Oboe Sight-Reading 2

John Kember

Oboe Sight-Reading 2

Schott ED 12964 ISMN M-2201-2613-0
Oboe Sight-Reading 2 aims to build on the sight-reading skills learnt in book 1 and provides a wealth of more challenging examples so that pupils may gain greater confidence when approaching any new piece of music for the first time.
First published in 2008, Oboe Sight-Reading 2 is intended for Grades 4 to 8. It has 123 original tunes on 88 pages.
Price £14.99

What they say

“I recommend every oboe teacher to buy a copy ... not just for the reading help but for the pleasure it offers.” “The tunes are fun, covering many styles, most lasting under a minute and none resembling exercises or studies. Much though has gone into this publication. It is clearly laid out and easy to read ... I recommend every oboe teacher to buy a copy to use in lessons, not just for the reading help but for the pleasure it offers. Excellent value!”
Marion Whittow, 'Music Teacher', August 2008

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The
Sight Reading
Series Double Bass Sight-Reading (Schott)
By John Kember and David Stark, Double Bass Sight-Reading aims to establish good practice and provide a comprehensive source of material to enable a player to prepare for this most important skill. Ideally, sight-reading in some form should become a regular part of a student's routine each time they play.
This book offers the opportunity to establish the habit from the earliest stages of playing and follows a logical sequence of progression in ranges of notes, variety of times, keys and rhythms to cover the whole spectrum of Double Bass playing.
 Bassoon Sight-Reading (Schott)
Bassoon Sight Reading aims to establish good practice and provide a comprehensive source of material to enable the player to prepare for this most important skill. Ideally, sight- reading in some form should become a regular part of a student's routine each time they play.
This book offers the opportunity to establish the habit from the earliest stages of playing and follows a logical sequence of progression in range of notes, variety of times, keys and rhythms to cover the whole spectrum of bassoon playing.
 Trombone Sight-Reading (Schott)
This collection presents over 200 carefully graded sightreading pieces and exercises in a range of musical styles,for solo trombone. Taking an approach based on self-learning, the 11 sections of the book focus on developing different key technical skills as well as introducing the student to a plethora of musical terms.
Each section of the book contains solos, as well as trombone duets, and pieces with piano accompaniment for practising ensemble sight-reading. Suitable for preliminary, to advanced level students.
 Trumpet Sight-Reading (Schott)
An approach based on self-learning and recognition of rhthymic and melodic patterns, with original tunes rather than abstract sight-reading exercises.
By John Kember and Sam Lewis.
 Horn Sight-Reading (Schott)
An approach based on self-learning and recognition of rhthymic and melodic patterns, with original tunes rather than abstract sight-reading exercises.
By John Kember and Tom Bettley.
 More Piano Sight-Reading 2 (Schott)
This book is intended as a supplement to Piano Sight-Reading 2 by providing different and additional material to support the development of this essential skill. Saxophone Sight-Reading 2 (Schott)
Saxophone Sight-Reading 2 aims to build on the sight-reading skills learnt in Book 1 and provide a wealth of more challenging examples so that the pupil may gain even greater confidence when approaching any new piece of music for the first time.
The five sections each gradually introduce new notes, rhythms, articulations, keys, Italian terms and musical styles in a logical sequence, much as you would find in a saxophone tutor. The emphasis is on providing idiomatic tunes and structures rather than sterile sight-reading exercises.
By John Kember and Graeme Vinall
 More Piano Sight-Reading (Schott)
This book is intended as a supplement to 'Piano Sight-Reading 1' by providing different and additional material to support the development of this essential skill.
It follows a similar progression of short pieces beginning with C major and simple rhythms leading to playing with hands together.
An important addition to each key section is the addition of duets, which allow an enjoyable conclusion to each section as well as providing revision of what has been learnt.
 Guitar Sight-Reading 2 (Schott)
Guitar Sight-Reading 2 aims to build on the sight-reading skills learnt in book 1 and provides a wealth of more challenging examples so that pupils may gain greater confidence when approaching any new piece of music for the first time. Saxophone Sight-Reading (Schott)
An approach based on self-learning and recognition of rhthymic and melodic patterns, with original tunes rather than abstract sight-reading exercises.
In seven sections related to the technical development of the saxophone player, ranging from tunes using just three notes up to those ranging over two octaves from C to C'.
By John Kember and Graeme Vinall.
 Viola Sight-Reading 2 (Schott)
