Barret Melodies as Oboe Region Etudes
Ashley Rollins
Sources:
Barret Oboe Method, original edition
Barret Oboe Method, Martin Schuring’s revised and expanded edition
Gekeler Oboe Method, book two
Etudes:
Lyrical Etudes:
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Technical Etudes:
Barret 11/Gekeler 13 (D Min/D Maj) Barret 23/Gekeler 22 (E Min/E Maj) Barret 27/Gekeler 21 (C Maj/F Maj) Barret 31/Gekeler 26 (G Min/G Maj)
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*Barret melodies 4, 8, 24, and 37 could work as either technical or lyrical etudes.
Barret Melody 1
Key: C Major
Time: 4/4
Lyrical
Difficulty: Easy
Approximate time: 1:15 without repeats
Barret Progressive Melody #1
Gekeler Book Two #1
Skipping the repeats is recommended for region etude use.
Recordings: https://www.youtube.com/watch?v=TBCbXXenvMc
https://www.youtube.com/watch?v=_-vvAAairKw
https://www.youtube.com/watch?v=3QAeofUgnsA
This etude is fairly straightforward. It follows a simple ABA' form, and most of the phrases are fairly clear. Technically speaking, the acciaccatura grace notes in the B section (m. 13 and m. 15) and the turn in the return of the A section (m. 19) offer the greatest moments of technical difficulty in the piece. Musically speaking, the decrescendos leading towards downbeat suspensions do offer a complication. It may be wise to take them with a grain of salt, as those downbeat suspensions (i.e. the first note of m. 2) are often the musical goals of a phrase. Some compromise may be found that allows for an initial decrescendo followed by some growth to the suspension, if desired, but it may not be necessary. Dr. Martin Schuring notes:
"If you refer to the published version of this particular Barret example, do not be distracted by the diminuendo printed in the first measure. Barret often uses diminuendos to indicate the beginning of a note grouping (see below). He does not necessarily require a reduction in sound. Paradoxically, even a crescendo is permitted" (https://www.public.asu.edu/~schuring/Oboe/expression.html)
Gekeler errata:
· In m. 13, the E and D eighth notes should be slurred.
· In m. 15, the E and D eighth notes should be slurred
Barret Melody 2
Key: C Major
Time: 4/4
Lyrical
Difficulty: Easy
Approximate time: 1:10 without repeats
Barret Progressive Melody #2
Gekeler Book Two #2
Skipping the repeats is recommended for region etude use
Recordings: https://www.youtube.com/watch?v=5y2HvtTvDTU
https://www.youtube.com/watch?v=v1wlMX8EOHs
https://www.youtube.com/watch?v=TyagPAxEJSc
This etude is fairly straightforward. It follows a simple ABA' form, and most of the phrases are fairly clear. Technically speaking, the turns (m. 3, m. 21) offer the greatest moments of technical difficulty in the piece. Musically, the decrescendos leading to downbeat suspensions should likely be taken with a grain of salt, as those downbeat suspensions (m. 4) are often the musical goals of a phrase. The B section flirts with c minor, which can offer nice opportunities for musical contrast. Care must be taken that in the D-C suspension in m. 22 and the D-G in m. 12 the first notes are louder than the second.
Gekeler errata:
· Measure 3 should have a slur over the entire measure (from the G to the D).
· In m. 3, there should be a turn above the E.
· Measure 8 should be a first ending with the repeat sign, followed by an added second ending measure with a half note G instead of a dotted half note.
· Measure 9 should have a slur over the first two notes.
· Measure 9 should have a decrescendo under the first two notes.
· In m. 14, the last two notes should be Eb and G (top space and space above the staff), not C and Eb.
· In m. 19, the decrescendo should be a second crescendo instead.
Barret Melody 3
Key: A Minor
Time: 4/4
Lyrical
Difficulty: Moderate
Approximate time: 1:15
Barret Progressive Melody #3
Gekeler Book Two #3
Recordings: https://www.youtube.com/watch?v=nSkSyFaYwME
https://www.youtube.com/watch?v=QROl5RQfCnU
https://www.youtube.com/watch?v=aaDZJOYV1Qc
https://www.youtube.com/watch?v=pX3f4GF_LyU
https://www.youtube.com/watch?v=e5CcWP4qkAg
This etude is more complex both technically and musically than those that have preceded it. The dotted eighth-sixteenths in mm. 4-8, the rhythms in mm. 8-9, and the syncopation (m. 17, m. 25) add some rhythmic challenge. The tuning on the opening fourth is important and can be tricky, as E runs sharp on oboe, and high A can be unstable. There are also some mild challenges for breathing and endurance (mm. 7-14). The form here is a bit more complex than most of the other early melodies, though the A theme does return near the end, and there is a very brief modulation to C major in the middle.
Gekeler errata:
· In m. 4, the E should have an accent.
· In m. 6, the E should have an accent.
· In m. 10, the G-natural should have an accent.
· In m. 20, the first two notes should be slurred.
· In mm. 20-21, the slur at the end of m. 20 should continue through the end of the bar to the first note of m. 21.
· Measure 23 should have a decrescendo under the first two notes.
Barret Melody 4
Key: F Major
Time: 3/4
Lyrical -- difficulty: Easy
OR Technical -- difficulty: Easy
Barret Progressive Melody #4
Gekeler Book Two #4
Approximate time: 0:45 without repeats
Skipping the repeats is recommended for region etude use.
Recordings: https://www.youtube.com/watch?v=eIiRp1Bg40M
https://www.youtube.com/watch?v=PZHdbWlLquE
https://www.youtube.com/watch?v=jdj-5BxF6-k
The greatest musical challenge of this largely straightforward etude is the treatment of the accents on beat 2, which break the typical 3/4 metric feel, and the inflection of the notes that precede them. Note groupings can help with both technique and musicality when there are several eighth notes consecutively. It is standard practice to put the grace notes in this etude on the beat. This etude returns to a very straightforward ABA' form.
Gekeler errata:
· Measure 22 should have a decrescendo under the first three notes.
Other notes:
· Grace notes in this etude go on the beat.
Barret Melody 5
Key: Bb Major
Time: 3/4
Technical
Difficulty: Easy
Approximate time: 0:35 without repeats
Barret Progressive Melody #5
Gekeler Book Two #5
Skipping the repeats is recommended for region etude use, though this one is quite short, and may be therefore an exception, depending on the length desired.
Recordings: https://www.youtube.com/watch?v=nnm_NVKcFLU
https://www.youtube.com/watch?v=lih4e--iDe0
https://www.youtube.com/watch?v=Wa_zP4Sp_z4
This is works well as a technical etude. It is full of arpeggios, and includes a high D, both of which can add some technical difficulty for middle school students, and the tempo is on the faster side. There are a number of musical challenges: The accents on beat 2 change the metric feel, and must be approached appropriately. In measures of eighth notes, students must decide which one to use as the musical high point (let the dynamics guide you, but favor beats over upbeats). Style is incredibly important and varied in this etude -- the staccato eighth notes must be light, not pecky or short, and the ends of the slurs before them should also be lifted, and care should be taken to transition well into the smooth slurs after them. This etude lacks a return to the A theme, unusually. Repeats may be taken if desired by the committee due to the shortness of the piece, but a decision on that should be communicated.
Gekeler errata:
· In m. 3, the crescendo should end and the decrescendo begin at the high Bb, a bit earlier than written.
Other notes:
· The decrescendo marking in m. 5 likely starts a touch too early. I would recommend mentally moving it to the F after the G.
· In m. 18, the second note is A.
Barret Melody 6
Key: G Minor
Time: 4/4
Lyrical
Difficulty: Moderate
Approximate time: 1:50
Barret Progressive Melody #6
Gekeler Book Two #8
Recordings: https://www.youtube.com/watch?v=fui2UB6itUo
https://www.youtube.com/watch?v=CAJg_1CGgN8
https://www.youtube.com/watch?v=1eAZ7NLbcxs
This is by far the longest etude up to this point in the progressive melodies, and certainly one of the most challenging yet presented (leaving it still, of course, both shorter and easier than many later etudes). This etude provides excellent opportunities to work with students on subdividing, and to judge their counting and rhythmic abilities; the ties can be particularly challenging for middle schoolers (m. 2, m. 3, m. 8, m. 10 , etc.).
The shaping is vital to this one, and while some phrases, like the first, are fairly straightforward (though you should consider shaping to the end of the ties), others are more complex. The phrase beginning with the pickup to m. 3 is fairly reliant on its note groupings and their subtler, smaller gestures shaping to and from the brief eighth note suspensions to keep interest before the big build at the end of the phrase. In m. 23, keep the staccato an appropriate length for the context, which will not be all that short in this case -- it is more important here that there be enough length to show the dramatic crescendo. Remember that slurs over staccatos (m.26) indicate legato tonguing. Some students may make the reasonable musical choice to take some time in m. 26 to emphasize the return of the A section in m. 27. The shaping in m. 32 can be particularly tricky -- note where one phrase ends and the pickups to the next begin. Measure 36 is another place to think about note groupings. The eighth note in m. 37 is generally played before the beat. The overall form is again a straightforward ABA'. The challenging rhythms, complexity of shaping, overall length, and inclusion of the high D (m. 35) make this lyrical etude an excellent choice for middle school region auditions.
Gekeler errata:
· In m. 6, the second slur should continue up to the high Bb in measure 7
· In m. 8 the C#'s should be sixteenth notes and the D eighth notes should be dotted eighth notes.
· In m. 8, the entire measure should be slurred.
· In m. 24, there should be a diminuendo starting under the F# and going to the low F# in m. 26.
· In m. 37, the C# on beat 2 and the D sixteenth note after it should be slurred
Barret Melody 7
Key: G Major
Time: 4/4
Lyrical
Difficulty: Easy
Approximate time: 1:15 without repeats
Barret Progressive Melody #7
Gekeler Book Two #9
Skipping the repeats is recommended for region etude use.
