Metodo Trombone Baritone Sample
Short Description
Download Metodo Trombone Baritone Sample...
Description
5
Introductory Remarks This new edition of the Arban Method for Trombone brings the book into the twenty-first century by updating much of the original language (syntax) and by adding techniques in current use such as various slide techniques, alternate positions, soft double/triple tonguing and some F-attachment positioning. The Arban book first published in 1864 for cornet, was revised for trombone in 1936 by Simone Mantia and Charles Randall, both well-known players and teachers of their day. For over seventy-five years it has been a major text for the trombonist. Several of the original pages have been herein reproduced for their historical significance as well as for their content. All corrections and additions for this edition appear in italics throughout the book. The original text by Arban / Mantia / Randall appears in regular (non-italic) print. The comprehensive nature of the Arban book has been preserved. Some exercises, etudes and solos which were eliminated in the original transfer from the cornet/trumpet method to the trombone method have been replaced. Sections have been expanded (i.e., scales, arpeggios), and new sections have been added (i.e., slide drills, contemporary forms of double and triple tonguing). Alternate positions have been updated and expanded. Sometimes F-attachment positions are given to facilitate awkward slide movements. Trombone slide positions are marked above the notes. F-attachment slide positions are marked above the notes (V = valve). Baritone valve fingerings are marked below the notes. Baritone (euphonium, valve trombone) players will not find as many valve fingerings as there are in the Arban book for trumpet. He/she will do well to learn the valve combinations as they relate to trombone slide positions and then to choose or discard the slide position suggestions throughout this book. The relationships are as follows:
s
th
1 2 3
Note: Most valve fingerings concern the maintaining of a specific fingering to accommodate other notes in the same overtone series.
O23X
2
and occasional articulation effects:
1
3
1
3
e l
1
The terminology used by Mantia and Randall distinguishes between slur and legato in the following manner: Slurs are lipslurs; legato means light tongued attacks without breaking the flow of the legato. When slurs are written over staccato markings, the notes are meant to be light-attacked legato. Play “ta” for the initial note and “da” for each successive note within a phrase, taking care not to put any space between the notes. The end of one note should be the beginning of the next.
p
Supplementary Material The Arban book is comprehensive. It covers most everything pertaining to a player’s technique. Additional material, such as longer etudes, studies in phrasing and legato playing, special jazz techniques, and advanced solo playing, may be found in the following Carl Fischer publications: Classic Vintage Studies for Trombone (WF4). A compilation of methods by Ernest Clarke, Otto Lange and Simone Mantia. Melodious Etudes (O1594X). Vocalises by Marco Bordogni Trombonisms (O5130). Jazz techniques and articulations
Coloratura Arias for Instrumental solo (WF25). Famous arias in their original keys
STOP and REST: Many exercises throughout the book appear to be non-stop, going on for line after line with no provision for breathing. Stop at any point along the way, take a short break, breathe, rest etc. and then continue where you left off. The break will also refresh your concentration when you resume. Do this often. ENDURANCE: You will best increase your endurance by stopping just before you get really tired, and resting. Don’t play to the point of exhaustion; you won’t be building anything.
Valve combinations are “stacked,” i.e. 7 position =
1 3
m a
1st position = 0 (open) 2nd position = 2 (2nd valve) 3rd position = 1 4th position = 1 and 2 or 3 5th position = 2 and 3 6th position = 1 and 3 7th position = 1 and 2 and 3
Examples:
and
“If I have seen further, it is by standing on the shoulders of giants.” (Isaac Newton) Dedicated to the memory of Simon Karasick, Glenn Bridges, Buddy Morrow, Gabriel Masson and Bob Brookmeyer, —Alan Raph Candlewood Isle, Connecticut 2013
6
Notes and Track Listings for the MP3 Accompaniment CD 12 Celebrated Fantaisies and Airs Variés
Credits Pianist: John Walker Recording Engineer: Dietr Poppen Supervising Engineer: Joseph Firman Recorded on the Fazioli concert grand piano in the Performing Arts Center, Brookings, SD Acknowledgements Dr. Alan Taylor, professor of high brass at South Dakota State University for his in-depth knowledge of Arban’s tempos and style tradition, and road-testing of the finished product. Dr. Michael Reger and the administration of South Dakota State University for his in-depth knowledge of Arban’s tempos and style tradition, and road-testing of the finished product. Dr. Michael Reger and the administration of South Dakota State University for use of the recording facility. Using This Recording I hope you will find these accompaniments helpful in practice, but since there are so many pauses because of cadenzas, they are not ideal for use in live performance. Each fantasy is recorded on several tracks so that you may jump back and forth between variations, or program the CD player to play one variation over and over. Each track is introduced by metronome clicks, unless the accompaniment itself leads you in. Tempos are moderate, and occasionally flexible according to traditional interpretations. Breaths are taken in the accompaniment where needed.
The cadenzas pose a minor problem with a play-along recording such as this. Generally, I have continued the tracks through short cadenzas, and stopped the tracks for the longer ones. You should play through the short cadenzas and try to meet up with the piano at the end. For longer cadenzas, hit the stop button, play the cadenza, then start the next track. There will be clicks to lead into the next section. In a few instances the track will continue in silence through the cadenza, then give re-enter clicks at the end (Fantasy No. 6). There are also a few cadenzas where accompanying chords that occur in the middle or end are omitted (for example, No. 1, after the first long cadenza). It is just not worth the trouble trying to play through a long stretch of silence and find a chord at the end of it.
p
The Fantasy and Variations on Actéon (No. 2) is rarely played because it is written for the A-cornet and Air Varié on a Folk Song (No. 7) contains many extended cadenzas and, therefore, this piece has been eliminated from the CD.
m a
Arban’s Fantasies Accompaniment Audio MP3s
No. 1: Fantaisie and Variations on a Cavatina from Beatrice di Tenda by Vincenzo Bellini Track 01 Introduction-Andante Track 02 Theme Track 03 Variation 1 Track 04 Variation 2 Track 05 Variation 3 and Finale I Track 06 Finale II No. 3: Fantaisie Brillante Track 07 Introduction-Allegro maestoso Track 08 Interlude Track 09 Theme Track 10 Variation 1 Track 11 Variation 2 Track 12 Variation 3 No. 4: Variations on a Tyrolean Song Track 13 Introduction-Andante moderato Track 14 Theme-Andante Track 15 Variation 1 Track 16 Variation 2 Track 17 Variation 3 Track 18 Variation 4 Track 19 Rondo-Allegro No. 5: Variations on a song The Beautiful Snow Track 20 Andante quasi Allegretto Track 21 Variation 1 Track 22 Variation 2 Track 23 Variation 3 Track 24 Finale-Lento Track 25 Allegro O23X
s
e l
According to traditional band performances, the interludes between variations were usually played quite fast, and were unrelated in tempo to the surrounding variations. That style is adopted here with no qualms. Every fantasy also traditionally ends with an accelerando, notated or not, which is also done here.
