The Arban Method (La grande méthode complète de cornet à piston et de saxhorn par Arban) is a complete pedagogical method for students of trumpet, cornet, and other brass instruments. The original edition was published by Jean-Baptiste Arban in 1864 and it has never been out of print since. The Arban Method is considered by many to be "the brass bible" or "the trumpeter's/corneter's bible." It contains hundreds of exercises, ranging enormously in difficulty.

Many trumpet players will spend hours on an individual exercise in order to gain a complete mastery over it, long after the untrained ear would cease to hear a difference. The method begins with fairly basic exercises and progresses to very advanced compositions, including the famous arrangement of Carnival of Venice. In the Introduction J. B.

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, in contrast with modern authorities, which often use "tee." Arban concludes with proper breathing technique (see diaphragmatic breathing). Mr.Arban then truly begins his method with a focus on tone (Studies 1-10).

The next studies (11-50) 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.

He ends the First Studies with 10 studies on the 6/8 meter. 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.

Similar to 0 things you like: