3fea

A. M. R. Barret

A Complete Method
for the Oboe

OriginalEdition

J. R. Lafleur " Son, Ltd.

Sole SettingAgents : Boosey " Hawkes^ Ltd.
Loadoo, New Yotlc* Ixw Angeles,Sydney, Toronto, Cmpe Town, Puis.

i'ft/ltcU III, ArtlKtlWi

 INDEX

Principles of Music 1
- - - -

The Oboe 1
- - - - - -

Scales and Exercises 19

- - - -

Forty Progressive Mdiodies -57

- - -

Sonata No. 1 108

- - - - -

Sonata No. 2 119

- - - - -

Sonata No. 3 130

- - - - "

Sonata No. 4 -144

- - - -

Fifteen Grand Studies '159

- - -

First Air Varic 207

- . . . .

Second Air Varie -213

- - -
 AiD^TS" m TM

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THENEWFINGERINGS NEWTABIESOF SHAKES SCALES EXERCISES "c.8cc.

WITH AN

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R. LAFLEUR "SON. UP
So\" Selbag AgeuUt BOOSEY ft BLAWKES. LTD.

London "
Wjw Vor* "
Loj Angeles Sydney
" '
Cape Toon "
Toronto "
Paris
 Preface to the Second Edition.

Since of the first edition of this work, my attention has been directed towards the far-
ther
the publication
improvementof the mechanism of the Oboe,and I have succeeded I "believe,
in forming a new combi

nation of the keys,which work easier than before and give facility
greater without
to the performer, terially
ma-

with
interfering the old systemci fingering.
The I have
objects
principal attained have been to procure the same for
fingering each octave,from C

bdow to the upper C,(that

is to say, a passage written in that compass may be playedwith precisely
the same in
fingering one or the other To
octave.) have more shakes
perfect on each note, some of

which were before impossible;

to do away with the half hole and the factitious of
fingerings the old

which not only added greatly

to of many
the difficulty passages, but deadened the 'tone of
system, veral
se-

notes very perceptibly, in

corresponding some measure to the stopped
notes of the Uom. Besides

allthese by
improvementsacquired the instrument it also posesses a of slurring*
greaterfacility es-
pecially

from the highto the low notes,and vice-versa,

this vns but
formerlyimpracticable, now by a
modification
slight in the and
fingering a new combination of the octave keysit is as easy to slur

as from E to 6.

It would be difficultin so short-a space to enumerate allthe advantagesof this new insfarament which

1 believe possesses allthe good qualities

of the it,without
systemspreceeding their and
disadvantages,
which requiresa much less time to become master of it,owdngto the parityof fingering
in both

octaves, and yet these good results have been obtained by so very sU^itan alteration in the fin-
gering:

only two notes changedin

beingabsolutely its whole extent. This will at once be seen by
examining the scale I have added and the passages I have written with marked fingerings
according
to the new method,all of which are very difficult,
and some impossible
on other Oboes, but on this

will be found comparatively

very easy, even in the most rapidmovement.
I have also made further experiments
as regardsthe best wood to be for
adopted the instrument and

I find that violet wood answers better than any other. It unites,in my opinion,
the best qualitiesof
Boxwood and Rosewood, that is to say softness and of tone,and by
briUiancy a slight
modification

in the greaterforce
bore,the instrument has acquired and body without changingits quality.
This is

also the opinionwhich has been givenby many eminent have

artists,who not onlyspoken to me on

the but
subject, have written in the most terms, amongst
flattering others I may cite the names

of Costa, Fetis pere, Berlioz "c. "c. It is scarcely

necessary to say that the instrument I use is one

of that and
description, I may add at the same time,that alreadymany professorsand amateurs have

adoptedit and have expressedtheir greatsatisfaction at the change,

and its good results.
It would be unjustnot to mention the part taken by Mons IViebert in thf construction of this

Oboe; both in regard to the ingenuity,

as well as soHdity
of mechanism,elegance it
and finish, leaves

nothingto be desired, and placesMon's Triebert at the head of this branch of wind instrument facturers.
manu-

I have carefully
revised this Edition of the method and the few errors which w"" beforeuncorrect

ed have now entirely

disappeared.
 PRINCIPLES OF MUSIC

ARTICLE I.

OF MUSIC.

Music is the art of combining souadi) in a manner agreeable to the ear; it is diTided into two parts.
I Melody, II Harmony.
Melody is a combination of sounds which by their elevation, duration and succession serve to form

a tone.

Harmony is another combination of sounds which by their spontaneous union serve to form Chords.

ARTICLE II.

OF NOTES AND LINES.

Music is written with seven figures called Notes, which are named after letters of the al_

phabet .

G, D, E, F, G, A, B.

The Italian equivalents,in use on the continent, are almost equally familiar to English minds.

Do, Re, Mi, Fa, Sol, La, Si.

C, D, E, F, 6, A, B.

These notes are placed upon fire horisontal and parallel lines called the Staff or Stave,

Example: |

The lines are counted upwards, the lowest being called the first line. These five lines contain

fou/ spaces in which notes are also placed. The spaces are counted the same as the lines the low.

est being called the first space.

But when the instrument requires a greater compass than the stave, "small lines called Ledger
lines added, under the stave for the lower notes, and over for the notes.
are upper

ZZZT Ledg^er lines

_.i"

Example:

Ledger lines
 ARTICLE III

OF CLEFS, THEIR POSITION AND USE.

There are three different .oris of Clefs, namely: the G Clef ^, the C CFef g, "ometimes

written 12 or
M, an.l the F Clef 9* aUo written C'

These Glef:i are familiarly known asi:

G ,Clef. Clef. F Clef.

" I Ti
Soprano or Treble Clef. Viola and Tenor Clef, fiass Clef.

These Clefs placed at the beginning of the stave different lines according to the struments
in-
are upon

voices for which they used. They give th"ir names to the lines which the,
or are upon

placed, and serve starting points to determine the names of the oJher notes. BUt as all of
are as

them are not of equal use, those least required will be indicated by a star "

There are two different sort, of G or Treble Clefs placed thus:

C ^
G

-o-

On the T.'^ Line and

an 1'. Li ne

Four different sorts of C or Tenor Clefs:

C C
^

m ^ i 1
^
2r Line 5'." Line and 4\ Line.
On the t. Line

Two sorts of F or Bass Clefs

m s n
On the 4*^ Line and 3". Line,
 ARTICLE lY. 3

OF THE DIATONIC SCALE.

A succession of sounds from note to its Octave is called a

Gamut or
Scale.
one

The Scale is composed of eight degrees or notes.

The seven notes of music giving only seven degrees (each note being a degree) a repetition of

It* Octave 8*.'' degree of the Scale.

ll|e sound is employed to form the or

Example with the name

of each degree.

S?"* Degree 4l** Degree. 5^.''Degreei e*.** Degree. V} 81* Degree.

!:" Degree. 3!^Degree Degree.

Tonic Super Tonic Mediant. 8"b-Ooaia"n" OoHiin"nt Saper-duminant Leadings Note Octave
.

also or
Sensible

Note. Sub-Mediant. also Sub Tonic.

Key

i 3X
TT.
ncc

B G
E
D

each bears which is descriptive of itself. The

ft is seen by the above example that degree a name

word be confounded with that of tone semitone (the latter familiarly known
degree must not or as

half note or
half lone.)*

The semitone is the distance interval between degree and the next, whilst the de"
tune or or one

is the note itself.

gree

The Scale five tones and two semitones, after the addition of the V} sound producing
comprises

the octave
8^'' note, as in the aboye example.
or

*The explanation of the nords tone and semitone is fiven in a special article vrith the different Chromatic.

Intervals.
4

It will be seen in Article VI between which degrees of the Scale these tones and semitones are

to be found.

When the notes proceed from line to

space, or from space to line as ijn the above example the

distance from one note to the next is called a Conjunct or Diatonic Interval from whence it comes

that the scale is called a Diatonic scale or Scale by Conjunct Intervals.

When two notes are farther apart from one anoter, the distance between them is called a junct
Dis-

.Interval .

For instance G-D, D-E or E-F are Conjoint Intervals because there is only an Interval of a

becond from G to D as well as from D to E or E to F.

G-E, G-F, G-G, etc. are DisjunctIntervals because the distance between them exceeds th*" in.

ierval of a second.

ARTICLE T.

8: 1. OF INTERVALS OR DISTANCES (in the natural order.)

As. said in the preceedingarticle,

the Intervals derive their name from the distance

existing between the notes placed on the different degrees Two notes placed on the same gree
de-

are called a Unison (see Ex.) Two notes placed, one on the IV degree of the scale, and the

other on the nearest degree (Line or Space)are called a Second or Interval of a Second.

On the 11* and the 3'.* a Third.

4*.''a Fourth.

" 5\^ a Fifth.

6'.''a Sixth.

7\^ a Seventh.

8*"'an Octave.

9'.''a Ninth.

and 80 ou to the 10*.*',

11\S W\ etc etc.

and the same in descending

EXAMPLE

INTERYAL8 IM THE NATURAL ORDER.

Ascending.
1112 1 1 5 6 1 7 1 8

T"e- =xr
3r -r-e- :;=xi: 113
TT

Unison Secoud. Third. Fourth. Fifth. Sixth. Seventh. Octave

Descending.
8 8 8 7 8 6 5 _8_ 8_ 8
n n xx JXIZ zx: zx: zx: xx: zx:
JUL azz
IX =:3E5: "*Tr
 ": 2? OF THE INVERSION OF INTERVALS (in the natural order.)

The inversion of interval consits in lower and vice then

an making the note the higher versa; a

Unison becomes an Ontave, a Second becomes a Seventh^ a Third becomes a Sixth and so on.

