Progressive Études: In Adoration of the Earth

Dear Ones,

In Adoration of the Earth, is the first book I published back in 2010, before it was picked up by ARMIANE, then Fortin-Armiane. It was first used in my music studio by me and my students before adopted and used in other oboe studios in the world. It it a collection of progressive études which I composed for my music students to provide both technical and artistic support for their journey as musicians.

These études are also suitable for solo recital pieces or encore pieces.

It is a quickly progressing set of 12 études and covers 20th century techniques not found in the common choices of etudes and methods for oboists. There is something for everyone. Some are in minor mode.

The book as a whole can be played cover to cover in about 20 or so minutes as a complete warm up for accomplished oboists. I think of it as a “sun salutation” for oboists in that it covers all the basics including modern techniques and as an efficient way to stay in shape and playing “dust free” as an oboist in under 30 minutes.

I wrote these etudes in a way so the new techniques learned are all easily and musically assimilated into playing skills as the foundation of technique and artistry are being built.

1/4 tones, modes, rows, chromatic, non tonal, starting in one pitch center and shifting into a parallel or suggested other pitch center and not returning….. multi-phonics, and full register artistry are among the tool box building qualities this book provides.

Each étude is a sonic portrait of an animal and each artist performing the étude is invited to imagine him or herself as the animal and experiencing life as that animal - seeing through the eyes of, hearing through the ears of that animal as they perform. (Likewise, within the 100 Flower Series, artists are encouraged to imagine life AS the individual flower.)

As humans, we are accustomed to objectifying reality as out there - away from us, but we are all apart of this one massive masterpiece of creation planet earth which is but a drop in the great mysterious creation at large - and within.

We are all part of one glorious pas de deux in life. Silence, sound, eternity and moment, drop and ocean all.

Have fun! I hope you’ll enjoy it as my students and I have too. May this book assist more and more oboists around the world.

SKYPE lessons are available for anyone who’d appreciate some coaching. Simply email me via the contact page to set up your appointment. Payment via the PayPal me link is secure.

Yours in service to the muse,
Kathryn J. Potter
Oct. 1, 2019


Dear Ones,

Hello and welcome to MUSE ECHO. Muse Echo is about the music written or in progress. Today, I write a brief general overview - introduction - of the books available to date in the 100 Flower Series, then a bit more on the book Illuminations.

Years ago, when I was pining to have a garden of my own again and needed to lift myself up out of a depression, I decided to create an imaginary garden by composing sonic portraits of flowers.
I thought - I’ll compose 100 flower portraits! Only to discover that I didn’t even know of 100 different variety of flowers. So, I shouted out on face book to my oboe colleagues there - old, young, amateur, professional - world wide, and asked for help. I asked oboists to suggest flower varieties to compose for and I’d dedicate a flower to whom suggested in return - hence the numerous dedications to oboists throughout the series.

Originally I imagined ALL the flowers in one big book, like a big garden, but they are instead organized via required technique. Others - such as duets - will be organized for instrumentation. They are in each so far, organized alphabetically by flower and are designed to be MIXED AND MATCHED to form individual bouquets for recitals and any special occasion within the book itself as well as within other books.

Please note that the level of technique necessary doesn’t always reflect the past or present level of technical accomplishment for whom I dedicated the work.

I am grateful to Marie-Ange Fultier who determined the titles for all the books so far, in the 100 Flowers Series, except, A Dozen Roses.

Illuminations is a collection of 23 miniature portraits for advanced beginner and up
(If you were to only get one book - I’d suggest this one.) The entire books stays within the pitch ranges of low C to 2 ledger line C but mostly pretty confined within that to a simpler range. All pieces are in straight forward non changing meters. Works are in natural minor, modes, synthetic scales or 12 tone rows.
Embellishments are employed at times, sprinkled throughout some pieces.
Please note that I composed all of these flowers for my own enjoyment, my students enjoyment and of course for whom I dedicated the flower. These flowers are appropriate for ALL AGES and skill levels.

I suggest this book for everyone. They are great for sight reading and warm ups for advanced players, as well as encore pieces or just something to play in between meaty repertoire practice. This book is like a box of a variety of bon bons.

Simply put, all I did was imagine the flower, meditate upon what it is like for that flower to exist, and compose a sonic portrait based on what I imagined it like to be that flower.

The entire book is for solo melodic oboe playing, Can be enjoyed by other C instruments.

for Ambrogio Gentili
quarter note = 80
2/4 meter, a natural minor, binary form, mostly half notes and grace notes
portrait. Pitch range second line G to first ledger line A Gentle, elegant, simple, mysterious
for Dominique Enon
quartet note = 92, 4/4 , meter, lots of embellishments.
to be played joyfully
pitch range first space F to double ledger line C.
4/4 meter, floral, rich in embellishments
all quartet note = 100
3 flowers in 3/4 meter in different key signatures and in different modes
1- violet
2- blanc
3- Rose
Theme with very slight variation within each three.
dotted quartet = 60
3/8, chromatic
low D to top line F
quartet note = 82
2/4 meter, C Lydian start to A Dorian conclusion landing however with the zest of Lydian feeling that’s earth. embellishments
VI) BUTTERCUP - excellent for early beginners
quarter note = 92
2/4 meter Bb and Ab in key signature
pentatonic F, G, Ab, Bb, C.
This piece has been the favorite of most of my students. Very accessible. Very easy. Straight forward and comforting.
for Karin Grammel
in 3/4 waltz A minor
for Rossana Lonza
easy 3/4 waltz A is tonic
for Suho Ha
quarter note = 82
4/4 meter, Bb and Ab in key signature. range is third line B to octave above.
Quarter note = 120
4/4 meter, some chromatics, feels wholesome, octave pattern aids feeling confident and summery. (Accidentals apply for the entire measure regardless of octave. )
quarter note = 120
4/4 meter, chromatic, joyful, straight forward rhythmic pattern repeated.
for Tankica Miteva
quarter note = 80
2/4 meter
lots of wind sculpting of repeated rhythmic patterns with good dynamic contrast
here drama meets simplicity and tenderness
quarter = 92 4/8 meter
Simple, chromatic, repeated rhythmic pattern
6/8 meter, low D to the D above with some chromatics
balance of articulation
for Sarha Loos
Allegro 3/8 row
for Enrico Calcagni
7 Lilies in 4/4 meter, theme with slight variations in different modes.
sweetly and gently
joyfully, vivace
3/8 e natural minor
for Emilia Mili
piano dolce
for Myself and also to women who are mothers - a celebration of motherhood which I associate with the Magnolia tree. This is the longest work in the book. Works beautifully on the oboe d’amore played as written - not transposed.
quarter = 92 espressivo
4/4 meter
B minor
dotted quarter = 82
3/8 meter, chromatic, leap full octaves
for Kristin Leitterman
3/4 Waltz, playful and elegant
Can be performed with any interpretation of how to or not to repeat depending on the occasion.
for Anna Beaver
who was a former oboe student
quarter note = 92
3/8 meter, merrily, cute 12 tone row
for Eva Drolc
freely in 3/8
p - ppp articulate, delicate 12 tone row

SKYPE lessons are available to anyone who’d appreciate them.
Just contact me to schedule.

I hope you’ll enjoy these little flower portraits!

In service to the muse,