BHS BAND WARM-UPPACKET OBOE

BHS BAND WARM-UP PACKET—OBOEFingering Chart,.,.Intonation TendenciesLong-tonesCircle of les“Need to Know”Theory124S6813182425

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hTendencies&Ad*ustmentsOboeS SharpF FlatV (Notes not addressed aregenerally acceptable)VeryPitchTendencyFAdjustment Use RP3More reedin mouthVFMore reed & airFirm embouchureFMore reed & airFirm embouchuretSAdd R3 & RPIVSUse less reedAddRPlorRI, R2 & R3SFSAdd lowR3 keyRegular RI1R3fingering RP3SFSLess reedAdd R3 or RPI SLess reedAdd LP2 orLow BbkeyifavailableSAdd RP3UseRl&R3onlySAdd LP2 1pFFUse more reedUse more reedAdd adjusting keySuch as LPIExperimentAdd adjustingkey experiment-VFUse more reedAdd adjustingkey experiment-VSAdd LP2FSMultiple fingerings Availabledepending on instrumentExperiment

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uninocessWood windsPlay diatonically from top line F up to Bb three or four times. Tune the Bh 8 centsFlp.ficcPloSto be true, tune to top linesharp. (Note: Bb on piccolo is not always the most centered note. If you find thiscents sharp.) Be aware thatF playing up from 3rd space C three or four times. Again tune approximately 8up considerably. Playmany piccolo and flute players tune with more air than needed. This pushes the pitchaccurate reading.moreayougivewillThiswith what Emory Remmington called “a conversational breath.’(Note: Bb abovepitch.theonBe aware of the head joint and its adjustment, as this has a severe influenceconstant.)staysthe staff should be well centered. Use frequent checks to see if this noteit is stillimpera Live that we becomeQ Being a ware of the problems that the reed and instrument present,or four times.consistent in our approach to tuning. Play diatonically from 1st space F up to :3rd line Bb threefour times. TheThe Bb should be slightly sharp. Then play diatonically from 3rd line Bb up to F three orline F, the pitchtopforfingeringF, especially the fork fingering, will be slightly sharp. If you use the regularpitch withoutdesiredwill tend to be flat. (Note: A reed of approx. 70mm is recomniended to achieve theon the horn,notesqueezing.) Constantly check 2nd space A and A above the staff as this is the most centeredBassoon: The instrument, reed and bocal have a great deal to do with the pitch of this instrument. Checkthe 2nd line Bb and 4th line F, playing to both of them diatonically from below three or four times. If thesenotes are not close to the required pitch immediately work with the bocals (size 00 to 4 from small to largeor sharp to flat) and the reed lengths. The reed should be 2-1/8’ overall and a #2 bocal on a good instrumentshould work best. Also be aware of the distance the reed fits on to the bocal. Too much or too little will causethe instrument to play far enough out of tune so that accurate tuning will be impossible. It is important tonote thai choosing a qualified student, instrument, reed and bocal will tend to make the pitch problemsless frustrating for you and your double reed players.Clarinet: Check 2nd line G and adjust the barrel (approx. 1/8 inch). Then check low C. If it is sharp, adjustthe middlejoint. Finally check 3rd spaceC. If this note is also sharp, adjust the bell. (Note If this adjustmentfurther flattens low E then disregard.) Once this is completed, play up to each note, diatonically, three orfour times to insure consistency. (Note: Most student clarinets are built sharp. This is why it s imperativeto secure an accurate reading on 2nd line G first.)checkFirst check 2nd line G. ft should be very close to the centered pitch. SecondAii and Ba.ri Sax:threeC,fromdiatonically,G above the staff. This note should register slightly sharp. Play up to these notesor four times, (Note: Top line F sharp is the best note to check for zero tolerance.)aboveFollow the same procedure as alto sax. Second line G should be almost perfect and GIenr.a:the staff should be sharp. (Note: 3rd line B is the best note to check for zero tolerance.)veryIt is again noted that the quality of the instrument, reed, ligature and mouthpiece play aimportant part in the successful development of acceptable intonation.page5

Baldwin Band Standard WarmupsOboeLong TonesB-flat Separate].B-flat OverlapI--IIPlayer 1Player 2Player 1Player 2Player 3F Concert Paynter]V--13B-flat Pavnter (Descending)HHrH-lD Paynter (Descending)4’r r22F Paynter (Ascending),254FJJPanier (Skips)i,FFrif

AppendixFCG(a minor)(e minor)ID(d minor)1Br(b minor)i(g minor)ACircleof4I(‘f sharp minor)-(c minor)FifthsAEILD(f minor)I(b flat minor)cGI)(c sharp minor,)(a flat tnB(e flat minor)FL(gsharp minor)FW3ZCL

Articulation29Legato ( doo”)Staccato (“dit )Accents (dah)Marcato (daht’)11jLegatoi Staccato36etc.Eight and 2 Sixteenths2 Sixteenths and an eighth[137Sixteenth Eighth SixteenthTriplets:: :,Triplets 1 & 3Dotted Eighth Sixteenth(i3L41JLJLJ3 .JLDouble Tonguing (ta-ka or ‘da-ga)43Triple Tonguing (‘ta-ka-ta” or “da-ga-da’ OR “ta-ta-ka” or da-da-ga)47j,,23 JL348LAdd a note (etc. up & down‘t-3scai51-3L