EXAMPLE. . ^e

A
1 Unison. 2 Secoiid. 3 TMrd. 4 Fourth 5 Fifth. ^Ji^ 7
Se^^i; ^''-^^^ 8
T-e-

^."7-..||M.l tl..'
^0_o
xi:
TT
isrz
-s-e-
ixr
3X
ZE
"^
^
nr 3X

Octave. Seventh. Sixth. Fifth. Fourth. Third. Second. Unison.

A Unison inverted becomes an Octave, a Second inverted becomes a Seventh, etc.

To be correct in this the number nine must always be obtained. Thus unison becomes octave or

1 and 8 make 9, second becomes seventh or 2 and 7 make 9 and so on.

ARTICLE VI.

OF THE SIGNS OF INTONATION.

In order to change the order of the semitones at will it has been to add tp the seven
necessarj
notes signs, called Sharps tt and Flats Avhieh raise or lower by semitones the notes before which

they are placed.

A note sharpened or flattened is called Augmented or Diminished. (The French simply call them

altered notes.)

EFFECT OP ALTERATIONS PRODUGEO BY SHARPS AMD PLATS.

SHARP Double Sharp FLAT Double Flat NATURAL (even sign)

" X or -X- or .#. (^
Raises the note Raises the note Lowers the note Lowers the"note Restores the note

a Semitone. another Semitone a Semitone. another Semitoue in both eases

above the one al. below the one ready

al- Sharp or Flat

ready raised by lowered bj to its natural sound,

single ^ single b. position and tone.

EXAMPLE.

The same note raised a semitone The same Sharpened note lowered a semitone

NATURAL NOTE by means of a Sharp. by means of a Natural.

i XE t^CC

The
^
NATURAL NOTE The same note Sharpened. same note restored to its natural tone.

The same note lowered a semitone The same Flattened note raised a semitone

NATURAL NOTE bv means of a Flat. by means of a Natural.

I The
* o-

Flattened. The
^
NATURAL NOTE same note same note restored to its natural tone.
 ft

by of Sharps Flats, is called tic

Chroma-
A scale which proceeds hy intervals of semitones means or

Scale; (The Art. 8 will show the numeric order of the seven sharps and flats.)

EXAMPLE

A Chromafifi scale by Sharps

Ji.Ni'UiJi"lUJP5
UUIU ( !"" :
tL l\.
Villi

tz E IJ
U"jl|,jJ
Same by Flats.

es JiJ|JJl'lj|J,i|iJJlJ.l
ARTICLE iril.

OF MODE.

In the of the scale there are to be found both tones and semitones; this has given rise to
compass
the formation of what is called Mode.

Mode signifiesthe Union of the three principalionnds which form between tbemselv^a " Chord

entirely Consonant called perfect Chord ( or Common Chord,) Thi" chord is the ba""

and constitution of all music

The three principalsounds which constitute the Mode are the Tonic or 1".^Degree, the Median!

or y^ Degree and the Dominant or SS**Degree. (See Art III Ex: of the Diatonic Scale) By adding(he
Octave to these three Sounds the Perfect or Common Chord is obtained.

There are two kinds of Mode, The Major Mode and the Minor Mode. It is always the I** third

of the Scale which characterises the Mode.

The when there two full tones in any seal from the It' to the .V** Degree.
Mode is Major are

C D E

# "JOl.

Tone Tone
XE

The Mode is Minor when there is only a tone and a semitone from the V} to the S'.**
Degree
ABC

$ Tone Semitone
JCC
m

II is thai there are two sorts of Interrakuf second or Coigunct Degrees in the scale t"" i* coai_
REMARK. seen

of 2 semitones full tone (major second) and the ather of unlyone semitone (minor second.).
posed or

The is to be known when the 1"* note or deg^ret is sharpened or the second flattened
minor second

producinB' the same soiniH in e"el) case (Th"ce note* are called Enharmonic)

EXAMPLE.

B Natural Sharpened Sama aoand as C nataral and /i C Watqral Flattened Same sound as Bnahiral

#
vrai

# 3^
Enharmonic
xi:

Notes.
3X innr

Enharmonic
I
Notes.
i
 The word signature signifies a certain number of Sharps and Flats placed immediately after

the Clef

Wlten neither Sharp nor Flat, conseqaently no signature is at the Clef, it is a natural Key.
The Key of G Natural Major is the model of all Major Keys.

Example of the Scale of G Natural Major, with the distances between each degree:
Degree
8

I -e^ xe: -o- jje:

A B
ssde:

c
D
Distance. Tone Tone Semitone Tone Tone Tone Semitone

The above Scale is the Diatonic Major Scale proceeding by tones and semitones. It will be seen

thai the semitones occar between the 3f^ and 4^.^*and the 7*} and S^** Degrees of the Scale.

All the other intervals are whole tones making altogether (as mentioned in Art: IV) five tones

and two semitones in the Diatonic Major Scale. It is most important to remember that the semituues

occur between the 3'.' and 4\''and the 1\^ and S*-^ Degrees in all Major Diatonic Scales on ever
what-

notes they may be founded.

In the Minor Diatonic Scale the semitones follow another order.

The Key of A Nataral Minor is the Model of all Minor Keys.

Example of the Scale in the Key of A Natural Minor, with the distances between each degre:

Degree. 8
6
7
5
4
i 3X

A
3E
"
B
irr 11

G 0
3X

E
db^

F G A

Distance. Tone Semitone Tone Tone Tone Tone Semitone

The Minor key is relative to the Major key. A. Minor key baa the same gnature
si-

aM its relative Major key" and its scale commences on the S*.*^
Degree of the
Major scale thna bringii^ the i'^ third of the Minor scale ( a tone and a semitone.).
It will be seen in the preceediug Ex: of Minor Scale that the 1".^semitone occurs between the

S"^ and 31^ Degrees and the 8".' semitoue^aKin theMajorcomnbetween the 7^} and S*.**Degrees.

It will be found that in every Minor scale the 1*.^semitone combs in the first 3'.**,
whilst in the jor
Ma-

scale it comeK in the first 4 .

In playing* the Minor scale the notes sharpened in ascending*become natural, in descending.

EXAMPr.E.

Ascending. Descending.
4o-T^
$ -"^ ixr
zx
I ZE
zr

B E P
 s

IMPORTANT REMARK CONCERNING THE MINOR SCALE.

By taking its starting point un the 6'.''

Degree of fhe Mnjor scale, which shows perfectly the 1^.'

Minor third (one tone and a semitone) and by sharpening lh6 5'.*'
Degree of the .said Major scale,which,
thus sharpened, becomes its Tl**Degree or leading note, it is clearly shown that the Minor

scale has been formed from the Major scale. By this means is formed a scale written as follows

and mni:h in use in the very old Style of Music.

Degree 788
i 2

* XT -O:*-

B
m-

E F G A A 6 P
3X

E
ZXsi

B
3X I
Toii" Tone
l^/s^Ace.Tone.Semifoae, tone. Tone. Semitone, .,
Semituue, SemiUne, ." Semitone, Tone, Tone." Semitone, Tone.
" ' " f " " "
*^^X **"*)"
Id this scale the note sharpened in ascending remains in
so descending.Although agree*hle to the
ear and seeming more regular to the eye, yet it is to be seen that this scale contains four tones and
four semitones in ascending (which is incorrect) instead of five tones and two semitones (whith
is correct.)
To obviate the difference whii.h occurs between the 6'.''
and 7*.*Degrees, it has been agreedto sharp,
en -also the 4*.**
Degree Major, which is the 6*.*"
Degree of the Minor scale, thus et^ualizing
the Major

aud Minor Scales with the only difference mentioned in Artr VII about (he 1*^ semitone.

Observe that the T^*"Degree is sharpenedin every Minor Scale and that it is the S*.**
Degree of

the Major Scale which is thus sharpt"nedand becomes the leadinguote of the Minor.

In descending the Minor Scaler,one of the semitones is once more inverted aud occurs between (he
61''and S*.**
degrees (See Example) by the reason (hat the uo(es sharpened iu ascending
are natural in

descending.(Very imperfectScale but we mu-st accept what has beeii intimated by our Masters.)

ARTICLE VIII.

8:1? OP THE SII;NATUKE AND NUMERICAL ORDER OF THE 7 SHARPS 8b 7 FLATS.

7 D"Kible sharp.*
MHARPsTIieirpnsitioiiKontheiitave. beginninganother
it 4: :t: Of X
series of 7
* 3E S
#
and followingthe same order.
F C 6 D A E B F

FlatH.Their positions
on the bta^e. Doable flat: beginning another
1/ t^
i E
" E " series of 7
^ 3E
E
and followingthe same order.
B A B G C F

2: 2? EXPLANATION OF THE DIf l-ERENT MODES ( Major and Minor Keya.)

The first sharp is placed on F the 4*''degree of ihe key of 6, and the six others from fifth to

fifth in ascending order. The last placed on the f.lef always becomes the 7!''Degree of the key
which follows iu the Major Mode, and the 2".'*
Degree of the tone which preceedsfor the Minor Mode.
Thus the* F tiharppoints out in the first case the totiic of G Major, and in the second case the tonic

of E Minor

EXAMPLE.
Maior Keys

y "
w fr iiS, 31
^
m xc
P P itAm w XE

0
W B

Minor keys
P

P iO: t^
XJl
P Iff "1
P ii^s r xs:

Observe that the second sharp is not placed vvithout the first, and so on with the others.

The first flat is placed on R, (he seventh degree of the key of G, and the six others from fifth

to fifth in descending order. The last placed on the clef always becomes the 4^. Degree of the jor
Ma-

key and the S*.**

Degree of the Minor key. In the first case the B flat points out the tonic of

F 'Major, and in the second rase the tonic of D Minor.