Recordings: https://www.youtube.com/watch?v=WlHf9-a-5XY
https://www.youtube.com/watch?v=C4TXLWVucFQ
https://www.youtube.com/watch?v=KPm16dya3aY
While this etude is not terribly technical (though there are enough arpeggios and range jumps to provide some challenge), it has a number of musical challenges. The first and most notable is the decrescendo into and crescendo out of what would usually be the high point of its phrase (m. 2, m. 6, m. 20 downbeats) -- if this is done with no musical awareness, it can be fairly unpleasant, but if approached with a musical understanding of the unusualness of the gesture, it can give the affect of a question, with an upward inflection at the end of the phrase.
The phrase starting with the pickup to m. 13 can be quite tricky for shaping and note length. In spite of the decrescendo under the D natural quarter note on beat 4 of m. 12, it is and should feel like a pickup to the coming phrase. It is important to lean into the downbeat D and gently lift the A it's slurred to; the A should not pop out aggressively. The final D quarter note of m. 13 is building to m. 14, and should be a bit stronger than the note before it, though the lengths and ending styles should match. One should contemplate note groupings in m. 17. The syncopation in m. 22 and m. 24 affects how one should shape -- the downbeat before the syncopation acts more like an upbeat. The form is, again, a straightforward ABA'.
Gekeler errata:
· In m. 6, there should be a sharp sign under the turn, indicating that the lower note will be G-sharp, not G-natural.
· Measure 7 should have a crescendo under the first three notes and a decrescendo under the last five.
· Measure 8 should have a repeat sign at the end, though you will not likely be using those for region anyway.
· In m. 9, there should be a crescendo under the last four notes.
· In m. 12, the second note should be D-natural, with a natural sign.
· In m. 20, there should be a sharp sign under the turn, indicating that the lower note will be G-sharp, not G-natural.
Other notes:
· In m. 14, the grace notes are simply a written-out turn, and indeed were written as a turn in the original. Their rhythm should be treated as you would a turn on that dotted quarter note: eighth note, sixteenth note triplet, eighth note.
Barret Melody 8
Key: G Major
Time: 9/8
Lyrical -- difficulty: Challenging
OR Technical -- difficulty: Moderate
Approximate time: 1:45
Barret Progressive Melody #8
Gekeler Book Two #6
Recordings: https://www.youtube.com/watch?v=VPJHnjThptk
https://www.youtube.com/watch?v=tFkzoahrgo4
https://www.youtube.com/watch?v=q_PBFru6ldw
This etude is far more challenging than those which have preceded it. From a technical standpoint, the 9/8 time, especially with the occasional grace notes, creates a number of counting challenges for young players (listen in particular to counting through the ties.) The grace notes in m. 8 and m. 16 are generally played on the beat, but the other grace notes in the etude should be before. The downward octave slurs in m. 11 can be an opportunity to check for good embouchure and air control, as can the slurs in m. 37. In general, this etude utilizes a wide range with many jumps, which, in addition to its much longer length compared to previous etudes, makes endurance something of a challenge as well. The many high A's and B's provide another good opportunity to listen for good air and embouchure -- many students, especially when nervous, will bite those notes and/or use too slow an airstream. The slur to high D in m. 35 is also a challenge: fast air is essential, and students may consider EITHER picking up the first finger entirely on the high D (an alternate fingering only usable under a slur) OR adding the ring of the D key, without covering the hole, to aid response. Articulations are another area in which this etude challenges young students, and accuracy in that area is important in this etude.
While this etude has some technical challenges, its biggest challenges are certainly musical. These phrases are not built as simply as the phrases in preceding etudes, and may have multiple high points. Students should think carefully about where to increase and decrease the intensity, and while the crescendos and decrescendos shouldn't be ignored, sometimes, as in previous etudes, musical decisions may need to be made in spite of them (i.e. the first note of m. 4, which is a musically strong note and should be approached accordingly). The accents in m. 11 should not be aggressively hit, but leaned on, and attention should be paid to note groupings in that measure. In m. 16, a very brief dramatic, minor theme enters, full of sforzandos and f-sharp diminished seventh arpeggios; it is very important that the staccatos in these measures be a musically appropriate length, not too short or pecky, and with plenty of forward momentum into the sforzandos. In m. 20, we suddenly turn back to the major key and a calmer, happier mood, which the articulation style should reflect. It is acceptable to take just a little time with the end of m. 20 as it leads back into a recap of the first theme. In m. 28, we get an entirely new theme, in which articulation and style are really essential. Care should be taken to avoid tonguing too harshly, and to keep pickup notes feeling 'up,' not down or accented. Shaping of the phrases in this section also requires careful consideration. At the ending, in m. 36, considering the accompaniment line may help with the shaping and timing of the repeated low G's.
Even if chosen as a technical etude, the tempo should NOT be increased, as, musically, this etude does not work well much faster than it is written.
Gekeler errata:
· There should be a piano dynamic marking at the beginning of the etude.
· In m. 3, there should be a slur above the first three eighth notes.
· In m. 3, there should be a slur from the dotted quarter note E through the last note of the measure (eighth note D).
· In m. 4, there should be a slur covering all four notes.
· In m. 12, both notes should be slurred
· In m. 23, there should be a decrescendo from the dotted quarter note E until the end of the bar.
· In m. 27, the second slur should start one note earlier, on the D quarter note.
· In m. 33, the crescendo should start on the E quarter note.
· The slur in m. 35 should start one note sooner, on the last note of m. 34.
Other notes:
· The grace notes in m. 8 and m. 16 should be played on the beat. The other grace notes in the etude should be before the beat.
· Treat m. 36 as an a tempo.
Barret Melody 9
Key: E Minor
Time: 2/2
Technical
Difficulty: Moderate
Approximate time: 1:30
Barret Progressive Melody #9
Gekeler Book Two #11
Recordings: https://www.youtube.com/watch?v=-jlqPX1fnr4
https://www.youtube.com/watch?v=B4m09fLcesA
This would make a really excellent middle school technical etude. It's plenty challenging enough in enough ways to differentiate even strong middle school players, but accessible enough to be useful, if challenging, practice for the average middle schooler. There are plenty of opportunities to work on rhythmic accuracy (the placement of the eighth note in measures like m. 4, changing between eighth notes and eighth note triplets in mm. 38-39, etc.) There are several high D's, as well as routine D-sharps and some E-sharps, and the notes often go by pretty quickly (thinking about note groupings in mm. 38-41 can help.) Don't overdo the staccatos on eighth note triplets--they're too fast to shift the airstream during them effectively, and pecky tonguing should always be avoided.
Shaping and phrasing should always be considered. In most of this etude, the phrases are fairly straightforward, but in many measures with large jumps (m. 8, m. 16, etc.) the first note is acting in much the same way as suspensions in previous etudes, and care should be taken to make sure the first note is stronger than the second in these cases. This etude is again in ABA' form. The B section, beginning with the pickups to m. 17, begins in a major key, which may call for a lighter, bouncier style. The return to minor in m. 21 may likewise call for consideration of the appropriate articulation style and note length. It is acceptable to take a little time with the pickups to the return of the A theme (corrected m. 32), or to add a crescendo into them, at the performer's discretion.
Gekeler errata:
· Measure 13 should have a decrescendo under the first couple of notes.
· The forte in m. 15 should be at the beginning of m. 16 instead.
· A measure is missing. In m. 29, the last three notes should be B, A, G-sharp, a step higher than they are written. Then add a measure with the same rhythm as m. 29 in which the first note is an A. The last three notes of the added measure should be A, G, F-sharp.
Barret Melody 10
Key: A Minor
Time: 6/8, eighth note gets the beat
Lyrical
Difficulty: Moderate
Approximate time: 1:25 without repeats
Barret Progressive Melody #10
Gekeler Book Two #12
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=mwEw7sE42S8
https://www.youtube.com/watch?v=Vxt6_1A7kPI
https://www.youtube.com/watch?v=vf4Z5ktCm_w
With the eighth note getting the beat, etude 10 gives plenty of opportunity to focus on counting skills (especially mm. 20-21). This etude is a slow Sicilienne (https://en.m.wikipedia.org/wiki/Siciliana) and should not be played too fast. Remember that several staccatos under a slur indicate a legato tongue. The turn in m. 17 works well played half-beat A, triplet B-A-G#, half-beat A. The turn in m. 25 is trickier, and works best if you actually shift the underlying rhythm a bit -- putting the D on the "a" instead of the "and" gives enough time to play the turn without it sounding too rushed (a quarter beat of C, D-C-B triplet, quarter beat of C).
Care should be taken to shape the phrases musically, and to treat the pickups (last note of m. 2, last two notes of m. 12, etc.) as such, rather than grouping them awkwardly with the wrong phrase. Note how syncopation (m. 6, m. 18) alters the shaping and inflection slightly. Treat accents and sforzandos as musical leans, not aggressive hits. Think about musically appropriate note lengths, especially in the transition to major and then back to minor at the B section (mm. 9-16). This etude is in straightforward ABA' form.
Gekeler errata:
· In m. 5, there should be a crescendo under the last four notes.
· In m. 14 there's a stray stem mark on the C that should not be there.
· In m. 17, the sharp sign should be underneath the turn sign, not on top, indicating that the turn will have G-sharp instead of G-natural.
· Measure 18 should have a crescendo under the last four notes.
· In m. 18, the slur should start on the C-sharp, as in m. 6.
· In m. 24, there should be a crescendo, not a decrescendo, under only the final note of the bar.
· In m. 25, there should be a decrescendo under the first five notes.
Other notes:
· In some editions, the small decrescendos under high C and A in m. 20 and 21 are treated instead as accents on the high C's. The original is somewhat ambiguous in the marking, and either interpretation can be considered valid. This happens in other places as well with accents vs. decrescendos, but this is one of the more noticeable incidents.
