis (fr Ob. Perc. Hammnd Org. Cb.). Barenreiter. Bach, J. C. Sextet in C (Ob. 2 Hns. Vn. Ve Be). Musica Rara. Badings, H. Tri 4a (2 Obs. C.A.). Dnemus. Bartlzzi, B. Cncertazini per Obe e Alcum Strumenti (Ob. Va. Guit. Cb. 1 Perc. ad. lib.). Zerbni. Beethven, L. van. Tri Op. 87 (2 Obs. C.A.). Peters. 205

54 Appendix II Beethven, L. van. Variatins n 'La ci darem la man' (2 Obs. C.A.). Breitkpf & Hartelr Birtwistle, H. Death and Nick's Lve Sng (3 C.A. Hp.). U.E. Bismrtier. 3 Cncerts fr 5 Obes. Breitkpf & Hartel. Bismrtier. 6 Snatas Op. 7 (3 Obs.). Schtt. Carter, E. Snata (Fl. Ob. Vc. H'cd.). A.M.P. Chu, Wen-Chung. Suite fr Wind Quartet & Harp. Peters. Ddgsn, S. Suite in D (Ob. Hp.). O.U.P. Dubis, P. M. Lu Cascarelet, dances prvencale (Tamb. ad lib.) (3 Obs.). U.M.P. End, R. Dessein Imprvisatin (Fl. Ob. Pn. Perc). Zerbni. End, R. Wandering Flames (Ob. CI. Pn.). Zerbni. Fricker, P. R. 5 Canns fr 2 Fls. 2 Obs. Gw, D. Quartet Op. 28 (Fl. Ob. Vc. H'chrd). Musica Rara. Halffter, C. Antiphnismi fiir sieben spieler (Fl. (-f Al. Fl.) Ob. (-f-c.a.) CI. Pn. Vn. Va. Vc). U.E. Haydn, J. Divertiment in F (2 Obs. 2 Hns. 2 Bsns.). Musica Rara. Haydn, J. March in G (2 Obs. 2 Hns. 2 Bsns.). Musica Rara. Haydn, M. Divertiment in D min. (2 Obs. 2 Hns. 2 Bsns.). Dblinger. Hindemith, P. Tri Op. 47 (Via. Heckelphne, Pn.). Schtt. Hlliger, H. Vier Miniaturen (Sp. Ob. d'am. Celesta Hp.). Schtt. Hlliger, H. Mbile (Ob. Hp.). Schtt. Hlliger, H. Tri (Ob. (-f C.A.) Va. Hp.). Ars Viva Verlag, Mainz. Hist, G. Terzett (Fl. Ob. Va.). Chester. Jacb, G. 2 Pieces fr 2 Obes, 1 Cr Anglais. Williams. Jelinek, A. Cr Anglais Snata A Tre Op. 15 N. 7 (Ob. C.A. Bn.). U.E. Jlivet, A. Cntrversia (Ob. Hp.). Billandt. Lahnsen, C. Kleine Pfeifermusik fiir 2 Obes. Breitkpf & Hartel. Lampersberg, G. Musik fiir Obe und 13 Instruments (Vn. 206 The Obe Repertire Va. Vc. Cb. B-Cl. Bsn. Hn. Tpt. Tne. kleine trmmel. Hp. Celesta. Pn.). U.E. Lehmann, H. U. Spiele fiir Obe und Harp. Schtt. Maderna, B. Auldia per Ltha (Ob. d'am. guit.). Zerbni. Malige, F. 6 Inventins fr 2 Obes. Breitkpf & Hartel. Martinu, B. Quartet. (Ob. Vn. Vc. Pn.). Eschig. Mser, F. J. Tri in C Op. 38 (2 Obs. C.A.). Bswrth. Musgrave, T. Imprmptu (Ob. Fl.). Chester. Pinkham, D. Variatins fr Obe and Organ. Peters. Pla, J. B. Sechs Snata (2 Obs.). Schtt. Resgen-Champin, M. Deuxieme Ncturne. Leduc. Schreder, H. Cncertina (Vn. Ob. Organ). Schtt. Singer, L. Musica a Due (Ob. Guit.). Zerbni. Schweizer, K. Chamber Music (Fl. C.A. Vn. Vc. H'cd.). Barenreiter. Vgt. Andante Religis (2 Obs. C.A.). Castallat. Weichlein, R. Duets (2 Obs.). Breitkpf & Hartel. Wyttenbach, J. Drei Satz (Ob. Hp. Pn.). Schtt. Yun, I. Tri (Fl. Ob. Vn.). Zimmerman, H. Tris 1 and 2 (Ob. Bsn. Vc). Schmidt. Sme Imprtant Tutrs and Instructin Manuals A. 17th-18th Centuries Banister, J. The Sprightly Cmpanin. Lndn, Freilln Pncein, J.-P. La Veritable Maniere B'Apprendre a Juer en Perfectin du Hautbis. Paris, Htteterre, J. Principes de la Flute Traversiere, de la Flute-abec et du Haut-bis. Paris, (English translatin by D. Lscki, Lndn, 1968.) Talbt, J. Music Manuscript 1187, Christ Church, Oxfrd, c Fischer, J. C. (Attributed t). New and Cmpleat Instructins fr the Hby. Cahusac, Lndn, B. 19th Century Barret, A. M.-R. A Cmplete Methd fr the Obe. Lndn, 1850, Enlarged 2nd editin

55 Appendix II Albinni, T. Cncert Op. 9 N. 9 fr 2 bes (S.O.). Ricrdi. Albinni, T. Cncert Op. 9 N. 12 Cncert a 5 (S.O.). Musica Rara. Alwyn, W. Cncert (O.). Lengnick. Arnld, M. Cncert (O.). Patersn. Bach, C. P. E. Cncert in Bb (S.O.) Musikverlag. Rb Frberg. Bach, J. C. Cncert in F (S.O.). Schtt. Bach, J. S. Cncert fr Vilin, Obe and Strings. Peters. Baguslwski, E. Cncert (Ob.-O.d'am.-C.A.-Musette) 1 player (O.). P.W.M. Baird, T. Cncert (O.). Peters. Bellini, V. Cncert in Bb. Ricrdi. Bellini, V. Cncert in E minr. Ricrdi. Benguerel, X. Musica per A Obe-Cnjunct de Camera. Meck. Beszzi, A. Cncert fr Obe and Strings. Musica Rara. Blackwd, E. Cncert fr 5 (Fl. Ob. Vn. Va. Vc.).) (O.). Schirmer. Bughtn, R. Cncert 1 (O.). Bsey & Hawkes. Bush, G. Cncert (S.O.). Elkin. Danzi, F. Sinfnia Cncertante (Fl. Ob. Bn. Hn.). Musica Rara. Dittersdrf, K. D. vn. Cncert in G Majr (S.O.). Breitkpf & Hartel. Dittersdrf, K. D. vn. Cncert in C Majr (S.O.). Simrck. Dnizetti, G. Cncertin (C.A.) (O.). Peters. Dubis, P. M. Duble Cncert (Ob. Bsn. Pn. Orch.). Leduc. Eichner, E. Cncert in C (S.O.). O.U.P. Eichner, E. Cncert in Bb (S.O., Be). Hfmeister. End, R. Ritsu (Obe and Orchestra). Zerbni. Fischer, J. C. Cncert in C. Augener. Francaix, J. L'Hrlge de Flre (O.). Transatlantique. Genzmer. Kammerknzert (S.). Schtt. Gssens, E. Cncert (O.). Leduc. 202 The Obe Repertire Gyrwetz, A. Sinfnia Cncertante (CI. Ob. Bn. Hn.). Musica Rara. Hall, R. Three Idylls (S.O.). Hinrichsen. Handel, G. F, Cncerts in Bb and G minr. Barenreiter. Haydn, J. Sinfnia Cncertante (Ob. Bsn. Vn. Vc). Breitkpf & Hartel. Haydn, J. Cncert in C (Attributed t) (O.). Breitkpf & Hartel. Henze, H. W. Duble Cncert fr Obe and Harp (O.). Schtt. Hidas, F. Cncert (O.). E.M.B. Hlliger, H. Siebengesang (Ob. Orch. Singers Ludspeakers). Schtt. Hist, G. Fugal Cncert (Fl. Ob.) (S.O.). Nvell. Hnegger, A. Cncert da Camera (Fl. C.A.) (S.O.). U.M.P. (Salabert). Hummel, J. N. Intrductin, Theme and Variatins (O.). Musica Rara. Ibert, J. Symphnie Cncertante (S.O.). Leduc. d'indy, V. Fantasie (O.). Durand. Jacb, G. Cncerts 1 and 2 (S.O.). Williams. Jacb, G. Rhapsdy (C.A.) (S.O.). Williams. K.t6nsky, W. Cncert. P.W.M. Krmmer (Kram'ar), F. Cncert in F Op. 52. Artia. Lamy, D. Ncturne (S.O. Hp. Tni.). Leduc. Lang, I. Impulsini (O.). Bsey & Hawkes. Larssn, L. E. Cncertin Op. 45 N. 2 (S.O.). Bsey & Hawkes. Le Buchet, M. Fantaisie Cncertante (0.). De Lacur. Lees, B. Cncert. Bsey & Hawkes. Ligeti, G. Dppelknzert (Fl. Ob.) (O.). Schtt. Lutyens, E. Cncert Grss (Ob. Hp.) (S.O.). Chester. Machnchy, E. Cncert (S.O.). Lengnick. Maderna, B. Grand Auldia (Fl. Ob.) (O.). Ricrdi. Maderna, B. Cncert 1. Maderna, B. Cncert 2. Maderna, B. Cncert 3 (O.). Salabert. 203

56 Appendix II Pulenc, F. Tri (Ob. Bsn. Pn.). Hansen. Rawsthrne, A. Snatina fr Fl. Ob. Pn. Saint-Saens, C. Caprice sur des Air Danis et Russe Op. 79 (Fl. Ob. CI. Pn.). Durand. Schmitt, F. A. Tur d'anches Op. 97 (Ob. CI. Bsn. Pn.). Durand. Taffanel, P. Quintet (Fl. Ob. CI. Bsn. Hn.). Leduc. Tiet, Tn-That. Tu Dai Ca'nh - Quatre Grands Paysages (Fl. Ob. CI. Bsn. Pn.). Transatlantique. Wind Quintets - Flute, Obe, Clarinet, Bassn, Hrn The String Quartet marks the highest pint f musical art fr string players. In the same way, the Wind Quintet has inspired the finest and mst rewarding music in the wind ensemble repertire. The cnsistency f inventiveness in all the wrks listed is prf in itself that the medium induces a special respnse frm cmpsers. On the ne hand we have clurful, zestful scres, such as Arnld's 'Sea Shanties' and Beri's 'Opus Number Z', bth delightful entertainment fr yung and ld alike: A. Alternatively, there is the intense intellectualism f Stckhausen's 'Zeitmasze' and Schnberg's 'Quintet' - bth prttypes fr much f the music f a whle generatin f cmpsers: B. Between these extremes lies that area f glrius musical art, indulging sharp cntrasts f clur and md (Hindemith, Barber) which frm the backbne f a prgramme: C. Althugh largely represented by the twentieth century, the Quintet had its devtees amngst eighteenth- and nineteenth-century cmpsers such as Danzi and Reicha, wh can certainly take praise fr quantity, if nt always fr quality. Wrks marked (X) are technically very difficult and require intensive preparatin. When an extra clarinet is available t a quintet ensemble, Janacek's 'Mladi' (Yuth) cannt be resisted fr its freshness and vivid intensity f expressin. A Agay, D. Five Easy Dances. Presser. 194 The Obe Repertire C Arma, P. Sept Transparencies. Lemine. C Arnell, R. Cassatin in 5 Parts (ed. L. Gssens). Peters. A Arnld, M. Three Shanties. Patersn. A Arrieu, C. Quintet in C majr. Nel. B Bainbridge, S. Quintet. U.M.P. C Barber, S. Summer Music (X). Schirmer. C Barthe, A. Aubade. Pinatel. B Bedfrd, D. Pentmin. U.E. C Bennett, R, R. Quintet. U.E. A Beri, L. Opus Number Z - Child's Play with English, Italian and German wrds. U.E. B Birtwistle, H. Refrains and Chruses (X). U.E. C Bzza, E. 'Scherz' and Variatins sur un Theme Libre. U.M.P. C Brd, H. Wind Quintet in Bb, Op. 2 N. 1. McGinnis. C Cambini, G. G. Quintet N. 3 (ed. Jsef Marx). McGinnis & Marx. B Carter, E. Quintet (X). Ass. Music. Pub. N.Y. C Chagrin, F. Divertiment. Augener. C Chattelun, M. Suite Inchative (Fl. C. A. CI. Bsn. Hn.). Transatlantique. C Clgrass, M. Quintet. M.C.A. (U.S.A.). C Cke, A. Quintet. Mills. C Cral, G. Dialghi (Fl. Ob. Cla. Hn. Tpt.). Zerbni. A Damase, J. M. 17 Variatins Op. 22. Leduc. A Danzi, F. Quintet Op. 56 N. 1 in Bb. Leukhart. A Danzi, F. Quintet Op. 56 N. 2 in G minr. Leukhart. A Danzi, F. Quintet Op. 67 N. 1 in E min; N. 2 in E min; N. 2 in Eb. Kneusslin. A Danzi, F. Quintet Op. 68 N. 2 in F. Peters. A Danzi, F. Quintet Op. 68 N. 3 in D minr. Musica Rara. A Danzi, F. Quintet Op. 86 N. 1 in A. Kneusslin. A De Cursy, R. Fugue a la Rumba. BMI (Canada). A Druschetzky. 4 Partitas. N. 9 in F; N. 10 in F; N. 13 in Bb; N. 21 in G (2 Obs. 2 Hns. Bsn.). Breitkpf & Hartel. B Durk6, Z. Imprvisatins. P.W.M. C Etler, A. Quintets N. 1 and 2. Schirmer. C Frtner, W. 5 Bagatelles. Schtt. 195

