Analysis

of Selected
NYSSMA Solos for Oboe
Samantha Fay

Level One

On Wings of Song: Mendelssohn

Dr. Bulls Juell: Bull
Queens Alman: Byrd
MenueEo: Mozart
Entracte: Schubert

On Wings of Song: Mendelssohn

Posture,
breathing,
and support

Embouchure
and other
maEers of
tone
producKon:
Sustained
notes and
slurs,
Intervallic
leaps as far
apart as 6ths

Finger
Facility:
Proper use
of forked F
in relaKon to
Ds and Ebs,
Vast
majority of
Fs forked (or
leR), but not
all, Fast
notes: grace
notes

ArKculaKon:
slurred
verses
tongued,
tenuto,
legato
tongue,
Tonguing
changing
notes verses
tonguing
repeaKng
notes

Expression:
Basic
expression
such as
following
marked
cresc./dim,
Flow and
line- very
connected
to
arKculaKon

Other:
method
books
probably
have not
introduced
grace notes
or
compound
Kme by this
point in a
students
career

Dr. Bulls Juell: Bull

Posture,
breathing, and
support:
breaths are
marked in, but
they might
actually be too
frequent

Embouchure
and other
maEers of tone
producKon:
leaps up to a
Rh, starKng
on a low D,
tapering

Finger Facility:
ngers must
move together
without blips,
even over the
break. The F#
simplies
ngerings a
liEle but, and
there are many
courtesy
accidentals,
and students
who are
accustomed to
playing Bbs all
the Kme may
have trouble
breaking the
habit.

ArKculaKon:
ArKculaKons
should be as
gentle as
possible, while
sKll separaKng
the notes and
student should
work towards
keeping them
the same
through
registers.

Expression: No
expressive
markings are
specied, but
maybe
students could
gure out to
play the three
phrases F, p, F
or some other
simple dynamic
scheme.

Other: six eight

may not be
very familiar to
students at this
level, even if it
is counted in
six, but this
could be a good
opportunity

Queens Alman: Byrd

Posture,
breathing, and
support:
Breaths are
marked I four
bar phrases

Embouchure
and other
maEers of tone
producKon:

Finger Facility:
a minor, maybe
pracKce a
minor scale as
well as C major,
even though
beginners oRen
dont play
minor scales,
this would be a
great
opportunity to
introduce the,
even if it
doesn't have to
be memorized.

ArKculaKon:
staccato verses
unmarked
quarter and
eighth notes.
Altering the last
note in a
slurred group
note aRer
words can be
staccato and
separated.

Expression:
hierarchy of
accents in 44
Kme, short
notes moving
to longer ones,
DC al ne

Other:

MenueEo: Mozart
Posture,
breathing,
and support:
breathe can
be used to
propel
through the
repeated
notes, breath
marks are
marked in
seemingly
reasonable
places

Embouchure
and other
maEers of
tone
producKon:

Finger
Facility: G
major, some
chromaKc
notes, many
scalar
passages, and
occasional
leaps

ArKculaKon:
many
repeated
notes that
need to be
arKculated
stylisKcally
and scalar
passages that
need tongue
to line up
with tongues

Expression:
long notes
and repeated
notes need
forward
moKon, and
no Kme is
too early to
start talking
about
phrasing,
even in
simple terms.
Dynamics are
marked P and
F

Other:

Entracte: Schubert

Posture,
breathing,
and support:

Embouchure
and other
maEers of
tone
producKon:

Finger
Facility: This
is the rst
out of the
album that is
in Bb, which
although
comfortable
for many
beginners
does come
with its own
set of
ngering
problems.

ArKculaKon:
Slurs with
staccatos
under them
confuse
everyone,
not just
beginners,
but this piece
calls for
smooth
arKculaKons
and smooth
slurs through
intervals.

Expression:
Smooth
feeling and
following
marked
dynamics,
even
hairpins.

Other: some
syncopaKons:
eighth note
followed by
quarter or
Kes over the
bar line.

Level 2
Minuet: Nicholas Amani
Orientale: Cui

Minuet: Nicholas Amani

Posture,
breathing,
and support

Embouchure
and other
maEers of
tone
producKon:
Range: low C
to high B,
Tonguing
low C# and
C, Leaps
over an
octave, large
slurs,
endurance:
repeats

Finger
Facility: G#,
Key changes
in middle

ArKculaKon:
Slur, tongue,
tenuto,
accent,
Minuet style

Expression:
What style is
a minuet
played in?
What other
minuets do
you know of,
can we
listen to
recordings
of them?
MoKon
across bar
lines.