EXAMPLE.
Major Key.s
3X
im XE $u ^ i
E
D
$^^ xc

r. It E
te k
xn i m i^te $m VT

Observe that the second Flat is not placed without the first, and so on with the others.

REMARK. Either sharps or flats, found at the clef as signature, influence the notes placedon the

9ame degrees or at the upper octave^ or at the Ipwer octave during the whole of a piece of Music,
unless a natural comes accidentally to suspend their effect.

Accidental sharp Or flat is available for the whole of one bar only, unless a natural is met with

in the course of that bar.

SPECIAL ARTICLE JO 1.

OF INTERVALS, TONES AND SEMITONES.

The tone is an interval composed of nine partialintervals called ^'commas^ or of two semitones OTie

of which is Chromatic and the other Diatonic. The chromatic semitone is composed of five commas

and always occurs between two notes of the same name. The diatonic semitone composed of four

commas always occurs between two notes of different names.

EXAMPLE

Chromatic Semitonei Diatonic Semitone, i i Chromatic Semitone.',Diatonic Semitone. "

ftp 4 (jommos
i k {" li i d Gomia"w- i
"rf liommwM
P tiommuB
 lo

SPE"I4L ARTICLE X 2.

TABLE OF THE INVERSION OF ALL THE INTERVALS.

IntervaU of Jg and)
Auifineuf6^2*^1
I M *"^ lulervals of

Secouda I 1 tone. I 1 ioiie and 1 Thirds

1 sfniitone. / ,
beiugiuverled
.

-^
^
. '
being iiiverler
become Mi OOP 7'" Dimiuished?!'' become )fMiuor
Auymentede'.^Major
6*.'' 6V'"

Sevenths.
=cx: 3r:

*nrcr
I Sixths .
I I u
11
4 tones and 3 tones and 4 tou4s and 14 ione" "^n 3 tones
' and
i2 semiiones 3semitnues. l2 semitones J\lseinitoneJ\l
2 semitone t.

4*^ Augmented***'
fDiiiiiBi8hed4'.*lfperfect fDiminislied
St.YP*'*"***
5'."'YAugment."ff
5'.'^
"1
.

Foarths 4 " "

33=
Fifths
113
1 tone "Bd {{2
tone* and 2 tones and 2 toaes and {13
tones id
sAd tones aiid
beinginverted 2.semitoBe". Illsemttone. 2 semitones. beinginverted] 2 semitones.jlltemilon
J^ " semitones J
become become
Augmented 5^*^
Perfect 5*.''Diminished S'.^ fAuffmented4^Ypepfeet
4".*'DiminishedV.*)
Fiflhb.
33=
aa:
33=
2 tones
^^ I Fourth. * "" 1 3S I 3DC 3x:

3 tones
2 semitone
and
"J
3 tones
1 semitone.
and
2 semitones
and
J 3 tones ones
semitone.
and
2
i tone and
semitones J
6\^ 6Vrr d6f?^ Dimini tftrMiaor ff^P V Major Tt"*
Minor "Major Au gmentedo "^'U
Sixths
zxsz 3x:
Sevenths i ^ 3x:
I
J3toneri. and 4 tones and 4 tones and I 3 tones and 4 tones and 5 tones and
beinginverted]^2 semitones. .1 semitone. 2 semitones- beinginverted]y3 semitones. 2 semitones i semitone.

become become
Major 3":"* Minor 3':'*Diminished 3^ -^u^mented2^(
Major 2 Minor 2"""1
Thirds. Seconds.
^ ox: aa=
33=
^^ =cx:
mi
I1 H
2 tones. 1 tone and
1 semitone. [ 2 semitones. tone
llsemiton*
and

.
Jl
1 tone 1 semitone.

It resnlts
from the preveeding table that every Major interval become" Minor, and
every Minor terval
in-

Major, when inverted. Every Augmented Interval becomes Diminished and every Diminished
interval Augmented. The Perfect intervals which are the Fourth and the Fifth remain Perfect when
inverted.
ARTICLE IX.

OP NOTES AND RESTS.

There "r" seven characters which determine the value of notes. It is from these characters that
we learn to know and to measure the time to be given to each of the said notes.

There are also seven rests or silent notes which correspondexactly with the value of the notes.

EXAMPLE OF THE SEVEN HE8TS.

Semi breve. Minim .Crotchet. Quaver .Semi Quaver Demi-seini .

Quaver. Semt-^d^i-semi .

J^ J 1 Quaver. ^
5
Semi
4 w. 3: P^
Quaver : Demi-semi Quaver Semi-demi-^"'ml
rest. rest. Quaver rest.

6 or

i
Two Biirs Rest. Four Bars Rest. Six Bars Rest. Seven Bars Rest.
 11
T4BLE

VALUE OF NOTES.

oMeSemi BrcTe
ona Semi Breve or oue Bar.
is the equLTalent of: O. . .

2 MinimB
"T^ T
or 4 Crotchets.
T T T T
.
.
.

or 8 Quavers
T L
OP 16 Semi quavers.

'"
"
""""/"'
"""";r trTrrrrrrrrrrrrrrrrrrrrrrrrrrrr\
or 64 / BBS l^^^s Bsss B^s i^^^s BBB9 ^^^a IBEs
Semi-demi-semi '^''*''^''-^
tlff^^^ri^r^^ff^m^^fmm^^^'

It 18
easy to see from the above tabl" that the semi breve is equivalentto two minims or four crot.

ohets etc, the minim to two crotchets etc: the crotchet to two quavers etc: and the quavers to two

semiquavers etc. When several quavers, semi-quavers,

etc: come togetherIhej must be joined as below.

EXAMPLE OF CONTRACTIONS OR ABREYIATIONS IN MUSICAL NOTATIONS.

Semibre"e two or four eight

oi^gi^
"'* or sixteen
*n^leeu or thirty
thirly^wo
two
j^t^f^^^
rnrrrr
Equal Minims. Crotchets.
Quavers. Semi quavers. Demi-semi Semi-demi-semi quavers.
quavers.

ARTICLE X

OF THE DOT PLACED AFTER A NOTE.

The dot serves to icrease the preceeding note by half its value; consequently,
a semi breve which

equals two minims is equivalent to three when it is dotted; and so on for minims, crotchets, quavers
etc. This applies equally to rests.

EXAMPLE.

i
" s
-X
/ N-
Jl i i
rrr fTT B^ S7 ?
J-
1 n
fff
JL Triplet is a group of three notes arising from the division of a note in three equal parts of the

next inferior duration, which are to be performed in the time of two such notes.

Sometimes the notes are divided into (5,7, 9, etc:)equal parts instead of 4, 6, or 8, as usual; in
this case a curved line is drawn over it ^
"",^ '^ '5^ h!" in the above example
IS

ARTICLE XI.

A Musical Compositionis divided into equal portions,called Measures or Bars, by short linesdrawn
aceross the stave and which are also called bars. Measures in their turn are divided into equdlparts
called beats.

There are three kinds of measures; th.it of four beats or Common time indicated by C, that of two
beats indicated byl^ or 2, and that of three beats indicated by a 5 or jL.
EXAMPLE OF SIMPLE TIMKK.

Of four Beats or Common time. Of two Beats or Common time.

-fHf- ft *" I
" r f f I
" ' f y -4*- -4 "- "4 f-
n
I PF=e^
rrJrrrr'curmF ?^ OP 'i ""
rr 'rrrrTT I
how to beat it 2^=^3 how to beat it ? (aliaBreve)

Of three Beats.
-M4 1" N " , 1 f ^

"*""^ r ir rirrr \rrrrrr

3. I I 31
.

how to Beat it i_i^2 or 2-^^

From these measures are derived many others which are called Compound Times.

EXAMPLE OP COMPOUND TIMES.

In twelve eight time, derived from that of four Beats.

.M ffft I "f-" H 1" ^" ^ " " 1" # " " "-
-O-s-

rf-^TT'f'Liimrcirca'
12 times the eightpart of a semi breve.

Derived from
that of two Beats
i rirri[iir'"'r'r.r'fa[j:ri'"
-irf'rrrrrr"
In two four time. In six eight time. In six four time

y f
Derived from

that of three Beal ...

'rr.r'rrrr
iir-iixr."''r\r''rrT"'[ir;'r"'^
In three eighttime.In nine eight time In three (wo times .

There is also a measure composed of five times.

5

how t"o beat it 5^^

II l" f " f " " f " " M M f
g I I II
So written
""^r rrr'LrLrtrtJLf
'r r r "
In five four time

(Observation concerning the ^ time.) When a slow- Mov^ has to be played in -fttime it is
beaten differently 6 6

how to beat it in a slow Mov! "" or

b^-j4

3'
 14"

ARTICLE XV.

OF SLURRED AND DETACHED NOTES.

In order to render music more agreeableand less monotonous different signs are employed.
This r- '"" called Slur or Tie shows that the notes which it embraces are to be playedsmooth-
ly and connectedlywith a single stroke of the bow\ When it occurs over two notes in unison th^y
must be united as one note. This sign ttM called Staccato shows that each of the notes over

which it is written should be played shortly and crisplystopping the bow on each. This

called the Mezzo staccato shows that the note"i must be separatedbut in one stroke of (he bow.

EXAMPI.RS

^ITI'IH
^'flTi'liII
Slurred* Staccato. Mezso staccato.

ARTICLE XVI

OF SIGNS OF EXPRESSION.