No. 6: Cavatina and Variations Track 26 Andante Track 27 Andante, continued Track 28 Theme-Moderato Track 29 Variation 1 Track 30 Variation 2 Track 31 Variation 3 No. 8: Caprice and Variations Track 32 Andantino Track 33 Andante moderato Track 34 Variation 1 – Allegro moderato Track 35 Variation 2 Track 36 Variation 3- Piu lento No. 9: Fantaisie and Variations on a German Theme Track 37 Allegro moderato Track 38 Interlude Track 39 Theme0Andante Track 40 Variation 1 Track 41 Variation 2 Track 42 Variation 3 Track 43 Finale No. 10: Variations on a Theme by Carl Maria Weber Track 44 Introduction-Allegro moderato Track 45 Interlude Track 46 Theme-Andantino Track 47 Variation 1 Track 48 Variation 2 Track 49 Variation 3 Track 50 Variation 4
—John Walker
No. 11: Fantaisie and Variations on The Carnival of Venice Track 51 Introduction-Allegretto Track 52 Interlude, Theme Track 53 Interlude, Variation 1 Track 54 Interlude, Variation 2 Track 55 Interlude, Variation 3- Andante Track 56 Interlude, Variation 4 No. 12: Variations on a theme from Norma by Vincenzo Bellini Track 57 Andante Maestoso Track 58 Interlude Track 59 Theme-moderato Track 60 Variation 1 Track 61 Variation 2 Track 62 Più lento
Instructive Comments
7
Compiled from the Original Arban Method by Charles L. Randall
Holding the Trombone and the Need for Relaxation The entire weight of the trombone should be sustained by the left hand. The slide should be freely thrown between the thumb and fingers of the right hand, using the elbow and wrist like hinges to lengthen the reach and not forgetting that the player must learn to throw the slide to the fingertips for the seventh position. Modern players use no tension in the right hand, as relaxation will enable a freer system of shifting when using both elbow and wrist. Position of the Mouthpiece on the Lips According to Arban’s personal method of playing, correct position of the instrument, and particularly of the mouthpiece, is of the utmost importance. In his own words, he advised that the mouthpiece should be placed in the middle of the lips, two-thirds on the lower lip, and one-third on the upper. As he always stated, this is the position he himself had adopted and which he believed to be the best. Danger of Changing the Position of the Mouthpiece In his further instructions, he dwelt on the fact that some teachers in his time, just as they still do, make a point of changing the position of the mouthpiece previously adopted by pupils, who came under their care. Arban seldom knew of this method to succeed. According to his own knowledge, several remarkably talented players had attempted what was called at the French Conservatoire as the “orthopedic system,” which simply consisted of rectifying and correcting the wrong placing of the mouthpiece. Arban in his time considered it his duty to state that these players, after wasting several years in uselessly trying the system in question, were compelled to return to their previous mode of placing the mouthpiece, not one of them having obtained any advantage, while some of them were no longer able to play at all. It is to be concluded from the above that when a player has commenced his studies faultily, he should, by all means, endeavor to improve himself, but let him remember that he must not change the position of his mouthpiece, especially if he has already attained a certain
degree of proficiency. It is a well-known fact that there is no lack of performers who play perfectly, who are even capable of producing a most beautiful tone, and who nevertheless place the mouthpiece at the side, and even at the corners of the mouth. All that can be advised to be beware of this faulty habit and to remember that no absolute rule for the position of the mouthpiece exists, as everything depends upon the formation of the mouth and the regularity of the teeth.
p
m a
O23X
s
e l
Production of Ascending and Descending Passages As mentioned so frequently in the foregoing remarks, the mouthpiece, once placed, most not be moved either for ascending or descending passages. It would be impossible to execute certain passages if the performer were compelled to change the position of the mouthpiece whenever he wished to take a low note after a high one in rapid succession. In order to produce the highest 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, lower sounds are obtained in proportion to the extent to which the lips are opened. Action and Position of the Lips 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 tone. He should then play more softly (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, it is folly to continue playing under such circumstances, which are liable to lead to an affection of the lip and take a long time to cure.
8 Striking or Commencing the Tone To start the tone, the tongue must be drawn back as one would when trying to throw off a small seed; at the same time, the column of air must be allowed to go forward, and, in doing so, the lips will vibrate and cause tone production. Returning the tongue instantly stops the air and produces a short note known as staccato in musical parlance. This attack may be as sharp and decided or delicate and reserved as occasion demands. For a trombone-sized mouthpiece, it is a very practical attack, and it should be observed that a pencil or finger held vertically against the lips is barely touched with the tip of the tongue. It should never be lost sight of that the expression coup de langue (stroke of the tongue) is merely a conventional expression; the tongue does not strike, but on the contrary it performs a retrograde movement and it simply supplies the place of a valve. The circumstances should be well borne 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 should be hermetically sealed. As the tongue recedes, the column of air which was pressing against it is precipitated violently into the mouthpiece and causes the sound. Method for and Regulation of the Breathing After the mouthpiece has been placed against the lips, the mouth should partly open at the sides, and the tongue retire in order to allow the air to penetrate into the lungs. In doing this, the lower part of the body (the abdomen) must not be allowed to swell, but, on the contrary, must rather recede in proportion as the chest is dilated by the respiration. The tongue should then advance against the teeth of the upper jaw in such a way as to hermetically close the mouth, as though it were a valve intended to keep the column of air in the lungs. The instant the tongue recedes, the air which has been pressing against it precipitates itself into the instrument and determines the vibrations which produce the sound. The abdomen should then gradually resume its primitive position in proportion as the chest is lightened by the diminution of the air in the lungs. The breathing must be regulated by the length of the passage to be executed. In shorter phrases, if the breath is taken too strongly, or repeated too often, it produces a suffocation caused by the weight of the column of air pressing too heavily on the lungs. Therefore, as early as possible, the student should learn to manage his respiration so skillfully as to reach the end of a long phrase without depriving a single note of its full power and firmness.
