Arban's world-renowned method
Arban's world-renowned method for the cornet (1879)
Front cover of the 1879 edition
AuthorJean-Baptiste Arban
Original titleLa grande méthode complète de cornet à piston et de saxhorn par Arban
SubjectMusical Instruments: Studies and exercises, Cornet music, Trumpet music
Genresheet music

The Arban Method, titled with some variation over the years as Arban's World Renowned Method for the Cornet and Arban's Complete Celebrated Method for the Cornet (French: Grande méthode complète de cornet à pistons et de saxhorn), is a complete pedagogical method for students of trumpet, cornet, and other brass instruments. The original edition was written and composed by Jean-Baptiste Arban (1825-1889) and published in Paris by Léon Escudier in 1864.[1] It has been reissued by multiple publishers, with notable revisions made by T.H. Rollinson published in 1879 by J.W. Pepper, Edwin Franko Goldman published in 1893 by Carl Fischer, and Claude Gordon published in 1982 also by Carl Fischer. It contains hundreds of exercises ranging from basic to advanced compositions, with later editions also including a selection of popular themes as solos and duets by various composers, and several original compositions by Arban including his famous arrangement of Carnival of Venice.[2]

Structure

Introduction

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. 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 concludes with proper breathing technique (see diaphragmatic breathing).[3]:5–9

I. First Studies

Arban then begins his method with a focus on tone (Studies 1-10). The next studies (11-50) familiarize the student with fingerings, develop their 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.[3]:11–36

II. 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.[3]:39 The editor recommends adding little more air on the top note. (Such a technique is also needed to accomplish trills.)[3]:39 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.

III. Scales

A chromatic scale exercise from Arban's Method.

Arban's series on scales includes studies of major, minor, and chromatic scales, as well as numerous variations thereof. 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."[3]:57

IV. Ornaments

Next, Arban teaches the student the various ornaments that can be played on a trumpet or cornet. He details the simple appoggiatura, grace note (short appoggiatura), portamento, double appoggiatura, the turn, the trill, and the mordent. Arban concludes the fourth section by combining the various ornaments and integrating them into various tunes.

V. More Advanced Studies

The "more advanced studies" include studies on intervals; broken octaves and tenths; triplets; the four-sixteenth rhythmic figure; major and minor arpeggios; the dominant seventh arpeggio; and cadenzas.

VI. 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.[3]:153 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.[3]:183–187

The Art of Phrasing was written by Arban in 1866, but was never added to the original French edition of the Method. These songs and duets first appeared in the American Edition of the Arban Method published by the Jean White Company in 1872. This new version added 28 duets entitled 28 Recreations, 32 Melodies, and 100 Art of the Phrasing songs. J.W. Pepper and Carl Fischer also added the Art of Phrasing to their Arban Methods in the late 1800s.

68 Duets for Two Cornets

As in his other sections, Arban progresses from simple pieces to more challenging ones.

Compositions
#Arban's TitleComposer (if given)
1Sacred Song"Portniansky" (Dmitry Bortniansky)
2Russian Hymn
3Cradle SongCarl Maria von Weber
4Melody
5Melody
6MelodySaverio Mercadante
7Adeste Fideles
8God Save the Queen / America
9Air by MozartWolfgang Amadeus Mozart
10Air by GretryAndré Grétry
11Noel Ancien
12Air by BeethovenLudwig van Beethoven
13Arabian Song
14SerenadeAndré Grétry
15La Romanesca
16Romance from "Joseph"Étienne Méhul
17RomanceJacques de Gouy
18Noel Ancien
19MarchJacques de Gouy
20Song of Master Adam
21Le Souvenir
22Richard of the Lion HeartAndré Grétry
23The Two Savoyards
24Silent SorrowSamuel Webbe
25Melody
26The Lion HuntSaverio Mercadante
27L'Elisir D'AmoreGaetano Donizetti
28I Would That My LoveFelix Mendelssohn
29Prayer to the VirginSaverio Mercadante
30Spanish Royal March
31March of Two Misers
32Melody
33Country Wedding
34Bivouac Song
35Birthday Festival
36Melody
37German SongFriedrich Wilhelm Kücken
38Richard of the Lion HeartAndré Grétry
39MarchJacques de Gouy
40Tic e Tic e Toc
41Carnival of Venice
42Nel Cor PiuGiovanni Paisiello
43BoleroJacques de Gouy
44NormaVincenzo Bellini
45Melody
46Last Rose of Summer
47Evening PrayerSaverio Mercadante
48Cavatina from "Somnambula"Vincenzo Bellini
49Austrian National HymnJoseph Haydn
50FreischutzCarl Maria von Weber
51French Air
52Burning FeverAndré Grétry
53L'Elisir D'AmoreGaetano Donizetti
54Air from "Somnambula"Vincenzo Bellini
55Wind and Wave
56Tyrolienne
57Italian Air
58Alpine HornHeinrich Proch
59The HermitMichel Lambert
60FreischutzCarl Maria von Weber
61Flower of DamascusSaverio Mercadante
62Waltz from "Puritani"Vincenzo Bellini
63Prayer from "Moses"Gioachino Rossini
64Siege of RochelleMichael William Balfe
65Hail! Star of MaryHeinrich Proch
66The Two Friends"Laurent"
67MarthaFriedrich von Flotow
68The Fox Hunters

14 Characteristic Studies

Before his final 12 fantasias, Arban provides 14 challenging characteristic studies. 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.[3]:283

These passages are challenging and are longer than all of the previous sections' pieces. Each is a full page long (in the platinum edition), and they crescendo in difficulty as they progress; the fourteenth study is two pages long and the only piece in this section in 12
8
time.