· Musically appropriate performance of the turn in m. 25 usually involves changing the underlying rhythm so that the D sixteenth note after the turn comes on the final fourth of the beat (the "a"), and not the halfway point (the "and").
Barret Melody 11
Key: D Minor/D Major
Time: 2/4
Technical
Difficulty: Moderate
Approximate time: 1:40 without repeats, but with D.C. al Fine.
Barret Progressive Melody #11
Gekeler Book Two #13
Skipping the repeats is recommended for region use, but the Da Capo al Fine is essential for the etude's overall coherence.
Recordings: https://www.youtube.com/watch?v=wVhIvzy5zZ0
https://www.youtube.com/watch?v=zZ54IrPPTrA
https://www.youtube.com/watch?v=gec5YlVkkWQ
With its remarkable stylistic variety, this etude would make an excellent region etude. It begins with a march style, in which one must be careful to avoid playing the sixteenths too short or pecky, and to keep the eighth notes bouncy. This is contrasted with very legato slurred eighth notes. At the change to D Major in m. 28, it changes to a folk-like style, contrasted with a more refined legato section in m. 36. In the folk-like sections, the accents should be played with weight and air, rather than harsh tongue. The dynamic contrast at the pickup to m. 36 should be emphasized, the appoggiaturas in the melody shaped to, and the frequent eighth note pickups shaped with the phrase they musically belong to. Between the sixteenths, the grace notes (esp. m. 29), and the G-sharp trill, the etude offers plenty of technical challenge as well. All grace notes in this etude should be played before the beat.
Gekeler errata:
· In m. 14, there should be a decrescendo under the first three notes.
· (Measure 27 as it's written should be a second ending. There should be an additional almost measure-long first ending added before that consisting of a staccato eighth note D followed by two eighth rests, and then, of course, the repeat sign.)
· In m. 28, there should be a grace note D leading into the first note, with a slur.
· (Measure 35 as it's written should be a second ending. There should be an additional measure-long first ending added before that consisting of a half note F-sharp followed by a repeat sign.)
· Measure 46 is an accidental duplicate of m. 45, and should be entirely removed.
Barret Melody 12
Key: G Major
Time: 3/4
Technical
Difficulty: Moderate
Approximate time: 1:05
Barret Progressive Melody #12
Gekeler Book Two #14
Recordings: https://www.youtube.com/watch?v=kX8DsEV_1kc
https://www.youtube.com/watch?v=M6GA_PeE6qI
https://www.youtube.com/watch?v=gD8q1JXukXw
This quirky Bolero would make a good technical region etude. The grace notes add a great deal of technical challenge -- in this etude grace notes should be played quickly and before the beat. Articulation is essential in this etude, especially the slurs from eighth note to sixteenth note in m. 2, m. 5, m. 26, and m. 29. The accents should have musical weight and should be shaped to, but should not be tongued excessively hard. The rinforzandos should be given added weight and vibrato. Staccato sixteenth notes should not be pecky; staccato eighth notes should be bouncy. In the two slurred eighth notes that start the piece, and in similar places elsewhere, it is advisable to lean on the first eighth note and lift the second. Phrases generally shape towards the first of the two slurred quarter notes (m. 3, m. 6, etc.). There are places where one should notice that the melody makes something of a hemiola (mm. 7-8, mm. 15-16). Treat pickup notes like pickup notes (mm. 12-18). Be careful not to let the grace notes change the underlying rhythm in m. 36.
Gekeler errata:
· In m. 5, the sixteenth note B should have a staccato mark, like the one in m. 2.
· (Very minor correction, but in m. 10, there should not be an accent on the eighth note.)
· In m. 11, there should be staccatos above both sixteenth notes. (This is very minor, but the crescendo in m. 11 is written a touch later here than in the original -- in the original, it starts a little before the half note, and ends well before the barline.)
· In. m. 17, m. 18, m. 19, and m. 20, every note should have a staccato mark, just like mm. 13-16.
· Measure 29 should have a crescendo under the last four eighth notes.
· Measure 30 should have a decrescendo under the two quarter notes.
· Not necessarily a correction, but a note -- in m. 34, the Schuring edition of the Barret has an A grace note leading into the G, very like m. 10. It's not in the original Barret, but it's debatable whether m. 34 should be made to match m. 10 or not.
Barret Melody 13
Key: D Major
Time: 3/8
Technical
Difficulty: Challenging
Approximate time: 1:15
Barret Progressive Melody #13
Gekeler Book Two #15
Recordings: https://www.youtube.com/watch?v=OO_7DE5ZlVQ
https://www.youtube.com/watch?v=8IMmLJ-gMAQ
This etude is quite technically challenging, containing several high C#'s and D's in a large and fairly complex run of sixteenth notes. There is also plenty of musical variety and complexity for students to work on. Care should be taken not to take the etude too fast, as it will lose its musical character at faster tempos.
This etude is in more or less an ABCB'A form. The first section is smooth and legato, and the larger overall shapes should be emphasized. Remember to shape some towards downbeat suspensions (m. 8), and to phrase pickups with the phrase they lead to. The second section (pickups to m. 17) is more lively; shape towards the downbeat eighth notes, and put plenty of vibrato on them. Again, pickups should be grouped with the phrase or idea they lead to; musically breaking on the barline does not work here. The phrase in mm. 27-28 is interesting in that the written dynamics seem to be almost the opposite of the intuitive shape, so some balance between the two must be reached. The third section (m. 35) is technically quite challenging. Attention should be paid to note groupings in this section.
Gekeler errata:
· There should be a crescendo through mm. 13-14.
· There should be a decrescendo through m. 15.
· In m. 16, the two sixteenth notes should have staccato marks.
· There should be a decrescendo through all of m. 19.
· In m. 23, there should be a crescendo under the first three notes and a decrescendo under the last three notes.
· In m. 29, there should be a decrescendo under the first two notes.
· In m. 30, there should be a decrescendo under the first two notes.
· In m. 45, the two sixteenth notes should have staccato marks.
· In m. 46, there should be a decrescendo under the first two notes.
· In m. 47, there should be a decrescendo under the first two notes.
· There should be a decrescendo through all of m. 48.
· There should be a crescendo under the first three notes of m. 49.
· In m. 50, there should be a decrescendo under the first two notes.
· In m. 51, there should be a decrescendo under the first two notes.
Barret Melody 14
Key: F Major
Time: 6/8
Technical
Difficulty: Moderate
Approximate time: 1:05
Barret Progressive Melody #14
Gekeler Book Two #10
Recordings: https://www.youtube.com/watch?v=eLiRAchflcs
https://www.youtube.com/watch?v=l2GbCS9H3Ws
Care should be taken not to play the etude too fast, to avoid losing its musical character. Care must be taken with style. Staccatos must be played light, but not short or pecky. Consider lifting slightly the notes before staccato notes. Legatos should be quite smooth. Rinforzandos should be more leans than hits, with plenty of vibrato. A breath can be taken at the end of m. 40 before the recap, if needed. Measures 29-40 provide a great opportunity for dynamic contrast. The form is again a straightforward ABA'.
Gekeler errata:
· There should be a piano dynamic marked at the beginning.
· (This is extremely minor, and can stand as is, but the decrescendo in m. 3 is technically written a beat too long).
· Measure 5 should have a crescendo through the first half of the measure just like m. 6.
· (This is extremely minor, and can stand as is, but the crescendo in m. 9 should stop at the barline, not two notes later as it does, and the decrescendo in m. 11 should technically start one note earlier, under the last note of m. 10.)
· There should be a crescendo under the last half of m. 12.
· (Extremely minor again, but the crescendo in m. 31 should continue all the way to the decrescendo in m. 34. Likewise, the decrescendo in m. 34 should continue all the way to the piano in m. 39)
· There should be a crescendo through the last half of m. 44.
· There should be a crescendo through m. 49.
· There should be a decrescendo written from about the third note of m. 50 through about the second note of m. 51.
· There should be a decrescendo starting in the second half of m. 56 going through the first half of m. 57.
· (Extremely minor, but the last decrescendo, in the original, should end about three notes before the end of the piece.)
Barret Melody 15
Key: Bb Major
Time: 4/4
Lyrical
Difficulty: Moderate
Approximate time: 1:45 without repeats
Barret Progressive Melody #15
Gekeler Book Two #16
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=PGZeVl0wxrg
https://www.youtube.com/watch?v=ziYqGYszyWU
https://www.youtube.com/watch?v=lS2KJEJttLw
This etude would make an excellent lyrical region etude. The dotted-eighth-sixteenth rhythms throughout the piece provide a valuable challenge to students' sense of rhythm and pulse. These sixteenth notes work best placed precisely, not double-dotted, and students must be careful to place the sixteenths and the notes after them precisely, without rushing into them. That rhythm provides a musical challenge as well: the quarter notes slurring into the dotted eights should have the sense of being leaned on, with some vibrato, while the dotted eighth notes should have just a little gentle lift. It is important to avoid either bumping the dotted eighth notes or letting their releases sound clipped. Care must always to be taken to shape the phrases musically. The shaping in m. 28-34 takes a little extra care -- think about which notes should have an "up" inflection and which should be leaned on.
There are some technical challenges as well. Some care must be taken with the alternate fingering plan leading to the C-sharps in m. 4 and m. 24. The turn in m. 16 must not start early. Remember that repeated staccatos with a slur indicate that you should tongue legato.
Gekeler errata:
· There should be a piano dynamic marked at the beginning of the piece.
· (This is very minor, but the third note in m. 7 should have a courtesy natural sign.)
· (In m. 11 and m. 12, the downbeat notes should not have accents, but rather two-note-long decrescendos.)
· In m. 16, many people play the turn as if it has a natural sign above it and a sharp sign underneath it (D - E natural - D - C# - D). There is, however, no sharp sign in the text text there in any edition of the Barret I have seen. The harmonies in the previous measure would have supported that (d minor chord, A major chord), but the harmonies in the measure with the turn do not (G7, C7), and neither does the upcoming shift into F Major. Also, the accompaniment part has a C-natural earlier in the measure.