All of the foregoing by Arban/Randall is as originally stated with the exception of Production of Ascending and Descending Passages. Here the last two sentences have been edited. An illustration of ascending and descending passages is as follows: For higher notes: 1. Blow faster 2. Change the syllable “ta” becomes “tee” 3. Pucker the lips toward the center
1. Blow plenty of air to support the sound 2. Change the syllable “ta” becomes “taw” or “toe. 3. Open the mouth (drop the jaw) Do not simply relax the embouchure; you’ll lose the note.
p
Loud vs. soft: Loud:
1. Open the mouth and use a large volume of air. 2. Attack the note and back off a little. The attack needs to be the loudest part of the note. Even a loud mass of sound needs to have character; the attack calls attention to the note and thereby gives it character. A loud mass of sound without any discernable attack soon becomes monotonous (and it’s hard to maintain). 3. Work in some dynamics, taper the notes, make it interesting to listen to. Soft:
m a
O23X
s
e l
For lower notes:
1. Narrow the air stream, go for intensity not inaudibility. 2. Unless specifically asked not to; attack the note (never too soft however, for fear of getting no responsive sound).
Long vs. Short
1. Long notes start with an attack and have a taper (decay) over a period of time. The attack calls attention to the note and the taper keeps it from becoming tedious to the listener. 2. The attack is crucial with short notes. The pitch must be recognized immediately. The note may be stopped with the breath but more often and more effectively stop it with the tongue. “Ta” when stopped with the tongue becomes “top” or “tot.”
Good conductors and good ensembles have learned the value of attacking and releasing together. They have also learned the effectiveness of silence. Finally, listen to the best; you’ll learn the most, the quickest.
14
First Studies
According to the special directions provided throughout @@ this edition by Simone Mantia to master accurate intonation, some positions must be slightly raised, which is indicated by a sharp symbol (®). Some are lowered, as indicated by the flat for is trombone are shown above, and the fingering The(). positions for trombone areused shown above, andthe therespective fingering forThe valvepositions instruments shown below the notes. symbol This process is to be when near for valve instruments is shown below the notes. intervals, instead of shifting distances: 6th 5th 1st Pos. 4th 3rd 5th 4th 1st 1st 2nd 1st 5th
1.
@ @ T T T T T T T 0
0
@ @ Ç
0
0
Ç
Ç
1st Pos.
2.
@@
Ç
Ç
0
1
0
1 2
Ç
Ç
0
0
1st
1
tu
tu
@ @ Ç Ç
4 2 @@ Ç Ç 1 2
4.
2
@@
2 1 @@ Ç Ç 2
5.
O23X O23X
3 Ç Ç
T
0
T2
0
0
Ç1 Ç 0
0
0
Ç3 Ç1 2
1
0
0
0
1
T4
T
4th
0
1 2
Ç
Ç
4th
1st
1 2
0
Ç1 Ç4
1
Ç Ç4
0
T
1
0
T1
1 2
0
1
0
1 2
1 2
1st
T
3
Ç Ç
simile 4
3
3 Ç Ç 2
1 2
1
1
1
1 2
Ç
1 2
Ç
0
Ç
2
Ç
2nd 2
Ç4 Ç2
T4
Ç4 Ç2
2
2
1
T
2
T4
Ç2 Ç4 T5 1 2
2 3
1 2
2
0
2
1 2
Ç3 K Ç4
simile
2 3
2
2
1 2
0
1 2
1 5
1 2
0
1
2
0
2
Ç K4Ç
2 4 Ç Ç
2
T2 2
4
Ç Ç
1
2
Ç Ç
T
3
0
0
1
1 2
1
Ç2 Ç1 2
4
0
4
0
T
1 5
Ç Ç5
T
0
1
1
Ç Ç 2
1
0
T4
0
T 0
0
2
1 2
2
Ç
0
0
1
Ç
1 2
1
0
0
3
T2 2
0
Ç Ç
T3
1
0
1
Ç Ç4
1 2
2
Ç Ç
4
1
1 2
1
Ç KÇ 2
0
2
Ç2 Ç4 2
Copyright Copyright©©1936 1982by byCarl CarlFischer, Fischer,Inc. Inc. All LLC All right rightsassigned assignedtotoCarl CarlFischer, Fischer, LLC ThisThis edition Copyright © 2008, 2013 Carl Fischer, LLC Edition Copyright © 2013 byby Carl Fischer, LLC International InternationalCopyright CopyrightSecured. Secured.All Allrights rightsreserved reservedincluding includingperformance performancerights. rights.
1 2
Ç1 Ç3
Ç Ç4 0
Ç2 Ç1 0
1 2
1
T1 0
0
T1
0
4
1
1 2
0
0 4
T
Ç2 Ç1
Ç3 Ç2 2
1
0
T1
Ç1 Ç1
1
2
1
0
Ç Ç
T
T1
T1
0
0
3
1
1 2
1
0
1
3
0
0
T2
2
Ç1 Ç4
Ç1 Ç3
3 Ç2 Ç
T
0
1
T
1
0
T
Ç1 Ç3
1
1 K4
3
0
1 2
T
0
1st
p
1
T2
Ç
6th 3rd
Ç
Ç2 Ç1
T2
Ç1 Ç4
0
4th
1
Ç @ Ç1
1
Ç
e l
2
5th 1st
2
3 Ç Ç
1 2
3
Ç
2
1 2
2
2
1 2
T
T1
1
Ç Ç 4
1 2
1
Ç Ç
T
2
0
Ç1 Ç3
0
3
Ç1 Ç2 T 4
1
Ç Ç
1
0
6th 2nd
0
1 2
1 2
3
1
0
2
3
2
T 3
1 2
2
Ç1 Ç2 Ç1 Ç @@ K4
1
m a 3
1 2 2
T1
1
Ç
T
2
4 T
0
T2
1
2
2nd
K4th
T T T T T T T T T T T
2
Ç
0
simile K41
1 2
s 1 2
1
Ç4 Ç2
2
Ç
1
0
1
2
2nd
Ç Ç
1 K4
1
Ç
2nd
3 Ç Ç
0
2
1
simile
Ç2 Ç1
T4
1 2
2
3
4 1 @@ Ç Ç
0
@@
1
1 2
0
1 Ç1 Ç @@
6.
3
1 2
T
4th 3rd
3.
