Helpful Information for North Allegheny High School Oboes
High School and University Audition Repertoire
Methods and Studies
Standard Study Materials
Intermediate to Advanced Level
Barret, Studies from the Complete Method of Oboe, Boosey & Hawkes, Alphonse, Leduc
Ferling, 48 Studies, Southern, Kalmus
Andraud, Vade-Mecum of the Oboist, Southern
Sellner, Methode pour Hautbois, 2 vols., Billaudot
Prestini, Collection of Studies for Oboe, Ricordi
Gillet, Studies for the Advanced Teaching of the Oboe, Leduc
Rothwell, Difficult Passages for Oboe and English Horn, 3 vols., Boosey & Hawkes
Andraud, Practical and Progressive Oboe Method, Southern
Bozza, 18 Etudes, Leduc
Gekeler, Method for Oboe, 2 vols., Belwin-Mills
Brod/Gillet, Oboe Method, Lemoine
Salviani, Studies from the Method, 4 vols., Ricordi
Pares, Daily Exercises and Scales for Oboe, Fischer
Bluezet, La Technique du Hautbois, 3 vols., Leduc
Loyon, 32 Etudes, Costallat, Billaudot
Voxman/Gower, Advanced Method for Oboe, 2 vols., Rubank
Tustin, Daily Scales, Southern
Labate, Etudes and Scales for Advanced Oboists, Fischer
Singer, Metodo Teorice-Practico per Oboe, 3 vols., Ricordi
Voxman, Selected Studies for Oboe, Rubank
Standard Methods
Andraud, Albert, Practical and Progressive Oboe Method, Southern
Barret, A.M.R., Complete Method for Oboe, Boosey & Hawkes, Alphonse, Leduc
Langley, Tutor for Oboe, Fischer, Boosey & Hawkes
Niemann, Method for Oboe
Additional Study Materials
There are numerous other study materials that are very highly recommended. Consult with your private oboe teacher or band director concerning additional study materials.
Solos
Levels 3-4
Barbirolli, Concerto on Themes of Pergolesi, Oxford
Barlow, The Winter’s Passed, C. Fischer
Cacavas, Winterscape, Belwin-Mills
Corelli, Air and Dance, Edition Musicus
Corelli/Barbirolli, arr., Concerto, Oxford
Dandrieu, Les Fifres, Chester
DeBueris, Musette, C. Fischer
Edmunds, Andante, Schott
Edmunds, Longing for Summer, Schott
Feld, Burlesque, Leduc
Fiocco, Arioso, Schott
Franck, Piece V, Leduc
Handel, Concerto No. 1 in Bb Major, Boosey & Hawkes
Head, Elegiac Dance, Boosey & Hawkes
Head, Gavotte, Boosey & Hawkes
Jacob, 10 Little Studies, Oxford
Krenek, Sonatina (unacc.), Rongwen
Latham, Sonata, Spratt
Mozart, Andante from “Piano Sonata No. 1”, C. Fischer
Mozart/Voxman, arr., Pantomime from “Les Petits Riens”, Rubank
Nielson, Fantaisestucke, Op. 2, Hansen
Pierne, Piece in G Minor, C. Fischer
Purcell, Two Pieces, Boosey & Hawkes
Reger, Romance in G, Breitkopf & Hartel
Schumann, Three Romances, G. Schirmer
Skeat, Morris Dance, Belwin-Mills
Tchaikovsky, Andantino, C. Fischer
Telemann, Sonata in G Minor, Southern
Ticciati, Six Pieces, Oxford
Valentine, Sonata in F, Schott
Weinberger, Sonatine, C. Fischer
Widor, Pavanne, Southern
Levels 5-6
Albinoni, Concerto, Op. 7, No. 3, Boosey & Hawkes
Albinoni, Concerto, Op. 7, No. 6, Boosey & Hawkes
Albinoni, Concerto, Op. 9, International
Arnold, Sonatina, Lengnick
Bach, Concerto in F, Sikorski
Bach, Sonata in G Minor, Ricordi
Berkeley, Sonatina, Chester
Bozza, Fantaisie Pastorale, Leduc
Britten, Six Metamorphoses (unacc.), Boosey & Hawkes
Cimarosa/Benjamin, arr., Concerto, Boosey & Hawkes
Dittersdorf, Concerto in G, Breitkopf & Hartel
Fiala/Storch, arr., Concerto in D Major, Boosey & Hawkes
Foss, Concerto, Southern
Godard, Legend Pastorale, Southern
Goossens, Concerto, Leduc
Grovlez, Sarabande et Allegro, Leduc
Guilhaud, First Concertino, Rubank
Handel, Concerto in G Minor, Ricordi, Southern
Handel, Sonata in C Minor, Southern, C,Fischer
Handel, Sonata in G Minor, C. Fischer
Haydn, Concerto in C Breitkopf & Hartel
Head, Presto, Boosey & Hawkes
Hindemith, Sonata, G. Schirmer
Horovitz, Sonatina, Op. 3, Belwin-Mills
Ibert, Symphonic Concertante, Leduc
Jacob, Seven Bagatelles (unacc.), Oxford
Kennan, Scherzo, Aria, and Fugato, Southern
Lees, Concerto, Boosey & Hawkes
Loeillet, Sonata in C Major, Chester
Loeillet, Sonata in E Major, Lemoine
Loeillet, Sonata in G Major, Lemoine
Marcello, Concerto in C Minor, International
Mozart, Concerto in C Major, Boosey & Hawkes
Persichetti, Parable III (unacc.), Elkan-Vogel
Philidor, Suite, Presser
Pisk, Shanty Boy, Associated
Piston, Suite, E.C. Schirmer
Poulenc, Sonata, Chester
Rawsthorne, Concerto, Oxford
Reizenstein, Sonatina, Boosey & Hawkes
Rochberg, La Bocca della Vertia, Presser
Saint-Saens, Sonata, Op. 166, Durand
Schuller, Sonata, McGinnis & Marx
Still, Incantation and Dance, C. Fischer
Strauss, Concerto, Boosey & Hawkes
Telemann, Concerto in F Minor, Southern
Telemann, Sonata in A Minor, Southern, Bärenreiter
Telemann, Sonata in G Minor, Schott
Vaughn Williams, Concerto, Oxford
Vivaldi, Concerto in A Minor, Oxford
Vivaldi, Sonata in C Minor, Schott
Vivaldi, Concerto in D Minor, Ricordi
English Horn Solos
Levels 3-4