57 Appendix II Htteterre, J. M. Tri Snatas Op. 2 Ns. I and 2. Schtt. Httetere, J. M. Suite in / minr (H.M.). Barenreiter. Leillet, J. B. Snatas: Bk I in A min; D min; G. Bk II in Bb; g; c. Bk III in E min; C min; A min. (H.M.). Barenreiter. Leillet, J. B. Snata, Op. 5 N. 1 in E. Musica Rara. Leillet, J. B. Tri Snatas: N. 2 in F; N. 3 in D min; N. 6 in C min (H.M.). Barenreiter. Leillet, J. B. Tri Snata in F, Op. I (Fl. Ob. & Be). Schtt. Marcell, B. Snatas in F, G, D min, G min. Peters. Pepusch, J. C. 6 Tri Snatas (Vn. n. Be). Breitkpf & Hartel. Quantz, J. J. Snata in D minr. Barenreiter. Quantz, J. J. Tri Snata in G. Barenreiter. Schreder, H. Tri Snatas in F and C minr (H.M.). Barenreiter. Stizel, G. H. Tri Snata in F minr (N.M.A.). Barenreiter. Telemann, G. P. Snatas in C min; F; G (H.M.). Barenreiter. Telemann, G. P. 6 Partitas in Bb, G, C min; G min; E min; Eb (H.M.). Barenreiter. Telemann, G. P. Snata und Spielstiicke. Barenreiter. Telemann, G. P. Snatas in G min, C minr. Barenreiter. Telemann, G. P. Snata in G minr. Schtt. Telemann, G. P. Suite in G minr. Barenreiter. Telemann, G. P. Tri Snata in D minr & E min (Fl. Ob. Be). Barenreiter. Tafelmusik I. - Quartet in G (Fl. Ob. Vn. Be). Barenreiter. Tafelmusik I.-Snatas and Pieces frm'der getrene Musikmeister' (H.M.). Barenreiter. Tafelmusik I. - Snata in G (Ob. Vn. Be). Barenreiter. Tafelmusik II. - Tri Snata (Fl. Ob. Be). Barenreiter. Tafelmusik II. - Tri Snata in Bb. Barenreiter. Vivaldi, A. 'II Pastr Fid' 6 Snatas Op. 13 (ed. Upmeyer) in C; C; G; A; C; G (H.M.). Barenreiter. Vivaldi, A. Snata in G minr. Barenreiter. Vivaldi, A. Snata in C minr. Schtt. Vincent, T. Snata in D. Schtt. 192 The Obe Repertire Zelenka, J. D. Snatas fr 2 Obes, Be (ed. Schenbaum), N. 2, G min; N. 2, Bb; N. 4, G min; N. 5, F (H.M.). Barenreiter. Wind and Pian - 19th and 20th Centuries The wrks in this categry are generally mre extrvert in character. They are ppular with mst audiences, sustaining an easy appeal and lightness f expressin. Danzi is a firm favurite amng wind players fr his lucid meldies and exciting display. Lalliet inspires all that is mst nstalgic in Victrian and Secnd Empire Eurpe - and in the best f taste. Amng the twentieth-century wrks, Gssens and Pulenc achieve a marvellus balance between cquetry and pastral. Tn-That Tiet is a Vietnamese cmpser wh embraces Western techniques with an eye t the avant-garde. Addisn, J. Tri (Fl. Ob. Pn.). Augener. Beethven, L. van. Quintet Op. 16 (Ob. CI. Bsn. Hn. Pn.). Musica Rara. Bush, G. Tri (Ob. Bsn. Pn.). Nvell. Danzi, F. Quintet Op. 41 (Ob. CI. Bsn. HnrPn.). Musica Rara. Danzi, F. Quintet Op. 53 in F (Ob. CI. Bsn. Hn. Pn.). Musica Rara. Danzi, F. Quintet Op. 54 in D (Ob. CI. Bsn. Hn. Pn.). Musica Rara. Gal, H. Tri Op. 49 (Ob. Vc. Pn.). Osterriech. Gssens, E. Patral and Harlequinad (Fl. Ob. Pn.). Leduc. Keller, G. Quintet in G minr (2 Fls. 2 Obs. Pn.). Schtt. Lalliet, T. Op. 22 Terzett (Ob. Bsn. Pn.). Hamelle. Lutyens, E. Music fr Three Op. 65 (Fl. Ob. Pn.). Olivan (U.E.). Mzart, W. A. Quintet in Eb, K. 452 (Ob. CI. Bsn. Hn. Pn.). Barenreiter. Passini, E. Quintet (Fl. Ob, CI. Bsn. Pn.). Transatlantique. 193

58 Appendix II A Malipier, G. F. Snata. Zerbni. A Milhaud, D. Snatine. Durand. B Neilsn, C. Zwei Fantasiestucke. Hansen. B Pierne, G. Serenade. Leduc. A Pistn, W. Snata. Augener. A Pulenc, F. Snata. Chester. D Ranki, G. Dn Quijte y Dulcinea. E.M.B. B Reger, M. Rmance in G. Breitkpf & Hartel. B Reizenstein, F. 3 Cncert Pieces Op. 11. Bsey & Hawkes. A Reizenstein, F. Snatina. Lengnick. B Richardsn, A. French Suite. O.U.P. B Rivier, J. Imprvisatin and Final. Leduc. A Rubbra, E. Snata in C Op Lengnick. B Russel, A. Aria. Leduc. E Rxburgh, E. Images. U.M.P. E Rxburgh, Auldie fr be, be d'amre and pian. U.M.P. A Saint-Saens, C. Snata. Durand. B Sammartini, G. Snata in G. Chester. A Schlium, R. Snatine. Augener. D Schuller, G. Snata. McGinnis. D Searle, H. Gndliera (C.A.). Schtt. D Seiber, M. Imprvisatin. Schtt. C Sphr, L. Andante and Variatins Op. 34. Peters. A Stanley-Smith, D. Snata. S.P.A.M. C Triebert, C. Air Varie\ Lemine. D Tiet, Tn-That. Cinq Pieces. Transatlantique. A Vanhall, J. Snata. McGinnis. B Wilkinsn, P. Suite. Nvell. A Wrdswrth, W. Theme and Variatins Op. 57. Lengnick. Obe and Harpsichrd - 20th Century These pieces are useful as twentieth-century items in a barque ensemble prgramme. The wrk by Huber is discussed in Chapter The Obe Repertire Ddgsn, S. Suite in D. O.U.P. Huber, K. Nctes Intelligibilis Lucis. Schtt. Macnchy, E. Three Bagatelles. O.U.P. TOt, Tn-That. Hy Vng 267 (C.A.). Transatlantique. 18th Century fr Obe(s) with Bass Cntinu (Obe and Bass-cntinu unless therwise stated) Where practical editins are nt available in urtext frm, alternative publicatin, prduced by reputable editrs have been selected. CM. = Cllegium Musicum H.M. = Hrtus Musicus N.M.A. = Nagels Musik-Archiv Albinni, T. Snata in A minr. Barenreiter. Babeil, W. Snatas in F minr and G minr. O.U.P. Babeil, W. Snata in Bb. Sikrski. Bach, C. P. E. Snata in G minr (CM.). Breitkpf & Hartel. Bach, J. C Quintet in D (Fl. Ob. Vn. Vc. Be.) (H.M.). Barenreiter. Bach, J. C 6 Quintets Op. 11 (Fl. Ob. Vn. Va. Be.) N. 1 in C; N. 2 in G; N. 3 in F; N. 4 in Eb; N. 5 in A; N. 6 in D. Barenreiter. Danican-Philidr, A. Snata in D minr (H.M.). Barenreiter. Frster, C. Snata in C minr. Eulenberg. Galuppi, B. Tri Snata in G (Ob. Vn. Be.). B&renreiter. Galuppi, B. Tri Snata in G (Fl. Ob. Be). Barenreiter. Geminiani, F. Snata in E minr (H.M.). Barenreiter. Graun, C H. Tri Snata in F (Ob. Vn. Be.). Breitkpf & Hartel. Handel, G. F. Urtext editin f all sl snatas and snatas fr 2 Obs. in preparatin (H.M.). Barenreiter. Otherwise Chrysander's Gesselschaft, r Peters. Heinichen, J. D. Snata fr 2 Obes and Be Breitkpf & Hartel. 191 I