Ç
4th
1 2
T
6th
2
0
1 2
T1 0
T3 1 2
Syncopation
29
The correct attack for trombone or any instrument with a larger p. 8. The definition concerning attack as given on this page, mouthpiece should now be defined again. The syllable “tu” as for middle F and downward, should be carefully followed. widely urged is not correct. The player should try it himself However, when rising chromatically from F, the jaw gradually and he will discover that the tongue will strike at the base of closes and then the attack is higher in the mouth and teeth. the upper teeth. It should not be used for attacks as yet. It will Tonguing lower notes will at some point require the tongue to andthat teeth. lowerisnotes willdefined at someatpoint require ineven backbetween of and even the lips. hit tongue in backtoofhit and the between lips. be found theTonguing correct attack the one the top of the
Ç< Ç< <
Ç 1. @@ Ç< Ç<
< @@ Ç < Ç< K Ç< < Ç
@@ Ç
Ç< Ç< @
2. @@ Ç< Ç< Ç< @@ @
<
( ( ( ( < < ( ( (
@ < @@ ( 3. < @@ ( ( @
s
@ < 6. ( < @ ( (
O23X
Ç<
< Ç
Ç<
S (
G G < < < (
< ( ( < ( (
Ç<
< ( ( (
< < ( K4 < ( 5
<
Ç< K
< ( ( < ( (
e l
< ( ( 1
< < (
T<
Ç<
Ç<
T
< ( (
< ( (
Ç (
<
< < ( ( ( ( Ç ( (
<
<
< < < < < < ( ( Ç ( ( ( ( (
< < < < < < Ç ( ( ( ( ( ( (
<
< < < < < ( ( ( ( ( ( < < < < < < ( ( ( ( (
< ( < ( ( < ( ( (
< ( (
< Ç
p
Ç<
< ( (
(
5
< (
< < < Ç ( ( (
( (
G< < G Ç
< Ç ( (
< ( (
Ç< K
< Ç< < Ç< T Ç @ @ Ç
< < Ç< Ç< Ç Ç
< < G ( < < ( (
1 ( ( < (
Ç<
Ç< K Ç< @ Ç<
m a
< < < < @ 4. @ @ ( ( ( ( < < < < K4 < ( ( @ ( ( ( @@
G < @ 5. @
< < @@ ( (
Ç (
32
Studies in Dotted Eighth and Sixteenth Notes
As the pitch rises, the jaw closes slightly and the tongue strikes higher on the teeth. Conversely, for low and lower notes, the tongue may move forward, andand tonguing may thelips. lips. the tongue may move forward, tonguing mayoccur occur between between the
Tempo di Marcia @
13.
K4 6 2 @ K4 1
@
e l
K4
With thisexercise exercisethe thejaw jaw is open the stroke the tongue is between With this is open andand the stroke of theoftongue is between the lips.the lips.
@ @ 14. K4 K4 6
6 6
@@ Allegro moderato
@ @ 1
@@ @@
K4
s 1
@@ Ç @@ Ç
Ç
p
K4 K4 K4 1
K4 K4
6 6
6 6 6
1 @ @ ± 0
@@
O23X
m a
K4
Allegro
15.
1
± 0
1
1
± 0
± 0 K K K
K4 K4
K4 K 1
Meter
38
Exercises 28 through 38 38 arearetoto be practicedwith with a light should Exercises 28 through be practiced a light staccato,short. neverFurthermore, heavy or loud.the Theplayer right hand mustalways be keptthink free of striking of never tensionheavy and the mustright let it hand glide instead stopping the player should of right striking theand a staccato, orplayer loud. The must beofkept free short. the Furthermore, note as he passes it with thealways slide. think A free arm noteand as hethe passes it with thelet slide. A free right arm and a short, light are essential in developing technique. technique. of tension player must it glide instead of stopping short,staccato light staccato are essential in developing
G @ ± ± ± ± ± ± ± ± ± @ @ 28. ( ( (
G K @
@ @ ± ± K ± ( ± ± ± ± @
Allegretto
e l
simile
@ ± ± @ @ ± K @ ± ± ± @ 5 5 @ 5 @ 5
@ @@ ( @
J
5 5 5 @ K @ 5 @ @ @ 5 @ ( (
p
5 @ @ K ( ± ± ± ± G ± ± ± ± @ ( ( 6
6
6 5 @ ± ± ± G ± ± ± ( ± ± @@ (
m a
5 K4 K4 1 @@ ± ± ± (
Allegro
29.
4 5 1 1 5 K4 K K4 1 @@ ± K ± ±
6 6
s
5 5 5 @ @ @ 1 @ @ @ @ @ @@ ± @ @ ± ± K 1
6
4 5 1 K K 4 7 K 6 7 6 6 @ K K @@ K ± ± ±
K4 K4 ¦1 K4 @ 6 1 @@ ± ± K4 1 1 6 6 ± ± @@ (± ± O23X
45
Studies for the Slur This section was set forth in Arban’s original method as one of the most important in the entire book. As indicated in the first exercise on the following page, slurring by means of a moving slide in either direction is done best when playing piano. The breath must be lightened and reserved, almost entirely held back or the effect will be a glissando; this would be unfortunate in all cases, except comedy, or when intended for descriptive purposes. Good taste demands a very light articulation, just back of the teeth, at the precise time the note occurs. Care must be taken to make the tone continuous, Examples 1 and 2 below should be tried both ways: first, with nothing but the slide motion, very little breath and particular care taken to play piano. Immediately after this, try them with the light articulation back of the upper teeth, using more power and depending on the articulation to bring out
Example 1
Example 2
7 7 @@ @ @
each note at the exact moment it occurs in the count. Without a doubt, the player will prefer the articulated effect, especially as it is so necessary in playing a melody when tonal volume is important; in addition, the breath is steady, and the tone is continuous until the next breath is taken. To produce a beautiful and continuous effect when playing melodies, slurring up or down from any interval is used when and whenever possible. The only other articulation used is the legato, which may well be defined by a gentle forward stroke, back of the teeth. However, the articulation must never be forceful enough to stop the tone. It merely divides one note from another as in the third measures of Example 1 below. This method of attacking is in good taste at all times where melody occurs. The player must think of it as a means of continuing melody where no slur is possible, either when shifting or sustaining in any position; without it, the singing tone on the trombone could not exist.
7
Ç
6 Ç Ç T @ @ Ç Ç Ç Ç @ @ Ç Ç K
m a
Lip slur vs. legato phrasing
Lip slurs work well when there is a natural lip break between notes (e.g. middle B to middle C). When there is no lip break between notes a light articulation is required to prevent an unwelcome glissando (e.g. middle Bb down a half step to A). Lip slurs upward require three things: 1. Change the vowel (ta - ee) 2. Pucker the lips toward the center 3. Blow faster (crescendo)
s
Lip slurs downward: 1. Change the vowel (tee - a) 2. Open the mouth (drop the jaw) Note: Don’t loosen; keep the corners of the lips firm and supportive of the tone 3. Blow faster (crescendo). Yes, “crescendo.” It will enable the lower note to be more responsive and to speak more quickly.
O23X
e l
p
@
Legato phrasing. Tongue everything with a light articulation after the initial note. Moving the slide quickly between notes and articulating immediately upon arrival is a skill to be acquired. Ta - da is the usual articulation to practice. This articulation works well for the notes which have a lip break between them as well as those with a glissando between them. The “da” articulation evens everything up and allows for a very smooth legato.
Two and three note slurs (at a moderate to rapid tempo) sound very clean when the last note is played short. Note Exercises 12 and 13.
