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From Tom Hooten’s Foreword
Now that we can finally read Dauverné’s Method for Trumpet in English, we can see the origin of our modern day pedagogy. I find it particularly interesting to see which techniques still hold true, including many of the concepts regarding the body and embouchure. It’s clear that Jean-Baptiste Arban’s method book was largely influenced by this work, as Françoise Dauverné was his teacher. Ironically, Dauverné goes into even more detail regarding musicality and the importance of ease in all aspects of playing the trumpet.
Over a century later, the ideas around musical expression, tone production, and efficiency in Dauverné’s teaching still form the backbone of modern-day trumpet pedagogy. This newly available translation illuminates Arban’s inspiration as well as Dauverné’s important role in building a cohesive trumpet playing method for generations to come.
~ Tom Hooten, Principal Trumpet, Los Angeles Philharmonic
François Dauverné was one of the most important trumpet players and trumpet pedagogues of all time. His students, Arban and Saint-Jacome, went on to write two of the seminal grand methods still used today. When they studied with Francois Dauverne from 1840 – 1870, they were gaining the knowledge base that would shape their future teaching, and this grand method was the book they were learning from.
There are many reasons why this first ever English translation is so important. The author gives us a unique historical perspective on the trumpet through past historical survey, and, from a practical standpoint, the reader can further appreciate the use of trumpets during this unique period. The natural trumpet was still in use, and the newly invented piston trumpet and slide trumpet were also active in this time. Each instrument is examined here and was written after Dauverne became internationally recognized as a virtuoso trumpet soloist. As he documented the changing role of the brass player with the advent of the piston trumpet, he speaks at length about emotional and energetic performance, and how it is necessary that the artist be endowed with an exquisite sensitivity and a noble emulation of suspending all souls to his own inspiration.
There are more samples to the left than ever presented before, because there is so much wonderful material in this 292 page method. Take a look there for an outline, but I will give an idea here of what is covered below. If you do not have a copy of this book. Now is the time. The duets and multiple sets of etudes alone make this a tremendous value.
What is covered in this translation: Trumpet history with illustrations; Altenburg trio, quartet, concerto; Three pieces for trumpet choir; 4 Altenburg sacred quartets; Beginning studies; Interval study duets; Long tones; Slurs; 100 articulation exercises; Multiple tonguing; 6 easy duets; 50 natural trumpet articulation studies; 25 Characteristic studies; 30 range exercises; 12 duets in multiple styles; 6 study duets from modern works; 12 duos for trumpets in different keys; 6 trios for trumpets in different keys; 6 quartets for different keyed trumpets; Chromatic trumpet exercises; Ornaments; 12 melodic etudes; Scale exercises; 12 melodic etudes; 6 duos; 20 Characteristic studies.
Special thanks to Tom Hooten & Chris Hasselbring for their insights and for writing forewords, and to Jeffrey Sneaker for facilitating the translation and for his continued support with this project.