59 Appendix II Brd, H. Grande Methde. Paris, c Gamier, F. J. Methde de Hautbis. Paris, Hinke, G. Praktische Elementarschule. Leipzig, Kling, H. Grifftabelle fur Obe. Berlin, Langey, O. Tutr fr the Obe. Berlin, Mariani, G. Metd Pplare P. Obe. Milan, c Marc, E. Metd de Obe. Madrid, Sellner, J. Obeschule. Vienna, Vgt, A.-G. Methde. Paris, c C. 20th Century Bartlzzi, B. New Sunds fr Wdwind (edited by R. Smith-Brindle). Lndn, Gillet, F. Methde Pur le Debut du Hautbis. Paris, Mazarv, N. Shkla Alia Gbya, Vl. I. Mscw, Vl. II Pietzsch, G. Schule fur Obe. Leipzig, Marx, J. A Methdical Study f the Obe. 5 Vls. Rthwell, E. Obe Technique (new editin). Lndn, Sprenkle, R. and Ledet, D. The Art f Obe Playing. Illinis, Singer, S. Methde Cmplete pur le Hautbis. Warsaw, Selected Studies fr the Mdern Obe Bzza, E. 14 Studies in Karnatic Mdes. Leduc. Bzza, E. 18 Etudes. Leduc. Brwn, J. 370 Exercises. Leduc. Braun, C. 18 Caprices. Breitkpf & Hartel. Ferling, C. 144 Studies and Preludes, Vls I & II. Breitkpf & Hartel. Hfmann, R. 10 Meldic Exercises and Pieces Op. 58. Breitkpf & Hartel. Gillet, F. Etudes Pur l'enseignement Superieur du Hautbis. Leduc. Karg-Elert. Etuden-Schule Op. 41. Breitkpf & Hartel. Luft. 24 Studies. 208 The Obe Repertire Scewicz, W. Scales, Arpeggis and Intervals. P.W.M. Snieckwski, S. Selected Studies Bks I III. P.W.M. Orchestral Studies Bach, J. S. Cmplete Arias (Masses, Oratris, Cantatas) fr Sp. Alt, Ten, Bass: Obe and Cntinue Musica Rara. Bach, J. S. Bach Studies: Vls I & II (Heinze). Breitkpf & Hartel. Bach, J. S. Difficult Passages fr Obe, Ob. d'am., C.A. (Rthwell). Bsey & Hawkes. Brahms, J. Orchesterstudien (9). Hfmeister. Crzzli, S. Passi Difficile e 'A Sl' (Ob. & C.A.) in 3 vlumes (Italian Operas). Ricrdi. Faldi. 12 Brevi Studi Seriali. Handel, G. F. Studies in 4 Vlumes (Heinze). Cncerti, Occasinal Music, Oratris, etc. Breitkpf & Hartel. Heinze. Orchestral Studies, Vls I & II. Breitkpf & Hartel. Hfmeister. Orchestral Studies (C.A.), Breitkpf & Hartel. Nagy, S. Orchestral Extracts. Rthwell, E. Orchestral Studies; Difficult Passages Ob. & C.A. 3 Vlumes. Bsey & Hawkes. Strauss, R. Orchestral Studies fr Obe and C.A. 2 Vlumes (Vl. II with b. d'am. als). Peters. (Varius). Traites Difficiles fr Obe and Cr Anglais. Leduc. Wagner, (ed. Gerlach). Hfmeister. 209

60

61 Appendix II The Obe Repertire Ob. d'am. Obe d'amre Tne. Trmbne Org. Organ Tni. Timpani Pic. Piccl Tpt. Trumpet Pn. Pian Va. Vila S.O. String Orchestra Vc. 'Cell Tamb. Tamburine Vn. Vilin The Obe Repertire The be repertire in published frm is a strange mixture f brilliant masterpieces tgether with inane rubbish. Therefre, in the fllwing list, arrangements and unwrthy editins f eighteenth-century wrks have been mitted in an attempt t represent a wide range f riginal music fr the be at its best. In a selective list f this kind sme imprtant wrks are bund t be left ut. N claim is made fr an exhaustive research. Amng the finer wrks cnsciusly mitted are many that rest in museums in first editins nly (e.g. tw Snatinas by T. A. Walmisley in the British Museum) and many cntemprary wrks awaiting a publisher. The cmments are designed t assist prgramme planning and nt as expressins f persnal taste. Abbreviatins Al. Fl. Alt Flute Fl. Flute Be. Bass Cntinu Guit. Guitar Bsn. Bassn Hcd. Harpsichrd C.A. Cr Anglais Hn. Hrn (French) Cb. Duble Bass Hp. Harp CI. Clarinet 0. Orchestra ed. Edited by Ob. Obe The authrs and publishers have endeavured t ensure that the infrmatin in this sectin is cmplete but sme missins are unavidable. 186 Sl Obe (including wrks with magnetic tape) All wrks in this categry are twentieth-century cmpsitins, with a bias twards virtusic display. Arbatsky, Y. Snata. Zimmermann. Arma, P. Slilque. Billaudt. Arnld, M. Fantasy. Faber. Apstel, H. E. Snatine Op. 39a. U.E. Antinin, T. 5 Likes (Ob. d'am.). Barenreiter. Bartlzzi, B. Cllage. Zerbni. Beri, L. Sequenza vn. U.E. Birtwistle, H. Chansn de Geste (+ tape). U.E. Bzza, E. Suite Mndique. Leduc. Britten, B. Six Metamrphses After Ovid. Bsey & Hawkes. Castiglini, N. Alef. Ars Viva Verlag-Mainzr Dbrwlski, A. Music Fr Magnetic Tape And Obe (simplified scre fr slist with recrd f tape part). P.W.M. Extn, J. Three Pieces. Chester. Fillipi, A. de. Ex Tempre. Gen. Music. Pub. C. Gaslini, G. Seguali Fiir Obe. U.E. Glbkar. A Tenstudie fr be with thrat and cntact micrphne. Hlliger, H. Cardiphnie (+ tape). Schtt. Ktnski, W. Mnchrmia. P.W.M. Krenek, E. Snatina. Barenreiter. LeFanu, N. Slilquy. Nvell. Maderna, B. Sl per be, musetta, crn inglese, be d'amre (sl esecutre). Ricrdi. Mihalvici, M. Melpeia Op Billaudt. 187

62 Appendix II Miiller, G. Snata. Sikrski. Pattersn, P. Mnlgue. Weinberger. Rainier, P. Pastral Triptych. Schtt. Renst, P. Ar-Lth, per be, crn ingle, be d'amre. Ricrdi. Schenker, F. Mnlg. Veb deutscher verlag fiir musik Leipzig. Sigtenhrst-Meyer, B. Landelijke Miniaturen (3 Suites). Alsbach. Sigtenhrst-Meyer, B. Snatine. Alsbach. Singer, L. Wrk fr Sl Obe. Zerbni. Stckhausen, K. Sl (4- Ruckpplung). U.E. Stckhausen, K. Spiral (Obe mit Kurzwellenempfanger). U.E. Szalnek, W. Quattr Mnlghi. P.W.M. Weber, A. Synecdque. Leduc. Wellesz, E. Suite. Brnde. Obe and Pian The aim here is t prvide a selectin f recital pieces cmpsed riginally fr be and pian (plus an dd few fr rgan). A variety f perids and styles is cvered including: A substantial cncert pieces in traditinal idims B shrt characteristic wrks suitable as preludes t a cncert C interesting perid pieces (e.g. Trtebert - a name mre clsely assciated with making bes (rather than pieces) in the nineteenth century D mdern wrks acknwledged as avant garde B. Addisn, J. Inventins/Rhapsdy/Prlgue. O.U.P. A Arnld, M. Snatina. Lengnick. B Arrieu, C. Imprmptu. Leduc. B Auric, G. Imprmptu. NSl-Gallet. 188 The Obe Repertire B Badings, H. Canzna (rgan). Dnemus. A Bennett, R. R. Snata. Mills. A Berkeley, L. Snatina. Chester. B Besszzi, A. Snata in C. Chester. B Besszzi, A. Snata in D. Schtt. A Bismrtier, J. de. Snata in E min. Barenreiter. A Butry, R. Snatine. Salabert. A Bwen, Y. Snata Op. 85. Chester. B bzza, E. Lied (C.A.). Leduc. A Breville, P. de. Snatine. Rnart. B Breville, P. de. Maneh (C.A.). Leduc. B Bush, A. Nrthumbrian Impressins. Nvell. A Dalby, M. Snatina. Nvell. C Dnizetti, G. Snate. Peters. A Dubis, P. M. Snatine (C.A.). Leduc. B Dukas, P. Alia Gitana. Leduc. A Dutilleux, H. Snate. Leduc. A Evans, P. Snata. Chester. B Faur6, G. Piece. Leduc. B Franck, C. Piece V. Leduc. B Gssens, E. Islamite Dance (3). Leduc. B Grvlez, G. Saraband and Allegr. Leduc. A Hindemith, P. Snata. Schtt. B Hrder, M. Sussex Flk Tune with 6 Variatins (ed. L.G.). Peters. A Hvhaness. Snata fr 2 Obes and Organ Op Peters. A Hrvitz, J. Snatina Op. 3. Mills. D HifT, J. Syzygy. Int. Mus. C. Ltd. A Jacb, G. Snatina (Pn. r Hcd.). Rumanian State Publishing Huse. D Krenek, E. Fur Pieces. Barenreiter. D Krenek, E. Snatina. Rugwen Music. C Lalliet, T. Fantaisie Originate (C.A.). Cstallat. C Lalliet, T. First Cncert Sl. Cstallat. C Leschetitzky, T. Variatins n a Theme f Beethven. Schtt. B Malipier, G. F. Imprmptu Pastral. Leduc. 189