71
General Instructions for Position and Movement of the Slide The slide must be held freely and glide easily. Remember to strike as the slide passes the note. Freedom of action and clean playing will result. The player should
disregard slurring when continuous and make a habit of a flat fourth when passing D natural in the keys of B and E.
e l
Directions for Study of the Scales Major Scales It is of urgent importance that scales should be diligently practiced. Owing to the importance of this branch of study, scale work has been treated to great length and in every variety of key in the following pages. One of the principal objectives to be gained through such study is equality of sound and attack. Minor Scales Owing to the fact that the minor scale is naturally less rich than the major scale, examples of only the tonic and dominant have been given to offer an idea of its resource. Chromatic Scales and Triplets The chromatic scale is one of the most essential scales, and as its study imparts ease to the manipulation of the instrument; it has been treated at considerable length in this method. Care must be taken in its study to the accurate location of the various positions, in order that all the notes will be emitted with purity and fullness
When deciding which alternate positions to use, play as many notes in one slide direction as the beat will allow. Synchronize the change of direction of the slide with the following beat to start a new group of notes. Accent the first note of each group.
s
3 4 7 6 5 <
6 5 4
<
< K
@ @ K K @ S 5
4 3
7
Slide Technique Clean and fast “linear” playing (lines of notes and scales) both diatonic and chromatic, is a combination of: 1. Tonguing short clear notes while the slide is in motion.
2. Using alternate slide positions to maintain slide direction.
3. Choosing these alternate positions in relation to the rhythmic structure of a passage.
O23X
Play very short notes using the syllable ‘top’ (tap) or ‘tot’ (tat) for the attack and release of each note.
@ @ ( ±
7RS 7RW
p
Make sure that each note has a clear tonality, not just an attack noise. Clarity of pitch is all important.
@ @ ( ± ( ± ( ± ( ± ( ± ( ± @ ( ± K ( ± Ç » 7RS 7RS 7RS 7RS 7RS 7RS 7RS 7RS 7D
m a
It would be most helpful (for slide motion) to start with the six pages of chromatic scales (pp. 100-105), which always have a half step between notes, rather than the diatonic scales which mix half-step and whole-step distances.
6
1. Tonguing short clear notes while the slide is in motion
In other registers:
7D @ @ ± ± ± ± ± ± @ ± K ± Ç » ( ( ( ( ( ( ( ( 7RS
@ @ G± G± G± G± G± G± G± G± » @ K Ç
Maintain the short notes and move the slide evenly from first to fifth position and back to first position, tonguing the short notes en route. Note: This is similar to patting your head while rubbing your chest; it’s a knack to acquire.
@ @ @ @ K K
Ç
»
@ @ K K
Ç
»
In other registers:
@@
Ç »
@ @ K K
72 2. Using alternate slide positions to maintain slide direction. 3. Choosing these alternate positions in relation to the rhythmic structure of a passage. Changing direction or acquiring new notes (continuation of a scale or passage) should occur on a downbeat whenever possible. You can move great distances if you aim for a downbeat for the change of direction. Without this you’ll be faced with (and often discouraged by) an awkward slide motion. Clumsy
@ @ @ K K K Ç
»
Easy
@@ @ K K
Ç
»
“Pivot” Notes Most major scales contain a pivot note, a note which is gone “out-to” and then “back-from,” keeping the slide motion smooth and eliminating excessive back-and-forth motions. This note usually occurs at the first ledger line.
Keys of B and E major, it is “D” in b4th position.
e l
Keys of A, D and G major, it is “D” in 5th position.
@
Keys or E, A and D major, it is “C®” in 5th position.
p
The scales of B, G, C and F have their own considerations: B scale: play middle A® in 5th position G scale: middle A may be used as a pivot note in 6th position C scale: middle A is a good pivot note in 6th position F scale: use D or A depending on the structure of the scale
Easy
As the scales progress stepwise there will also be a note which alternates:
Clumsy
6
5
4
3
2
1
5
4
3
2
1
4
3
m a
3 5 4 <
< @ @ K < K K @ S 6
5
4
3
7
6
5
4
7
6
When it s impossible to structure a passage by downbeats, the next best approach is to use the upbeat (the middle of a beat).
s
Example:
1 @ 2 3 4 @ 1 2 @ 3 4 5 6 2 3 4 K @ KÇ
QRW 5 1 2 3 Sometimes even this is impossible, and you must change direction on the weakest part of the beat (the second or fourth sixteenth note). An F-attachment trombone will usually solve this problem; otherwise, it will have to remain an awkward (but playable with practice) passage.
Example:
@ @ K K 1 7 6
O23X
5
ZLWK )DWWDFKPHQW
! 6 5 K 1
K2
In the flat keys (F, B, E, A, D and G) it is middle F which alternates between 1st and 6th.
In the sharp Keys (G,D,A,E and B) it is middle E which alternates between 2nd and 7th.
Recognizing the “pivot” note (and the “alternating” note) will help in quickly structuring a particular linear passage. In order to gain speed and accuracy in slide movement, it would be advantageous to practice the six pages of chromatic scales first (pp. 100-105) and then come back to work on the diatonic scales. This will help keep the slide motion smooth.
73
Major Scales
For Example 1, think of a moderate tempo; strike the same All of the slurs in this section are optional for the slide number of notes on B as there are in the first two measures. trombone. When playing them, however, play the last note of This will set a standard to judge by when playing the scales as the slur “short.” they areA Even pleasing llwritten. of the slurs in tonguing this sectionand are shifting optional make for theaslide trombone. When playing them, however, play the last note of the slur “short.” effect which will result when tongue and arm are more intimate. K4 6 2 1 1
@
@
K4 K4 K4 K4 6
@ @ 1
K4 6 @ @
1
K4
6
e l
1
K4 K4 2 1 6 1
@@ 4 K4 K4 4 6 6 1 @ @
Note the alternating "F" in the above exercise. 6
@ @
K4
6
6
p
K4 K4
4 6
K4 K4
m a
@@
K4 K4 simile
@@
6
1
K4 K4 K4 6 1 6 1 @ @
s
K4
6
@ @ K4 K4 K4 6 K4 6 simile @ @
@@ @@
O23X
K4
6
K4
K4 1 K4 K4 6 6
6 6 1 1 1
111
Ornaments The Gruppetto (or The Turn) Consisting of Four Notes The first twenty-three studies of the following division are especially intended to prepare the player for the execution of the gruppetto, or turn, which is a collective Italian term, for a group of grace notes to surround, as it were, a fundamental note. These studies should be practice slowly, in order to accustom the lips and fingers, or lips and slide, to act in perfect unison. It is, therefore, necessary to pay as much attention to such a group (above or below) as to the note which it surrounds. The four-note gruppetto is used in two different ways: 1) ascending, and 2) descending. Ascending is written and played as follows:
A @@ Ç 2
Effect:
@ @
Ç
Ç 2A
Ç
The sign for the ascending variety is turned upwards, indicating that the group should be started with its higher note. Such a group of grace notes may be either major or minor, according to the tonality of the piece. The second variety of the gruppetto, descending, is written and played as follows:
@@ Ç @@ Ç
Effect:
*
Ç
*
Ç
s
In his original Cornet Method, in the course of explanations for the slur, Arban points out an intolerable defect, as he calls it, much affected by players who use the so-called lip-trill, and in this article, he alludes to the manner in which such players execute the gruppetto, calling attention to their manner of playing
@ @ Ç Ç K
O23X
K Ç Ç @@
e l
@ ±( @@ @ @ K K @
p
instead of merely employing the lips, which would result in the following effect:
K @ @ ±( @@ K K K @ @@
m a
Here the sign is reversed, turned downwards, denoting that the first note of the group must be started with the lower note. This lower of the four notes should always be at the distance of a half tone from the note which it precedes, and any necessary accidental for such a purpose is always placed beneath the sign.