In order to give expression to music different signs are employed. This "~

shows that

that the sound m"ist be gradually increased, this Z that it must be gradually diminished
and this "
.^T "^ ^^'^^ ^^^ sound must be increased as far as the middle and then diminished

until the end. To show when to play softly the Italian words Piano and Dolce are employed.
They
are of ten abbreviated thus P or Dol. Very softly is marked PP To show when to play loud the
word Forte is used, and Fortissimo when to play very loud. These two words areaddreviated y*
and jy To show the gradual increase of sound from soft to loud in a long passage ihe word cres^

c"it"/o abbreviated cres is used, and similarlythe diminution of sound from loud to soft is shown

by tbe words Zmortando or Diminuendo abreviated Zmorz. and i)im. The ablireviations r/^sf,
/zy sJZf/jp or even /"over a single note are also employed as signs of expression; "-, A, V, indi.

cale a marked accent on a single note and even on a Chord.

-4^.T1ieword hmr is borrowed from the Violu to give an exact idea of this expression.
 u

ARTICLE XTII.

OP GRACE NOTES.

(PORTAMENTO OR APPOGGIATURA OR TURN.)

A Grace Notte is a note sjualler ibau (he others, and placed more frequently before ihan after

them. lu the 1'/ instance its value is (hat of half the note which follews and in the it^ it borrows

iU value from fhe note which preeeed*. When several occur togethereither before or af ter^they
are

called a Grupetto or Turn (m) and should be executed more briefly.

Sign used for a Turn with the lowest note made "harp Z*^^
Sign used for a Turn with the highest note made flat (c^)

EXAMPLES

as \vrit(eu played.

t
Effect,

xc

as written. I played. 1
I

Effect.

as written.
-nr

^^^ 33:

EXAMPLES n"*TORN.

Effect.

^rruM
as written played.

Effect.

as written played,
 I"

ARTICLE XVIII.

OF THE SHAKE OR TRILL.

Shake Trill and equal alternation of the dis.

The or
i"
aji
effect produced by the rapid two notes,

for the Major Mode and semitone for the Minor

tauce between them never being more
than a tone a

Mode. It marked little Hr: tr which is abbivyiation of the word Trill. There
18 by a cross or by an are

several of employing Shakes, being simple and introduced without preparation or

termi.
some
ways

nation, whilst others both prepared and terminated.

are

EXAMPLES.

as
written.

fc_

I p B ^ m
Simple, without preparation or
termination
Terminated but not prepared.

as played Major Minor.

written
as
 7033 "(3(!)3

The Oboe, as a solo instrument, possesses the finest qualities, and

combining delicacy force

with sweetness and of tone"

flexibility thns rendering it more capablethan any otherof embody,
ing feelingwith every shade and varietyof expression .

In Ihe orchestra it is indispensable, heard

of its tone, which is distinctly
and the peculiarity

above all others, participates

both of the stringedand wind instruments.

In the manufactore of this instrument, various experimentshave been made to discover the

wood best proved that Boxwood

adapted to produce a good tone; experiencehas clealy and Rose-
wood

claim the preference I recommend.

Rosewood, having found that wood far superioria pro

ducing a fall hoUy of tone, which can be modified in the softest and most delicate manner:the

lower notes especially

are of a finer than
quality in instruments manufactured of other woods .

Many endeavours also have be en made to improve the tone and fingering of the Oboe,

Boehm's for
system prevailed some time, but the great inconvenience of that system.which
diminishes the compass and changes entirelythe qualityof the tone,has induced me to make

new researches. The Oboe, in its present improved state, is a

very perfectinstiument, and the

modifications appliedto its mcdianism have preserved the fine qualityof its tone in its

natural state.*

The compass of this instrument ranges from Bb to G alt: it has fourteen keys,two of which,

having additional branches, increase the number to siitteen;from the greaterlength of the bell

(rtlate improvement) the instrument derives a of

certainty tone throughout,which enables the

performer to producethe upper notes, such as " and F above the lines,with greatercertainty.!
I would advise those persons who requirean instrument to look more in point of economy

to than
utility to external beanty takingcare it has the full complement of keys,otherwise bad

habits of fingeringare and which

engendered, are difficult to eradicate .

In the selection or exchange of instruments .

pupils should have the advice of a master,

or some other competent person, as theyare unable of themselves to appreciatea good in-
strument

,
or to detect an indifferent one "

*
JVOT". These improved Oboes will bear ihe followingmark.
TRIEBERT
Paris.

Barret
London.

t Several leaxonB in this Method descending to the lower B Hat,' hare been arranged to as to be

placed on instruments not having that note .

BARREr.
Oboe Method.
 THE COR ANGLAIS

it may be called, the Oboe, since it bears the same

The Cor Anglais,or as tenor

relation to the Oboe as the Viola does to the Violin, is capable of prodncinggreatefTpct.
both in the Orchestra and as a solo instrnment. No inslrnment so nearly approaches
the tone of the human rotce, and in Italyit is called not only the "Corno laglese but

"Xlmana Voce."

melancholyin Mosic. and in

The qualily'^fits tone is peculiarly
adaptedto express
Caatabile and slow movements it is nnrivalled this however
peculiarquality, oufits itibr

great rapidityof execution.

The fingering the
is precisely same as on the Oboe, the tone producedbeingone fifth

lower.

The Baryton or bass Oboe, is an octave lower in pitch than the Oboe, and is also

fingeredin the same manner; it possesses a finer qualityof tone, and is heard to advantage
botn in the Orchestra and as an Obiigatoinstrument.
Of these tMo instruments, the Cor Anglaisis better adaptedto the practiceof ama.

teurs. as it is not so difficult to produceu good toae on it,as on the Oboe. As the same

music suits bqth instruments, those who play the Oiioe can easilybecome proficienton
these before mentioned varieties of it,by merely accustomingthemselves to the differ

ence of the Tae

proportions. process of malting reeds for the Cor Anglaisand Baryton
is exactly the same as for the Oboe, but the machine, tools,and
re(piires cane to be of

larger proportions.
In addition to these varieties of the Oboe,tHO others; an Oboe in Bh,one note lower ia ])iteh
than the ordinaryinstrument, and one a minor third highdr.in"K are in common use on the Con.

ineut.in militarybands, and are found to be very effective,playingwiththe"bandBl'Clar

ON THE POSITION OF THE INSTRUMENT

The qualityof the tone dependsgreatlyon the manner of holdingthe instrument; for

instance, if the Oboe be held similarly

to the Clarinet, it very rarelyhappensthat a good
tone is produced. The best and most natural is
position to place(he instrument in a straight
line from the month, at a proper declination,
about six inches from the body,measuring from

I shall at a^:r time be kappy to exhibit the of

"apul"ilitieM thette instnuMBts to Maatcrii of Bandh who liivuur
Ma/

tat! vith a (\ill at uiy revidenoc 3 1 Gfvticeater Street, Gloucester Gnta, Regcnh Park, and aLiO to aelet^ hiHtrumeiitf Tcr

amateurs. Pupils and othen.

Oboe Method. BARRET.

 THE TONE.

However exqnisiteand beantifnl the tone be, it is comparativelyuseless if not

may

accompanied by taste and sentiment; but it does not follow tliat the pnpil must relyon
sentiment or expression alone, and not endeavonr to improve the tone; quite the con _

trary; his utmost attention must be devoted to that most essential point,for it fre .

quen% happens that pupils,in the earlier stag^es of study,have a bad tone, which may

be improved by care and practice. The mode of scale study I have previoosly
recom.

mended will be found very useful in improving the tone.

ON THE MANNER OF "ATTACKING'' THE TONE.

The tongue is to Wind Instruments what the bow is to Stringed Instrument8.it pro.
duces brilliaat execution, and is the means of an infinite varietyof articulations.

It is no easy task to make the tongue and fingers sympathise,or act together,

particularlyin the commencement: it is only after long practiseIhat the pupil will

succeed. The beginning of every phrase must be "attacked" with the tongue. The

tongueing must be performed in the followingmanner.

The reed must be placed in the mouth according to the rules laid down at page

(3 ) the tip of the tongae must touch the end of the reed, so as to close the aperture

between the two pieces of cane forming the reed; the mouth is then filled with air.bylhe
pnpil drawing a long breath, retainingit,and compressing his cheeks sufficientlyto
cause the reed to vibrate. The tongue must leave the reed quickly to allow the breath

to pass with some force into itifAis constitutes tongueing.

The is
great difficulty to sustain the note, without from
deviating' the quality or

justness of the tone. In order to do this, the lips must be carefully kept in the pos"

ition indicated at page (3 ) and the stream of air forced into the reed must be perfect,

ly equalin order to Hnish the note, whether it be forte or piano: this requires great

practice and management of lue breath: care must be taken that the cheeks are not

puffed out in playing.

Oboe Metkod. BAKRtT.

 ON RESPIRATION

The manner of breathinginto the Oboe reqnires much mauagemeni and skilJ. Pu

pils generallynse more breath than is requiredfrom the smaUaess of the apertnre in

the reed. In beginning a phrase,the Inngs must be inflated

sufficiently fur its per.

formance. As musical phrasesseldom, are composed of more than two, three, or four

bars, a pnpil of the most delicate constitution may easilyaccomplish this without fa_

tigue or exhaustion, even in a slow moYement. If in playinga phrase,the pupilshould

find be has retained too much air,he must let a portionescape, taking care to have

sufficieot remaining to finish the passage. In taking breath, in the middle of a passage,

it must be done quickly,by what is termed half respiration.

Breathingthrough the nose must be avoided. The effect of piano zjid forte is duced
pro-

by the quantityof air and the degree of power used in it into the
forcing instrument.

ON ARTICULATION.

Articulation is to Music, what Accent is to Speech;it renders the playingclear and

intelligible,
and it is by articulation that music is made to express subjectand passidn,
without which it can never be understood.

There are two modes of articulation:the slorred and the staccato. The first is in

dicated by a curved line ^ ^ above or under a group of notes: it that

signifies all

the notes so marked must be played smoothly,exceptingthe first,which is to be at.

tacked by the tongue.

