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ARBAN
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L. Jean- Baptiste

ARBAN
Complete Method for Trumpet

Annotated and Ëdïted by

Allen Vizzutti & Wes[ey Jacobs

 Arban
Complete Method
for
Trumpet

Annotated and Edited by

Allen Vizzutti & WesÏey Jacobs

:
Piiblished bv
t
Encoic Ivlusic Publishers
P0 BOX 212
MAPLP. CITY Ml 49664-0212
[Link]
[Link]

© 2007 Encore Music- Publishers

Made in USA.
All righrs reserved

No part ol this work covrd by the copyrtght heroon may bi reproduced, itoted in a rctrievat systein Dr transmitcd in any foiiii
or b’ ary mocans, clectrontc, tnecharncal, photocopying, recording, scanningororherwisc, except as pcrmiued onder Sections 1.07
Dr 1US of the 1976 United States Copvrïghr Act, wirhout wcittn permission of the publishen
ISMN M-800004-03-2

r
 FIRST STUDIES

The first notes of the Arhan ivlethoci begin on ‘gi’ (sccond line treble staff)—not on middie ‘C’ as
is common in other books. The first titrce cxcrcises are written up te ‘d2’ (4’ line T)’). Excrcises #4-6 go
even higher to top space ‘e2’. From # on we see [Link]-the-staH ‘g2’ written. At first giance writmg this
hLgh at thc beginning o{’a method book seems a hit strangc. 1”ote the syllable marking “to” used in the
boginning. Arbari wrote other sybables to explain proper socindirig arzicula:ion in his texe such as:

zTr
ta ta - a La - a ta - a ta — ii til tu flj fit tu til teta te-ta te-ta te-la

Keep in mmd Arban’s native languagc was french, ‘tu’ is ‘tooo’, ‘ta’ is ‘taaahhh’ and ‘te’ is ‘teh’ (noc
tea).Blowing out air using these syllables in the rhychms shown (as opposed to vocalizing them) ilbstrates
how natural and comfortable rhey How and that they create the natural and correct tongue positions for
playing.

Simiiariv, howing out air without vocalizing while using a ‘ru or cooo’ syllable in a steady and sus
taincd tnanncr, atong wich proper men thpiece placemcnt, some moisuure en the lips and corn fortabiy firm
rnourh coeners, will produce ‘Cl” (if the lips are not roo spread apart). A beginner can do this. Arban encap
sulared much of the pertinent beginnïng information rightherëin the first musical measure of the book.

Articulation and airflow through the mouthpiece and lead-pipe create the sound. The sound is hased
0fl die airflowencountering the resistance of the aperture, the mouthpicce and the trompet tubingwhich

sets tip an air column vibratinn insidc the horn. Arban wrote about airflow and articulation but did not
emphasize lip buzzing.

The Arban Method should be approached wi± the fundarnental concept ofairflow and articulacion
From the begin ning. ‘SX/icb this sceady air and flow concept it is feasible that the range of the opening
cises is practical for the heginning trumpct player after a short period oftimc. A beginner’s sound can and
shocdd be far and open. C)ali:y of sound is the primary Lodicator of relaxed airflow and goed embouchure
seccing. The prcviously typica 1 “buzzy beginner sound”, exacerbared by ceaching lip buzzing as a beginning
ccchrnque, is avoidahie and unnecessary. While lip buzzitig does have it’s positive artributes concerning
m-jscle relaxation and control, it is not the conccc technique to use for crumpec or cornet tone produc
don. Tragically, playingwirh the “beginner sound” quickly hecomes a habit that can take ears to b:eak.

It is further roteworthy that the first 32 pages of exercises contain studies on articularions and long
noce values followed hy the usc ofdiminished note values not inctudingtip slurs. Lip slurs can be very hus
tracmg for young crumpec players who are stil experirnentingwith balances ofhiowingeffort, rnouthpiecc
pressure and embouchure control. Lip slurs can also promoce early fatiguc and lip stiffness unril flexibibry
skills are improved. Arhan placcs thcm later in the book. Of course it is expecced that the more advanced
trulilpet player will move from secrion to section in any rnerhod book in order to pracriec studies suitcd
to his/het specific neèds.