· In m. 23, the first slur should only go two notes, not three. It should stop on the D.
· In m. 25, there should be a crescendo under both Bb's.
· In m. 31, both quarter notes should have an accent. The last three eighth notes of the measure should be slurred.
· (In m. 36, the first note should probably be lightly tongued.)
Barret Melody 16
Key: G Major
Time: 2/4
Technical
Difficulty: Extremely challenging. Likely unsuitable for middle school.
Approximate time: 1:00 without repeats
Barret Progressive Melody #16
Gekeler Book Two: not in the book
Skipping the repeats is recommended
Recordings: https://www.youtube.com/watch?v=62HYd1wl8wM
https://www.youtube.com/watch?v=2Qj75hgTtSQ
https://www.youtube.com/watch?v=UGnG0QiT2m8
This etude is likely more of a technical challenge than is really appropriate for middle school. The trills add a lot of difficulty -- some people treat the trills as mordents distinctly on the beat, while some do full trills, but start before the beat. All trills can be accomplished by moving one finger; there are a number of decent trill fingering charts available, even online, if you aren't sure of the fingering for a trill. The staccatos should be light, but not pecky. Identifying arpeggios can make this etude slightly more accessible. Using note groupings can help with both technique and musicality. This etude should still be very musical; pay attention to the shaping of phrases.
Original Barret clarifications:
· The trill in m. 9 should have a natural sign, trilling to F-natural rather than F-sharp.
· The first note in m. 13 should have a trill, with a sharp sign above the trill (trilling to C-sharp rather than C-natural.)
· The sixth note in m. 13 should be B-sharp, not B-double-sharp.
Barret Melody 17
Key: B Minor
Time: 2/2
Technical
Difficulty: Moderate
Approximate time: 1:20 without repeats
Barret Progressive Melody #17
Gekeler Book Two #17
Skipping the repeat is recommended for region use.
Recordings: https://www.youtube.com/watch?v=b51shvae_yw
https://www.youtube.com/watch?v=0PWSg9Y9tOA
https://www.youtube.com/watch?v=8NhrYfvAzMg
The tempo marking is correct -- the half note beat is around 54. The most challenging aspect of this piece is the interpretation of the articulation: should that fourth note of a slur, when there is a staccato on it, be lightly tongued, or slurred with a lifted release? Oboists may differ on this interpretation, but whichever students and their teachers decide must be performed convincingly, consistently, and musically. When there are slurred eighth notes followed by a clearly tongued staccato eighth note (m. 13, mm. 28-30), it is usually best to lift the last note of the slur. Don't bump the releases, and don't let the focus on these smaller details distract from the importance of shaping the larger phrases as well. Repeated staccato notes should not be pecky, and should maintain a sense of musical direction. Note groupings are important in much of this etude, especially mm. 28-30. As in many other Barret melodies (see the notes for Melody #1), the crescendos and decrescendos should not preclude musically appropriate shaping of the phrases. If students choose, they may use the trill fingering on the C-sharp in the turn in m. 15; some may find it easier to play with the trill fingering, while some may prefer the full C-sharp fingering. Remember that the sharp sign under the turn indicates that the lower note is A-sharp. For the trill in m. 31, students can hold down the Ab key and move only the A finger.
Gekeler errata:
· In m. 12, the first four eighth notes should be slurred.
· In m. 12, the last two eighth notes should be marked staccato.
· The crescendo in m. 13 should actually begin halfway through m. 12.
· The sharp above the turn in m. 15 should actually be below it, indicating that the lower note in the turn is sharp. The notes in the turn are B - C# - B - A# - B.
· In m. 20, the F# quarter note should be tongued just like in m. 4.
· The last two eighth notes in m. 26 should be marked staccato.
Barret Melody 18
Key: B Minor/B Major
Time: 9/8 and 6/8
Lyrical
Difficulty: Challenging
Approximate time: 2:20
Barret Progressive Melody #18
Gekeler Book Two #19
Recordings: https://www.youtube.com/watch?v=0n-LeQOJ-8c
https://www.youtube.com/watch?v=AMMRd4sVOZU
https://www.youtube.com/watch?v=ojjmjbkHq6Q
This etude would make an excellent lyrical region etude. It has plenty of challenges in rhythm, articulation and style, range, and musicality. The 9/8 meter, especially with all the ties, provides an opportunity to focus on rhythm and subdivision in compound meter. The rhythm at the change to 6/8 near the end is even more of a challenge, and care must be taken to be sure the sixteenth notes that are on the beat feel like they are on the beat. The simultaneous change to B Major adds the challenge of an unusual key -- students should be sure to plan where they will need to use left D-sharp. The high D's and C-sharps throughout the piece can push students to grow their comfortable range. Voicing high and using a fast airstream will help with those tricky slurred high D's, though there are a couple of fingering cheats that can help as well (Leaving the first finger off is allowable only under a slur, but may help on some oboes. Adding ONLY the ring of the low D key, without closing the hole, can be very helpful). Shaping phrases and making musically appropriate decisions with articulation and style are essential to this etude's success. Grace notes in this etude go before the beat.
Gekeler errata:
· There should be a piano dynamic marked at the beginning.
· In m. 3, the first note should be A-SHARP, not A-natural.
· The decrescendo that starts at the end of m. 5 should not start until the beginning of m. 6.
· In m. 7, the high G should likely be slurred, as in m. 37.
· In m. 11, the high G should be slurred.
· In m. 14, the high B should be slurred.
· In m. 18, the high A should be slurred.
· The D in m. 20 should likely also be slurred.
· Measure 23 should have a crescendo beginning on the first note and ending on the fourth note, just like m. 22.
· Measure 27 should have a crescendo beginning on the first note and ending on the fourth note, just like m. 26.
· The F-sharp in m. 33 should likely be slurred, as in m. 3.
· Measure 35 should likely have the same articulations and dynamics as m. 5
· In m. 38, the F-sharp should be a D, as in m. 8.
Barret Melody 19
Key: D Major
Time: 4/4
Technical
Difficulty: Moderately challenging
Approximate time: 2:00
Barret Progressive Melody #19
Gekeler Book Two #20
Recordings: https://www.youtube.com/watch?v=0gPSHAoqcXU
https://www.youtube.com/watch?v=3ZJ9-Kh7Zb0
https://www.youtube.com/watch?v=EVvn6jbpQu4
The technical challenges in the second half of this etude are obvious -- while those sixteenth note runs are easy enough for an experienced musician, they are a significant challenge for a middle school student. Identifying the scales can help, including the occasional e harmonic minor scale. Using note groupings to help with articulation (m. 33, m. 39) and with jumps (m. 34) can certainly help, as well. Musically, the runs always lead to the two eighth notes on beat one of the next bar, with the first of those eighth notes functioning as an appoggiatura; some compromise must be reached between the written dynamics and that innate musical direction. Measures 42-44 are by far the most challenging, in terms of style, articulation, and musicality, as well as technique. Note groupings are essential here, and it is generally appropriate to lift the last note of a slur before a staccato (mm. 43-44).
Breathing is a challenge in the second half. Care must be taken to breathe in musical places, acknowledging phrases and note groupings. As breaths here must be quite quick, students will do better if they can choose several places to breathe out. For example, a student might breathe only out after the eighth notes in m. 36, and then breathe in after the eighth notes in m. 37. While less obvious, the challenges in the first half should not be overlooked. There are a variety of rhythms here (eighth notes, dotted eighth-sixteenths, triplets, etc.), all of which must be performed accurately and clearly. Musical shaping is especially important in the first half. The first half has its own ABA' form, with the second half functioning as something of an extended coda.
Gekeler errata:
· There should be a piano dynamic marked at the beginning.
· In m. 6, the Bb should be accented.
· In m. 22, the F-sharp should have a rinforzando rather than simply a forte.
· There should be a decrescendo under the last two notes of m. 22, after the rinforzando.
· In m. 26, the A should be tongued.
· Measure 27 should have a crescendo under the last two notes.
· Measure 29 should have a crescendo under the first four notes.
· The high F-sharp in m. 29 should have an accent.
· Measure 30 should have a decrescendo marked through the second, third, and fourth beats (through all of the sixteenth notes).
· Measure 31 should have a decrescendo marked through the second, third, and fourth beats (through all of the sixteenth notes).
· Measure 32 should have a decrescendo marked through the second, third, and fourth beats (through all of the sixteenth notes).
· (In m. 32, the accidentals cross the octave. All C's in that measure are C-naturals, all D's are D-sharps).
· In m. 33, the first slur should continue to the THIRD note (E), which should NOT be marked staccato.
· In m 33, the third sixteenth note of the third beat should be marked with a natural sign (D-natural). Some editions also put a courtesy accidental on the C-sharp before that D-natural.
· The crescendo in m. 33 should start right on the second beat.
· (In m. 36, the accidental crosses the octave. The low E in the sixteenth note run is E-natural.)
· (In m. 38, the accidentals cross the octave. All C's in that measure are C-naturals, all D's are D-sharps).
· In m 39, the third sixteenth note of the third beat should be marked with a natural sign (D-natural). Some editions also put a courtesy accidental on the C-sharp before that D-natural.
Barret Melody 20
Key: F Major
Time: 4/4
Technical
Difficulty: Challenging
Approximate time: 1:45 without repeats.