63 Appendix II A Malipier, G. F. Snata. Zerbni. A Milhaud, D. Snatine. Durand. B Neilsn, C. Zwei Fantasiestiicke. Hansen. B Pierne, G. Serenade. Leduc. A Pistn, W. Snata. Augener. A Pulenc, F. Snata. Chester. D Ranki, G. Dn Quijte y Dulcinea. E.M.B. B Reger, M. Rmance in G. Breitkpf & Hartel. B Reizenstein, F. 3 Cncert Pieces Op. 11. Bsey & Hawkes. A Reizenstein, F. Snatina. Lengnick. B Richardsn, A. French Suite. O.U.P. B Rivier, J. Imprvisatin and Final. Leduc. A Rubbra, E. Snata in C Op Lengnick. B Russel, A. Aria. Leduc. E Rxburgh, E. Images. U.M.P. E Rxburgh, Auldie fr be, be d'amre and pian. U.M.P. A Saint-Saens, C. Snata. Durand. B Sammartini, G. Snata in G. Chester. A Schlium, R. Snatine. Augener. D Schuller, G. Snata. McGinnis. D Searle, H. Gndliera (C.A.). Schtt. D Seiber, M. Imprvisatin. Schtt. C Sphr, L. Andante and Variatins Op. 34. Peters. A Stanley-Smith, D. Snata. S.P.A.M. C Trie'bert, C. Air Varie*. Lemine. D Tiet, Tn-That. Cinq Pieces. Transatlantique. A Vanhall, J. Snata. McGinnis. B Wilkinsn, P. Suite. Nvell. A Wrdswrth, W. Theme and Variatins Op. 57. Lengnick. Obe and Harpsichrd - 20th Century These pieces are useful as twentieth-century items in a barque ensemble prgramme. The wrk by Huber is discussed in Chapter The Obe Repertire Ddgsn, S. Suite in D. O.U.P. Huber, K. Nctes Intelligibilis Lucis. Schtt. Macnchy, E. Three Bagatelles. O.U.P. Tiet, Tn-That. Hy Vng 267 (C.A.). Transatlantique. 18th Century fr Obe(s) with Bass Cntinu (Obe and Bass-cntinu unless therwise stated) Where practical editins are nt available in urtext frm, alternative publicatin, prduced by reputable editrs have been selected. CM. = Cllegium Musicum H.M. = Hrtus Musicus N.M.A. = Nagels Musik-Archiv Albinni, T. Snata in A minr. Barenreiter. Babeil, W. Snatas in F minr and G minr. O.U.P. Babeil, W. Snata in Bb. Sikrski. Bach, C. P. E. Snata in G minr (CM.). Breitkpf & Hartel. Bach, J. C. Quintet in D (Fl. Ob. Vn. Vc. Be.) (H.M.). Bfirenreiter. Bach, J. C 6 Quintets Op. 11 (Fl. Ob. Vn. Va. Be.) N. 1 in C; N. 2 in G; N. 3 in F; N. 4 in Eb; N. 5 in A; N. 6 in D. Barenreiter. Danican-Philidr, A. Snata in D minr (H.M.). Barenreiter. Frster, C. Snata in C minr. Eulenberg. Galuppi, B. Tri Snata in G (Ob. Vn. Be). Barenreiter. Galuppi, B. Tri Snata in G (Fl. Ob. Be). Barenreiter. Geminiani, F. Snata in E minr (H.M.). Barenreiter. Graun, C H. Tri Snata in F (Ob. Vn. Be). Breitkpf & Hartel. Handel, G. F. Urtext editin f all sl snatas and snatas fr 2 Obs. in preparatin (H.M.). Barenreiter. Otherwise Chrysander's Gesselschaft, r Peters. Heinichen, J. D. Snata fr 2 Obes and Be Breitkpf & Hartel. 191 (

64 Appendix II Htteterre, J. M. Tri Snatas Op. 2 Ns. I and 2. Schtt. Httetere, J. M. Suite in / minr (H.M.). Barenreiter. Leillet, J. B. Snatas: Bk I in A min; D min; G. Bk II in Bb; g; c. Bk III in E min; C min; A min. (H.M.). Barenreiter. Leillet, J. B. Snata, Op. 5 N. 1 in E. Musica Rara. Leillet, J. B. Tri Snatas: N. 2 in F; N. 3 in D min; N. 6 in C min (H.M.). Barenreiter. Leillet, J. B. Tri Snata in F, Op. 1 (Fl. Ob. & Be). Schtt. Marcell, B. Snatas in F, G, D min, G min. Peters. Pepusch, J. C. 6 Tri Snatas (Vn. n. Be). Breitkpf & Hartel. Quantz, J. J. Snata in D minr. Barenreiter. Quantz, J. J. Tri Snata in G. Barenreiter. Schreder, H. Tri Snatas in F and C minr (H.M.). Barenreiter. Stizel, G. H. Tri Snata in F minr (N.M.A.). Barenreiter. Telemann, G. P. Snatas in C min; F; G (H.M.). Barenreiter. Telemann, G. P. 6 Partitas in Bb, G, C min; G min; E min; Eb (H.M.). Barenreiter. Telemann, G. P. Snata und Spielstucke. Barenreiter. Telemann, G. P. Snatas in G min, C minr. Barenreiter. Telemann, G. P. Snata in G minr. Schtt. Telemann, G. P. Suite in G minr. Barenreiter. Telemann, G. P. Tri Snata in D minr & E min (Fl. Ob. Be). Barenreiter. Tafelmusik 1. - Quartet in G (Fl. Ob. Vn. Be). Barenreiter. Tafelmusik I.-Snatas and Pieces frm'der getrene Musikmeister' (H.M.). Barenreiter. Tafelmusik I. - Snata in G (Ob. Vn. Be). Barenreiter. Tafelmusik II. - Tri Snata (Fl. Ob. Be). Barenreiter. Tafelmusik II. - Tri Snata in Bb. Barenreiter. Vivaldi, A. 'II Pastr Fid' 6 Snatas Op. 13 (ed. Upmeyer) in C; C; G; A; C; G (H.M.). Barenreiter. Vivaldi, A. Snata in G minr. Barenreiter. Vivaldi, A. Snata in C minr. Schtt. Vincent, T. Snata in D. Schtt. 192 The Obe Repertire Zelenka, J. D. Snatas fr 2 Obes, Be (ed. Schenbaum), N. 2, G min; N. 2, Bb; N. 4, G min; N. 5, F (H.M.). Barenreiter. Wind and Pian - 19th and 20th Centuries The wrks in this categry are generally mre extrvert in character. They are ppular with mst audiences, sustaining an easy appeal and lightness f expressin. Danzi is a firm favurite amng wind players fr his lucid meldies and exciting display. Lalliet inspires all that is mst nstalgic in Victrian and Secnd Empire Eurpe - and in the best f taste. Amng the twentieth-century wrks, Gssens and Pulenc achieve a marvellus balance between cquetry and pastral. Tn-That TiSt is a Vietnamese cmpser wh embraces Western techniques with an eye t the avant-garde. Addisn, J. Tri (Fl. Ob. Pn.). Augener. Beethven, L. van. Quintet Op. 16 (Ob. CI. Bsn. Hn. Pn.). Musica Rara. Bush, G. Tri (Ob. Bsn. Pn.). Nvell. Danzi, F. Quintet Op. 41 (Ob. CI. Bsn. Hn.^Pn.). Musica Rara. Danzi, F. Quintet Op. 53 in F (Ob. CI. Bsn. Hn. Pn.). Musica Rara. Danzi, F. Quintet Op. 54 in D (Ob. CI. Bsn. Hn. Pn.). Musica Rara. Gal, H. Tri Op. 49 (Ob. Vc. Pn.). Osterriech. Gssens, E. Patral and Harlequinad (Fl. Ob. Pn.). Leduc. Keller, G. Quintet in G minr (2 Fls. 2 Obs. Pn.). Schtt. Lalliet, T. Op. 22 Terzett (Ob. Bsn. Pn.). Hamelle. Lutyens, E. Music fr Three Op. 65 (Fl. Ob. Pn.). Olivan (U.E.). Mzart, W. A. Quintet in Eb, K. 452 (Ob. CI. Bsn. Hn. Pn.). Barenreiter. Passini, E. Quintet (Fl. Ob, CI. Bsn. Pn.). Transatlantique. 193

