Save Save Arban 1 For Later. Original Title: Arban 1. Related titles. Carousel Previous Carousel Next. Jump to Page. Search inside document. ETE Mp. ISMN M Lyons 28 Feb ; d. Louis, the eldest, was the aeronaut of the day, and his ascents in created quite a sensation, till, like most balloonists, he went up never to be heard of again.
I well remember Jean Baptiste Arban's appoinement 2s comet solo in the picked band that went out to Se. Helene on board the Belle-Poule, under the command of the Prince di Joinville, to bring back the remains of Napo- Jeon I for sepulcher in che Invalides. Barbe, Azban, who was in his sailors dress, had neither cornet nor music with him, bue I had no sooner made ee suggestion for him ro oblige us with something than he was ready to moun the plac form with an instrument borrowed from the band, and to play the Carnival de Venice with variations, which he did in marvelous style.
Our ftiendship, which was sealed from that day, lasted for neatly half century, tl, in face, the day of his death in , Arban was always acknowledged to be one of the best cornet players in France, This was cleatly the opinion of Jullien, who engaged him in conjunction with Koenig, asthe two soloists in his orchestra, when he was in the zenith of his popularity in London.
Koenig excelled in slow movements, but when what is called vonguing was wanted Arban had no equal. On his return to Paris he was appointed professor of the cornet class at the Conservatoie, a post he held till his death. As conductor also of the Paris Bals de? Many were the projects he formed as we used to sic chatting together, of ending his days on the shores of the Mediterranean we both loved so well.
This work, the extent of which is considerable, is based upon excellent principles, and contains every in struction calculated to produce a good performer on the cornet. In the copious series of instructions, wherein all other musical questions are discussed, we observe a profound appreciation of difficulties, and a through tact in overcoming them. The latter part of this work contains along succession of scudies as interesting in subject asin form, and concludes with a collection of solos, which are, asit were, theembodimene of application of the previous lessons; in these studies, in these solos, shine forth the qualities, a once brilliant and solid, of which the author has 0 often given proof.
For this reason the Committee, rendering due homage to the Method of which Mr. Arban is the author, unhesitacingly approve it, and adopt it unceservedly for instruction at the Conservatory. Signed, Auber, Meyerbeer, Kastner, A. Lip Slurs.. Portamento Text Short Appoggiatura Exercises Portamento Exercises Exercises on the Trill.
Exercises on the Mordent Broken Octaves and Tenths. Triple Tonguing Exercises. Double Tonguing Exercises. Characteristic Seady 4 Characteristic Study 5. Characteristic Seudy 6 Characteristic Study 7.
Characteristic Study Characteristic Study Text. B ARBaN Range Instruments with three valves have a chromatic range of two and a half octaves, which, in the case of the cornet and the alto, extends from F-sharp below the staff to C above the staff, Not every player however, succeeds in reastering this range with clearness and facil- ity, Therefore, when writing for these instruments, even if its for a solo, it is advisable not to use the extreme limits of the scale.
As a rule, the higher registers of the instruments are used much too frequently by arrangers and composers, which resuits in the performer los- ing the beautiful and characteristic tonal qualities peculiar to his instrument. It also leads to failure to properly perform the simplest passages, even when written in the middle register. To avoid this shortcoming, it is necessary to continually practice the instrument throughout its entire register, and to pay special attention to the chapter devoted to the study of the various intervals.
The easiest portion of the cormet's range begins at low C and ends at G above the staff. The notes below C do not present any very great difficulties; although some players experience considerable trouble in producing them with clearness and sonor ity.
However, they are very beautiful and effective when properly produced. Alternate Fingering The following suggestions are offered for producing F-natural below the staff and at the same time for facilitating certain passages, which are almost impossible with the normal fingering [valve slide position]. In order to achieve this, the slide of the third valve should be drawn out a half step, in order to obtain a length of a major third instead of the usual minor third.
In doing this, it wll be advisable to adopt the following fingering, which is very popular among German cavalry trumpeters.
Only in exceptional cases should one resort to devices such as this. I have only called attention to them here in order to acquaint the student with all the resources of the instru- ment, Tuning Slide On a well-built trumpet or comet, the thumb of the left hand should be able to enter the ring of the tuning slide, and open and shut it at will, without the help of the right hand.
Itis then possible to regulate the pitch of the instrument while playing. When beginning to play on a cold instrument, it will always be a little below pitch. After a few measures have been played and the instrument is warmed, it will become sharp very rapidly. The slide is also used for the purpose of equalizing all those notes which, in the course of natural production, are pitched toe high. This sharpness is produced whenever the third valve is employed.