It should he noced that the articulations written in the opening exercises (#i -8) of the Arban Meth
od should not bc interprered as hard-h itting tongur acccn:s. The intended musical sounds ofv-ariously no
taced accents have changed in the century sincc the Arban Metiwd was wricten and a modern comnercial
Inrerpretation Ï5 not applicable hete. The ideal sound of the noce beginnings in the First Studies” should

16—Arban Complete Mechod for Trompet

 t

a dear articulation folf owed lw a full sounding, cenrered and in-tune piech. Piink of the acceots as
small expiosions of air after the inirial tongued attack. Rernember, heavv tonguing on a cornet mouthpiecc
sounds less duisric than heavy rongiling 0fl a trumpet moutlipicce. iie intention of writing accencs on
cvery note, (>), iS tO CftCOU rage a soljd aggresnve air How as well as to focus on hitdng the correct pitch.
ïhc:se ccerzts -are not incanc to suggest a heavy percussive attack aL the beginning ofeach nota.
1•
Trumper studcnts must think about and establisli a relaxed natura! tongue attack for note begin
nins and a steady controhed air flow balanced wich minimum mouthpiece pressure. ‘[his will help to
avoid time spent exorcizing bad habits acquired through 1fl-coriceiv2d praccice. Ihe opening pages of the
Arban Method shou td bc studied conscienriouy.

The black diarnond acccnts (in exercises 1 1 - 15 for example) ihould he performed as solid nores of
suhstanria[ length with a small anicunt of space in hetween the marked note and the following note. This
marking indicares plaving a heavier attack than a plain notc or a dot bot should not be played too short.

15e cap accent reprcsentcd a heavy legato note in Arban’s day. Ii is nearlv interchangcable with the
side-ways accent (>) in the context of the Arban il’Iethod. -

Staccato dot rnarking shouid be considerëd a style marking and inturpreted as an indication for light
ly artïculated not-es wirh space if the tempo permits. Ar faster tempi, t will be impossibic to piay the notes
short with spaces and the idcal concept is crra:ing notes that are dear and light wit-hout sacrificing the
body of sound or pitch of cach note.

fi nally, the accenred notes throughout the Arban Method are carefully markcd to insure and encout
age steady tempi, evenly played note vaiucs and accurate thytlim. As you can sec, correcdy pcrforrning the t
articulations and accent-s writtcn thraughout the Arban Aiethod is an extrcmely important element in
inrerpretingArban’s music and getting the most value out of his met-had hook. — u4 V1zzutti
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STUDIES IN LEGATO — SLORRING

Arban’s Studies in Legato begin by comhimog slot red notes and articulaced notes. The s[urred notcs
itivolve valve movement and small intervals. Arbans point is to gradually dcvelop sidlled [Link] ovcr note
1
inc,vernent between harrnonics (note inoveruent not involving valves\ utilizing larger and larger intervals
and faster and faster rhytlvms. Care should he taken to foilow the written articulations exacdy. Experi
mendng with modified articulations, transposition ete. is a wonderful idea aftci making surc you can play
the music correctly as writtcn.

lip slurs are accornpli bed thcough a combination ofshght up-and-dowo chin movement and over
blowingharmonics (blowing different air speeds and making small adjustmcnts to produce different notes
tising the same ngering). Tongue placemetu using syllab[es (Tah For low norcs, Too for middie regiscer,
i’o for Hgh notes) can help control air speed. 1 believe the use of syllables also catises small sympa:heric
t
(and naturat) chin movcmcnrs which afecr the embouchure apefturc sizc and resulring air intensiry. fol
lowing the written crescendos will contribute positively to the correct incucase in physical intensirv neces
sary co execuue successful lip slurs. As in any discipline, the more repecitions of an exercise Or Lechflique
the more efforiless its execution hecomes.

