Valparaiso, Indiana

Sonata in A Minor (Movement IV) by George Philipp Telemann

This piece is part of a collection of solos published by G. Schirmer, Inc.

The title of this collection is SOLOS FOR THE OBOE PLAYER edited by Whitney Tustin

# 1

Open your collection of oboe solos to page 4.  This piece is an exciting piece of music with a Vivace tempo marking.  We will begin rehearsing the piece slowly with a steady tempo.  This piece is trumpet-like in style with the articulation very short throughout. Having a good reed that tongues easily is the first step in playing this movement well.  Start by reading the music like a book and finger along as you sing the melodies.  Again, the key to success is playing and reading SLOWLY in these first few practice sessions.

Note that at the beginning, letter, “A”, letter “B”, letter “C” and letter “D” the melodic lines begin with a pick-up note.  This needs to feel and sound like watching a violinist play these melodies starting with an up bow followed bya down bow.  The second note on the downbeat is the boss, not the upbeat note.

# 2

Keep your fingers close to the keys, relax your fingers, and be sure your fingers are leading the rhythms in every measure.  You tonguing accuracy is very important.  Your tonguing must coordinate with your fingers throughout the piece.  Note the key signature no flats or sharps-the key of A Minor is the relative minor of C Major.

In measure 6 you have an interesting melodic line with two dynamics.  It is important to play the two dynamics (crescendo and diminuendo) with perfect articulation.  At letter “A” stretch the notes in the first tow measures with the succeeding bars very trumpet-like to letter “B”.

# 3

At letter “B” you have a brilliant moment in the second measure.  Start your practice on this measure by playing the notes very slowly to include them all.  Omitting the second and third notes (B & C) at the beginning of your practicing and holding your first note (“A”) a little longer will help you get started on this rhythmic pattern, especially as you increase the tempo.  Use your judgment about playing all the notes or omitting the two notes suggested if it is necessary.

As the rhythmic patters at letter “B and at letter “C” are all articulated for the most part some oboist find that they can play faster with more accuracy if the play of the note “F’s” with a regular “F” fingering rather than forked “F”.  Try both ways and see what works best for you.

# 4

Two measures before letter “D” the music slows down dramatically, take a breath, and proceed with the melodic line that is the same as the melody at the beginning of the music but played softer (piano).  Six measures after letter “d” is the same exciting bar as the sixth measure after the beginning..  This is followed by a piano dynamic, a gradual crescendo and a big ritardando at the end with a fermata on the last note.

Your successful performance will largely be based on the tempo you decide for your performance and keeping that tempo steady throughout the piece.  It is best for many performers to perform the piece a little under tempo to insure all the correct notes, fingerings, rhythms, articulations, and dynamics.  Remember that this is a trumpet-like piece. Keep your tongue close to the reed and use a “Du” tonguing pattern rather than at “Ta” tonguing pattern.  Your tongue will move faster with less effort.

There is a YouTube performance that includes a performance of the piece and the examples cited above.  Listen, watch, and play along with the video.  You will find this helpful in your practicing for perfection.