65 Appcr^... II Pulenc, F. Tri (Ob. Bsn. Pn.). Hansen. Rawsthrne, A. Snatina fr Fl. Ob. Pn. Saint-SaSns, C. Caprice sur des Air Danis et Russc Op. 79 (Fl. Ob. CI. Pn.). Durand. Schmitt, F. A. Tur d'anches Op. 97 (Ob. CI. Bsn. Pn.). Durand. TafTanel, P. Quintet (Fl. Ob. CI. Bsn. Hn.). Leduc. Tiet, Tn-That. Tu Dai Ca'nh - Quatre Grands Paysages (Fl. Ob. CI. Bsn. Pn.). Transatlantique. Wind Quintets - Flute, Obe, Clarinet, Bassn, Hrn The String Quartet marks the highest pint f musical art fr string players. In the same way, the Wind Quintet has inspired the finest and mst rewarding music in the wind ensemble repertire. The cnsistency f inventiveness in all the wrks listed is prf in itself that the medium induces a special respnse frm cmpsers. On the ne hand we have clurful, zestful scres, such as Arnld's 'Sea Shanties' and Beri's 'Opus Number Z', bth delightful entertainment fr yung and ld alike: A. Alternatively, there is the intense intellectualism f Stckhausen's 'Zeitmasze' and SchSnberg's 'Quintet' - bth prttypes fr much f the music f a whle generatin f cmpsers: B. Between these extremes lies that area f glrius musical art, indulging sharp cntrasts f clur and md (Hindemith, Barber) which frm the backbne f a prgramme: C. Althugh largely represented by the twentieth century, the Quintet had its devtees amngst eighteenth- and nineteenth-century cmpsers such as Danzi and Reicha, wh can certainly take praise fr quantity, if nt always fr quality. Wrks marked (X) are technically very difficult and require intensive preparatin. When an extra clarinet is available t a quintet ensemble, Janacek's 'Mladi' (Yuth) cannt be resisted fr its freshness and vivid intensity f expressin. A Agay, D. Five Easy Dances. Presser. 194 The Obe Repertire C Arma, P. Sept Transparencies. Leminc. C Arnell, R. Cassatin in 5 Parts (ed. L. Gssens). Peters. A Arnld, M. Three Shanties. Patersn. A Arrieu, C. Quintet in C majr. Nel. B Bainbridge, S. Quintet. U.M.P. C Barber, S. Summer Music (X). Schirmer. C Barthe, A. Aubade. Pinatel. B Bedfrd, D. Pentmin. U.E. C Bennett, R, R. Quintet. U.E. A Beri, L. Opus Number Z - Child's Play with English, Italian and German wrds. U.E. B Birtwistle, H. Refrains and Chruses (X). U.E. C Bzza, E. 'Scherz' and Variatins sur un Theme Libre. U.M.P. C Brd, H. Wind Quintet in Bb, Op. 2 N. 1. McGinnis. C Cambini, G. G. Quintet N. 3 (ed. Jsef Marx). McGinnis & Marx. B Carter, E. Quintet (X). Ass. Music. Pub. N.Y. C Chagrin, F. Divertiment. Augener. C Chattelun, M. Suite Inchative (Fl. C. A. CI. Bsn. Hn.). Transatlantique. C Clgrass, M. Quintet. M.C.A. (U.S.A.). C Cke, A. Quintet. Mills. C Cral, G. Dialghi (Fl. Ob. Cla. Hn. Tpt.). Zerbni. A Damase, J. M. 17 Variatins Op. 22. Leduc. A Danzi, F. Quintet Op. 56 N. 1 in Bb. Leukhart. A Danzi, F. Quintet Op. 56 N. 2 in G minr. Leukhart. A Danzi, F. Quintet Op. 67 N. 1 in E min; N. 2 in E min; N. 2 in Eb. Kneusslin. A Danzi, F. Quintet Op. 68 N. 2 in F. Peters. A Danzi, F. Quintet Op. 68 N. 3 in D minr. Musica Rara. A Danzi, F. Quintet Op. 86 N. 1 in A. Kneusslin. A De Cursy, R. Fugue a la Rumba. BMI (Canada). A Druschetzky. 4 Partitas. N. 9 in F; N. 10 in F; N. 13 in Bb; N. 21 in G (2 Obs. 2 Hns. Bsn.). Breitkpf & Hartel. B Durkd, Z. Imprvisatins. P.W.M. C Etler, A. Quintets N. 1 and 2. Schirmer. C Frtner, W. 5 Bagatelles. Schtt. 195