In order to maintam a [Link] concept ofairflow and articularion as the exec-cises gct more diHcutt,
Arhan continues to combine lip slurs and articulated notes in varied pattrrns throughout the Legaco
section of the hook. Rernember the arciculated notes (to to) are esseritially played the same as the slurred
notes wirh the simple touch ofche tongur at rhythmically correct rnomencs. Arban also suggesrs learning

time in exercises #4 S4),

- Vizzotti
additional slucred groupings (six notes slurrcd at a time in cxercises #43 -48 and eight notes slurrcd at a

Aaban Complete Methed for Tmmper—41

t
 STUDIES IN LEGATO — SLCIRR[NG

Undouhtedly, siurring is one of the most important aspects of this MethocL Consd
erable space has been allotted to t, particularly to explaining those exercises which are
produced exclusvely by lip movement viithout the addition or suhstitution of valves. The
ftngerfng must be followed exactly, no matter hovj unusual It may seem. A]though not rec
ommended for use in actual performance, this fngering was purposely designed to in
crease the difficulty of the exercise and to obl’ge the ips to move in producinaj the different
pitches without using the valves.
This exercise, moreover, is analogous to that practiced by singers when they study the
movernent of the gottis in order to master the truI.
The easiest interval to slur is the minor second. Slurring the major second is more Uif
ficuft since some lip movement is needed. Slurring the third is most difficult since It often
involves pitches where valves cannot possibly be used to help slur from the lower to the
higher note. By Uiligent practce, this exercise will become the basis for fluent and briliant
playing. t imparts great suppieness to the ips and is an essential aid for mastering the triM,
Trilling by means of the lips is only desirable for intervals whose harmonics lie a second
apart, as in exercise 23, and then only 1f the indicated fingering is foliowed; otherwise trilis
in thirds will result and these are both annoying and objectionable.
The following exercises are intended for study purooses and are not recommended for
actual performance. Beware of performers who wish to apply an irrational method of play-
Ing the cornet or trompet. The cornet or trompet is one of the most perfect and complete
instruments and easily dispenses with contrived playing practices whose effect is always in
bad taste.
An intoletable habit is the use of lip movement in the performance of the turn. All that
is needed for performîng this ornament on the cornet or trompet is regular finger move
ment, Each note will thus be produced with irreproachable precision and purity.
What right, then, do certain piayers have to sunstitute an upper third for the appog
giatura which should only be a second?

Why do they play

------
--

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instead of:
-—-

zz 4_zzDzz_4

Of course the lower example is the only correct method; and why is this done on all the
different degrees of the scale? The answer is that these olayers nd t more convenient to
use simple lip movement instead of moving their flngers, as though It weren’t more naturat
to produce the correct notes wfth the aid of valves.

42—Arban Coiripler Mcthod for Trumpet

 In this respect, some performers go stW further and play triplets using lip movement
instead of valves. The following illustration is from a study by Mr. Gillay; with the use of
vaves, the passage should be payed thus:

— —

Merefy using the ips would result in the following which is unacceptahie:

[
Such sleight-of-hand tricks are totally out of place on the cornet, and the student must
be put on guard against such a system which unfortunately is all too prevalent among per
formers in military bands.
t
The man purpose of exercises 1 through 15 of this section is to teach slurring. In order
to achieve this properly, sweh the ower note slightly and at the moment It reaches its dy
narnic peak slur t upto the higher note by a slight pressute of the mouthpiece on the lips.
Next follows the practicing of thirds which is obtained by the tension of the muscies
and also by pressure of the mouthpiece on the lips. The notes should be produced with per
fect equality; they must be connected with each other with absolute evenness and played
precisely in time and with the exact ngering shown.
Studies 16 to 69 are for the purpose of learning how to slur thirös with ease so as to
enable the student to play qrace notes and double appoggiaturas with elegance later on.
t
Since both these ornarnents are produced only through lip movement, a few exampies
have been inciuded herein, although they will be treated in greater detail undet the section
on Grace Notes. — 7?. 4rban

t
Arban Complece Method for Trurnpet—43
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 The fingerings carefully marked througliout exercises #16 30 are based on the harmonic structutC
-

of the trumpct. Practicing with the cnarked fingerings is a very important factor in !earningto accurately
move between noce of the ame fngering. You roest use the unusual subitirure fiogerings (for eXample,
in exercisc 23: [1-2-31 for high P#, [2-3] for high G# and [1-3] for high A), to gct the moet bencfiu out of
each exerctse. Note tht many of the substitute ngcrs are quite out of tune and need to be deaL with ac
cordingly using 1 3rd
vaIv slides and/or ‘lipptng’ them in tune. You will hnd occasioni in solo and
ensemble performance wliert substitutc fngcrii:gs are very helpful—a.s long as you play the notes in tune.

