He was probably the first cornet player to become widely known for his phenomenal playing skills. After playing for my father for a few years I started taking lessons from my grandfather Rolf Slotte. They were both trumpet players. I never learned to play every single page of the Arban book, perfectly!
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Arban covers the range of the cornet trumpet. He also details alternate fingerings and describes the use of the tuning slide. Arban states his opinion that the mouthpiece should be two-thirds on the lower lip and one-third on the upper.
Arban then stresses the proper "attack" technique. He uses the "tu" pronunciation, in contrast with modern authorities, which often use "tee. First Studies Arban then begins his method with a focus on tone Studies The next studies familiarize the student with fingerings, develop his or her range, and instill a habit of precision in attacking the notes. In the next section, which is devoted to syncopation, goes from a simple quarter-half-quarter rhythm to a sixteenth-eighth-sixteenth repeated rhythm.
Next, Arban focuses on the dotted eighth-sixteenth and eighth-double sixteenth rhythms. Playing Methods: Slurring or Legato Playing Professor Arban devotes the next section of his vast method to slurring or legato playing.
He begins with simple slurs that are accomplished by the variation of valves. He suggests pronouncing "taw-ee" while playing.
The editor recommends adding little more air on the top note. Such a technique is also needed to accomplish trills. Arban devotes half of this whole section, though, to lip slurs. He concludes this section with a series of advanced studies combining slurred and staccato playing. Arban admits to giving minor scales "limited treatment," but Gordon refutes this by citing the nonexistence of "limits on the use of the Trumpet and Cornet. Arban concludes the fourth section by combining the various ornaments and integrating them into various tunes.
Tonguing Next, Arban focuses on triple tonguing, double tonguing, and fanfare tonguing. Arban uses various "tu-ku" pronunciation combinations, and Gordon subsequently replaces these with "tee-kee" combinations. In his studies on double tonguing, Arban includes a score of studies in which he combines double tonguing with slurs occurring on various beats and within them.
The Art of Phrasing: Classic and Popular Melodies Now that Arban has taught the student his or her basics and instilled within him or her all the best of playing habits, he integrates these into performable songs. All of these, however, require their performers to be synchronized with one another. His concluding remarks preceding these are as follows: Those of my readers who…want to attain…perfection, should…try to hear good music well interpreted.
They must seek out…the most illustrious models, and…purify their taste, verify their sentiments, and bring themselves as near as possible to that which is beautiful. Each accompaniment includes pauses for the various cadenzas in each song.
Method for the Cornet (Arban, Jean-Baptiste)
Introduction[ edit ] In the Introduction J. Arban covers the range of the cornet trumpet. He also details alternate fingerings and describes the use of the tuning slide. Arban states his opinion that the mouthpiece should be two-thirds on the lower lip and one-third on the upper. Herbert Lincoln Clarke recommends the mouthpiece to rest half upper lip and half lower lip. Arban then stresses the proper "attack" technique. He uses the "tu" pronunciation, which in French is said with the tongue in the "tee" position.
Arban Trumpet Method Book – THE “BIBLE” Of Trumpet Exercises