66 Appendix II Albinni, T. Cncert Op. 9 N. 9 fr 2 bes (S.O.). Ricrdi. Albinni, T. Cncert Op. 9 N. 12 Cncert a 5 (S.O.). Musica Rara. Alwyn, W. Cncert (O.). Lengnick. Arnld, M. Cncert (O.). Patersn. Bach, C. P. E. Cncert in Bb (S.O.) Musikverlag. Rb Frberg. Bach, J. C. Cncert in F (S.O.). Schtt. Bach, J. S. Cncert fr Vilin, Obe and Strings. Peters. Baguslwski, E. Cncert (Ob.-O.d'am.-C.A.-Musette) 1 player (O.). P.W.M. Baird, T. Cncert (O.). Peters. Bellini, V. Cncert in Bb. Ricrdi. Bellini, V. Cncert in E minr. Ricrdi. Benguerel, X. Musica per A Obe-Cnjunct de Camera. Meck. Beszzi, A. Cncert fr Obe and Strings. Musica Rara. Blackwd, E. Cncert fr 5 (Fl. Ob. Vn. Va. Vc.).) (O.). Schirmer. Bughtn, R. Cncert 1 (O.). Bsey & Hawkes. Bush, G. Cncert (S.O.). Elkin. Danzi, F. Sinfnia Cncertante (Fl. Ob. Bn. Hn.). Musica Rara. Dittersdrf, K. D. vn. Cncert in G Majr (S.O.). Breitkpf & Hartel. Dittersdrf, K. D. vn. Cncert in C Majr (S.O.). Simrck. Dnizetti, G. Cncertin (C.A.) (O.). Peters. Dubis, P. M. Duble Cncert (Ob. Bsn. Pn. Orch.). Leduc. Eichner, E. Cncert in C (S.O.). O.U.P. Eichner, E. Cncert in Bb (S.O., Be). Hfmeister. End, R. Ritsu (Obe and Orchestra). Zerbni. Fischer, J. C. Cncert in C. Augener. Francaix, J. L'Hrlge de Flre (O.). Transatlantique. Genzmer. Kammerknzert (S.). Schtt. Gssens, E. Cncert (O.). Leduc. 202 The Obe Repertire Gyrwetz, A. Sinfnia Cncertante (CI. Ob. Bn. Hn.). Musica Rara. Hall, R. Three Idylls (S.O.). Hinrichsen. Handel, G. F, Cncerts in Bb and G minr. Barenreiter. Haydn, J. Sinfnia Cncertante (Ob. Bsn. Vn. Vc). Breitkpf & HSrtel. Haydn, J. Cncert in C (Attributed t) (O.). Breitkpf & Hartel. Henze, H. W. Duble Cncert fr Obe and Harp (O.). Schtt. Hidas, F. Cncert (O.). E.M.B. Hlliger, H. Siebengesang (Ob. Orch. Singers Ludspeakers). Schtt. Hist, G. Fugal Cncert (Fl. Ob.) (S.O.). Nvell. Hdnegger, A. Cncert da Camera (Fl. C.A.) (S.O.). U.M.P. (Salabert). Hummel, J. N. Intrductin, Theme and Variatins (O.). Musica Rara. Ibert, J. Symphnie Cncertante (S.O.). Leduc. d'indy, V. Fantasie (O.). Durand. Jacb, G. Cncerts 1 and 2 (S.O.). Williams. Jacb, G. Rhapsdy (C.A.) (S.O.). Williams. Kt6nsky, W. Cncert. P.W.M. Krmmer (Krarnar), F. Cncert in F Op. 52. Artia. Lamy, D. Ncturne (S.O. Hp. Tni.). Leduc. Lang, I. Impulsini (O.). Bsey & Hawkes. Larssn, L. E. Cncertin Op. 45 N. 2 (S.O.). Bsey & Hawkes. Le Buchet, M. Fantaisie Cncertante (0.). De Lacur. Lees, B. Cncert. Bsey & Hawkes. Ligeti, G. Dppelknzert (Fl. Ob.) (O.). Schtt. Lutyens, E. Cncert Grss (Ob. Hp.) (S.O.). Chester. Machnchy, E. Cncert (S.O.). Lengnick. Maderna, B. Grand Auldia (Fl. Ob.) (0.). Ricrdi. Maderna, B. Cncert 1. Maderna, B. Cncert 2. Maderna, B. Cncert 3 (O.). Salabert. 203

67 Appf n Marcell, B. Cncert in C min. Frberg. Martin, F. Cncert fr 7 Instruments (Fl. Ob. CI. Bsn. Hn. Tpt. Tne.). U.E. Martinu, B. Cncert (O.). Eschig. Matej, J. Snata fr Obe and Chamber Orchestra. Supraphn. Milhaud, D. Cncert. Heugel. Mzart, W. A. Cncert in C (O.). Bsey & Hawkes. Mzart, W. A. Symphny Cncertante (Ob. CI. Bsn. Hn.). Breitkpf & Hartel. Nvak, J. Cncert. Supraphn. Pauer, J. Cncert fr Obe and Orchestra. Supraphn. Pistn, W. Fantasy (C.A.) (S.O.). A.M.P. Platti, G. Knzert in G majr. Schtt. Prestini, G. Cncert. Bngivanni. Rawsthrne, A. Cncert (S.O.). O.U.P. Richter, F. Cncert in F (S.O.). Kneusslin. Rivier, J. Cncert (S.O.). Transatlantique. Rsetti, A. Cncert (n hire nly). Brietkpf & Hartel. Schreder, H. Knzert (S.O.). Miiller. Schwenke, C. Cncert in C (S.O., Be). Hfmeister. Skalkttas, N. Cncertin. McGinnis. Stamitz, C. Cncert in C minr (S.O., Be). Sikrski. Stamitz, C. Cncert in B? (S.O., Be). Simrck. Stlzel, G. H. Knzert in D (S.O., Be). Sikrsky. Strauss, R. Cncert (0.). Breitkpf & Hartel. Telemann, G. P. Cncert in E and D minr (S.O.). Sikrski. Telemann, G. P. Cncert in E minr (S.O.). Sikrski. Telemann, G. P. Cncert in F minr (S.O.). Peters. Telemann, G. P. Cncert in C minr (S.O.). Schtt. Telemann, G. P. Cncert in G (Ob. d'am.) (S.O.). Sikrski. Telemann, G. P. Triple Cncert (Fl. Ob. d'am. Va. d'am.). Peters. Telemann, G. P. Cncert Grss in G minr (2 Obs.). Sikrski. Telemann, G. P. Cncert (Alia Francese) in C (2 Obs.). Sikrski. Vivaldi, A. (Cmplete Cncerts). Ricrdi. 204 The Obe Repertire Vaughan-Williams, R. Cncert (S.O.). O.U.P. Veress, S. Passacaglia Cncertante (S.6.). Zerbni. Zimmerman, B. A. Knzert fiir Obe und Kleinrchester. Schtt. Zach, J. Cncert (S.O.). Miscellaneus Mst f the wrks in this categry are twentieth-century. Befre Schdnberg's 'Pierrt Lunaire* was cmpsed in 1912 it was the exceptin rather than the rule fr cmpsers t write music fr any but standard cmbinatins. Nevertheless, I have included wrks by Beethven and Vgt fr Tris f tw Obes and Cr Anglais because this medium is mst adaptable t the mre variegated ensembles f twentiethcentury chamber music. At the ther end f the scale there is Hindemith's Tri, Op. 47; fr the very unlikely cmbinatin f Pian, Vila and Heckelphne. In general, cmpsers have nt been t kind t the bass instrument f the family. Hindemith is an exceptin. By cmbining the vluptuus tne f the vila with the heckelphne he acknwledges its true expressive richness. There is a blissful n-man's land abut mst f these pieces which makes them marry happily with chamber music f any perid r style in music histry. Abbad, M. 'Quindici Pesie T'ang' (Mezz Sp. Fl. Ob. Vc. Pf.). Zerbni. Antnin, T. Synthesis (fr Ob. Perc. Hammnd Org. Cb.). Barenreiter. Bach, J. C. Sextet in C (Ob. 2 Hns. Vn. Vc. Be). Musica Rara. Badings, H. Tri 4a (2 Obs. C.A.). Dnemus. Bartlzzi, B. Cncertazini per Obe e Alcum Strumenti (Ob. Va. Guit. Cb. 1 Perc. ad. lib.). Zerbni. Beethven, L. van. Tri Op. 87 (2 Obs. C.A.). Peters. 205

