Complete Celebrated Method by Arban, Jean-Baptiste

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. (Herbert Lincoln Clarke recommends the mouthpiece to rest half upper lip and half lower lip.) Arban then stresses the proper “attack” technique. He uses the “tu” pronunciation, in contrast with modern authorities, which often use “tee.” Arban concludes with proper breathing technique

I. First Studies

Mr.Arban then truly begins his method with a focus on tone (Studies 1-10). The next studies (11-50) familiarize the student with fingerings, develop his or her range, and instill a habit of precision in attacking the notes. In the next section, which is devoted to syncopation, goes from a simple quarter-half-quarter rhythm to a sixteenth-eighth-sixteenth repeated rhythm. Next, Arban focuses on the dotted eighth-sixteenth and eighth-double sixteenth rhythms. He ends the First Studies with 10 studies on the 6/8 meter.

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] The editor recommends adding little more air on the top note. (Such a technique is also needed to accomplish trills.)[4] 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

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.”

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.