B...
rrrr[^i^iriLc{ra^^Mi
^.r.
The second, or the staccato, is indicated by dots, round or placedunder
pointed; or

over each note, that

signifying those notes must be accentuated, short and distinct with

the tongue.

JV9 7. " J. "

I " .
I t 4L

i 33:
i
Ex:^

:^r^f^pf^
"^l^gfe4^^ r. I 3a:
I

Oboe Method BARRET.

6*

The difference between the Ivro dots is,that the pointedone must be playedvery short,

the same as ii is maiked in the second line of (Ex:^),while the ronnded one must be

more soft bnt eqnallydistinct.

There is another mode of articniating.
""hich unites both marks:

^--"^^^1
This must be playedeach note bnt with
distinct, a soft tongne. and the note held

on( to its fnll valne.

Fnpilsshonld carefnlly
practisethese fonr different ways of articnlating,
as theycon.
tribute greatlyto giving varietyto the playingand form the groundwork of a good
execution.

There are some ways of articulating

passages more than others,par.
advantageous
in solo performing:
ticnlarly the selection must depend on which is the most effective

and best adaptedto the instrnmenl. I will give a few examples:

.VPi.

fifrgfrrfgrrffi
1 -

Bx:5.

^^
In rapidpassages of requiring
triplets to be executed with vigour,N? 1. of this ex-
ample

is to be preferred,
as suitingbetter the Oboe.

In passages of four notes, as in the following

example,N? 1. is the most effectiveon

the Oboe, whilst NV 3. is preferable t)f execution.

for rapidity

Ex: 6-.

Obne MeChoil. BARRET.

 la passages of six notes as Ex: 7. N9 i. is lo be preferred,
excepl la a very rapid
moveiueut "vliea it is better to take N9 3.

"Vo 1.
^^"^Mrr^0frr^frrr^.^'?0.
i
Ex: 7.

Any of the above modes of articaiatiou may be used: the choice mnst dependon the

nature of the passage to which they are applied,

-and the time of the movement.

ON EXPRESSION.

unlike those musical attributes which may

Expression, be is only
acquiredby study,
exhibited where nature has bestowed a favourable organisation Upon those who have

not this gift,

no practice,
no study,will ever confer it. Nevertheless the habit of play_
ing good music, and listening
to the best artists,will give a notion of what is meant by
it;and by taking the latter as models, one can in some measure sapplythe placeof real

at all events
expression, so far as to be able to and
phrase correctly without affectation.

The '"nuances" OT shades of expression, to music.

give variety In from
goinji- a pianis.
simo,to i. and
fortissimo, vice versa, an intermediate "nuance" is necessary to avoid an

for instance,a phrase

abrupttransition; marked as N9i, mustbe executed as N? "^.

Ex:i.

Ualess differently
marked, it is a generalrule that in ascendingpassages we should

increase the tone, and decrease it in descendingpassages.

Ex:;?.

It is a great error to make a "nuance" on every note. Many persons practisethis

it to
thinking
exaggeration, be they deceive themselves, it
expression: is but affectation,

and onlyshows their want of real the

feeling more strongly.
Obue Method, BARPET.
 8

"Nuaaces*' should be used spariugly,

that is to say, it is preferable
to use butoneinapbrase.
than to destroythe good effect by frittering
it away in several smaller **naauces.

good.

In syncopatedpassages care must be taken to avoid marking the second half of the

note "x: N9 1 is as it is usuallymarked. N? 2 must be avoided.

carefnlly

jyo 1 -

Ex: 4.
JV9 2 bad.

In passages like the it is eqaally

following necessary to avoid markingevery beat in the

bar,unless the composition marked:

is specially N9i is as it shonld be marked; N? 2 is bad*

Jr9 1 good.

In fact the art of which

"nnancing," can be only by a long practiceof
acquired the dif.

ferent modifications of the tone isa greatresource, and I advise pupilsto pay the utmost at.

ten iion to this most essential part of Music.

With regardto orchestral performancesI must make a few remarks. When a solo has

to be performed,and the subdued

accompanimentis sufficiently to allow the solo instrument

scope, the solist must use largelyevery means in his power to produceeffect,and to pre.

dominate over the Orchestra, the solo playerbeing,for the time of his in
performance, e\

activ the same positionas an accompaniedsinger.If on the contrary the Oboe be used

ns an shonld
accompaniment.it be then and
playedas piano as possible, not be heard

above the solo instrument. In soli,

or passages for several ins tuments, the performermost
eiideavonr to equalise
and blend his tone,so as not to be heard above or below the other instru

ments. never making himself more than one part of

assisting an harmuaious whole.

Oboe Method. BARRET

 ON SMALL NOTES, TRILLS, AND GROUPETTES.

No fixed rales hare been written on"smail notesr

Their execution is left

entirely to the taste and capriceof the player. This is sotroe,

that a passage written thus.

JW^ I,.!.I I-
Ex: J. jr.^ T^ !sa ^
m 35: I
^
can be executed as follows by one artist.

ex:..
^i'A ^cfiirii
is(ftrf^)
and in this manner by another

Bx: ..
jn1 frg-i
ry n gy Ii^^l
II r

and be the other: onlyE\:2 is in the modern taste than

equally
good one way or more

Ex:^, and of course preferable.

In our da^s,small notes are only employedas means of abbreviation, and in passages

in which the playeris in the of changingthe

impossibility intention of the composer, for,

if there is anj doubt, all the notes of the passage are written.

A point in which every body agrees in the manner of executingsmall notes, is nhen

there are st'veral before a principal

note; they must then be slurred qaic^yon that note,

in order to arrive in time on the principal

note.

Ex: 4.

It is the same when the distance of the small note.fromthe note, is

principal more than

a tone,which can be a third,a fourth,a fifth,"c "c.

"x:o.

AH plajred,
J IifQIjI II
Uboo. Method. BARRET.
10
Tiie (rill,or mordenfe, is a shake,placedon a note of short value,and which is strncli
as quicklyas possible,
iu order to give it more It
brilliancy. is indicated as it is marked

iu N9 1 of the following
example,bnt it mnst be execated as in N? ^ of the same "x:Es^

pecially
if it is a moderate movement.

^ -. ---V--"
.ji
. .

Ex:".

If on the contrarythe movement is it is executed

rapid, as follows:

febT-^^fg^-^-^jT^^T
The groupette, which is indicated in this manner is also
("%") one of those abbreviations

which are employedin passages as those of N? 1 of the example,

following bnt which mnst

be execated as if written in N? S of the same "x:

.voy

Bx: 7

There is great deal to be said on this but,in

subject, opinion,the view that
a more my
I have given of it is quite sofficient to show the pupil what is the most essential lo be

known, the rest will be learned with time and practice.

CN REED MAKING.

It is of paramount importance that performers should be able to make their own reeds.

As they most be formed to suit the and teeth,none

\\\fs can Judge so well as the player
the of reed
description he requiresfor a reed adapted for one performerwill be totally
un.

fit for another.

There are three thingsnecessary to constitute a good reed, justness, and quaL
certainty,
ityof tone, bnt it is almost combined.
impossibleto have all these requisites
Difficult as reed leaking may be, it is simplecompared with what it was previous to
the introduction of the new machine and tools (a recent by which
invention), the thickness

and size of the reed can be regulatedas precisely

as possible.

Ohoe Method. BARRET.

12

Take the cSiiie out of the groove and if the inside be found too thick on account

of its roundness, and the knife of the gouge have no effect on it,scrape the middle

part with ( 7 ) until the cane is of a proper which

flexibility, is proved by taking the

cane between the thumb and Hrst finger of each hand and bending it contrary ways:

place it on (o) slice a small portion of the out side, at each cud, as at figure ( 6 )
"

and scrape slightlythe surface in the middle where the line goes across. The reed

must now be examined to see if it resembles the illustratiou ("):itis necessary to

moisten the part which has been by placingit

scraped, in the mouth for a minute or two.

Place the reed along the shape ( d ) from V ; bend it over the top, between the

small edges of the shape,until it touches the other side: observe that the reed

be placed on
equally the shape:push the spring {(\))
up, which will fix the cane, and.

with the knife pare the sides to the shape of the steel. Take the reed off, and after

making the edges straight,

file (he top a little on each side with(9),to resemble 0.

gnre {l4),
then placethe whole in the mouth for a few minutes.

Take the staple(/o) and place it on the mandril {n\ then put the ends of the

reed in the interstice on each side of the staple,press it down until the reed fits tight,

ly:take some silk cord, sufficiently

strong not to break, and tie a knot at the end,

place it in the niche A in the lower part, where the collar of the stapleis divided:

the cord along the collar,where edge prevents it fallingdown: wind the silk
pass an

tightlyround the reed up to the part of the staplewhich is above the collar,so as to

close the aperture at the sides,and prevent the air bring the
escaping: silk down a.

gain to the collar and fasten with a slipknot: to prove this,it will be necessary to

take stapleand reed off the mandril, and blow into it:if the air escapes, it must be re.

jeeied.and a fresh reed commenced. Cut the silk off,and scrape each
slightly side

of the reed to make them even, file the upper surface about the 16^J*part of un inch

Oboe M.'lhod. BAftflEt.

 13

on each side,and \viih the knife (7^) cut off a very small portion of the tip of the

reed oa the block J, in order to open it;introdnca a pieceof steel (ll)into the reed,

between the blades, as (le),and with the same knife, scrape the sarface aboat the mid-
dle

of the reed on each side,nntilit becomes very thin and smooth at the top.snffieieuL

ly to allow it to Yibrate;it mnst be also pared a little on each side. Now blow into the

reed, and if it '*crows,"it

is a sign the reed will be a good one; if thought too weak, eat

a small portion off the top,if too strong,scrape it until it suits the embonchnre, taking

care that there is no in

inequality the and
scraping, that it has the form of (77):each

corner must be taken off to prevent its breaking,it ought,when Hnished^to resemble ex.

actlythe drawing (77).

