Oboe Curriculum

Erin Hannigan, Instructor

LEVEL I

Suggested Methods:

  • Gekeler, Method for Oboe, Book 1
  • Edlefsen, Tunes for Technique, Level 1

Reeds:

  • Reeds will be purchased from the instructor at this point
  • General discussion on how they work and proper care for maximum reed life
  • Basic reed adjustments will be discussed

Technique:

  • Develops clear articulation
  • Begins to understand the required balance of embouchure and air
  • Range: Low B flat to high D
  • Learns and memorizes fingerings of major and minor, (natural, harmonic, melodic) scales up to 4 sharps & 4 flats
  • Uses proper hand position
  • Uses proper technique of octave keys and half hole
  • Long Tone exercises will be introduced

Musicianship:

  • Develops a repertoire of familiar tunes to be played in various keys by ear
  • Principles of dynamics will be discussed and tied in with the discussion of embouchure vs. air

Ensemble:

  • Participates in school ensembles

LEVEL II

Methods:

  • Gekeler, Method for Oboe, Book 2 or Hinke, Method for Oboe
  • Pares Scales
  • Tunes for Oboe Technique

Sample Solos – Level 2 NYSSMA Solos:

  • Haydn, Minuet
  • Bach, Siciliano
  • Bach, Minuet

Reeds:

  • Reeds are purchased from the instructor
  • Basic adjustments discussed and done by the student where appropriate

Technique:

  • Increase air and embouchure control
  • Range: Low B flat to high E
  • Learns and memorizes all major and minor scales
  • Memorizes C, G, F, D, B-flat scales in thirds
  • Articulation discussed in further depth – legato vs. staccato, etc.
  • Long tones practiced daily
  • “Voicing” on the oboe is discussed at this point

Musicianship:

  • Listens to recordings of American vs. European oboists and discuss different concepts of tone
  • Ability to control air and embouchure – use of dynamics is increased
  • Discussion of phrasing and the link between singing and playing – use of both in lesson and practice time

Ensemble:

  • Participates in school ensembles

LEVEL III

Methods:

  • Pares Scales
  • Gekeler, Method for Oboe, Book 2 or Hinke, Method for the Oboe

Sample Solos – Level 3 and 4 NYSSMA Solos:

  • Barlow, The Winter’s Passed
  • Telemann, Sonata in A Minor
  • Sammartini, Sonata in G Major
  • Loeillet, Sonata in G Major
  • Telemann, Concerto in F Minor
  • Cimarosa, Concerto in C Major

Reeds:

  • Student will begin learning the entire process of reed making. The student will acquire his/her own equipment, and will be expected to bring several partially scraped reeds to their lesson each week.

Technique:

  • Increasing air support and flexibility
  • Focuses air stream better through concept of voicing
  • Learns and memorizes trill fingerings
  • Range; Low B flat to high F
  • Memorizes all major/minor scales
  • Memorizes C, G, F, D, B flat, A, E flat, E and A flat scales in thirds
  • Vibrato is discussed, and exercises are introduced

Musicianship:

  • Increasing dynamic range – good use of expression
  • Develops good concept of tone
  • Sees importance of musicality – not only technique
  • Improves intonation – importance of good intervals and overall intonation is discussed

Ensemble:

  • Participates in school ensembles
  • Performs in NYSSMA, with an accompanist when appropriate
  • Participates in All-County

LEVEL IV

Suggested Methods:

  • Barret, Oboe Method
  • Bach, Bach-Studien I
  • Sellner, Studies for Oboe

Sample Solos:

  • Level 4 and 5 NYSSMA Solos

Reeds:

  • Student will bring me reeds weekly. The reeds should be scraped to the point of being finished, or in the finishing stages. At this point the student will become more independent with reed making – no longer will they purchase reeds from the instructor.

Technique:

  • Increasing air support – vibrato is developing
  • Embouchure is developed – good endurance and flexibility
  • Develops clean technique – no finger glitches/half hole problems
  • Memorizes all major/minor scales
  • Memorizes all major scales in thirds
  • Range: low B flat to high G
  • Double tonguing is introduced
  • English horn is introduced

Musicianship:

  • Utilizes full dynamic range
  • Develops a dark, even tone over the full range of the instrument
  • Develops expression in various styles of music

Ensembles:

  • Participates in school ensembles
  • Participates in chamber music groups and community ensembles
  • Performs at NYSSMA – with accompaniment
  • Participates in a youth orchestra

LEVEL V: DIPLOMA LEVEL

Suggested Methods:

  • Barret, Oboe Method
  • Bach, Bach-Studien 1 and 2
  • Rothwell, Difficult Passages – Orchestral Excerpts

Solos:

  • NYSSMA Level 5 or 6 Solos

Reeds:

  • Student is completely independent with reeds, with an occasional exception now and then. Student understands how they function and how to adjust them.

Technique:

  • Improved finger coordination continues
  • Utilizes full range of the oboe
  • Develops a singing tone with integrated vibrato
  • Oboe repair and maintenance is discussed

Musicianship:

  • Full dynamic range is developed
  • Student sees the importance of musicality and uses imagination and creativity in their playing

Ensembles:

  • Participates in school and community ensembles
  • Participate in NYSSMA festivals with accompaniment
  • Participates in All-County, All-State
  • Performs with a chamber ensemble
  • Performs on a group recital/gives a recital independently

LEVEL VI: HONORS LEVEL

Suggested Methods:

  • Barrett, Oboe Method
  • Ferling, 48 Famous Studies
  • Rothwell, Difficult Passages, vol. 1-3
  • Bach, Bach-Studien 1 and 2

Solos:

  • NYSSMA Level 6 Solos

Reeds:

  • The student should be completely independent with reeds at this point. The instructor offers help in fixing them up, but the student will no longer purchase reeds.

Technique:

  • Finger technique is coordinated and proper hand position is utilized
  • Half hole and octave keys are coordinated
  • The entire range of the oboe is played with strength and with a consistent tone
  • Intonation is solid in solo and ensemble playing
  • Good utilization of air and voicing are done naturally
  • Articulation is clear and precise
  • Alternate high note fingerings are memorized
  • Note beginnings and endings are controlled

Musicianship:

  • Gives the musical aspects as much thought and consideration as the technical. Ability to choose appropriate interpretation and make creative decisions.

Ensembles:

  • Participates in school and community ensembles and chamber music groups
  • Performs in school musicals (is able to double on English Horn)
  • Performs with a youth orchestra
  • Performs in NYSSMA and enters various competitions
  • Performs with All-County and All-State ensembles