Barret Progressive Melody #20
Gekeler Book Two: Not in the book
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=KBmLoMNdc9c
https://www.youtube.com/watch?v=mUYUTrujI6Q
The trills and the sixteenth note runs, often arpeggiated, will be a significant challenge to middle schoolers, though it will help that the tempo is not that fast. Entering at the correct time after the trilled dotted quarter notes and the two grace notes into sixteenth note runs, as well as maintaining good rhythm despite all the trills in general, will be an even bigger challenge. Identifying arpeggios and scales is always helpful, and students should always make a plan for their alternate fingerings (mm. 16-17 require forked F, for example). In mm. 28-30 and mm. 32-34 it is essential to avoid rushing the long trilled notes, and also to shape through them musically. It will likely help to use the trill speed as another variable to shape with here -- a small increase in the speed of the trill throughout the note can go a long way to build intensity. Grace notes in this etude are before the beat. All trills should end on the written note. Remember that for most trills, and all of those in this etude, there is always an option that moves only one finger. To help with endurance, make a breathing plan that includes both out and in breaths.
Original Barret clarifications:
· In m. 18, the accidental crosses the octave. It's a C Major scale, with B-naturals.
· In m. 27, the C should trill to a D-natural.
· In m. 27, the accidentals cross the octave. The second-to-last note of the bar is B-flat.
· In m. 29, the D is a dotted half note.
Barret Melody 21
Key: C Major/F Major
Time: 3/4, but in one.
Technical
Difficulty: Challenging
Approximate time: 2:30 without repeats, but with the da capo.
Barret Progressive Melody #21
Gekeler Book Two: Not in the book
Skipping the repeats is recommended for region use, but the Da Capo al Fine is essential for the etude's overall coherence.
Recordings: https://www.youtube.com/watch?v=KBmLoMNdc9c (first half only)
https://www.youtube.com/watch?v=Aj-HGlB-xbI (entire etude, no repeats)
The "in one" feel of this etude must be emphasized for it to work well and avoid being too heavy. Staccatos should be light, not pecky, and staccato eighth notes might be taken with a grain of salt -- think light, more than short. There is a lot of chromaticism and shifting of the key center in the first half of this etude. Care must be taken to shape phrases musically, and to emphasize musical and dynamic contrasts. The trio can be taken at a slightly slower tempo, returning to the original tempo at the da capo. In sections of repeated eighth notes, keep note groupings in mind. Endurance is a major challenge. A very little time can be taken between major sections to help, but the most important thing will be to make a good breathing plan that includes many places to breathe only out, as well as places to breathe in.
Original Barret clarifications:
· In m. 59, the first grace note should be G-sharp.
· In m. 99, the dotted quarter note should have a trill.
Barret Melody 22
Key: A Major
Time: 6/8, eighth note gets the beat.
Lyrical
Difficulty: Moderate
Approximate time: 1:40 without repeats
Barret Progressive Melody #22
Gekeler Book Two #18
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=iCU78ag3j8o
https://www.youtube.com/watch?v=dzsCZ7UG3ug
This etude would make an excellent lyrical region etude. The key and the more unusual accidentals (A-sharp, B-sharp) provide a reasonable challenge to middle school students. Counting and rhythm, with the eighth note getting the beat, may also provide some challenge, especially in m. 8 and mm. 25-28. Attention must be paid to style and note length. In mm. 30-31, note groupings are essential, and noting the arpeggio may help with technique. Shaping the phrases is essential.
Gekeler errata:
· Measure 11 should have a decrescendo from the G through the E.
· Measure 13 should have a decrescendo from the G through the E.
Barret Melody 23
Key: E Minor/E Major
Time: 3/8
Technical
Difficulty: Moderately challenging
Approximate time: 2:50 with only the repeat at m. 98
Barret Progressive Melody #23
Gekeler Book Two #22
Skipping the repeats and taking the second endings is recommended for region use, except for the first ending and repeat at mm. 94-98.
Recordings: https://www.youtube.com/watch?v=NTYozCvIeBs
https://www.youtube.com/watch?v=IbTgjdA7LQY
Students should look up unfamiliar terms like "flebile." Grace notes in this etude go before the beat. Style and note length are very important in this dance-like etude. Remember that multiple staccatos under a slur indicate legato tongue. Students should be very careful on the rhythm at measures starting with a sixteenth rest, such as m. 33, m. 35, etc. The keys, especially at the change to E Major, and the unusual accidentals (E-sharps) should provide a valuable challenge to students. Note groupings are often important, especially in mm. 48-52. Measures 53-56 are something of a hemiola; noting that can help with technique as well as musicality. Measures 79-86 look harder than they are -- plan and mark your D-sharp fingerings, notice that it is almost entirely the E scale, and pay close attention to articulations. In mm. 114-122, don't let the grace notes interfere with the underlying rhythm. The jumps to low B (m. 8) provide a good test of embouchure, air support, and hand position, as those low notes will certainly not speak of any of those things is not quite right. Endurance is a major challenge in this etude. A very little time can be taken between major sections to help, but the most important thing will be to make a good breathing plan that includes many places to breathe only out, as well as places to breathe in.
Gekeler errata:
· In m. 3, the A should be marked staccato.
· In m. 6, the E should be marked staccato, as in m. 7.
· In m. 11, the A should be marked staccato.
· In m. 13, the E should be marked staccato.
· In m. 14, the B should be marked staccato.
· There should be a crescendo under m. 18.
· In m. 43, all the notes should have staccato marks, as well as the written slurs, indicating a legato tongue.
· In m. 75, the D-sharp should be marked staccato.
· Measure 78 as it is written should be a second ending. It should be preceded by a first ending consisting of a tied eighth note B and a quarter rest, with a repeat sign leading back to the backward repeat at m. 57.
· Measure 79 should begin with a backward repeat sign.
· In m. 85, only the first four notes should be slurred (two fewer than are written). The final two sixteenth notes should be tongued with staccato marks.
· In mm. 92-93, the double dotted quarter notes would be more accurate written as regular quarter notes tied to sixteenth notes.
· In the first measure of the second ending around m. 93, the double dotted quarter note would be more accurately written as a regular quarter note tied to a sixteenth note.
· The key change at m. 99 should also have a crescendo through the measure.
· In m. 101, the A should be marked staccato.
· In m. 104, the E should be marked staccato.
· In m. 105, the E should be marked staccato.
· In m. 106, the low B should be marked staccato.
· Measure 107 should have a crescendo through it.
· In m. 108, the second B should be marked staccato.
· In m. 109, the A should be marked staccato.
· In m. 110, the E should be marked staccato.
· In m. 111, the E should be marked staccato.
· In m. 112, the B should be marked staccato.
· In m. 125, Only the first two notes should be slurred. The D-sharp should be marked staccato, in addition to the sforzando.
Barret Melody 24
Key: A Major
Time: 4/4
Lyrical -- difficulty: Moderate
OR Technical -- difficulty: Moderately easy
Approximate time: 1:45 without repeats
Barret Progressive Melody #24
Gekeler Book Two #32
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=cCcWQOWdrJc
https://www.youtube.com/watch?v=L_h8DrlG0OU
This etude is a study in syncopation. That rhythmic complexity, the key (A Major is not hard on oboe, but students are usually very unaccustomed to it), and the many high C-sharps add some technical challenge. The various levels (mm. 24-25, mm. 15-16) of syncopation make demands musically and stylistically as well -- students must pay attention to which notes to lift and which notes to lean on. Phrases must always be shaped musically. In more continuous technical patterns (mm. 33-27), thinking about note groupings can help with both technique and musicality. Grace notes in this etude go before the beat.
Gekeler errata:
· In m. 19, the grace notes should be B and A, not C-sharp and B.
· In m. 25, in the original, the half note does not have an accent. Measure 24, though, is certainly correct.
· In m. 30, both the quarter note C-sharp and the quarter note E should have accents.
· In m. 32, both the quarter note C-sharp and the quarter note F-sharp should have accents.
Barret Melody 25
Key: D Minor/D Major
Time: 2/4
Technical
Difficulty: Challenging
Approximate time: 2:20 without repeats
Barret Progressive Melody #25
Gekeler Book Two: Not in the book
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=fsVZF8p3ItY
https://www.youtube.com/watch?v=nzSWKqm_1Q8
This etude is a study in the dotted-sixteenth-note, thirty-second-note rhythm. One of the most challenging moments in this etude is mm. 38-39 (and mm. 85-86), due to the high range, the arpeggiation, and the change in rhythm. The left E-flat in the triplet does not help. In general, students must keep a steady pulse, avoid rushing the eighth notes (especially the eighth note pickups), dotted eighth notes, and regular sixteenth notes. Style is extremely important in this march-like etude. Note groupings will help greatly with both technique and musicality, especially in the more repetitive sections (mm. 40-45). Grace notes in this etude go before the beat.
Original Barret clarifications:
· (In m. 2, m. 3, and m. 6, the Schuring edition slurs the two eighth notes together, to match mm. 81-82.)
· In m. 4, both eighth notes should likely be marked staccato.
· (In m. 9, the Schuring edition has the last note marked G-sharp, as in m. 14.)
· In m. 17, the sixth note of the measure is A.
· In m. 18, the first four notes should likely have staccato marks.
· In mm. 19-23, all the notes should likely have staccato marks.
· In m. 21, the sixth note of the measure is A.
· (In m. 34 and m. 35 the Schuring edition slurs the two eighth notes together, to match mm. 81-82.)
· In m. 36, both eighth notes should likely be marked staccato.
· The last note of m. 61 should also be marked staccato.
· The last note of m. 69 should be marked E-NATURAL.
· The last four notes of m. 80 should be marked staccato.
· The first four notes of m. 81 should be marked staccato.
· The first four notes of m. 82 should be marked staccato.
Barret Melody 26
Key: Eb Major
Time: 4/4
Lyrical
Difficulty: Easy
Approximate time: 1:20 without repeats
Barret Progressive Melody #26
Gekeler Book Two #23
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=92L49yyOpac
https://www.youtube.com/watch?v=lmzZGiWHdWk
https://www.youtube.com/watch?v=TSeR2FRuTU0
This is a fairly straightforward lyrical etude. Musically shaping the phrases, with smooth crescendos across the arpeggios, vibrato on the high points, and beautiful tapers, is essential. Noticing the arpeggios can help with technique. Avoid bumpy sounds; students should demonstrate their ability to play smoothly across the range of the instrument in this etude. Students should always make a fingering plan, and will find that this etude requires many forked F's (or a creative solution to dodge them, which I tend not to find worth it, as those forked F's are all on weaker beats.) The turn in m. 10 is likely best played as an eighth note G, a sixteenth-note-triplet Ab-G-F, and an eighth note G. Grace notes in this etude go before the beat, but should not feel rushed or even particularly fast. This should be a very calm-sounding etude.
