BARRET OBOE METHOD PDF

One wonders if this was the very volume utilized by Gustave Vogt at the Paris Conservatoire when he taught Henri Brod and Apollon Barret, the two men who were to produce the most influential oboe methods of the 19th century. Perhaps the most important aspects of the introductory discourse found in each of these methods are the essays on reed-making, the information regarding the choice of instrument, and the fingering charts: each method carries excellent plates. In addition, the master presents graphic measurements of his own Christophe Delusse oboe. Both Brod and Barret followed suit, but those two men composed only 40 melodies.

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This etude is far more challenging than those which have preceded it. The grace notes in m. The downward octave slurs in m. In general, this etude utilizes a wide range with many jumps, which, in addition to its much longer length compared to previous etudes, makes endurance something of a challenge as well. The slur to high D in m. Articulations are another area in which this etude challenges young students, and accuracy in that area is important in this etude. While this etude has some technical challenges, its biggest challenges are certainly musical.

These phrases are not built as simply as the phrases in preceding etudes, and may have multiple high points. The accents in m. It is acceptable to take just a little time with the end of m.

Shaping of the phrases in this section also requires careful consideration. At the ending, in m. Even if chosen as a technical etude, the tempo should NOT be increased, as, musically, this etude does not work well much faster than it is written. The other grace notes in the etude should be before the beat.

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BARRET OBOE METHOD PDF

This etude is far more challenging than those which have preceded it. The grace notes in m. The downward octave slurs in m. In general, this etude utilizes a wide range with many jumps, which, in addition to its much longer length compared to previous etudes, makes endurance something of a challenge as well. The slur to high D in m. Articulations are another area in which this etude challenges young students, and accuracy in that area is important in this etude. While this etude has some technical challenges, its biggest challenges are certainly musical.

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In a singular Romantic gesture, his parents named him for the Greek god of Music and Poetry. In addition, he had the most up-to-date reed making equipment of the day. But it is his considerable knowledge of music composition that truly sets him apart from the average oboist of his time. Certainly, he is the only one of that period whose name comes to mind daily, in its Anglicized form Barret, since every oboist in the world plays or teaches from his tutor on a regular basis. There is nothing quite like playing from this wonderful piece of history. I believe that I will continue to use it as long as I practice the oboe. So why a New Barret if the facsimile is so outstanding?

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