Other

Orientale: Cui

Posture,
breathing,
and support:

Embouchure
and other
maEers of
tone
producKon:
Leaps over an
octave,
slurring down
to low notes

Finger
Facility:
Many
accidentals,
fast 16th
notes

ArKculaKon:
Long, smooth
lines

Expression:
Moving
through
faster nger
passages,
keeping the
line though
fast moving
notes

Other:
SyncopaKons

March: Handel
Posture,
breathing, and
support:
breaths are
marked, and
the mark style
leaves
opportuniKes
for breathing in
plenty of places
as long as they
are well
planned.

Embouchure
and other
maEers of tone
producKon:
Nothing too
complicated
here, some
larger tongued
leaps.

Finger Facility:
C major, simple
melody, only
fast nger work
required is in
trills, simple
doEed eighth
16th passages,
and wriEen-out
turns.

ArKculaKon:
march style
arKculaKons

Expression:
marcato is
marked at the
beginning, so
the march
marcato style
must be kept in
mind
throughout the
piece without
specic
reminders

Other:
Beginning band
students know
marches, this is
a very
comfortable
opKon, but I
really dont see
much unique
potenKal for
learning here. A
Handel march
isnt quite the
same as a
Sousa march,
but there are
denitely
beEer opKons
for level 2s
than this one.

Level 3

Mosquito Dance: Mendelssohn

Arioso: JS Bach (CCC)
Two MenueEos: JS Bach (CCC)
GavoEe: Goedicke (CCC)
Aria& Rondinella: Handel (CCC)
MenueEo & Presto Haydn (CCC)
Piece in G minor: Pierne (CCC)

Mosquito Dance: Mendelssohn

Posture,
breathing, and
support: Long
phrases

Embouchure
and other
maEers of tone
producKon:
Endurance
needed- no
signicant
breaks,
Downward
octave leaps

Finger Facility:
NavigaKng
frequent key
changes-
keeping track
even in simple
keys, Requires
comfort in use
of C# key, a
dicult nger
stretch, No
forked Fs
required, even
in CM secKon!

ArKculaKon:
Almost
constant
arKculaKon
cant get in the
way of
musicality/
tempo, what
kinds of
arKculaKon
help to portray
lively

Expression:
Musically
choosing how
much to
change tempo
at a liEle
slower or
slower and
back to a
consistent a
tempo,
Change tempo
and dynamic
independently,
Using
arKculaKon as a
tool towards
expression, not
a hindrance

Other:

Arioso: JS Bach
Concert and Contest CollecKon

Posture,
breathing, and
support: Long
slurred
passages. Some
breaths are
marked in, but
students must
also take into
account in
verses out
breaths and
make a
breathing plan
that works for
them and the
music, even if
that is dierent
from what the
editor marked.

Embouchure
and other
maEers of tone
producKon:
Embouchure
must allow for
smooth skips
under slurs

Finger Facility:
No parKcularly
fast nger
work, but some
trills,
accidentals,
alternate Fs

ArKculaKon:
smooth
arKculaKons
necessary, and
also knowing
when to
arKculate and
when to slur as
marked

Expression:
Many
opportuniKes
for expression.
More dynamics
can and should
be played than
just the pianos
marked. Also
performance
suggesKons
listed at
boEom of page
provide
interesKng
stylisKc advice
and
background for
a young player.

Other:
CounKng the
eighth notes,
counKng even
triplets

Two MenueEos: JS Bach

Concert and Contest CollecKon

Posture,
breathing, and
support:
support
necessary for
large upward
leaps and
connecKng
moving notes
under slur

Embouchure
and other
maEers of tone
producKon:
Embouchure
adjustment and
exibility
necessary

Finger Facility:
Many moving
notes, some
accidentals,
could
potenKally get
fast, but cannot
get sloppy.
Although there
are no specic
technical
challenges a
true
allegreEo
tempo would
make this more
technical than
many level 3s

ArKculaKon:
MenueEo style
is driven by
arKculaKon and
much aEenKon
should be paid
to them. Clean
and crisp but
not too short or
accented.

Expression:
Student should
explore what to
do dynamically
and musically
in sequences
where no
specic
instrucKons are
marked

Other: break
between two
secKons may
be helpful for
student
struggling with
endurance,
although if
repeats are
taken piece will
sKll be quite
long

GavoEe: Goedicke
Concert and Contest CollecKon

Posture,
breathing, and
support: Breaths
are marked in to
aid in phrasing,
but as always
may need
adjustment by
student

Embouchure and
other maEers of
tone producKon:
upward slurred
leaps

Finger Facility: If
taken in a quick
cut Kme, this
piece could also
be relaKvely
technical. G#s
tend to be
unfamiliar to
young students,
but the problem
of choosing Fs is
generally taken
out of the
equaKon in GM,
which helps.
Excessive
courtesy
accidentals may
be confusing at
Kmes.