Gekeler errata:
· In m. 4, there should be a decrescendo under the first two notes.
· (Measure 8 should end with a repeat sign. There are also first and second endings here, but the only difference is in the accompaniment part, so that's not terribly relevant.)
· (Measure 9 should begin with a backward repeat sign.)
· The final four notes of m. 13 should be: E-flat, D, C, D, NOT, as written, D, C, B-flat, A-flat.
· The final four notes of m. 14 should not have a decrescendo. That last decrescendo should be removed.
· The first four notes of m. 15 should have a crescendo.
· The final two notes of m. 15 should have a decrescendo.
Other notes:
· The Schuring edition slurs the first four notes of m. 2 and m. 18, one note further than Gekeler. In the original, m. 2 matches the Gekeler, but m. 18 matches the Schuring edition. One of those options should be chosen so that the measures are consistent.
· The Schuring edition has the fifth note of m. 11 marked as an E-NATURAL, though that's not actually in the original Barret either.
· The Schuring edition has a slur over all the notes in m. 12.
Barret Melody 27
Key: C Major/F Major
Time: 3/4, but in one
Technical
Difficulty: Challenging
Approximate time: 2:15 without repeats
Barret Progressive Melody #27
Gekeler Book Two #21
Skipping the repeats is recommended for region use, but the Da Capo al Fine is essential for the etude's overall coherence.
Recordings: https://www.youtube.com/watch?v=y7mkWS79l8Y
https://www.youtube.com/watch?v=3dW_hTrh1iY
https://www.youtube.com/watch?v=Rl19GDV5Nd0
This minuet provides ample challenges for both rhythm and technique. Students must be very careful of counting the frequent ties across the barline accurately. The etude is full of arpeggios; identifying them and being well-versed with arpeggios in general will be very helpful for students preparing this piece. Note groupings can help make sense of repetitive eighth note sections, some of which also create hemiolas (i.e. the beginning of the trio), which can lead to unusual groupings. This etude is not afraid to push the range to the high D. The turns move quite quickly in this etude, which will force their notes to be closer to even than is typical of a slower turn. Style is very important here; it is often wise to lift the ends of slurs before staccatos. There are very often accents on beat three in this etude, which is unusual for a minuet, and should inform the performance of musical players. Endurance is a major challenge. A very little time can be taken between major sections to help, but the most important thing will be to make a good breathing plan that includes many places to breathe only out, as well as places to breathe in.
Gekeler errata:
· In m. 4, the E should be marked staccato.
· In m. 13, the B should be slurred, just as in m. 5.
· In m. 15, there should be a sharp sign under the turn. The notes in the turn should be D-E-D-C#-D.
· In m. 42, the G should be marked staccato.
· In m. 42, the E should have an accent.
· In m. 43, both the E and the D-sharp should be marked staccato. There should NOT be a slur over the D-sharp.
· In m. 44, the E should be marked staccato. Again, the slur leading into that E should not be there.
· In m. 47, there should be a sharp sign under the turn. The notes in the turn should be D-E-D-C#-D.
· In m. 47, the B should be marked staccato.
· In m. 48, the first note (C) should be marked staccato.
· At the key change half way through m. 48, there should be a "Trio" marking above.
· In m. 52, probably the slur should stop on the D, and all the quarter notes should be tongued staccato, as in m. 56, m. 60, m. 85, etc. That's how the Schuring edition has it, but, in fairness, the original matches the Gekeler here. Some consideration of the age of the original and the lack of good music editing software may come into play on this one, as it is articulated Schuring's way every other time that figure appears in this piece, in any edition.
· The first note of m. 53 should be marked staccato.
· The first note of m. 57 should be marked staccato.
· In m. 59 the sharp carries across the octave. All F's in this measure are F-sharp, including the low F-sharp.
· The first note of m. 61 should be marked staccato.
· The first note of m. 65 should be marked staccato.
· The two eighth notes in m. 74 should NOT be slurred.
· The first note of m. 86 should be marked staccato.
· The first note of m. 90 should be marked staccato.
· In m. 92 the sharp carries across the octave. All F's in this measure are F-sharp, including the low F-sharp.
· The first note of m. 94 should be marked staccato.
Barret Melody 28
Key: Eb Major
Time: 3/4
Lyrical
Difficulty: Moderately challenging
Approximate time: 1:45
Barret Progressive Melody #28
Gekeler Book Two #24
Recordings: https://www.youtube.com/watch?v=0Nd6PCw4hiQ
https://www.youtube.com/watch?v=mHY0dgPRt_U
https://www.youtube.com/watch?v=0TRH2yHegc4
For the most part this is a fairly straightforward lyrical etude, though the counting and accidentals in mm. 15-20 provide some challenge, but the sixteenth note trills near the end (m. 31) really amp up the difficulty level. All grace notes in this etude go before the beat. Phrases must be shaped musically, which may occasionally require some negotiation with the written dynamics. Care must be taken that the turn in m. 21 and the trills in mm. 31-32 do not interfere with the written rhythms. The first note of the turn should be somewhat longer than the other notes of the turn. Remember that there is always a way to trill moving only one finger. Identifying arpeggios and note groupings is helpful in general, but especially for m. 29. Measures 7-10 provide notable opportunity for stylistic contrast. There is no need to break any slurs to breathe if a good breathing plan is made and followed; oboists can go quite a long time in one breath, and nothing in this etude exceeds that capacity. Remember that a repeated note under a slur is tongued. Accents are leans with air and vibrato, not hits, and should necessarily be aggressively tongued.
Gekeler errata:
· In m. 9, the first note should be marked staccato.
· There should be a decrescendo under the last two notes of m. 9.
· In m. 13 the G should be an eighth note. The Ab, D, C, and Ab after it should all be sixteenth notes. (The slur is correct.)
· In m. 15 the last sixteenth note (C) should be tongued--the slur stops on the high Ab.
· In m. 16 the last sixteenth note (Bb) should be tongued--the slur stops on the high G.
· Measure 16 should have a crescendo under the sixteenth notes, just like m. 15
· In m. 17 the sharp sign should be under the turn sign, not on top, indicating a turn of G-Ab-G-F#-G.
· In m. 22 there should be a decrescendo from the Eb into the Ab.
Other notes:
· The Schuring edition slurs all of m. 23 just like m. 3, but the original Barret has the same articulation as the Gekeler.
· Measures 25 and 26 in both the Schuring edition and the original Barret are marked with repeated two-note decrescendos instead of accents.
Barret Melody 29
Key: C Minor/Ab Major
Time:2/4
Technical
Difficulty: Extremely challenging
Approximate time: 2:45 without repeats
Barret Progressive Melody #29
Gekeler Book Two: Not in the book
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=5URRNetlolA
https://www.youtube.com/watch?v=QNS_mP77L1U
This is a very challenging technical etude. Several of the sixteenth note runs are especially tricky (mm. 16-23, mm.123-126). It is important to shape the phrases and avoid choppy playing. There are many opportunities here to demonstrate contrasts of dynamics, style, etc. It is important to plan out alternate fingerings as needed, especially in the Ab Major section. Note groupings can be particularly helpful in sections of continuous sixteenth notes or continuous eighth notes. Grace notes in this etude are before the beat. Endurance is a major challenge. A little time can be taken between major sections to help, but the most important thing will be to make a good breathing plan that includes many places to breathe only out, as well as places to breathe in.
Original Barret clarifications:
· In m. 4, the slur from the sixteenth note D should continue to the G, to match m. 40.
· In m. 5, the final slur from the sixteenth note E-flat should continue to the dotted quarter note G in m. 6.
· In m. 22, the final sixteenth note should likely be marked staccato, as in m. 20.
· In m. 31, the final sixteenth note should be F-sharp. This makes the arpeggio in the solo line match the arpeggio in the accompaniment line.
· Measure 35 should have a slur connecting the F-sharp to the G of m. 36. We don't generally tongue nachschlags, so we should likely not tongue these grace notes.
· In m. 44, the B-flat sixteenth note should be marked staccato.
· In m. 46, the first two notes should be slurred, to match m. 44.
· In m. 46, the written slur should start on the A-flat, not the B-flat, just like the beginning of m. 47. It's only the A-flat and G that should be slurred together in the second half of this bar.
· In m. 81, the C should be marked staccato.
· Measures 82-83 should likely have a slur ending on the F of m. 83, to match mm. 58-59.
· Measures 84-85 should likely have a slur ending on the D-flat to of m. 85, to match mm. 60-61.
· Measures 90-91 should possibly have the same slur as mm. 58-59, the F should possibly be a dotted eighth note, and the E-flat should possibly be a sixteenth note.
· Measures 92-93 should possibly have a slur extending at least to the F, though the staccato mark on the D-flat suggests it might be intended to be tongued this time.
· In m. 99, the G should be a dotted quarter note.
· (In m. 119, the Schuring edition has the last four notes as A-flat, A-natural, B-flat, B-natural, all a half step lower than written, making a straight chromatic scale. Whether to use that or the original version of this bar is debatable. The accompaniment part is likewise very slightly different in this bar between the two editions.)
Barret Melody 30
Key: Ab Major
Time: 4/4
Lyrical
Difficulty: Moderate
Approximate time: 1:40 without repeats
Barret Progressive Melody #30
Gekeler Book Two #25
Skipping the repeats and taking second endings is recommended for region use.
