Editor's note: James Lakin is professor of oboe at the University of Iowa in Iowa City.
This article marks the beginning of a series of reviews devoted to music for oboe and English horn. In an effort to keep on top of the many new publications for double reeds, I am sending a letter to forty publisher-distributors in the United States who have charge of the music of over ninety U.S. and foreign publishing houses. The letter asks that they send one copy, marked complimentary, of every new publication for oboe, English horn, bassoon, and contra bassoon which they handle to Bruce Degen at the IDRS library in Indianola, Iowa. These complimentary copies would not be available for performance but would be available for review in The Double Reed. Periodically, a list of holdings would be made available to the membership. If any of you have access to publishers or to new music your help in this effort would be appreciated .
I have chosen to review eight publications for oboe composed by Albert Debondue, teacher and artist performer. They are all published by Leduc. Five of the eight are etudes or studies as we usually know them and three are sight-reading studies, a genre unfamiliar to many oboe teachers.
24 Melodic Etudes (1952), Intermediate Level
These studies contain pieces in keys through six sharps and six flats with a basically slow, eighth-note pace in all but two. The phrases are well marked and musical. There is also a wonderful mixture of rhythms in each etude which will direct the student to accurately subdivide. Liberal use is made of alternate fingerings which are given at the beginning of each study in rudimentary French. Some of these are not usually employed by American players but are excellent choices for developing the discipline of finger patterns. The choice of breath marks is well thought out and leads to correct and musical phrase breathing. There is ample opportunity for the player to make use of the important "short" fingerings for high D#-E-flat, E, and F. as well as alternate fingerings for middle and high C#. Some corrections need to be called to the attention of the player. In etude five, measure eleven, notes 5-8 should be 64ths and not 32nds. In etude eight, measure eighteen, notes 7 and 20 should be 8ths and not 16ths. In etude twelve, end of line six, breath mark should be removed and placed at the end of the following measure. In the same etude, line seven, measure one, note 13 should be A and not G#. In etude seventeen, line nine, measure two, note 8 should be A-flat and not B-flat. In etude eighteen, line nine, final measure, remove forte mark. In etude twenty, line four, final measure, last three notes should be under a triplet sign. Finally, in etude twenty-four, line nine, measure one, notes 5-8 should be 32nds and not 16ths. These etudes are among the finest written examples of slow, melodic studies available. They are excellent for developing a singing tone, beautiful phrasing, and general musicianship.
32 Etudes for Oboe (1952) Advanced Level
This is a fine collection of studies in all the major and minor keys with an additional chromatic study and whole tone study included at the beginning. Each etude stresses one general aspect of performance; chromatic scale, whole tone scale, staccato, various articulation patterns, slow and melodic playing, etc. The range is wide (low B-flat to high G) and excellent use is made of dynamic variation. Very often a study makes use of more than one key but will generally gravitate more toward one tonal center than another. An interesting aspect of these studies is the use made of varying phrase lengths (4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, and 20 measures). Each etude generally focuses on one length of phrase and varies each repetition by means of changes in articulation and key. Also interesting is the use of varying meters which provides for practice in reading. Meters such as 2/4, 3/4, 6/4, 12/4, 4/8, 5/8, 6/8, 7/8, 9/8, 10/8, 12/8, 3/2, 12/16, and C are representative examples. The four melodic studies in the collection are slow and very reminiscent of the 24 Melodic Studies published in the same year.
100 Exercises for the Oboe (1961) Advanced Level
This book of short etudes deals with fingerings which are infrequently used but which should nevertheless be second nature and familiar to oboists working for complete mastery of their instrument. With this publication, the composer seems to turn to a more extensive use of alternate fingerings than in the previous two volumes above. This use continues through the remaining three volumes in the series. The studies are short (none exceed three lines) and each deals with a particular fingering. Some examples of fingerings used include right hand A-flat-G#, left hand low B-D# slide, low B to right hand D# slide, and the slide from low C to right hand D#. The range is large, extending from low B-flat to high G#. The studies are in keys of four sharps and flats up to six sharps and seven flats. They should be practiced slowly at first, paying particular attention to the fingers involved. After the fingering comes easily the tempo should be increased for greater facility. The etudes serve their purpose well but are not as musically interesting as some of his other works. Nevertheless, they are especially useful for developing complete fingering mastery and should be familiar to the serious student.