ArKculaKon: the
biggest
arKculaKon
challenge in this
is the dierence
between
staccato 8ths
and staccato
4trs, and not
being tricked by
the small
changes in
arKculaKon
paEerns in 8th
note groupings/

Expression:
ArKculaKon
should propel
the piece
forward, the
general feel, no
maEer what the
end tempo is,
should be light
and dancing.

Other: Cut Kme

can be
challenging to
students who
are unfamiliar
with it, but that
should not get in
the way of
learning the
piece.

Aria& Rondinella: Handel

Concert and Contest CollecKon

Posture, breathing,
and support:
support, even at PP
is vital for largo
(and all music!) and
tonguing in the
wind will be
important for faster
arKculaKons

Embouchure and
other maEers of
tone producKon:
There are some big
skips at the end of
the AllegreEo
Scherzo. Also tone
quality is important
in slow music. Since
ngers are easy,
that gives the
opportunity to
focus on other
things

Finger Facility: The

allegreEo scherzo
doesn't specify if it
should be in 1 or
three, but there are
some fast moving
notes there.
PracKcing the GM
scale in thirds could
help a lot.

ArKculaKon:
ArKculaKons should
vary between rst
and second
secKons.
DierenKaKng
between staccato,
accented, and
unmarked notes in
AllegreEo Scherzo.

Expression:
Accentuate
contrasts between
movements and
between repeats!
Start trills from the
note above.

Other: This piece is

set apart from
many other level
threes because of
its contrasKng
movements, which
is a really appealing
opportunity to
pracKce style and
contrast and work
on well-rounded
musicianship,
especially seeing as
so many students
work on NYSSMA
pieces for so long at
a Kme. It also gives
the opportunity to
talk about baroque
style, trills,
anKcipaKons, turns,
wriEen out
ornaments. And
RelaKve Minors.

MenueEo & Presto: Haydn

Concert and Contest CollecKon

Posture,
breathing,
and support:
Large
intervals,
ascending
and
descending,
tongued and
slurred, air
must support
through
them, not
back away.

Embouchure
and other
maEers of
tone
producKon:
Embouchure
exibility a
must for
large interval
slurs, up to
an octave in
range.

Finger
Facility: If the
MenueEo is
taken at a
reasonable
tempo, the
sixteenth
notes will be
preEy past.
They arent
dicult
nger
paEerns, but
regular F is a
must!

ArKculaKon:
ArKculaKons
between
MenueEo
and Presto
should be
dierent. But
how?

Expression:
opportunity
to discuss
stylisKc
changes
within
MenueEo
(and trio) and
relaKve
minor
concept.

Other: Many
examples of
simple
syncopaKons.
CounKng
triplets.

Piece in G minor: Pierne

Concert and Contest CollecKon

Posture,
breathing,
and support:
long phrases,
and long
notes that
must be
supported
through,
regardless of
range.

Embouchure
and other
maEers of
tone
producKon:
tapering and
control on
long notes

Finger
Facility: wide
range of
appropriate
tempo
determines
how much
nger facility
is necessary.
Many
arpeggios
and scalar
turnarounds.

ArKculaKon:
arKculaKons
are simple,
but must
portray style
and meaning.

Expression:
many
expressive
markings are
given as
guidance,
and they are
even
bilingual.
There is
much room
for
expression
with tempo,
dynamics,
arKculaKon,
emphasis etc.

Other:
Another
great piece,
high quality
wriKng, not
just a
transcripKon,
very dierent
feel from the
baroque ones

Level 4

Sonata in C Major:Loeillet
Elegiac Dance: Michael Head
Allegro Moderato: Haydn (CCC)
SonaKna: Mozart (CCC)
Colloquy: Schwarz (CCC)

Sonata in C Major: Loeillet

Posture,
breathing, and
support: Long
phrases, need
shaping and
support,
especially in Largo
Cantabile

Embouchure and
other maEers of
tone producKon:
Incredible
endurance
necessarily if
repeats are taken
fully

Finger Facility:
Many scalar and
arpeggiated
passages. Trills,
mordents, grace
notes, turns.