Recordings: https://www.youtube.com/watch?v=dYXbN9KjUDE
https://www.youtube.com/watch?v=HQQ3KlCJZhg
This would be a fairly easy lyrical etude were it not in such an awkward key. Alternate fingerings must be carefully planned out. Remember that forked F is a fuzzy note, and while it is usually a fine choice when needed, it should not be used unnecessarily in a lyrical passage, or, if avoidable, on a strong part of the phrase. Be sure that the rhythm is clear and the pulse steady, especially around the triplets (m. 10) and syncopation (m. 27). Shape the phrases musically, and consider note groupings when there are many continuous eighth notes. Grace notes in this etude go before the beat.
Gekeler errata:
· In m. 7, there should be a decrescendo written under the last half of the bar.
· There should be a decrescendo under the first two notes of m. 8.
· (Measure 8 as written is the second ending. There should also be a first ending with a repeat sign at the end of the bar, in which the first three beats are the same as currently written, and the fourth beat is a quarter note D-flat.)
· There should be a decrescendo under the first two beats (under all four eighth notes) of m. 12.
· Measure 27 should have a crescendo marked (written "cresc.") starting under the middle C.
· Measure 29 should have a decrescendo marked under the last half of the measure.
Other notes:
· The Schuring edition has a D-flat in m. 14 that should likely actually be a D-natural.
Barret Melody 31
Key: G Minor/G Major
Time: Marked 4/4, but should have more of a cut time feel.
Technical
Difficulty: Moderately challenging
Approximate time: between 1:40 and 2:20
Barret Progressive Melody #31
Gekeler Book Two #26
Recordings: https://www.youtube.com/watch?v=VemGSBGf8dg
https://www.youtube.com/watch?v=rupjMqoclx0
Identifying the relevant scales and arpeggios will help with the technique in this etude. Watch out for F-sharps next to E-flats! Be careful that the eighth notes do not become pecky or choppy, especially at faster speeds. Students will need to make a plan for alternate fingerings, as there are many places in this etude that require either forked F or right Ab. The contrast (in style, dynamics, etc.) between the beginning and the more melodic syncopated section at m. 17 should be emphasized. Counting is important in this syncopated section. The eighth note trills that frequent this section are quite quick, and should not interfere with the underlying rhythm; it is acceptable to simply do mordents on them if that works better for you. All trills should start and end on the written note. Always work to shape phrases musically, especially in the more melodic middle section. Endurance can be a challenge. Students should make a good breathing plan, which will likely include many places to breathe only out, as well as places to breathe in.
Gekeler errata:
· In m. 9, all the nots should be marked staccato.
· The last note of m. 20 should be marked A-NATURAL.
· In m. 21, the first note should not be accented.
· In m. 23, both eighth notes should be marked staccato, as in m. 39.
· In m. 24, both eighth notes should be marked staccato, as in m. 40.
· In m. 28, the F should have a trill.
· In m. 35, the first note should be slurred into, just like m. 23.
· The last note of m. 36 should be marked A-NATURAL.
· The half note D in m. 39 should have a trill.
· There should be a crescendo through the last half of m. 55.
Other notes:
· The original Barret marks this at quarter note=112, which is much slower than it is generally played. The Shuring edition suggests that it should have been half note=112, but that is a little faster than it usually played. Common performance practice rests somewhere in between.
Barret Melody 32
Key: C Minor
Time: 3/4, but in one
Technical
Difficulty: Challenging
Approximate time: 2:30 without repeats, but with the Da Capo
Barret Progressive Melody #32
Gekeler Book Two #27
Skipping the repeats is recommended for region use, but the Da Capo al Fine is essential for the etude's overall coherence.
Recordings: https://www.youtube.com/watch?v=ENXiBwmjIBs
https://www.youtube.com/watch?v=NdhrhLcnTA0
Identifying scales and arpeggios will help with some of the tricky technique in this etude. Note groupings will be helpful for both technique and musicality. Be careful of counting on the ties that cross barlines. This etude tests range in both directions (m. 18, m. 52). Low notes will not speak if a student is biting or using weak air; high D's can be questionable in response even for strong young players, but very fast air will help. Phrases should be shaped musically, and students should try to bring out the areas of significant contrast in style and mood. Staccato eighth notes should be light, not pecky or choppy. Endurance is a challenge in this etude. Students should make a good breathing plan, which will likely include many places to breathe only out, as well as places to breathe in. All grace notes in this etude are before the beat.
Gekeler errata:
· In m. 28, all F's should be F-sharp.
· In m. 43, there should be a crescendo under the first three notes.
· In m. 43, there should be a decrescendo under the last three notes.
· In m. 44, there should be a crescendo through the first two notes.
· In m. 44, there should be a decrescendo under the last four notes.
· There should be a decrescendo through m. 45.
· There should be a written "cresc." about halfway through m. 46.
· There should be a decrescendo through m. 50.
· There should be a crescendo under the last three notes of m. 51.
· That's a decrescendo under the first two notes of m. 52.
· There should be a crescendo under the last four notes of m. 52.
· In m. 73, the first two notes should be slurred.
· (The D. S. al Fine should be a D. C. al Fine. There is, therefore, also no need for the segno at the beginning of the etude.)
Barret Melody 33
Key: F Minor
Time: 12/8
Technical
Difficulty: Moderate
Approximate time: 2:15
Barret Progressive Melody #33
Gekeler Book Two #28
Recordings: https://www.youtube.com/watch?v=b8Un1sIoXW0
https://www.youtube.com/watch?v=8jwESwhpKGU
This extremely melodic etude would make a really excellent technical region etude. It does not lack for technical challenge. Rhythms off of tied notes must be accurate (m. 2); it will help to subdivide. Identifying scales and arpeggios is always useful, and note groupings are often a valuable tool for both technique and musicality (mm. 40-42). The key adds a great deal of difficulty. Alternate F and E-flat fingerings must be carefully planned out. As forked F is a fuzzy note that doesn't always work well at strong points in a melody, especially when those are also longer notes, students may want to experiment with switching E-flat fingerings mid-note to allow them to use left F in some of those places (m. 13). Alternate F fingerings mid-note to avoid forked F may also be useful in some places (m. 25). This is a very melodic etude, so it is even more essential than normal that phrases be musically shaped. Style is also very important: Pay attention to which notes have an "up" or "down" inflection (m. 17), emphasize the difference between the light staccato sections and the smooth legato/slurred sections, and remember that it is often appropriate to lift the ends of slurs before staccatos. Staccatos should not be pecky or choppy. Remember that multiple staccatos under a slur indicate to tongue legato. Use vibrato on longer notes. The ritardando at the end can be quite significant. Grace notes in this etude go before the beat.
Gekeler errata:
· The last note of the first measure should be F, NOT G.
· In m. 19, the first note should be marked staccato.
· In m. 19, the second note should have a decrescendo, just like m. 17 and m. 18.
· In m. 23, there should be a decrescendo under the F, just like on the E-flat in m. 19.
· There should be a "cresc." written at the beginning of m. 31.
· In m. 37, the G should be slurred, just like in m. 5.
· In m. 38, the G should be slurred, just like in m. 6. (A side note about this measures: The Schuring edition slurs all the way into the F, in both these measures and mm. 5-6. The original Barret matches the Gekeler in mm. 5-6, but in m. 37, it tongues to the F, and in m. 38, it tongues all three notes. It is very unlikely that that variation in the original is intentional. A consistent articulation across these four measures is almost certainly called for.)
· There should be a second crescendo through the last half of m. 40.
· The first note of m. 45 should NOT be marked staccato.
· In m. 45, the slur should stop on the A-natural. The dotted quarter B-flat should be tongued.
· (The "dim." in m. 46 should be a bit early than written, on the high F.)
Barret Melody 34
Key: Ab Major
Time: 3/4
Lyrical
Difficulty: Moderately easy
Approximate time: 1:15
Barret Progressive Melody #34
Gekeler Book Two #29
Recordings: https://www.youtube.com/watch?v=ZS7Ijzf9q98
https://www.youtube.com/watch?v=iC-B9ziQPeE
https://www.youtube.com/watch?v=wXKJ9kyWcxc
There are some unusual rhythms and tonal moments that add complexity to what would otherwise be a fairly straightforward lyrical etude. Care must be taken with the accuracy of the counting in the first couple of measures, and in m. 4, as it is easy to enter incorrectly after the rest, especially if students are trying to feel this in four rather than in three. Students should be careful to place the triplet in m. 12 precisely, and to avoid starting it late and crushing the triplet. Stylistically, it is generally appropriate to put a little space after the dotted eighth notes. That provides a notable opportunity for contrast with the more straightforwardly legato middle section. The A-naturals in the opening can sound odd at first, but they are leading into the B-flats in the following measures. The F-flat in m. 23 likewise leads to the E-flat in m. 24. In this key, it is important to make a fingering plan for alternate F and E-flat fingerings.
Gekeler errata:
· There should be a piano marked at the beginning of the piece.
· There should be a small crescendo from the last note of m. 5 into the first note of m. 6, just like there is at the end of m. 1.
· Measure 6 should have a crescendo through the last three notes, just like there is in m. 2.
· Measure 11 should have a decrescendo through the entire first note.
· Measure 13 should have a crescendo under all the eighth notes.
· In m. 15, the first note should be D-NATURAL, not D-flat.
· The last note of m. 15 should be slurred into the first note of m. 16.
· In m. 20, there should be a piano marked under the first low E-flat.
· There should be a small crescendo under the last note of m. 21.
· In m. 23, the F-flat should have an accent.
Barret Melody 35
Key: E Major
Time: 4/4
Lyrical
Difficulty: Moderately easy
Approximate time: 1:10 without repeats
Barret Progressive Melody #35
Gekeler Book Two #31
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=VQBfoiGidW8
https://www.youtube.com/watch?v=Th5H9ll4XxE
There are many jumps in this lyrical etude, which must be played smoothly. In the opening figure, students should pay a great deal of attention to when and how they end the dotted eighth notes -- a little lift here is appropriate, and the quality of the release can make a huge difference in the overall effect. Quarter notes should have some vibrato. Phrases need to be shaped musically, and note groupings should be considered in sections of continuous eighth notes. In this key, students will need to make a plan for when they will need the alternate fingering for D-sharps. Remember that multiple staccatos under a slur indicate to tongue legato. Grace notes in this etude go before the beat, and should be lightly tongued.