For instance, when the third valve is pressed down on a B-flat instrument, the instrument is lowered by a tone and a half, the effect is exactly as though the instrument were pitched in G, as the slides of each valve produce the effect of tones added to the instrument. In such a case, it would be necessary to draw the slides of the first and second valves in order to use them simultaneously with the third.
But, as such a process in impractical, i will be advisable to employ the above-mentioned device, that is, to compensate for the shortness of the tubes by drawing the slide with the thumb of the left hand.
Without this precaution, every one of the foilowing notes would be too high. Therefore, in order to insure proper tonal brilliancy, it is always better, in slow move- ments, to employ the slide as an alternative. Mouthpiece Position The mouthpiece should be placed in the middle of the lips, two-thirds on the lower lip, and one-third on the upper lip.
At any rate, this is the position which have adopted, and which believe to be the best. Players of the French Horn generally place the mouthpiece two-thirds on the upper lip and one-third on the lower, which is precisely the reverse of what have just recommended for the cornet; but it must not be forgotten that great difference exists in the formation of this instrument as well as in the method of holding it, and that which may admirably suit the hor is unsatisfactory when applied to the cornet.
What, after all, is the principal object as regards the position of the comet? It should be perfectly horizontal, Accordingly, if the mouthpiece were placed as though the performer were playing the horn, the instrument would be in a falling position, resembling that of the clarinet.
Some teachers make a point of changing the mouthpiece position of their students. Ihave seldom known this method to succeed. I consider it my duty to say that these artists, after having wasted several years in uselessly trying the system in question, were compelled to return to their original placement of the mouthpiece, not one of them having obtained any advantage, while some of them were no longer able to play at all From all this consider that when a player has commenced his studies faulty, he must, of course, try to improve himself, but must not change the position of his mouthpiece, es- pecially if he has already attained a certain degree of proficiency, it being a known fact that there is no lack of performers who play perfectly, and who even possess a most beautiful tone, and who, nevertheless, place their mouthpiece at the side, and even at the corners of the mouth.
All that can be done is to beware of acquiring this faulty habit. In order to produce the higher notes, it is necessary to press the instrument against the lips, so as to produce an amount of tension proportionate to the needs of the note to be produced; the lips being thus stretched, the vibrations are shorter, and the sounds are consequently of a higher nature.
For descending passages, itis necessary to apply the mouthpiece more lightly, in order to allow a larger opening for the passage of air. The vibrations then become slower, owing to the relaxation of the muscles, and lower sounds are thus obtained in proportion to the extent to which the lips are opened. The lips must never be protruded. On the contrary, the corners of the mouth must be drawn down, enabling a freer, more open tone production. When the lips begin to tire the performer should never force his tones.
He should then play more piano, because with continued loud playing the lips swell, and at last it becomes impossible to emit a note. The performer should cease to play the moment the lips begin to feel weak and fatigued; in fact, itis folly to continue playing under such circumstances, as it might lead to damage of the lip, which might take a long time to cure. Attack Always remember that the phrase coup de langue stroke of the tongue is merely a conventional expression, The tongue does not strike; on the contrary, it performs a retro- grade movement, simply behaving like a valve.
This should be kept in mind before placing the mouthpiece on the lips: the tongue ought to be placed against the teeth of the upper jaw in such a way that the mouth is her- metically sealed. As the tongue recedes, the column of air which was pressing against itis pushed violently into the mouthpiece causing the sound.
The pronunciation of the syllable tu serves to determine the attack of the sound. This syllable may be pronounced harder or softer according to the degree of force to be im- parted to the note.
When, upon a succession of notes, there are dots over which there is a slur, the performer should invariably strike the note with a very soft tu and then substitute for it the syllable du, because the latter syllable not only distinctly articulates each note, but also serves admirably to join the notes together.
As already stated, the method of attacking the sound will immediately show whether the performer has a good or faulty style. The first part of the Method is entirely devoted to studies of this type, and the subject of slurring will be introduced only after the pupil has thoroughly mastered the striking of the note. Breathing Place the mouthpiece on the lips, open the mouth partly at the sides and pull the tongue back so as to allow the air to penetrate into the lungs.
Minor Scales. Chromatic Scales. Chromatic Triplets. Music Studies:. Preparatory Studies for the Turn. The Double Appoggiatura. The Simple or Long Appoggiatura.
The Short Appoggiatura. The Portamento. The Mordent. More Advanced Studies. Broken Octaves and Tenths. Rhythmic Figure.
Major and Minor Arpeggios. Dominant Seventh Arpeggios. Diminished Seventh Arpeggios. Triple Tonguing. Double Tonguing. The Slur and Double Tonguing.
By burkitt. Merci beaucoup pour ce service. Yes 15 No 9. By ebhorn. Many thanks for this free download, an excellent resource. Yes 14 No By lfls Luis Luis Portugal. Grande metodo!
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