ArKculaKon: Very
wide variety of
arKculaKons
required: tenuto
under slur, accent,
staccato. Use of
arKculaKon for
expression/style

Expression:
Requires
knowledge of
baroque style-
how to handle
ornaments, what
arKculaKons are
appropriate to the
style. Is Adagio at
the end of the
Largo movement
supposed to be
faster or slower?
Is it a sudden or
gradual tempo
change? Italian
Largo cantabile
Adagio
Allegro Largo
espressivo
Dolce
espressivo
allegro

Other: CounKng
common Kme in 8
while maintaining
good phrasing

Elegiac Dance: Michael Head

Posture,
breathing,
and support:
Long slurs
and phrases,
Honoring
marked
breaths and
adding your
own

Embouchure
and other
maEers of
tone
producKon:
Slow areas
need
beauKful
tone,
Keeping
tone
consistent
from slow
moving
notes to fast
ones and
back

Finger
Facility:
Finger
facility is
important
here, to be
able to
navigate
over the
break and
through
forked/leR F
passages
quickly and
easily in
ourishes

ArKculaKon:
SoR tongue,
grazia and
dolce.
DierenKate
between
slurred and
tongued
while
maintaining
grace.

Expression:
Much
potenKal for
expression-
playing with
tempo in
many
marked
tempo
changes and
in rubato
and ad lib
secKons.,
Shaping long
phrases

Other: Must
keep sense
of steady
pulse
through
slow moving
eighth notes
and secKons
where the
tempo
changes, this
might be
one of the
largest
challenges
to this piece.

Allegro Moderato: Haydn

Concert and Contest CollecKon

Posture,
breathing, and
support:
Upward leaps
of an octave or
more require
solid support

Embouchure
and other
maEers of tone
producKon:
High Ds, large
leaps require
embouchure
exibility and
awareness of
pitch within
intervals.

Finger Facility:
scalar passages
require fast,
even nger
work, with F#
or natural.

ArKculaKon:
Accents,
staccatos, etc.
need to be
performed in a
classical style,
which is not
necessarily the
same way as
they would be
in a band
sepng. Haydn
isnt the same
as Sousa.

Expression: this
piece has a
relaKvely small
stylisKc paleEe,
since it is a
single
movement, but
that means
that more
aEenKon can
be paid to
mastering this
parKcular style,
with the
marked
dynamics and
arKculaKons, as
well as
aEenKon to
shape and
phrasing.

Other: This is
probably the
easiest four our
of the concert
and contest
collecKon

SonaKna: Mozart
Concert and Contest CollecKon

Posture,
breathing, and
support:
support through
long and short
notes, not giving
up on the
airstream
between eighth
notes/eighth
rest repeKKons
High Ds may
show if support
is adequate
anywhere else.

Embouchure and
other maEers of
tone producKon:
High Ds in
second and
third movement,
including
notorious B to D
slur, students at
this level should
be thinking
about pitch and
intervals, and
maybe even
vibrato. The
opening long
notes are
perfect places to
introduce
vibrato.

Finger Facility:
Finger facility is
important and
some notes do
move quickly,
luckily fast notes
tend to be scalar
and GM or CM,
but there are
some tricky
parts with leR
(forked) Fs and
chunked scales
in thirds and
arpeggios

ArKculaKon:
Light, classical
arKculaKons
required,
staccatos should
not be too short
or severe, but
should lend
character

Expression: this
piece has plenty
of opportunity
for expression,
the editor has
given guidelines
of dynamics and
arKculaKon, but
the movements
also have the
potenKal for
disKnct
personaliKes,
and the second
movement really
requires thought
of expression,
not just in
dynamics, but
emphasis and
intenKon.

Other:

Colloquy: Schwarz
Concert and Contest CollecKon

Posture, breathing,
and support:
support is
necessary for a
condent sound,
especially when
intervals are not
what are expected

Embouchure and
other maEers of
tone producKon:
No hugely large
leaps, but many
slurred intervals
that need to be
smooth, pp nal
gesture requires
delicate balance of
air support and
embouchure.
Tapering is always
important.

Finger Facility:
Fingers do not have
to move parKcularly
fast, but they do
need to move
through unfamiliar
progressions of
notes and nger
combinaKons.
Music reading
ability is parKcularly
important because
it will be all but
impossible to just
follow paEerns and
intervals and make
it though

ArKculaKon: Variety
of arKculaKon
necessary, accent,
staccato, staccato
aRer slur etc.

Expression:
Expression is so
important for this
piece to keep it
sounding cohesive
and intenKonal. The
small cadenza is a
great opportunity
for students who
have never had the
opportunity to use
musical freedom
and make decisions
for themselves
before, in a small-
scale controlled
sepng. Expressive
marks are clear and
frequent
throughout piece,
so the student has
no shortage of
guidance.

Other: Mixed
meter, especially
7/8 is very tricky to
count, alone or
with piano, and
requires a really
good sense of beat
and subdivision