 The Oboe BBoard
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Author: ashley23
Date: 2010-06-25 17:06
just curious what everyones favorite method book is.
Ashley Ertz
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Author: plclemo
Date: 2010-06-25 19:01
My instructor INSISTED on Rubank. Why? I don't really know, but the Belwin Band Builder and the Standard of Excellence books were NOT sufficient for her. Something about them being BAND books and not ORCHESTRA books. Hope this helps. Paula
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Author: lbarton
Date: 2010-06-25 22:42
Alfred pub. Learn to Play Oboe --easy and attractive for young student
Gekeler methods-thorough
Edlefsen method books--excellent for somewhat older students. He's an oboist and knows the problems.
The old Rubank books are not that bad.
My objection to many band books is that they go almost immediately into fingerings for fourth space E, Eflat, and F which require half hole, and octave key, and usually use only forked Fs. Too much too soon, for student with barely formed embochure. They also use almost everything in flat keys, designed for bands and students remain incompetent in sharp key signatures far too long. I've taught transfer students who came to me playing solos at a high level, that had a terrible time ever using anything but the forked F. LBarton
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Author: ohsuzan
Date: 2010-06-25 23:27
Agree with Lois! Band books do not equal oboe method books! Although you may spend a good deal of time playing in bands, and ergo in flat keys, the oboe, IMO, is natively more comfortable in sharp keys.
yo me, the method of choice depends on the level of the student. Are they a musical beginner as well as an oboe beginner, or a "transfer" student from another wind instrument? Especially for "transfers," I like the three Rubank books, and then move right into Barret.
Susam
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Author: ashley23
Date: 2010-06-25 23:58
well yeah i like the barret and the vade mecum and the ferlings and of course the rubanks but i was just curious if there are any other hidden advanced method books that are really good?
Ashley Ertz
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Author: RobinDesHautbois
Date: 2010-06-26 12:27
I don't know if you can still get this one and I don't remember its title (stolen in high-school). But I loved the Pierre Cruchon method for being a good balance of teaching solid technique exercises AND an introduction to a huge spread of repertoire from the baroque standards to Italian opera. It also has a chapter on reed-making.... although the tools it uses are literally antiquated!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: oboereed1109
Date: 2010-06-27 15:15
I love the Edelfson method books: Studies and Melodious Etudes. He leaves no stone unturned in his books. I teach many young students, and I love these books. They make the youngest student play melodies that make the oboe sound pretty, unlike the horrible band method books. I still have students who think every B is B flat, and every E is E flat. Also, I don't know why, but band directors teach students only to use forked F and to add the E flat key. ARGH to that!
I also like the Hinke method when I'm starting a student who is switching from clarinet or flute, and has played a few years. It starts out very easy, but gets more difficult not long after. Each page is a different key. This is an excellent method for a student who is not a total beginner. By the end of this book, the student is well on their way playing the oboe.
Of course, I still love Barret. I especially love Martin Schuring's edition. He went through and correct the mistakes that are in the original edition that remain uncorrected. And, the pages are spiral bound so you don't have to fight with a book that won't stay open. I studied Barret as a student, and now teach it. I never tire of the melodies. Barret is just part of being an oboist.
For the more advanced student, of course, there's Ferling. I studied this when I studied with Lou Rosenblatt after I finished with grad school. He had me transpose each either up or down a half step, which ever was more difficult. He also had me memorize one or both. Needless to say, I practiced a lot when I studied with him. I had to.
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Author: jhoyla
Date: 2010-06-28 06:24
My favorites are the Ferling 48 studies which are both challenging and musical, even performable at a pinch. I never managed to "love" the Barret studies the way I do the Ferling, even in Martin Schuring's edition.
BTW, all of these studies (Barret, Ferling) and much more have been made available on the IDRS website by Charles-David Lehrer. Studies that have been out of print for years such as the Garnier progressive studies (excellent), Brod studies and a huge selection of ensemble works such as the Reicha and Cambini wind-quintets (all of them). It is worth signing up for a year just to get access to all of this.
.. and then, there is the International Music Score Library Project, which now has an easy way to find works with Oboe:
http://imslp.org/wiki/Category:Scores_featuring_the_oboe
I pity the publishers who are still trying to flog offset-lithograph copies of 100-yr-old parts!
J.
Post Edited (2010-06-28 06:31)
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Author: ohsuzan
Date: 2010-06-28 14:24
>>I never managed to "love" the Barret studies the way I do the Ferling<<
I'm with you there, Jeremy. In fact, I developed a such a serious distaste for the Barret that my teacher (who is pretty orthodox, as these things go) switched me to Prestini. I LOVE the Prestini studies. They are always challenging, and often lovely. I wish there were accompaniments for them.
Ferling is OK, as far as the musicality of the studies go. But I still like Prestini better.
Susan
edit to correct typo
Post Edited (2010-06-28 21:22)
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Author: lbarton
Date: 2010-06-28 21:12
I heartily second the votes for Prestini and the Hinke etudes for people beyond the biginner level. Lois Barton
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Author: mjfoboe
Date: 2010-06-29 01:33
Here's my favorite:
Singer, Metodo terico - practico. Parte III.
These are creative exercises with wonderful intervals - great to develop pitch awareness from the lowest to highest notes.
They are a joy to play.
Mark
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Author: hautbois
Date: 2010-06-29 13:52
There are exercises in many method books which can direct the player's attention to the awkwardness of certain intervals or the difficulties in tonguing patters (I used Sellner in the 1050s, and used Barrett as well); but for developing a sense of phrasing and musical line, going to the oboe literature instead of using a method book, was my teacher's and my personal preference. There are some meaningfu,l musical etudes in Barrett, but many are not as worthy as our rich selection of concertos, sonatas, orchestral excerpts, etc.
Elizabeth
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Author: mjfoboe
Date: 2010-06-29 14:02
Elizabeth,
I agree with you -in that - anything we play is an exercise in good playing.
It is the one note that is played well that leads to future successes.
Mark
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The Clarinet Pages
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