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WarinUp Set 1qOption I (unison “lip slur” with brass)—tPIOption 2 (octave slur study with brass lip slur)—114F114 j1312Options 3, 4, & 5 (technical patterns with brass lip slurs)Articulation Patterns:‘,r ;2L-&9LL—1A) 13W320B14Lc’Lrt-r r x’1H

WarrnUp Set 2Option I (unison “lip slur” with brass)4109813Option 2 (octave slur study with brass lip slur)14132Options 3, 4, & 5 (technical patterns with brass lip slurs)1234.46Articulation Patterns:7879

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BAND iNFO“NEED TO KNOW”Strategies for SMART practice:1.2.3.4.5.6.Play rhythms on one pitch first if difficultLook for patternsPlay in a comfortable range first (down an octave?)Isolate one challenge at a timeWork slow to fast (use a metronome)Build from the middleLogical Steps to Effective Intonation2. Listen for “beats”beats slow and2. Make an adjustment; if beats get faster, try the opposite until theeventually disappear.shorter3. If you have to pinch to make the beats stop, make your instrument4. If you have to relax to make the beats stop, make your instrument longeryou are in tune!5. When you hear no beats while playing with your normal embouchureWays and Steps to Listeningloud. This isIf you hear yourself sticking out of the band’s sound you may be playing tooBALANCE. See below for info on the Pyramid of Sound.posture,2. If you adjust your volume and still stick out of the band’s sound, adjust yourThinkembouchure, and breath support to make your tone mesh better. This is BLEND.sound;hornof putting your sound “inside” other voices.e.g. Alto’s try to fit “inside” theTrumpets try to fit “inside” the tuba sound.you may be3. If you adjust your volume and tone and still stick out of the band’s sound,out of tune. This is INTONATION (see above).and to4. Always listen down to the lowest instrument, to the people on either side of you,yourself.1.The Pyramid of Sound (BALANCE)moreHigher voices are more easily heard than low voices; therefore to create abalanced sound, adjust all dynamics levels as follows.the written2. Low voices (tuba, low brass, tenor sax) should be strongest.play at or abovedynamic levely below the3. Middle voices (alto, horn) are the next highest priority.play at or slightlwritten dynamic levellevel below4. High voices (trumpets, flute, clarinet) should be least prominent.play onethe written dynamic level1.

Scale and Chord Related Theoryd in a stepwise manner within the range of an octave.scale is a series of single notes which ascend or descen2etical order.names will always be in ifilecause scales are arranged in a stepwise manner the notelf step[he notes within scales have a specific whole step/hantervalic relationship with each other.C natural minor scale (lower the 3rd, 6th, and7th scale degvees a half step).C major scale (half steps are between scale degrees3-4 and 78).-HWWGABCCDEFWWWWWIIIIIIii/”\iScale Degrees: I23TonicDominantH65,,e.1wiiInrervats:87(lower the 3rd and6th scale degrees a half step).CDEFGABC48765432C harmonic minor scaleJ’%.,,%Wwit 7\riri /\ rnScale Degrecs 1Intervals:11Wlntervals2Scale lJegrees 1w nri /\ r—V\GABCDEFCLeading ToneHwwH876543Augmented & DiminishedIntervals from C(ascending lower the 3rd and descending lower the 7th, 6th,and 3rd scale degrees a half step).C melodic minor scaleAugmented 4thIIWlntersaLsHww1WWWWHtvtvr1/\ rrir-/\ r-ir-i/\ r-ir-i/\GFCDEFGABCBA4S6432Scale Lcgrces 165787(tritone)WitAEDC321Diminished 5th(intone)AIntervals of the C major scale:0Major 3rdMajor 2ndPerfect 4thPerfect 5thMajor 7thMajor 6thPerfect OctaveAugmented 5thA I)Minor Intervals from Cminor 2ndC major triad (three note chord) in root position and inversions.minor 3rdiminorSecond Inversion6tls.ztijFirst InversionRoot Positionminor 7thFrom Bottom:fifth-root-thirdFrom Bottom:third-fifth-rootFrom Bottom:root-third-fifthBasic chord types constructed from C:ential Vocabulary:Major.Interval the distance between two notes-MinorDiminishedlower thirdlower third & fifthAHalf Step the closest interval between two notes-Whole Step an interval of two half steps-AugmentedSus 4raise fifthfourth replaces thirdThird the distance of two adjacent lines or two adjacent spaces-Scale Degree a note’s classification according to its position in the scale-Tonic the first note of a scale, the ‘key-note’ from which the scale takes its name-lly resolve to the tonicDominant the fifth scale degree, chords built on this note are dominant and normacy is to “lead’ or rise to the tonicLeading Tone the seventh scale degree, it is one half step below tonic and its tenden--W32FL

Oboe (Notes not addressed are generally acceptable) Pitch Tendency F VF F S F S S Adjustment Use RP3 More reed & air More reed & air Add low Regular RI1R3 Less reed More reed Firm embouchure Firm embouchure R3key fingering RP3 Add or RPI in mouth t S VS S S F S S Add R3 & RPI Use less reed Less reed Add LP2 or Add RP3 Use Add LP2 AddRPlor .