It is only experience which will enable the pupil to know when the reed suits the

embouchure: with a little trouble,he may derive some service from a reed which at first

he msiy have thought good for nothing

In case the reed should be found to have too little vibration,it must be scraped

thiaaer at the top:if it vibrates too much, or the tone is tooshrill,

scrape from the bottom

to the middle of the reed, and then cut a small piece off the top,as in the
finishing reed.

Scraping is the most difficult and delicate part in reed making,the pupil is ad.

vised to pay the greatest attention to this importantpoint,and to persevere until he

makes himself thoroughlyacquainted with, and master of it.

I trust I have now clearlyexplainedthe method of making a good reed, but I must

add that a few lessons from a good master are of more value than all written rules;

and taken at the commencement of his studies, would soon enable the pupilto acquire

the habit of making his own reeds.

Olii"e Method. BARRET.

 14

T^.JxJjJ^'J

x-m

0 0

""

"t

".

TABLE OF THE CHROMATIC SCALE.

_.vt^
i Chromatic scales, placedexactly
The foiejunin;;: one over the other, are intended to assist papils,
in ascer

tainingthe idetnKythat exists between certain notes, which althootChdifferently written sound exactly
,
the

t- same, sach an AJtand B^ E? and FI| See. The ohjectof these scales is to show al a glance that the.

only difference is in the notation.

2__ EXPLANATION OF the TABLE.

E"pryhole of the Oboe, drawn onthis table,which is not covered "ith a key,is represented hy a hori-
sontal line.There are 6 holes and conseqaently 6 lines; ^iz: three for the righthand and three for the left.
These are crossed by dotted perpendicular lin"-"jeach leadingto a note in the scales ahove. Wien the hole is
,

to be closed, it is indicated by a black dot, "; when it is to remain open, hy a white one, o; the vhite with

a liiif across it thus.izf;signifies that the hole must he half covered. The numhers placedabove th"'dot on
the pf-rprndicular lin". are to show that,the kejswhich ha"e been numbered to correspond with them, are to

open or clost^d according to theirposition. Tvo of the kejn are provided with double branches, and have two
numbers each. The highest denotes that the key is to he opened hy moving the double branch, one (N?6.) with
the littl"iiun-rof the lefthand. This is used with in passages liVe the following.
greatadvantage

Olwi- WfduM PARRET.

 1 2
JS
"

1 2 1. 2,
1 2 '3 1 2 TT 1 2 3 1 2 ^ 2 3 *
1^ :i
1 a

);,.IJjjjiii,ii;i.iii.iJ.iii
I -=" 1- I!
I M
!i Jl
I ^ M
M
! M
i
'
'

"
rr
! !
I I
"
I
' I
1 2
I
3
I
-f
"
i
1
i ! '
J^ i:

IZ n

I I I I I I I I 1 I 1 I I I I I I I I I 4 I .

i.4 24 14 14

1^ i^ L^ 13 l^ t.} 13 13 J^ 13 13 13 13

I 12
1 I
I
n
I
I
I
I
I
0 8 8 8 li 0 8 0
I
I
I 1 I
I I I
I I
I I
I I

4
I
I
i
I
I
I
I
I
I
I

e" " m 0 0 00-000 0000 "

""
I J
I I
I I

O O o o -G "
0
I
I
1
I

^-Xy ^ ,^ ,Q Q-jL **^ O"

.0 ,Q
O
.Q
0-6
" r "' 0 O" O 0 d^f 0 " "0 U " "

-o o -e "
"- " "
e " "- e "
e- o o "
" " e " e "
e-

I
I

e" " " " "

9 "
9- "" e " "- t9" e- " "
" "- Q "
o o
1 I I I ;

I I I I I I

I I I I I I
I I I I I
I
I I I I I I

o " " o o o o o o o "

e- -e "
o o o "
o o " o o o -" "
" "
e-

The with the

othi'r(N*MO.) thumb of the left hand is rery useful in a passage of this kind.

^^^Tgr.f^ 5-"L_

The key(N9w.)is ased from Ei]to Ai| ^^ \ \ 1 |l| to down. the finger
prevent these notes from breaking
/"p ""* '*f "*
beingthe
liijC

The key{N?14.)
has the
same as in the lower octave, ami also to shih ih: ocUives

same effectfrom bI"

to C| thus . .
thns .

m
^

gv=s
M .

:" m
'

Some have double, triple,

notes or quadruplefingering,thoyare numberd seperately and connected by a brace to

denote the of sound

identity is the most used. The others are to facilitate passages ofdificult
The first fingering .

where such difficalties

way of fingeringIn the differentlessons in this Method
execution in the ordinary occur
.

I have numbered and it is necessary to refer to this table for the and
figure
corresponding note
^^^Ttain
notes

The which there is carved line are not to be

as thus. notes over a

attacked by a tongue, but slurredwith the preceding note.

the
It *-iIlbe troublesome at first, but in a short time, the differentmodes of fingeringwill be committed to

nieraory
BARRET I

Utiot' Method .
 i

r::iL ._-8

9
,^-

^ I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I

I I I I I I I. (
I I I I I i I
I I I I I I I I

o o o o " o "
""o"o"ooooooooQ
...J

TABUTURE Oboe Barret's New Systew

Explanation of the of the on .

the holes to be left open The cross + marks

The black marks " degi^ate the holes irhieb t^n to be closed, the aeros o .

is met with, the thamb is to be raised; it is pariicalarly

the plAte for the tharob ofihe left band, and whenever this mark
fingering;but when the cross is found
(^ us.d to facilitate sacb

+ +
foUowin^ in both octaves
+ t k'^t
passages
4.+ ^^^^ +
and tt aToid cross
as the
*" *''"*" ^^*" **'* "P****"**^*^* ** **"**""'
+ preceedingexam-
,

^ UTI HHI ffffl rfflrCfrrVfr^r'Tnri' fLTl l^e.*^n *" "*oable branch of the octare key No UB mast be used .

TO Jj JJ'* *ftJ^* *J^^^ ^f g^*=b#**=l"'" =t AD the levers of the keys are numbered and have the corresponding

lines Some keys have donMe branches ; they are

indicated by the same figureas the prin
figures above the perpendicular .

cipal branch, but with the letter B added at the side of the number. There are also two small levers above the Bb and C!|
keys.
baf"re,l""t
"i These are indicated ty the maiks D .
^ and are used
generally for the shakes, wliictt remain neany tne same fts

shakes which false in

perfectly tune.
which levers have the advantageof rendering those were

all that has been hitherto done; it rendere

keys E^. f1|
as
The new system of the and G" has an immense superiority
over

of shakes which were before impossi

unnecessary any change of fingeringand makes perfectlyeasy the execution
the some

ble. Itirives also the faculty of producing many effects by the simple motion of one fingeronly;when formerly two were re

quired actingin contrary direction: Some examples will suffice to prove this;.
Look
r To find the fingering of these passages iRvery easy .

j:"" in the lines

perpendicular of the scale (or the numbers corres

P_jaiia_^
"jjj*'jjj^.i njj^l
~^ZZZ^
Ex.".
jf
(ft
"^ *J1^
_

EX.3, m
j ^i^

^
^
jJJJ^Ipondingwith those that are above the notes of the
dotted
examples
lines
,

theyrepresent. The
~"

an press down the levers

that the loers
or other signs .indicate corresponding
traced above the notes passages and preceded by numbers
of the different
the first ex-
kept down as long as the lines continue above the notes. For instance take
ample:
with those numbers or signs oaght to be

The levers 2 above the first note are to bv both pressed

and T placed down by the littlefinger of the left hand and ke|"tm

that position so long as the lines are above the notes.

|"rolonged The same for the other passages .

R"r the notes which are not is

marked, the ordinaryfingering to he used; for those which which have several fingerings,
the first must always be prefered.
The Bb andJCilihe only notes changedfrom the old scale, are made as indicated in the Tablature
,
.

The E("key N95 may be used for holding steady tb"- instrument from Fjf up to Cj(on both octaves.
iave to imite
attempteH in the follovring
passages,many of the resources ^hich the new offers,
sj'stem or at Jeast sufficientof them

tin allthe atUaiitages

practice of the mechanism whenever there is occasion for it. Many of these passages I have found in frag
s of Orchestral music and dVnsemWe*V-hich
"musique I have tr"i
c"n]y cribed and and
amplified, itwould be a mistake to Relieve ,

theyhave T)een composed for this instrument it is for the

only, sole purpose of whnt
;"hewing can ^e done with it;and after care

for a
pplication short time,the student will T)e astonished to find that he can execute with
these jwi.ssages comparative whicF
facility
formerly
very difficultor even This
impossible. observation is addressed to persons already
possessing
a certain knowledge
ef

instrument and not to teginners.

le l"estmode for allto these
practice small studies is to commence slov/ly,
increasing of
in rapidity movement until they are

to take the passages as fast as observingall the time to slur each passage
possible, exactly as is
it is markedjas slurring one ,

le of this
chief advantages system over the preceding ones,

le of the following
fingering short exercises is to "befound by the rules I have givenabove;with a Kttle care and studyit will

to
possible
carcefy make a mistake.