Characteristic Studies
No.Tempo MarkingWritten KeysMeterSubdivision
1Allegro moderato quarter note = 96C major, E major, D major, and G majorcommon timeSixteenth note
2Legato quarter note = 120E major and E majorcommon timeSixteenth note and Eighth note
3Moderato quarter note = 86C major, F major, D major, and G majorcommon timeSixteenth note triplet and Sixteenth note
4Allegretto quarter note = 88E minor, G major, C major, A minor, and A major2
4
Sixteenth note triplet and Sixteenth note alternation
5Allegro quarter note = 104C major2
4
Sixteenth note triplet and Sixteenth note alternation
6Moderato quarter note = 76F major and D major6
8
Sixteenth note
7Allegro quarter note = 104C major, A major, and B major2
4
Sixteenth note triplet and Eighth note
8Allegro moderato quarter note = 104D minor and F majorcommon timeSixteenth note
9Allegro quarter note = 124B majorcommon timeSixteenth note
10Allegro quarter note = 124G minor, C minor, and D majorcommon timeSixteenth note
11Allegretto quarter note = 96C major, A major, and D majorcommon timeSixteenth note
12Allegro moderato quarter note = 100F minor, D major, and C major3
4
Sixteenth note
13Allegro non troppo quarter note = 96C major2
4
Sixteenth note triplet
14Legato chromatique quarter note = 76C major and F major12
8
Sixteenth note and Thirty-second note

12 Celebrated Fantasies and Airs Varies

In addition to the eleven fantasias (fantasies) for B-flat cornets, there is one for the A cornet ("Fantasie and Variations on Acteon"). Arban's celebrated composition "Fantasie and Variations on The Carnival of Venice" is the eleventh fantasia in the list.

Pieces
No.Arban's TitleConcert KeyStructure
1Fantaisie and Variations on a Cavatina from Beatrice di Tenda by V. BelliniB majorIntroduction, Theme, Var. I, Var. II, Var. III and Finale I, and Finale II
2Fantaisie and Variations on ActéonD majorIntroduction (in D minor), Theme, Var. I, and Finale
3Fantaisie BrillanteB minorIntroduction, Theme, Var. I, Var. II, and Var. III
4Variations on a Tyrolean SongB majorIntroduction (in F major), Theme, Var. I, Var. II, Var. III., Var. IV, and Rondo
5Variations on a song Vois-tu la neige qui brille (The Beautiful Snow)E majorTheme, Var. I, Var. II, Var. III, and Finale
6Cavatina and VariationsB majorIntroduction (in F major), Theme, Var. I, Var. II, and Var. III
7Air Varié on a Folk Song: The Little Swiss BoyB majorIntroduction, Theme, Var. I, Var. II, Var. III (in G major), and Var. IV et Finale
8Caprice and VariationsE majorIntroduction (in B major), Theme, Var. I, Var. II, and Var. III
9Fantaisie and Variations on a German ThemeE majorIntroduction (in B major), Theme, Var. I, Var. II, Var. III, and Finale
10Variations on a favorite theme by C.M. von WeberE majorIntroduction (in B major), Theme, Var. I, Var. II, Var. III, and Var. IV (in B major)
11Fantaisie and Variations on The Carnival of VeniceE majorIntroduction, Theme, Var. I, Var. II, Var. III, and Var. IV
12Variations on a theme from Norma by V. BelliniB majorIntroduction (in E major), Theme, Var. I, Var. II, and Finale

Criticism

Dated Commentary

The original text by Arban reflects the misconceptions and opinions common among musicians at the time of publication. Manufacturing limitations on period cornets shaped Arban's opinions of the instrument's limitations in regards to rhythmic complexity, range, intonation, and tuning with the use of crooks. Explanations of sound production rely on tension in the lips and do not reflect the modern understanding of turbulent flow within brass instruments. Annotated versions of the text will contradict Arban's opinions based on modern instrument capabilities and knowledge.

Deficient Coverage

The First Studies suggest a development of high end of range and endurance beyond the capabilities of most novice players.[4] A warm-up routine is not outlined. The extreme high register is not explored, nor are techniques for more modern music genres included, such as improvisation for jazz. Scale exercises over the minor keys are few in number and only cover diatonic and chromatic scales.

Notes

  1. "Bibliographie de la France, p.185, r.939". Google Books. BNF. 16 April 1864. Retrieved 2023-07-07.
  2. Gates, Charles R. (1992). An examination of Jean Maire's edition of J.B. Arban's Grande méthode complète pour cornet à pistons et de saxhorn (c.1859) and its contribution to modern trumpet pedagogy, with suggested augmentations of Maire's edition based on identification of requisite technical skills inherent in trumpet performance. Columbus: Ohio State University. OCLC 30720266. Archived from the original on 2015-04-02. Retrieved 2015-03-06.
  3. 1 2 3 4 5 6 7 8 Arban, Jean-Baptiste (2005). Arban's Complete Conservatory Method for Trumpet Platinum Edition. Carl Fischer Music. ISBN 9780825858529.
  4. Bolvin, Eric. The Arban Manual. Eric Bolvin Music Studios. p. 2.

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