instead of playing
which, as he stated, is the only correct method and which should be carried out in this way on all degrees of the scale. As he said, such players find it more convenient to use a simple movement of the lips, which obviates the necessity for moving their fingers, as though it were not more natural to produce the true notes by employing the valves, or in the case of the slide trombone, the slide. Some players pursue this practice still further, even executing triplet passages, through movements of the lips instead of using the valves or moving the slide of the trombone. As an illustration he adds a passage which, with the aid of valves should be played as follows:
The Gruppetto (or Turn) Consisting of Three Notes This variety of the gruppetto is also used in two different ways: (1) ascending and (2) descending. In either case they may consist of a minor or diminished third, but never of a major third. This variety is written and played as follows:
Andante
@ K Ç @@
( ±
Andante
@@ @
Ç
( ±
But they should be executed in the following manner:
@ @ K Ç Ç @
( ± ( ±
Andante
@@ @
*on the other hand Andre LaFosse makes good use of the lipbreak turn.
*
114
Preparatory Exercises for the Gruppetto
These studies present the best exercises for legato tonguing (in back of the upper teeth.)
These studies easily present the best examples forlegato tonguing (in back of the upper teeth).
@ ± K K K K @ 6
1.
@ @ K K K K Ç 6
6
e l
@ @ @ @ ± K K K K @@@ 6
@ @ @ @ K K K K Ç @@@
±
p
Ç
@ @ @ ± K K K K K @@
m a
@ @ @ K @@
K
±
K
Ç
@ @ ± K K K @
K
Ç
s
@ @ K K K K Ç @
5 ±
Ç
O23X
136
Short Etudes
Short phrases may be joined together.
Ç
Andante con spirito
44.
@@ Ç @@@
@@ Ç @@@
Ç
(
Ç ( Ç
Ç
crescendo poco a poco
Ç
Ç
Ç
K K (
Ç
Ç (
Ç
Ç K
K (
Ç
( Ç
Ç
J
Ç K Ç Ç Ç K Ç
K @ Ç K @
@@ @ ( ( ( @@ J J Ç
K K @ Ç K@ K @@ @ Ç Ç ( @@ ( J rall. Ç
Ç Ç
Ç Ç @@ @ Ç Ç Ç K @@ ( (
p
e l 1
4
Ç @ kG @ ± 45. @ ( K K Ç ( ( @@ ± ± ( ( ( Allegro moderato
m a
K K ( ( ( Ç Ç @ @ K ( ± ( @ 6 K rall. kG @@ ± Ç K ± ± @@ Ç
s
Alternate positionsfor forlip-breaks. lip-breaks. Alternate positions
6 5 5 K K Ç K @@ ( ± ( ± Ç ( ( ± ± ( @ (
Andante con espressione
46.
@ @ ± K ± ( Ç @ ( (
5 Ç K4 K ( Ç
6
7 5 K 5 K 1
@ K G Ç
Ç (± (± ( K ( ± ( ± ( K ± ± (Ç (
4 5 6 5 K K K (± (± @@ Ç ( ± @ ( Ç ( ± @ ( O23X
5
Ç K4 K 1 5 Ç (
6
The Mordent
152
The mordent starts on the beat of the main note and is accented. A trombone lip-break in the same position willmain bringnote this about. Example as the will bring this (ex077.pdf) about. Example:
*
@ J @
J
Allegro moderato
81.
J
J :ULWWHQ
J
J
J
@
3OD\HG
J
J
@
3OD\HGRQWKHWURPERQH
J
@@ J
J @ @ @@ @ @ J
J
K4
K J
Ç
Ç @ K @ K4
6
J
5
J
J
s
e l J
J
J
5
J
J
p
J
J
J
m a
@ @ J
J
J
@ @ J
J
J
1 2
J
K4
Ç
Ç 6
J J @@ 6 82. @@ J J J @@ @@
J
J
J
K4
J
J
J
J
J
J
@@
5 K4
J
J
@ @
* Exercises 81-83 show different types of mordent-like embellishments. The basic mordent is shown and explained in the text and examples at the top of the page.
O23X
156
Intervals
develop strong muscles. The student should make no change in embouchure and use an open jaw for low notes. It should also be noted that the position of the tongue is higher in the mouth for higher notes, that a deliberate tempo is to be maintained. Set for the highest note before starting each exercise. Work to play each Set for the highest note before starting each exercise. Work to play line its repeat) in one breath. lineeach (with its(with repeat) in one breath.
Interval study should be assiduously carried on with care not to alter the position of the mouthpiece, in order to pass from a low to a higher note, or from a higher to a lower one. By observing this rule, the performer will acquire surety in taking the note and great facility of execution. Practice of Exercises 1–7 will
6 6 @ @
Ç 2
5
6
1.
e l
5 5 Ç @@ @ @
@@@ 2
Ç
@@ @ Ç
@@
p
Ç
@ @
Ç @
m a
7 7 7
6 K4 K4 5 6 6 6 @
5 4 5 4 5 K5 5 6 @ @ @ @
@@ 2 3 2 2 K4 K4 4
s
Ç
Ç Ç Ç
3 Ç @ @ @
@ 3 3 2 3 3 2
Ç 1 Ç @ @
O23X
166
Octaves and Tenths
Exercises 8, 9, 10 11 and 12 are very beneficial for slurring wide intervals which may occur when playing a difficult melody where the note cannot stop and the melody does not permit of a new attack on the upper note. Many young students find
Set for the higher notes.
8.