Akimendo, Elegy, Southern
Maganini, Villanelle of Autumn, C. Fischer
Moore, Andante, G. Schirmer
Mozart, Adagio Religioso, Southern
Saint-Saens, The Swan, C. Fischer
Schumann, Einsame Blumen, Spratt
Tuthill, A Little English, Tenuto
Levels 5-6
Bozza, Divertissement, Op. 39, Southern
Bozza, Lied, Leduc
Carter, Pastoral, Presser
Chopin, Celebrated Nocturne, Southern
Fricker, Concertante, Op. 13, McGinnis & Marx
Handel, Concerto in C Minor, Southern
Hindemith, Sonata, Schott
Jacob, Rhapsody, Belwin-Mills
Koetsier, Partita, Donemus
Sibelius, The Swan of Tuonela, Belwin-Mills
Wagner, Shepherd’s Song, C. Fischer
Reeds
Oboists from the intermediate to advanced stage should be able to adjust commercially manufactured reeds or make them on their own. No oboists training should be considered complete without the knowledge of how to manufacture reeds. There are several publications on reed making, but it is best to seek the hands on advice of a professional oboist. Before an oboist learns to make his/her own reeds, they obviously need to purchase reeds. The reed may be the single most important part of the oboe. It works in conjunction with the instrument and embouchure to produce a tone. Because of the importance of the reed, it is important for the oboist to purchase quality reeds that will respond. There are basically three types of purchasable reeds:
1. Semi-finished commercial reeds
These reeds are mass-produced much in the same way single reeds are. The term
semi-finished implies that performer will have to modify the reed to their
specifications.
2. Finished commercial reeds
These reeds are graded much in the same way as single reeds for strength (1-5; 1
being the softest and 5 being the hardest). Even these “finished” reeds still will need
some adjusting by the player
3. Custom-made reeds
These reeds are made to order for customers to their specifications by professionals.
Private Lessons and Practice Suggestions
What can my lesson be?
A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.
A chance to correct basic technical problems and to learn new and better ways to solve challenges that the instruments and music present.
A chance to learn new repertoire and to learn about repertoire yet to be studied.
A chance to be a part of a community of players on your instruments; to learn and grow with them. Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.
Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond. As your performing ability improves, so does your satisfaction with music making.
Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems. You cannot “cram” for a lesson or performance; it does not work. Put in the time each and everyday. It shows when you get on stage. There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time. Most stage fright and tension problems are a result of poor/irregular preparation. Here is a basic list of practice goals:
a. Determine your semester goals. Then determine your weekly goals.
b. Decide what you must do today (today’s goals) to realize the weekly goal. Be very specific.
c. Warm-up. This can and should consist of a wide variety of techniques and styles. Feel free to vary you warm-up from day to day.
d. Practice individual patterns or sections of the music that need the most attention.
e. Take a brief rest. Walk away from the instrument to get something to drink and to refresh your mind. This should be brief so as to not lose your focus.
f. Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.
g. Review problem spots from the run-through.
h. Review previous etudes or repertoire.
i. Do some sight-reading. The best way to learn to read is with another player. This can be either duets or playing the same thing together. Sight-reading alone is not nearly as beneficial.
j. Decide on tomorrow’s goals.
k. Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through. If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.
l. Think about the following quotes everyday:
o Nothing happens but unless first a dream
o Go for it! Life is not a dress rehearsal
o All gave some, but some give all. Which am I?
Duets – Find another musician to play with. You can also play solos and etudes together.
This is one of the best ways to improve sight-reading, and it’s a good time.
Listening – Find recordings of professionals that play your instrument and other Instruments. Go and hear as many live performances as you can!
Join Your Professional Association – Make an effort to purchase a membership to your applied professional association, International double Reed Society www.idrs.org. They will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.
Buying Your Own Music – You should buy and own as much music for your instrument as you can afford. Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.