12 Etudes for Oboe (1961) Advanced Level
Each etude in this volume is built around a basic phrase which is worked through a series of keys (usually involving four sharps and flats up to six sharps and flats) and various articulation patterns. Throughout, the range is extensive, running from low B-flat to high G#. The basic phrases are usually of a good melodic nature but certainly also emphasize the technical aspects of oboe playing, employing difficult alternate fingerings, wide intervalic leaps, and demanding excellent finger dexterity. The phrases are varied in length including durations of 8, 9, 10, 16, and 24 measures. Meter signatures are also varied giving excellent experience in a wide variety of basic meters such as C, 2/4, 3/4, 5/4, 3/8, 6/8, 9/8, 12/8, and 12/16. These studies are definitely intended for the serious, mature student.
25 Etudes for the Oboe (1955) Advanced Level
As a whole, these studies are written in the most difficult keys (from four to seven sharps and fiats) and require the use of many alternate right and left hand fingerings. Only two studies of the entire set are in easy keys and one of these is intended for double tongue practice. Clear directions for fingerings are found at the beginning of each study and are written in French, English, and German. The range is large (from low B-flat to high G#). The use of varying meter signatures provides adequate practice in reading (two studies employ the unusual 24/16 and 6/16 signatures). Each study exploits one general area of performance such as trills, grace notes, mordents, triplets, mixed rhythms, double tonguing, etc. It would appear that these studies resemble the 24 Melodic Studies in their basic approach to the use of alternate fingerings. However, the melodic content is less pleasant than that in the 24 or 32 Etudes. They are definitely difficult studies intended for the most advanced players to use as a logical conclusion to the study of important alternate fingerings.
Studies composed primarily for sight-reading are often unknown to many oboists. Therefore, this set of three volumes should be in every teacher's library ready to be placed in front of that special student who needs to be made aware of the place sight-reading has in the daily life of an oboist. They are challenging in many ways!
50 Sight-reading Etudes for Oboe or Saxophone (1967) Intermediate Level
These excellent short studies (none is over seven lines long) are intended to provide the student with music which is challenging to read at sight. In this regard they are a success. They also provide a rather nice package for learning rhythmic subdivision. Two-thirds of the studies are in major keys and one-third in minor. Forty-two are in eighth-note beats while eight are in quarter beats. The vast majority are in key signatures up to three sharps and three flats. There is a normal range spread from low B-flat to high F. The exercises are excellent in providing the student with the necessary practice in beat subdivision which is so essential in playing music today. The melodic content is not as good as in other volumes but is more than compensated for by the strong rhythmic variety which is present.
25 Sight-reading Etudes for Oboe or Saxophone (1967) Intermediate Level
These studies are much longer than those in the 50 Sight-reading Etudes, and are also technically more difficult. They are much more interesting melodically. The basic pulse is the eighth-note and it is usually slow. Rhythmic subdivisions are stressed and articulation is varied and demanding. They ask much more from the player in all areas than did the earlier 50 Sight-reading Etudes. There are several rhythmic errors that need correcting before assigning to a student. On second thought, maybe that would be good practice for the student!
48 Sight-reading Etudes for Oboe (1970) Advanced Level
This set of studies is, in my opinion, the weakest of the entire eight volumes. Although it adheres to the plan of providing sight-reading material with an abundance of rhythmic subdivision, it is dull melodically and harmonically. Key centers change at a rapid pace in each short study giving a rather veiled reference to tonality. The prime emphasis is on rhythm and slight misalignments of rhythm for the sake of sight-reading variety. Range is minimal, going from low D to high D with less than twelve notes above this. Roughly two-thirds of the studies are in eighth-note beat while the remaining are in quarter-note beat.
I would suggest that these eight volumes of etudes for oboe be on the list of music to be looked at by all teachers of the oboe. They are well worth your time and effort.