@@ @
4
K @ @ @ K T2 6 4 @ @@ 7
4
@@ @
6
T
@@ 9. 6 6 4 @@ @@ @@ @@ @@
T
K
K
6
4
help through the use of a “ta-e,” as the back of the tongue rises slightly for “e” at the moment the note occurs; the first measure of Exercise 8 should be taken for a trial, and using “ta-e” on the two slurred notes in octaves. Set for the higher notes.
6
4
4
6
6
2 T
4
4
6
3
e l
4
6
4
p
T
4
T
T
4
3 K 4 6 4 K @ K K K @ 5 4 4 4 4 K 7 K @ @ K K 4 6 4 6 4 4 6 6 6 6 4 4 T
4
K
m a
s
@ @ @
4
K
K
4
4 4 4 6 6 K @ @ K K @ K 7 6 6 Fine 4 4 K @ @ K ± @
10.
O23X
K
K
5
Studies for Sixteenth Notes
174
In order to arrive at perfection of execution, these exercises should be played with scrupulous attention to time and rhythm, due regard being given to the articulations therein indicated. The performer should begin slowly and only increase the speed when he has become familiar with the exercise. Too
great a rapidity of execution does not always impart to the performance the brilliancy expected. Precision and regularity are the real foundation to perfect execution. Two-note slurs: Play the second note short. Three-note slurs: Play the third note short.
6
@ 28. @ simile 4 1 4 @@ 4 4 1 4 1 @@ 1 4 Ç 6 @@ @ @ @@ Ç Two-note slurs: Play the second note short. Three-note slurs: Play the third note short.
e l
p
29. @@@ @@ @ @@ @ @@ @ @@ @
m a
s
@ K 30. @ K simile
@ @ K K
K @ @ @ K K K K K K @@
O23X O23X
200
Double and Triple Tonguing
This page is important and needs to be read carefully. It goes beyond the original Arban concept of double/triple tonguing and into the contemporary use of such articulations. The next section (pp. 203-247) is for double and triple tonguing. The original Mantia/Randall wording remains intact (with a few syntax changes). Practice double tonguing as set forth in the Arban pages using “ta ka” (rather than the former “tu ku,” which was confusing). A group of four sixteenth notes is articulated “Ta ka ta ka” (the uppercase “T” signifies the natural downbeat accent). Go through the following pages and learn the technique(s). In trying to match the “t” and “k” articulations, it will be helpful to first use the syllables “ta kya” rather than “ta ka.” The “kya” allows the back of the tongue to articulate farther forward, thereby shortening the arc formed and allowing better definition. As speed is increased, the “y” is dropped, but the tongue will remain in the better position.
Once “Ta ka ta ka” (and “Ta ta ka Ta ta ka” for triple tonguing) has been learned, a softer form of double and triple tonguing may then be worked on. “Da ga da ga” (“Da da ga Da da ga” for triple tonguing) will allow more speed and less percussiveness to the attack. It is a good legato articulation. Finally, the articulation “Da dle da dle” (“Da dle da Da dle da” for triple tonguing) is a very fast and super-smooth articulation, used profusely in jazz. “Da dle” tonguing allows the mixing of double and triple rhythms with none of the tongue-tied-ness that the other two forms of double (and triple) tonguing (“Ta ka” and “Da ga”) often fall into when mixing duplets and triplets. It is a good articulation for playing jazz improvisations.
Double Tonguing
@
Start by pronouncing the syllables “Ta kya ta kya ta kya ta kya.” As control and clarity are accomplished, work on more speed: Note that “kya” will become “ka”.
p
m a
This kind of tonguing is of great assistance in the playing of rapid scales and arpeggios. In order to execute this with precision, it must be practiced slowly, attention being paid to matching one note with another.
s
e l
There are studies for these forms of double/triple tonguing outside of this book. One source would be Trombonisms, a Carl Fischer publication (05130).
As will be seen the tongue performs a front-and-back articulation.
After having practiced all the studies connected with this kind of articulation, recourse may then be had to the scales and arpeggios. These should be executed by employing the same double tongue technique, so as to accustom the fingers or slide to proceed in conformity with the tongue.
@ @ ± ± ( ± @ ( ( (Ta kya ta kya ta) Ta ka ta ka ta
( ±
( ±
simile @@ ( ( ( ( ± ( ± ( ± ± ± ± @
@ @ ( ± @ O23X
± (
± (
± (
± (
Triple Tonguing
211
The student should first strive to pronounce with perfect equality, the syllables:
To obtain a really irreproachable execution, it is necessary to pronounce the syllables “tu-tu-ku,” “tu-tu-ku, tu,”* as has just 7D WD ND 7 W N 7 W N 7 W N 7D been shown, and not the syllables “du-du-gu, du-du-gu, du.”* These latter, it is true, go faster, but do not detail the sound sufficiently.** In the following exercises note the use of uppercase (T) and In order to accomplish the front-front-back tongue motion with lowercase (t) letters. The uppercase “T” reminds the player perfect regularity, it is necessary to practice slowly, so that the of the natural accent which should be observed on the tongue, like to a valve, may allow the same quantity of air to escape downbeat(s). QDWXUDODFFHQWZKLFKVKRXOGEHREVHUYHGRQWKHGRZQEHDW V at each syllable.
@ » @
39.
@ @ 7D WD ND 7D WD ND 7D @
e l
@@ @ @@ @ @@ @
p
@@ 40. @ @@ @ @@ @ @ 41. @ @ @@ @ @@ @
m a
s
@@ 42. @ @@ @ @@ @
WX ³WD´DQGGX ³GD´
³'DGDJD´KDVEHFRPHSDUWRIWRGD\¶VVWDQGDUGWURPERQHWHFKQLTXH6RKDV³'DGOHGD´ QRW³'DGDGOH´ 1RWH 0DQ\SOD\HUVSUHIHU³7DNDWD´ UDWKHUWKDQ³7DWDND´ IRULVRODWHGWULSOHWV7KH\IHHOWKH\FDQJHWPRUH³ELWH´ZLWKWKRVHV\OODEOHV O23X
218
@ ± @ ( 64. ( @@ ± Theme
e l
@ @ ± Var. I
65.
@@
VLPLOH
@@ ± @@
p
@@
m a
@ @ (
Var. II
66.
@@ @@
s
VLPLOH
@@ ± ± ( @@ @@ O23X
The Slur in Double Tonguing
236
In order to combine slurs with the double tongue, there is a peculiar kind of pronunciation to employ. It would be monotonous to be always performing staccatos without occasional reference to the slur. The combination of the two occasions a pleasing variety in execution, at the same time it facilitates the acceleration of the movement.