An approach based on self-learning and recognition of rhthymic and melodic patterns, with original tunes rather than abstract sight-reading exercises. In five sections related to the technical development of the viola player. Tunes progress to eventually include key signatures in up to five sharps and flats. Whole-tone, chromatic, modal and atonal elements are also incorporated. By John Kember and Marguerite Wilkinson. Recorder Sight-Reading 1 (Schott)
An approach based on self-learning and recognition of rhthymic and melodic patterns, with original tunes rather than abstract sight-reading exercises. In seven sections related to the technical development of the recorder player. Each section concludes with a set of duets and accompanied pieces for practice of ensemble sight-reading. Tunes progress to keys with up to three flats and four sharps. By John Kember and Marguerite Wilkinson. Recorder Sight-Reading 2 (Schott)
Recorder Sight-Reading 2 aims to build on the sight-reading skills learnt in book 1 and provides a wealth of more challenging examples so that pupils may gain greater confidence when approaching any new piece of music for the first time. Clarinet Sight-Reading 2 (Schott)
This book continues the learning process begun in book 1, following an approach based on self-learning and recognition of rhythmic and melodic patterns. It employs original tunes, not abstract sight-reading exercises.
 Cello Sight-Reading 1 (Schott)
An approach based on self-learniing and recognition of rhythmic and melodic patterns, using original tunes rather than abstract sight-reading exercises.
In nine sections ranging from open strings to extensions and slurs.
 Oboe Sight-Reading 1 (Schott)
An approach based on self-learniing and recognition of rhythmic and melodic patterns, using original tunes rather than abstract sight-reading exercises.
In eight sections related to the technical development of the oboist, with tunes using three notes to tunes with a range of nearly two octaves, from low D to high C.
 Viola Sight-Reading 1 (Schott)
An approach based on self-learniing and recognition of rhythmic and melodic patterns, using original tunes rather than abstract sight-reading exercises.
In eight sections ranging from open strings to 3rd position
 Guitar Sight-Reading 1 (Schott)
Guitar Sight-Reading 1 by John Kember and Martin Beech aims to establish good practice and provide an early introduction to the essential skill of sight-reading.
 Cello Sight-Reading 2 (Schott)
'Cello Sight-Reading 2', by John Kember and Juliet Dammers, aims to build on the sight-reading skills learnt in book 1 and provides a wealth of more challenging examples so that the pupil may gain even greater confidence when approaching any new piece of music for the first time.
 Violin Sight-Reading 2 (Schott)
Violin Sight-Reading 2 aims to build on the sight-reading skills learnt in book 1 and provides a wealth of more challenging examples so that the pupil may gain even greater confidence when approaching any new piece of music for the first time. In five sections related to the technical development of the violin player. By John Kember and Marguerite Wilkinson. Clarinet Sight-Reading 1 (Schott)
Clarinet Sight-Reading 1 aims to establish good practice and provide an early introduction to the essential skill of sight-reading.
 Violin Sight-Reading 1 (Schott)
Violin Sight-Reading 1 aims to establish good practice and provide an early introduction to the essential skill of sight-reading.
 Piano Sight-Reading 3 (Schott)
A progressive approach based on self-learning, with 90 varied pieces for Intermediate to Advanced level. Flute Sight-Reading 1 (Schott)
By John Kember and Catherine Ramsden, this new approach to Sight-Reading for the Flute contains nearly 200 graduated pieces in a variety of styles, based on original tunes rather than abstract sight-reading exercises.
 Flute Sight-Reading 2 (Schott)
Flute Sight-Reading 2 aims to build on the sight-reading skills learnt in book 1. There are five sections in increasing development. The emphasis is on providing idiomatic tunes and structures rather than sterile sight-reading exercises. Sight-Reading 2 - A fresh approach for Piano (Schott)
This is a book for the student rather than the teacher. 'Piano Sight-Reading 2' builds on the progress achieved by following the outlines and good practice established in Book 1. Changes in hand position are introduced gradually, as is recognition of and familiarity with chord shapes in both 2- and 3-note groups.
 Sight-Singing 2 - A fresh approach (Schott)
This book sets out to build on the initial aspects of singing at sight in reading both the rhythm and pitch accurately, as begun in 'Sight-Singing 1'.
 Sight-Reading 1 - A new approach for piano (Schott)
An approach based on self-learning and the recognition of rhythmic and melodic patterns. Preliminary towards Grade 2.
 Sight-Singing 1 (Schott)
The aim of this first sight-singing volume is to instil confidence in singers and to present a method of approaching all aspects of singing at sight.
The main rhythmic patterns of each example are presented along with the key and range of notes employed. Tonic and dominant notes are identified and semitones marked to help establish tonality.

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