^J7S_pl'

'"'
1111111i"i 6j''
I[iih"'f|f"' 'lib
''W^'Wlj^" 'if'" ' '

^r*-* t 1 t F
iVi vTYV^rZNTVt \
^'^ff^^*'^Lcir * * * * ' i=TTTT^ m
w SHAKES.
the of the firstcan
shakes,which Mith the exception be made by *he same fingering in the octave above,
by adr
he foUnuingare new

The
to the passage.
the octave key NVlland NV IIB according
is to be
fingering found as alreadyindicafed for the Examples.
"* "

V ------
^ ^
9^ "
^J^..z.^zzr-t-"Jl
rrggf-'Q"
w
y " t [^'t ^" '-y--
'^^^^f^
IS

ON SHAKES

The shake is indicated by the two letters "tT" which axe an abbreviation of the Italian word
"trillo': they ure placedover the note, and are used also as an abbreviation to avoid writing the
shake in fall. It signifiesthat the note mari"ed thus, mnst be balanced rapidlywith the snperior
one, which can be of a semitone, or a tone. When the distance of the balancingis of a third or a

fonrth, it then,changes its name and is called "tremolo",in this case, all the notes are written.Bat
composers onlyemploy it for the piano,and stringedinstruments ,
becanse it would be impracticable
in many cases upon wind instruments .

There ar^ many shakes in which the and

preparation, the termination, demand particular
finger-
ings,
and which are not for
possible a pupilto find out, without the assistance of a master.

In the table of
following shakes ,
I have I believe providedfor this defect,existing
in allthe tables
kiiown .
All the notes of the the shake, and
preparation, the termination, are indicated in a manner that
the pupilcannot mistake .

There are several ways of prepariog and terminatingshakes ,

it depends on the movement
of the piece. If the movement is slow, the shake mast be preparedand terminated in
slowly the
'm
following
manner, thus: /f-^' fibril'

If on the contrary the movement is ver^ quick, the shake must be preparedand terminated

thus

These are the most usual preparations

and terminations of shakes .

The in
fingerings this table are to be found in the
precisely same manner as those marked

in the chromatic scale .

ii
jjjjjjjjj^g^
IC99SSSSE "

.^J3J^J|'liJi
'it^ixyj
6
666 -6 666 " 6
4 4 4 4 44 4 . 444 . . .4 . " " " ^ * 6 '6 SSS 5

"2222 : : '".2 "

"s%v.v^ww"^ e*A%W e*A\W AVAV "WSW ifeWeV eSW#V "*AVeV iPAVAP

"""" %" " "" """ " """"" " """"" """%"" " """""- "-"""-"" o "o" "" o ao* "" " """"!

"""" "" ""-""""" " " """" " """"" ' """""%' 0"Q"""' O "0" ""'" """""'""""""' O 00 """0

Ohor Method. BARRET.

 IS
The same two wa,"it"
\ The same two ways The same two wajra .

-^j^iro,."[OT3,"f[]^,t^K'^,^^^
i 14
13 DJsaais J3B13J30J3 B auaoia J3 OJ30J313 13 BJ3t$1313 13 13B131313 13 a a 131313 13 13 13 11 aa a 131313B13 I3BJ3J3J3i

9 "9 ' " .

0 "
8 8 8 8-8 "
8 8 8 8
7 7 7-7
5 S S "
5

" """" " """""" " " """" " """"" """""" " """""" -"'-"' "-"""^ ""-"""""

#%VAV ^A%W ^Awy /fWtV " ^ " " " " "wuw #.vwv xftftft%V^P^^^y-A*
'WW #"VAV

o "o"" " o "o""" o ooo"o o """" " o """""" o ooo"o oooo"o o ooo"o o ooo"o o ooooo

-"-""""-"^ O QOO"D o "o""" o ooo"o o ooo"o oooo*o o ooo"o o ooooo o ooooo o ooooo

oooooo'oooooo'o "o"o"' o ooooo 'o ooooo' ooooGO' oooooo' oooooo'o ooooo 'o ooooo

The same two ways The same two ways. The same two wagrs^

J3]aimiiaa.jai:ijffljTOkg3E.jOT
f H 14. UUUi^M 14 PttiUUU uiniuiU4 UU"1414i4:
13B131313 B13
IZ '
IS-
11 "
n- " ' 11.' u
'
10- 10 "
10
9 9 9

S 5 3 S 5 5 5 S 5 S S S " S S 5 5 S S S S 5 5 S 5 S S S S 5 5 S S 5 5
4.
-"""#" " O "" 0""" 6 " """" -"-"-""" O OOO "O gooo"o

" """" " o "o""" "-"-"""" o """"" " ooo"o o ooo" o " ooo"-e- o oo"

"^(PoW(J^Mf" AAP "Vom^ ASVW

o^o^cfyJI? ^Mf^ftftp#VAy"* "p,Q,Q-Q-ff"a
oooooo ^dVbVy ."JMAtJi
"^mnnr

o oooo o OOO oa " """"" oooooo " " ""o" o ooooo " "0"0G -oooooo " " o " "-" o"o"""
o

oooooo " " """" o ooooo # " o"o" o ooooo " "o"oo "e-o-oooo "-"-"-"-"-"" # "o"""
oooeoo

"' ' o"""o"' oooooo' o"""oo' oooooo' oooooo'

"^- o'oob o' c3 ooooo' 0 " "- """ o ooooo oooooo

"" ""
^~"'^*"^^r'"^^^^^T^ "'^^^'^^'^^^^"?'*"t^ ^^"^"^^^^^^^^^^^ 's^^^^''*]
^mj^^ "^^^'""^^^'^"^^"^"^"' ^"""""*''*T^'"ii^^r^~'*"""ij^""r^^^^'^"r"^^~~ .^^^^ii^i""^^^^i""i.M *
^ ' ' * * *. __*_ " "

?=?=
.
" " " "
m
_
.

u
13 B 13BDD13 B B13B ai3 a 13 B 13 13 "
13 B BB -
B 13 BBBlJlil

8 8 8 8 8 8 6 8 8 88 "
" 8 88 8 '
8 8 8 8 8.8 8 8 8 8-8 8

5 5 55-5 5 5 S 5 5 5 S S S S 55 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

4. 4.4.4 " 4- 4. 4 4 4-A4- 4. 4.4 4 " 4-

is 666 "o SS 000"O 0 00 go 0 000000 0 000 00 0 000 00 0 00000 0 0000 0 "00000 " """P""

"0" " """"# ."""""" -"-"""-"-"-" " """ "" "-""^"-"-^ " """" " ""o""" o "o""*l
" " ""0 " " f

iVAV ^vyWi* A%%V" "VoW/ liM^ftp^ "ViViV ^P^?.*IV ^"c^W^tJVj^V D" '-a"e^.
tr

"0 " e-0-0 o" o e ooo"o o "o* " " O' 000 "o O' ooooo e-e-000 o " "^ o o o o " """Q"
o "o""" o " o
I

"o"o " oooo* o "-" o oo"o " 0000 o " 0"0 00 " QOOO O " """o-" o% ""o" G 000"0
" """"" o

' 1 la nnia i^
ooooo' O ooooo '^ PfT^^ ^ * nnnnn " nnnort nan nnnor. """n m 0 " "" )" 0 OCjO 90J
O
 19

I recommend the coastanl practiseof the following"Scales and Exercises ,

whatever

degree of proficiencymay have been attained by the performer .

This to the beginner
is indispensableto enable him to acquire firmness and of
strengthof lip and agility ,

finger: afterwards it preserves and even improves these qualities. The best way to

practise th" scales, is to beg:inslowly(Sosienuto)and gradually

to increase the time

to the most rapid movement.

Particalar care must be taken that each note is heard and equally.
distinctly

MAJOR AND MINOR SCALES IN ALL THE KEYS.

^^:^:2:^.^ ^

i 32
^32
L-'iior^
I
EC
32 ""-

jto tto.-"-J^.I|Q
.ll
$ 33ZS
o 'o
m E CC
3a:
ET t"=m
I 33:
I

i |g^ I [^ lO

$ E rrt^ ra:
L^t IO I I I I I I 11.^
s: ""- I

.,,0,g",^,^,^,^|0,.,
$ E
331
s:
CE ^ t|0|||L^
SI
jZE
I

ja."-
-Q. ^
o.

^ 13 ^ o- 52

a
a
IS.
i O- zs "^ ":
za P

$"".P^.^.^.'r^Mt'
^te t.-^lffg"P
Il-.IoH-'
a
I OlQ cc
=^ Eag:
T

Olioe. Method BARMET.

 29

$^ ST
32C
la:
.^. ^ .CL
^. ""-
EC
ST
zc

Ii 33 ^33 ""-
,|tfe|ltn|0|q
-Q. -2^:
^:5-r^
k^^\^"9 EC
s:xE^ 1
s:

=JS"
I ""S/^v
E
"2*-^
XX
EC
rrr^ A. o
,o sa:
IS
OE
ST

"^.*"-.^_-''^.l^."
^^ gL^kW" i^ a
^ss.
I a
Q
H^^kLJ^I^I
I

^^ E2 SF^
a:^ cn^
^
A JD..
^=^7^
xa;^ a
"^":i i
"u^

im 'fr^'o -"- EE
I , .1
"ira[
EC

$m $i
EE
L^ lo 1^
\^\^-\^\^' Eq:^
32
"e-
30:.^ m
^$"1.^:^^ =^\\s^
grfg^
yw'jeiMi"i"i"'^ I m Wl
CC

i" -e-.o.:^'?rg
i^ =[^dn[
CE
IS
^

i
^:^
a
E[

Qt^
^

Iil I IfF^ I
33:

I I
"**-e- ^Q
"
^

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-^ Jq . o
33:
EE
^

""^^:^.-"
$^
~^(^m\x "2 ^ EL
"452
5:in e .o

I
.^.^.o
EE
SS
^
xy

^::^ :^ -Q.