68 Appendix II Beethven, L. van. Variatins n 'La ci darem la man' (2 Obs. C.A.). Breitkpf & Hartelr Birtwistle, H. Death and Nick's Lve Sng (3 C.A. Hp.). U.E. Bismrtier. 3 Cncerts fr 5 Obes. Breitkpf & Hartel. Bismrtier. 6 Snatas Op. 7 (3 Obs.). Schtt. Carter, E. Snata (Fl. Ob. Vc. H'cd.). A.M.P. Chu, Wen-Chung. Suite fr Wind Quartet & Harp. Peters. Ddgsn, S. Suite in D (Ob. Hp.). O.U.P. Dubis, P. M. Lu Cascarelet, dances prvencale (Tamb. ad lib.) (3 Obs.). U.M.P. End, R. Dessein Imprvisatin (Fl. Ob. Pn. Perc). Zerbni. End, R. Wandering Flames (Ob. CI. Pn.). Zerbni. Fricker, P. R. 5 Canns fr 2 Fls. 2 Obs. Gw, D. Quartet Op. 28 (Fl. Ob. Vc. H'chrd). Musica Rara. Halffter, C. Antiphnismi fiir sieben spieler (Fl. (+A1. Fl.) Ob. (-f-c.a.) CI. Pn. Vn. Va. Vc). U.E. Haydn, J. Divertiment in F (2 Obs. 2 Hns. 2 Bsns.). Musica Rara. Haydn, J. March in G (2 Obs. 2 Hns. 2 Bsns.). Musica Rara. Haydn, M. Divertiment in D min. (2 Obs. 2 Hns. 2 Bsns.). Dblinger. Hindemith, P. Tri Op. 47 (Via. Heckelphne, Pn.). Schtt. Hlliger, H. Vier Miniaturen (Sp. Ob. d'am. Celesta Hp.). Schtt. Hlliger, H. Mbile (Ob. Hp.). Schtt. Hlliger, H. Tri (Ob. (+C.A.) Va. Hp.). Ars Viva Verlag, Mainz. Hist, G. Terzett (Fl. Ob. Va.). Chester. Jacb, G. 2 Pieces fr 2 Obes, 1 Cr Anglais. Williams. Jelinek, A. Cr Anglais Snata A Tre Op. 15 N. 7 (Ob. C.A. Bn.). U.E. Jlivet, A. Cntrversia (Ob. Hp.). BiJlandt. Lahnsen, C. Kleine Pfeifermusik fiir 2 Obes. Breitkpf & Hartel. Larnpersberg, G. Musik fiir Obe und 13 Instruments (Vn. 206 The Obe Repertire Va. Vc. Cb. B-Cl. Bsn. Hn. Tpt. Trie, kleine trmmel. Hp. Celesta. Pn.). U.E. Lehmann, H. U. Spiele fur Obe und Harp. Schtt. Maderna, B. Auldia per Ltha (Ob. d'am. guit.). Zerbni. Malige, F. 6 Inventins fr 2 Obes. Breitkpf & Hartel. Martinu, B. Quartet. (Ob. Vn. Vc. Pn.). Eschig. Mser, F. J. Tri in C Op. 38 (2 Obs. C.A.). Bswrth. Musgrave, T. Imprmptu (Ob. Fl.). Chester. Pinkham, D. Variatins fr Obe and Organ. Peters. Pla, J. B. Sechs Snata (2 Obs.). Schtt. Resgen-Champin, M. Deuxieme Ncturne. Leduc. Schreder, H. Cncertina (Vn. Ob. Organ). Schtt. Singer, L. Musica a Due (Ob. Guit.). Zerbni. Schweizer, K. Chamber Music (Fl. C.A. Vn. Vc. H'cd.). Barenreiter. Vgt. Andante Religis (2 Obs. C.A.). Castallat. Weichlein, R. Duets (2 Obs.). Breitkpf & Hartel. Wyttenbach, J. Drei Satz (Ob. Hp. Pn.). Schtt. Yun, I. Tri (Fl. Ob. Vn.). Zimmerman, H. Tris 1 and 2 (Ob. Bsn. Vc). Schmidt. Sme Imprtant Tutrs and Instructin Manuals A. 17tb-18th Centuries Banister, J. The Sprightly Cmpanin. Lndn, Freilln Pncein, J.-P. La Veritable Maniere B'Apprendre a Juer en Perfectin du Hautbis, Paris, Htteterre, J. Principes de la Flute Traversiere, de la Flute-abec et du Haut-bis. Paris, (English translatin by D. Lscki, Lndn, 1968.) Talbt, J. Music Manuscript 1187, Christ Church, Oxfrd, c Fischer, J. C. (Attributed t). New and Cmpleat Instructins fr the Hby. Cahusac, Lndn, B. 19th Century Barret, A. M.-R. A Cmplete Methd fr the Obe. Lndn, Enlarged 2nd editin

69 Appendix II Brd, H. Grande Methde. Paris, c Gamier, F. J. Methde de Hautbis. Paris, Hinke, G. Praktische Elementarschule. Leipzig, Kling, H. GrifTtabelle fur Obe. Berlin, Langey, O. Tutr fr the Obe. Berlin, Mariani, G. Metd Pplare P. Obe. Milan, c Marc, E. Metd de Obe. Madrid, Sellner, J. Obeschule. Vienna, Vgt, A.-G. Methde. Paris, c C. 20th Century Bartlzzi, B. New Sunds fr Wdwind (edited by R. Smith-Brindle). Lndn, Gillet, F. Methde Pur le Debut du Hautbis. Paris, Mazarv, N. Shkla Alia Gbya, Vl. I. Mscw, Vl. II Pietzsch, G. Schule fur Obe. Leipzig, Marx, J. A Methdical Study f the Obe. 5 Vls. Rthwell, E. Obe Technique (new editin). Lndn, Sprenkle, R. and Ledet, D. The Art f Obe Playing. Illinis, Singer, S. Methde Cmplete pur le Hautbis. Warsaw, Selected Studies fr the Mdern Obe Bzza, E. 14 Studies in Karnatic Mdes. Leduc. Bzza, E. 18 Etudes. Leduc. Brwn, J. 370 Exercises. Leduc. Braun, C. 18 Caprices. Breitkpf & Hartel. Ferling, C. 144 Studies and Preludes, Vls I & II. Breitkpf & Hartel. Hfmann, R. 10 Meldic Exercises and Pieces Op. 58. Breitkpf & Hartel. Gillet, F. Etudes Pur l'enseignement Superieur du Hautbis. Leduc. Karg-Elert. Etuden-Schule Op. 41. Breitkpf & Hartel. Luft. 24 Studies. 208 The Obe Repertire Scewicz, W. Scales, Arpeggis and Intervals. P.W.M. Snieckwski, S. Selected Studies Bks I III. P.W.M. Orchestral Studies Bach, J. S. Cmplete Arias (Masses, Oratris, Cantatas) fr Sp. Alt, Ten, Bass: Obe and Cntinue Musica Rara. Bach, J. S. Bach Studies: Vls I & II (Heinze). Breitkpf & Hartel. Bach, J. S. Difficult Passages fr Obe, Ob. d'am., C.A. (Rthwell). Bsey & Hawkes. Brahms, J. Orchesterstudien (9). Hfmeister. Crzzli, S. Passi Difficile e 4 A Sl* (Ob. & C.A.) in 3 vlumes (Italian Operas). Ricrdi. Faldi. 12 Brevi Studi Seriali. Handel, G. F. Studies in 4 Vlumes (Heinze). Cncerti, Occasinal Music, Oratris, etc. Breitkpf & Hartel. Heinze. Orchestral Studies, Vls I & II. Breitkpf & Hartel. Hfmeister. Orchestral Studies (C.A.). Breitkpf & Hartel. Nagy, S. Orchestral Extracts. Rthwell, E. Orchestral Studies; Difficult Passages Ob. & C.A. 3 Vlumes. Bsey & Hawkes. Strauss, R. Orchestral Studies fr Obe and C.A. 2 Vlumes (Vl. II with b. d'am. als). Peters. (Varius). Traites Difficiles fr Obe and Cr Anglais. Leduc. Wagner, (ed. Gerlach). Hfmeister. 209