Technical Studies, a Method for Intermediate and Advanced Players. For Treble WoodwindInstruments: Flute (And Piccolo), Oboe (And English Horn), Clarinet (And Eb Clarinet, AltoClarinet, Bass Clarinet), Saxophone (Soprano, Alto, Tenor, Baritone, Bass) by Whitney TustinReview by: Samuel S. FainNotes, Second Series, Vol. 13, No. 1 (Dec., 1955), p. 136Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/893563 .

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worked into a unit. Extremely simple, designed for the child from 4 to 8, it makes use of movement patterns that are fundamental in dance education. One learns quickly how to write down a hop, step forward, leap forward, walk, ruin, step to the side and so on. Amusing draw- ings describe the action indicated by the notation and the brief text. This volume as well as Three R's for Dancing is not a substitute for the teacher. The latter is designed for youngsters from 9 to 15 years of age. Floor space, use of the arms as well as the legs, meter and time are well and imaginatively explored. Ex- planations are clear, concise, and given only when really necessary. Musical ex- amples that correspond to the rhythmic pattern of the steps make the studies more interesting.

Dance notation seems simpler and more palatable to children as well as adults after looking through these manuals. One could wish for a lower price, and perhaps for a few more attractive "spieces" inter- spersed throughout the text so that the dancer could test her progress. From the pure dance point of view, the study of notation cannot be overestimated. Such things as disposition of body weight, slight differences in movement become amazingly clear when written down for the class to read as well as feel. Develop- ment of unusual perception in the realm of analysis should be another by-product of the study of notation. M. Witmark & Sons are to be commended for the effort and care lavished on the first two vol- umes of this series.

GENEVIEVE OSWALD

Whitney Tustim: Technical Studies, a Method for Intermediate and Advanced Players. For treble woodw'ind instruments: flute (and piccolo), oboe (and English horn), clarinet (and Eb clarinet, alto clarinet, bass clarilnet), saxophone (soprano, alto, tenor, baritone, bass). New York: Peer International Corp., 1955. [(vi), 198 p. $1.00]

In recent years publishers have issued a substantial nunber of books for wind instruments. Most of these are methods for the beginning player. In books for the more advanced performer, the prin- cipal emphasis has been on solo and orchestral literature. Contemporary publi- cations have provided little material for the development of technical facility and control, and this book is designed to remedy the situation.

Technical Studies consists of 198 pages of exercises formed from melodic frag- ments or rhythmic figures. Each exercise is repeated in all of the keys and through- out the range of the instrument. Con- trary to the frequent practice of printing an exercise in one key and recommending that it also be played in others, in this book the exercises are printed in all of the usual keys. This is a desirable feature for it makes it more likely that the stu- dent will develop technical facility in the various keys.

In addition to the development of tech- nical facility, the exercises are designed to improve sight-reading ability through the recognition of group patterns. Also,

through suggested variants on the printed material, the number of exercise can be extended substantially. Concise sugges- tions for practice procedure, and brief theoretical material are additional desir- able features of this book. The work is designed particularly for the intermediate and advanced player and is divided into six sections dealing with scales, intervals, arpeggios, trills, tonguing technique, and fingering technique. Although the pitch range is that of the oboe, the studies can be adapted readily to cover the range of all treble-clef woodwinds, including all of those listed in the heading above.

The author has had extensive experience as a professional oboist and as a teacher and coach of woodwind instruments. Mr. Tustin wrote the exercises for his stu- dents and his associates, and also for his own practice so he could make effective use of limited practice time. Technical Studies is the product of a man skilled in both performing and teaching. With this method, Mr. Tustin has provided a valuable and versatile source of studies for woodwind players.

SAMUEL S. FAIN

136

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