^^ ar-r^rtcr^^=^^
32
^"- U2.

i 1^
gjo
EC "-
EE 1
Oboe Method
BARRET.
 21

^:":"f::^^
zi:
.c in:
xs: S
^te 3=::^
icr

xz
xs.
i^nl^o B
S Z" ^

^m zx
ET

^ ^
..^."2^:=: s^
^rS3. ^n
S I
EX
Q
pa
i ES.^ ca^ cy

t|^ i^^
-Q- ^
-^-o. b^ CL EC 32:
^
LI I O

# ^
^gfF^
EC

jQ. -^^ CL
IT
x^ Es: IX
3a:
i^
i ^ la
EC

:S: .cl
A.
jQ. iZEE t "" EI
EE
i
Ijo|i|v'' EX

^fe XE
la:
EC

i2.:^^=5" ^^.
"t^
A
EI
EE ^ i
ii ^cs I "["e^ EXTo

i P^^qIl'iIoIP EX

o j^l^:g::^f"Q.|y^ xa
a 1
#te ^^ xa
CE
I a TT
L,5^ Xy

.ii ^
.-e^.o ^
sxt^ EX
3:
1
o|*"j I ""f^t.^o
P ^5^
q:
s=
e-
a "

^ XI
OS
-^
ia. te* W'tl o -CT"
i^ 3ac:=^

# ^ 1:^33
"CT--^

^^li^lte^^^l. "
^^ a ^ a 1
EX

^^
EE
i EJl^

i te "cr
"[

BARRET.

O1)oe Method .
22

DIATONIC SCALES by SECONDS, THIRDS, FOURTHS ":c

These Scales be practisedin various by leaving-ont the small or intermedi

may ways:
ate notes; by playingthe Scales as they are written; by playingthe notes only, and
leaving out the abbreviations ; and afterwards by playing the same scales in different

Keys .

It must be understood that when the pupil transposes the scales into other Keys ,
the

accidentals required must be retained in the memory .

Secojvds.

A"? I ^[tt'f "\^I " "\iP" BE

J]/ t\^i i\J]"'t i
Jb "

m T=T=T^ /

4 fj'"\^' f\tf''
f\Cfff/|U ' / / /|P///|P^/ tri=F=F

^ ^i / / |Q^/fySi [Lf/ ^\[Ji

i n\^9 1 9 l|V?=FiF
i / \[fi " i i

"fjm\i^ttt\S}n/\S]iii
^^ 13EEETTTT niii

Thirds.

J{9 2.
iii\miii\j^iii\^iii\
FT
^^^ r^=j=-^FT=r^T^j m I I I
^, M, I r=F^'^ I i=r

^S^i
,\Ws , ; I
|1^iii|]Jg^ii
1^/ /if^M
ll^/^ . /

^
l^m\^ii,\^,^ ^
^

Oboe Method . BARRET

 as

FOURTBS

ms.^,^fi,\rfj^,n\JJJ^n TFT

,jlj^in\^ln,\^nAfn,\^
^^

FIFTHS. ^ ^

m 4). '^^
^0 "'\0I'"\0'''\0}'"\ "FFF

"0Hi\^,n\0,u\0n,\0ni\
"^nM,nk^n,kl,n\i\i{ ^

in\^m\^in\^m\^m\I^ ni\ I

81XTES.
^^ ^^ ,^tff\
7=FF

J,^ ||^ ll^Mlr^ml^MHf^

^^^k'z^^=Ff m^lin\^in\iu^, B3

,fe
ic^^^^lil^^^M[i^n/|^//^
i ^3

Oboe Method BARRET.

 24*

SEFEJ^THS.

me.
^rtlJTjp///!^
"j^ in\^iii\^ii s FFtF T=F=F

"^ ,\^ ,\^ ,\^in\i^ , , , , , I , u

|:^/:-^t^//i^///if;^
OCTAVES
ff/\ I

NO 7.
g" rfiT^Y
/ / n ^
w;f fin W' " ' n
pjij"
'in

"^iii\^iii\0iii\(0n
"^ n ,\^ f\^ ,\^iii\^n
a n f

Oboe Method.
"ARRET.
 CHROMATIC SCALES.

NO 1.
(jj;;:i"[n/f/lg"^^f'f\J2'fr\J^
i\,^ni\Sin\^^in\^in\"m\^f^ni\^n
ijfS'n,f\7n,\i^mt"H,\ff,n\"i
p"... f". .iff.. iffr. frf.. if"f i"rV. I r*f I
ffi ///["/Ml" II i\^
.

iiii^ml^
" " "

iii\u
" " "

/f/iUffii
" " " " "

d'^Qin\tlni\^[ni?(^in\("^in\"^
" J^i'i\""''f\^f'W'''^Q'''\J^
J
Oboe Method BAJIRET.
I

2t

^'^""S^'"\:'S*'*\"*'*^^^***
Ij7g^

^ Jfjj Ijyjjp llrtf Ig^

IiJl|'J M / / / / / I I // / I I i \ I "i
\^H^f

"^i n\^in\^in\f^iii\^(}":ni\^i
iW ifrr |nf
"(^u,fSr,uiffr

"^CMr/^/fafr^//W//^rgr///ifr
^ {^m\"'^in\^in\^iH\iJ^in\JJ
" f^"'h"j7]n,\j]^iii\j^Hi\^j;U
p
^"^-
"^^'"K^"'\SP''^"'"\J?^"'
i^!jbpH/\j\"Mf//\\"XJ^f/{\"
^g?r///iVm'///irW//H'rVrJf//
,,|^f^^
.fff
^j^rgr,Hi(i^,ni^r .r^^, ,

Obo" Method . BARRET.

98

f^f (f^r ^tfr\n

jP!gfr,,..m,,,im
i^n^s'i\^iii\*i!^fin\(r^ni\(^m
^^ ///i''^///iffl3///iffl3/
"f^^'"\iS?"'^iS?"'^'""'^"" in\ I

NO 4.

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 MUSICAL TERMS.
(ITALIANJ

THE FOLLOWING ARE VERY IMPORTANT TO LEARN BY HEART.

AbkNTiatloD

Accelerando With gradually

increasing L^;arto . .
Smooth connected . .

of movement
velocity . .
Accel. Lento . . .
Slow
Adagio . .
A very slow movement . . .
Ad? Ma . . .
But ..;....

Ad libitnm .
At will,or discretion ....
Ad. lib. Maestoso Majestic Maest?
Allegretto Not so quickas Allegro
. . . .
AU*^ Marziale . .
Martial Marzl^
All^ro Quick . .
Al^ Meno . . .
Less Men.
Andante . .
A slow movement And*?* Moderato Moderate Mod*?
Andantino Slower than Andante
. ....
And^ Molto . . .
Much
Animato Animated,life
. .
Morendo . . Graduallydying away
Apocoipoco By littleand little Mosso . .
More, much ....

Atsai . Very . . Moto . . . Agitation

A tempo Original
. time .
A tem. Non . . .
Not.
Ben ...
Well Obligato . . Indispensable
Bis Over again
. . . Piacere . .
With pleasure
Brio Brilliant Piano. . .

Cantabile Graceful Pianissimo . Very soft PP-

Capo .
Head or b^iinning.
. . . . . .
C. Piu . . .
More
Coda Termination
. . . Poco . . .
Littie
Con .
With . "
Presto . . Very quick
Crescendo To increase . Cret. Prestissimo .
The degree of
quickest ment
move-

Da. . By, for,from

. .
D. Presto
DaCapo. From the b^iinning
.
....
D.C. Quasi . . .
In the styleof
Di . " . . Rallentando Less speedof movement , .
Rail.
Dtminiieiido To decrease Dim. Ritard . .
Retardation Rit.
Dolce Sweet,delicate
. . . Dol. Signo . . repeatfrom sign
Sign (dalsigno)
Eneigico Energy. . Sempre . Always
Esiwessivo Expression . Express. Spirito . . lively
Spirit,
Finale . .
End of movement, etc . . .
Fine. Sostenuto .
Sustained Sosf.
Forte . . .
Loud / Staccato . . Short, distinct
Fortissimo . Very loud ff Stringendo Acceleratingthe . degree of
Fooco. . " Fire,animatioB movement
Grandioto ,
Grand style .......
Grand^ Subito Quickly
Grave . . . Very slow,solemn .....
Tacet. Silent ;.....'....
Goisto . .
Stricttime Tempo Time
Gusto . . . Elegantly TiDppo Too much
Impetuoao . Impetuously. ...... Tutti .
To play, to join
Irresolato . Irresolutely Vivace Quick
Larghetto .
Slow measured movement . .
Vivo . Lively
Largo . . Laige Void Subito Turn quickly

TERMS WITH THE ADDITION OF OTHER WORDS.

Andante ma non troppo Slow, but not too slow. Allegromoderato . Moderatelyquick.
cantabile Slow, but in a singing
. .
style. "piu mosso .
Rather quickly.
""

""
con molto Slow, but with emotion.
. . "
vivace . . Very quick.
"t grazioso Slow, but gracefully.
. .
Ben marcato . . .
Well marked.
"
maestoso . .
Slow, majestic. Con forza . . . .
With force.
grave . . .
Slow, solemn. Con brio ed animato .
Withanimation and brilliancy.
"

Andantino sostenuto .
Slow, and sustained. Con espressivo . .
Withexpression.
Allegroagitato . . . Quick,with agitation. Dolce con gusto . . Sweetly,
with elegance.
assai .... Very quick. L'islesso
tempo . .
The same time.
tf

con brio . . Quick,with brilliancy. Meno mosso . , .

Less quick.
t"

con fuoco . . Quick,with fire. Meno vivo . . . .

Less spirit.
"*

con moto . . Quick,with agitation. Piu lento . . . .

Rather slow.
"t

con spirito . Quick,with spirit. Piu presto . . . .

Rather accelerated.
(t