@ @ @
This articulation is obtained by pronouncing the following syllables:
WD D WD ND WD D WD ND
WD D WD ND WD D WD ND
The syllable “ta” serves to strike the first note and the syllable “a”, which comes afterwards, enables the performer, by prolonging the sound, to slur easily on the second note. The following exercises may be played as indicated but always with lessened breath where slurred notes occur which would produce a glissando. *
e l
WD D WD ND WD ± ( ± K ( ± @ K ± ± 115. @ @ ( ( ( K @ ( ± ( ± ( ± ( ± ( ± @@
WD D WD ND WD
@@
± ± ± ( ± ( ± ± ( ( @ ( (
p
WD D WD ND WD @ @ ( ± K ( ± ( ± ( ± K ( ± 116. @ K @@ ( ± ( ± ( ± ( ± ( ± @
m a
@@ ± ± ( ± ( ± ( ± ( ± @ ( (
s
@@
WD D WD ND WD ND WD ND WD
117.
@@
@@ @@
,IWKHWURPERQLVWLVDEOHWROLJKWO\WRQJXHWKHVHFRQGVL[WHHQWKQRWH ³GD´ LWZRXOGHOLPLQDWHWKHVOLJKWJOLVVDQGRDQGWKH *If the trombonist is able to lightly tongue the second sixteenth note (“da”), it would eliminate the slight glissando DUWLFXODWLRQZRXOGVRXQGFOHDQHU and the articulation would sound cleaner. O23X
243
Fanfare Tonguing Isolated Triplets / Combinations of Double and Triple Tonguing Ta ta ka Ta (sometimes Ta ka ta Ta) Ta ka Ta ta ka and Ta ta ka Ta ka The following exercises will allow the player to experiment with different kinds of double/triple tonguing. ([HUFLVHVDQG RIIHUVXJJHVWLRQV Exercises 136, 138 and 139 offer suggestions.
< @@ 135. @ K @@ @ @ K @@ ( @ Allegro
e l
WD WD ND WD WD WD ± ± ± @ 136. ( ( @ @ ( K @ @ ± ( ± (± @ ( @ @ @ @ G ± @ @ K @ ± @@ ± ( @ (
Tempo di marcia
137.
m a
p
@ ( ( ± @ @ Allegretto
K @ @ ( ( @@ @ K )LQH G @@ ( ( ( ± ± @@ @ ± @ @ @@ @ @ K @ K K @@ @ @ @ @@ @ @ (
O23X
s
'&DO)LQH
273
Aria
53.
@ @ @@
@ @ K @@
@ (
dim.
(
@ @ @ @@
Ç
kG
IURPOtello
Moderato
± ( (
@@ @ @
cresc.
@@ @ @ @ @@ @ @
Ç ± dim.
K ± (
Ç
(
K Ç (
± ( @
6
@ @ @ K @ J
3
6
@ (
KÇ
dim.
(
Ç (
dim. 3
IURPSemiramide
@ @ G ( ± 54. @ J Ç ( ± @@ @ Allegro
Ç
KÇ
e l »
K (
p 6
± (
@
Aria
J
2K ± 3
m a
J
( ±
GIOACCHINO ROSSINI
3
Ç
3
3
GIOACHINOROSSINI K ± @ ± G 0
K ± G Ç Ç @ @@ K K @ @@ ± ( ± ( @ @ K @ @@ ( ± @
s
± @@ @ O23X
Characteristic Studies
279
These studies put into effect the various techniques covered in the preceding pages. They are all playable on the slide trombone and have indeed been played by many fine players. Soft double/triple tonguing is required, as is light legato (single) tonguing as well as other forms of attack. The slide techniques suggested for the chromatic and diatonic scales in earlier pages are extremely important. The structuring of linear passages so that the change of slide direction occurs on a downbeat is crucial to clean playing. These positions may be “plotted” prior to the actual playing of these studies. Once structured, they need to be consistently applied and never left to chance. The player should always know where he/she is going and how he/she is to get there. Mr. Arban suggests taking your own tempos and working on your own interpretation, rather than attempting a preconceived goal. Louder and faster is not the requirement of these challenging studies. The following fourteen studies were composed in order to inculcate in students an unconquerable strength of will. They will doubtless be fatigued, especially at the outset, by pieces requiring such length of breath. Study and experience will teach them to triumph over this difficulty and will provide them with resources which will enable them without difficulty to reach the end of their task. Among the means to this end offered by almost every composition, the cantabile passages are to be pointed out, which are recommended to the student to
be performed with utmost expression, at the time, modifying the tone as much as possible. As with the voice, clear tones may be obtained by widening the lips and veiled tones by contracting them. This circumstance affords the performer an opportunity to rest while still continuing to play, and at the same time, enables them to introduce effective contrasts into the execution. It is to be repeated that by little artifices of this kind, and by skillfully husbanding his resources, the artist will reach the end of the longest and most fatiguing solo, not only without difficulty, but even with a reserve of strength and power which, when brought to bear on the final measures of a performance, never fails to produces effect on an audience.
The editors of this work, as well as many other teachers, have achieved considerable success with pupils by disregarding the printed articulations and substituting for them the articulations which belong to Slide Trombone described in the order in which they occur in this work. It is possible if done musically and does not entirely destroy their character. Every player should consider his/her own technique and, above all, play deliberately.
p
m a
O23X
s
e l
These characteristic studies together with the following solos, of course, are strictly valve instrument studies and have been carefully revised as such by Arban.
280
14 Characteristic Studies
4 5
@ @ 1. J
4
@ @ §Ç
K§Ç
@ @@ K K K Allegro moderato
e l
@@
4 @ @ 4
p
)LQH @ @ K @ 4 6 1 @@ 4
J
m a
4 6 1 @@
J
@@ @@
K K K @
@
@ K K @
s
K
J
@ @ @ K @ @ @@ @ @ @ @@ O23X
@ @ @
@
@ @ @
@@@@@
No. 1: Fantaisie and Air with Variations on a Cavatina from Beatrice di Tenda by Vincenzo Bellini*
Introduction
JEAN BAPTISTE ARBAN
Andante = c. 76
@@
311
G G G G G K
± ± ± K
Piano
e l
6 6
± » ( 3 13 6 Ç
6 @ K kG » @
8
@@
K4 5 6 1 ± » @@ ± ( (
18
J
@ @ 3
21
K @
± (
p
3 K G ± ± ± ± ± 0 ( 0 0
K @ @@ K
m a
26
@@
28
@@ @
31
K
3
»
a piacere
K K K K K K K @ K
s
@@ Theme
39
K
@@ ± (
50
O23X
K
3 K
»
2 ± K (
2 @@ ± (
44
5 3G K < < < < @ K @ @ K @ @ K K @ K ±
Ç
Ç
(
± (
Ç K (
»
s
m a
p
e l
s
m a
p
e l
View more...
Comments