Addirionallv. 1 have Found pracicing the lip sier section of Lhe Arban Method, using normal hoger
ings, to be beneficia[. Tne experience of piaving thas sCction with the marked fingeru ge and again wirli
the nurmal ngerings, is surri ungly d[trcrt. Both routincs help you to be a more proficient and flexib[c
player. r%[ Vizzuttz

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Arban Complctc Method for Trumpet—47
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 [lie spccd wtli which grace note lip slurs need to be executed obviousi; does not leave time for ex
aggeraed lip and chin movement. Performance success dcpends on the ha[ance of two elements, naniely
inereased air speed and sliglit Up/chio tnovemeflt. To [Link] a feci for this balance, experiment. by playing
mv small interval lip siur very quickly and in short bursts, similar to the figure represenred in exercise #2C.
— r_t[. Vizzutt

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Arban Complete Method for Trumper—5 1 t

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 MUZIKANT BI]
HET KORPS MARINIERS
‘iE MOET HET MAAR KUNNEN
MARINE LANDMACAT CUENTMACHT 1 UAII[KAUSSEE

Schrijtblok Muzikant A4
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2
 SCALËS

The overwhelming majority of music is composed of scales and arpeggios. It is ohviouslyhighly ad

vanrageous to know and perforrn scales and arpeggios well—particularly the majof and minor
keys Ar
ban presencs scalcs in all major keys and a few sca]e exercises in sctting up to six sharps and
six flats it is
eery wise to play ma;y ofthe .ubsecjuent exei-cises f#46os) tn allkeys.

The benefits of applying enough self discipline to team this additional marerial wilt be great indeed.
While not common in the ArbanIvIcthd, the keys of D, Gb, C5 / 3, P and C major, W minor, Eb j
oor, and Ab mmor are fairly common in music today. The rclativc minor keys to B major—(G minor),
f
mjor—(D# minor), and C# major—( minor), are not used. The enharrnonic
versions are used instead (Ab
minor is used insrcad of G minor, E minor insread ofD’ minor and Bb minor inscead ofA rninor).

Knowing the major, mmcc and chrornatic scales is like having learned a great deal of the music m
your future. Banging the valves dowri flrniïy and rhvthmicaÏfy will clarify the technical passages. Alwavs
remember the tessons of the first section of the Arban Method when practÏcing subsequent parrs of the
book. Use a steady aitflow (tu tu), and aclean and relaxed tonguing as you perform the music.

AH parts of the A than Method are intricarely connccted in concept ofexecution. Strong fundamen
mais will Icad to great improvetnents in your playing. —L.% Vizzutti

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MINOR SCALES

Knowing all twelve major and minor scales is an integral part of playing at a high level. You should
be able to play rhem all from memory from botrom to top in the normal fashion and also srarting from
the top nore going down. There are thrcc types of minor scale: natural, harmonic and melodie minor.
The mino scale with the sarne key signamre as cts relative major scale is found by locating the tonic scaic
note a minor third be]ow the major scate tonic (Example: C major is the relauve major to A mrnor.

minor is the relarive rnincr to C major).

Melodie minor scales are umque in that their 6 and 7d scale steps are raised a haltstep when as
cending buc not caiscd when descending (Another way to visualize the melodic minor scale is to picture
t
a major scaic wids a flatted3Id
scale degree going up and a natural minor scale going down). Natural
minor scales are srricdv diaronic—based on the key signature. Harmonie minor scales contain a taised
7’ scaic srcp going up and down. The 3] scale degree is the crucial note in crea:lng maor and ininor
sounds. The rst three notes oFmajûr and minor seal es cover an interval of a major 3d and a minor 3
respectively. The following -iinor Scales section is written using the melodie minor sca]e ascending and
the harmonie minor scale descending. — t.% Vizzutti

AFoan Complete Method for Trumprt—79