Tone and Control is the first volume of an extraordinary method by Stevens Hewitt, a member of the Philadelphia Orchestra. At first glance, the method is more text than music, but Mr. Hewitt realizes that correct mental concepts always precede correct physical responses. But let the method speak for itself: On legato:

"The power of sustaining notes being one of the striking attributes of the oboe, (me must make legato a special study. He who cannot play legato cannot play well.

There are three interruptions of legato: 1) wind, 2) fingers, 3) tongue.To find unevenness of wind support, sing a glissando scale, met=66, with no way stations, passing through the note, on the beat. Think of the "water tank." (In an earlier paragraph on support, Hewitt suggests "Think of water tank with a faucet at the bottom. You cannot add water after you turn on the faucet and expect an even flow. Tongue the wind. Do not "wind the tongue." e.g.
Then: Sing gliss with way stations. e.g.

This is not legato, because of diaphragm yanks or tightening of the throat on beat. Do not do it. For legato, keep absolutely even pressure. Like toothpaste being squeezed out of a tube.

Scales should sound as if they are superimposed on one long tone. No yanks, checks, or wobbles. Push across fingers. Keep embouchre solid....no "chewing gum" playing.

Emphasis is prepared by the breath, carried out by the tongue. It is never made by a finger accent. A legato exercise: (tongue, wind, and finger)

• 1) No spaces between notes.
• 2) No yanks...finger accents change when notes change in legato.
• 3) Do not telegraph accent to which you are leading.
• 4) Hit notes on head, not in stomach.

Why do you tighten the muscles when you move from one tone to another when you do not if you stay on the same tone?

Staccato: Some players have been taught that music stops where staccato begins. Rather, music stops where legato stops, and legato stops where bad staccato begins. There are two types of staccato: 1) "who" and 2) "what." The word "who" is ended by relaxing diaphragm pressure, the word "what" by tongue placement. Good staccato is a judicious combination. Notes should be full and round, like a string of pearls.

Support! There must be some length of note. Each note must have attack, duration, and release. Hit notes on the head, not in the stomach. No match-strike entrances. The shorter the note, the more it needs filling up to give it life. Attack at the level of the duration, not above. Release with no pinching or sagging.

Most staccatos mean, not shortness, but "t"ness at the very beginning of the note and graceful finish. Comparatively rarely do they mean short."

Mr. Hewitt applies the same imagination and thoughtprovoking language to concepts of vibrato, sonority, and tone development. There are challenging metronome studies, and a complete discussion of articulation styles. The etudes use the whole range of the instrument to the high C.

I am eagerly awaiting the completion of volumes 2 and 3 of this outstanding method. It is a book which will revitalize the practicing of every oboist, even the most jaded professional.

Copies of Volume I are available from the author at 614 65th Avenue, Philadelphia, Pennsylvania 19126 at $7.00.

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