Gekeler errata:
· None. Maybe a couple of crescendos and decrescendos that might be a couple millimeters shorter or longer, but nothing at all significant.
Barret Melody 36
Key: E Major
Time: 6/4
Lyrical
Difficulty: Moderately challenging
Approximate time: 2:20
Barret Progressive Melody #36
Gekeler Book Two #30
Recordings: https://www.youtube.com/watch?v=-2hkCFuea6s
https://www.youtube.com/watch?v=FVPscvxZuOA
It is quite a challenge at this slow speed, but students should attempt to bring out the triple meter feel, with stronger beats on one and four (though the etude should be very smooth, and any bumpiness should be avoided). Shaping phrases smoothly at slow speeds is more difficult than at moderate ones; students should try to vary the speed of vibrato to help them shape, in addition to dynamics and intensity. In this key, students should make a plan for where to use alternate fingerings. There are many double sharps in this piece, which may be new to students. Be careful to carry accidentals through the measure (m. 7). On many oboes, though not all, so long as the oboe is in adjustment, it is possible to play low B with the C-sharp key in place of the C-natural key, which is helpful when low B is next to C-sharp (m. 26). Style is very important in this etude: Staccatos should be very light and bouncy (listen closely to the quality of the note endings), and it is often wise to lift the end of a slur before staccato notes; legato slurs should be very smooth; staccatissimos (m. 8) should be quite short; multiple staccato marks under a slur should be tongued legato; and accents should be leans, rather than hits (use air and vibrato, not necessarily tongue, to accomplish them.) Identifying arpeggios can be helpful with technique, including when the arpeggios are obscured by appoggiaturas (m. 25). Endurance is a challenge in this etude.
Gekeler errata:
· In m. 8, the second, third, fourth, fifth, and sixth notes (all but the first) should have accents in addition to the staccatissimos.
· Measure 12 should likely have the same two decrescendos as m. 11 and m. 13 (under the two tongued eighth notes as well).
· In m. 13, the two tongued eighth notes (F-sharp and E) should be marked staccato, as in m. 11 and m. 12.
· Measure 16 should likely have the same two decrescendos as m. 15 and m. 17 (under the two tongued eighth notes and under the final two notes of the bar).
· In m. 22, the first two notes should be slurred. There should not be a staccato mark on the first eighth note.
Barret Melody 37
Key: B Major
Time: 3/4
Lyrical -- difficulty: Moderate
OR Technical -- difficulty: Easy
Approximate time: 1:00 without repeats
Barret Progressive Melody #37
Gekeler Book Two #33
Skipping the repeats is recommended for region use.
Recordings: https://www.youtube.com/watch?v=UxOrJr7UxE8
https://www.youtube.com/watch?v=FNEdewfbyXA
Apart from the key, this should be a fairly simple etude. However, the rhythm is trickier than it looks. It is important to make sure this etude feels like it's in 3/4, not 6/8. It will be greatly helpful if the C-sharp at the beginning feels clearly like it's on the beat. Care should also be taken with the syncopation (m. 3). In this key, students must be sure to plan alternate D-sharp (and occasionally E-sharp) fingerings. Noticing the arpeggios can help with technique. Large jumps (mm. 27-28) should be smooth and in tune; students should focus on fast air for the high B, and may find it helpful to raise the back of their tongue. Students should aim to shape the larger phrases musically.
Gekeler errata:
· In m. 5, there should be a crescendo under the last three notes.
· In m. 22, the slur should continue all the way to the first note of m. 23.
· In m. 23, the slur that starts on the B should continue all the way to the first note of m. 24.
· In m. 26, the slur that starts on the B should continue all the way to the first note of m. 27.
Barret Melody 38
Key: F# Minor
Time: 4/4
Lyrical
Difficulty: Moderate
Approximate time: 1:20
Barret Progressive Melody #38
Gekeler Book Two #34
Recordings: https://www.youtube.com/watch?v=gnLtg8TZJ2A
https://www.youtube.com/watch?v=C2NyuKYIIZQ
https://www.youtube.com/watch?v=e5CcWP4qkAg
This is a fairly straightforward lyrical etude, though the key and the occasional double sharps add some challenge. There are also some tricky rhythms, such as the triplets in m. 22 and especially the ties in mm. 23-24. Be careful not to enter early after those ties. The turn in m. 4 works best as an eighth note A, a sixteenth note triplet B-A-G#, and ending with an eighth note A. Grace notes in this etude go before the beat. Make a plan for alternate fingerings, and be sure to notice accidentals that carry through a measure (m. 19). The slur to high C-sharp (m. 22) can be tricky, and will require a very fast, focused air stream. It can help to aim the air high. Care must be taken to shape the phrases musically. In sections of continuous eighth notes (mm. 17-22), note groupings can help with both technique and musicality.
Gekeler errata:
· In m. 5, the C-sharp on beat 4 should be a dotted eighth note.
· In m. 8, the E-sharp should be tongued. The grace notes should NOT be tongued; they're clearly marked slurred in the original, and they are functioning similarly to a nachschlag. There should be a slur from the E-sharp to the E.
· In m. 17, there should be a decrescendo under the last three eighth notes.
· In the second half of m. 18, instead of a drawn crescendo, there should be a "cresc." with dashes following to indicate that it continues all the way to the forte in m. 20.
· In m. 19, the B-double-sharp on beat 3 should instead be marked B-sharp.
· In m. 25, the first two notes should be slurred.
Barret Melody 39
Key: C# Minor
Time: 4/4
Lyrical
Difficulty: Moderate
Approximate time: 1:30
Barret Progressive Melody #39
Gekeler Book Two #35
Recordings: https://www.youtube.com/watch?v=Ze5To0mhjuc
https://www.youtube.com/watch?v=9iRwtaE2elA
This bittersweet minor etude often sounds like it might almost make it into E major, and even flirts with G-sharp major in the middle section (mm. 12-16), but it keeps getting dragged back to C-sharp minor. There are many unusual accidentals and double sharps; be sure to notice accidentals carrying through the measure (m. 13, m. 15). It is important to be rhythmically clear switching between eighth notes, triplets, and the dotted-eighth-sixteenth rhythms near the end (mm. 24-26). In this key, students must plan out their alternate fingerings. The C-sharp octave slur in m. 22 can be tricky technically, in addition to the response concerns; move your pinky from the C-sharp key to the C key as you would do going down the chromatic scale. In sections of continuous eighth notes, note groupings can help both technically and musically (mm. 8-9, mm. 22-24). Phrases should be shaped musically, which may occasionally require some negotiation with the marked dynamics.
Gekeler errata:
· There should be a piano marked at the beginning of the etude.
· In m. 14, the first two notes should be quarter notes.
· In m. 14, the accidental crosses the octave. The middle B should also be B-sharp.
Barret Melody 40
Key: Db Major
Time: 4/4
Lyrical
Difficulty: Challenging
Approximate time: 2:20
Barret Progressive Melody #40
Gekeler Book Two #36
Recordings: https://www.youtube.com/watch?v=c1lI08k3F-0
https://www.youtube.com/watch?v=9iRwtaE2elA
This is a very challenging lyrical etude. Shaping long notes across a tempo this slow can be challenging; students should try varying vibrato speed as well as volume and intensity. Students should be very attentive to musically shaping the phrases in this beautiful slow etude. Note length should be carefully considered, especially on the double dotted quarter notes. A little lift after those is appropriate, but the quality and amount of that space should be an intentional musical decision, even when tired (m. 19). Length and lift should also be considered in regular dotted-eighth-sixteenth rhythms. Accents, especially slurred ones, should be accomplished with air and vibrato, not heavy tongue. Remember that multiple staccatos under a slur indicate a legato tongue. Sixteenth notes marked staccato should not be at all pecky or heavy, even if that means they're not particularly short. It's important to count carefully. I would not tongue the grace notes in m. 22, but I would lightly tongue the grace notes in m. 27 and m. 31. The grace notes need not be especially fast.
Students should avoid the temptation to enter early after the double dotted quarter notes, and should also take care with the triplets (m. 21), which should be distinct from the sixteenth notes and eighth notes near them. The syncopation, especially when ending in a tie, is another significant rhythm challenge (mm. 25-26). The key adds significant difficulty here, as do the occasional double flats. Alternate F and E-flat fingerings should be carefully planned out. To avoid putting a fuzzy forked F on a long, emphasized note, students might consider changing E-flat fingerings mid-note to allow for a left F in those places (m. 1). There are some very technically challenging sections in this lyrical etude, especially near the end (mm. 25-33). Identifying scales and arpeggios is always helpful, and looking for note groupings can help with both musicality and technique.
Gekeler errata:
· There should NOT be a decrescendo marked in m. 10.
· The turn in m. 13 should likely have a natural sign under it, indicating that the notes in the turn are: Bb-A-Bb-C-Bb.
· Measure 13 should have a decrescendo under the first two notes.
· In m. 15, both dotted eighth notes (A-flat and F) should have accents.
· There should be a decrescendo under the second half of m. 15, under the sixteenth note run.
· In m. 15, the accidental crosses the octave -- the high G is also G-NATURAL.
· There should be a crescendo through the first half of m. 16, under the first four notes.
· There should be a decrescendo through the last half of m. 16, under the last four notes.
· In m. 18, the dotted eighth note high A-flat on beat 4 should also have a staccato mark (the slur is marked correctly), indicating that it is also lightly tongued.
· In m. 23, there should be a slur over the entire measure (from the F to the C.) The accents are correct as written.