Category: Books Composer: J.B. ARBAN Arrangers: Simone Mantha, Charles Randall
Famous Method for Slide and Valve Trombone ( and Euphonium ) in Bass Clef.
Includes piano accompaniment CD for Arban's Celebrated Fantasies and Aires Varies.
TABLE OF CONTENTS
Part I
Introductory Remarks 6
Personal Notes, Regarding Author and Editors 7
Rudiments of Music 8
Instructive Comments 11
Table of Harmonics 13
Diagram of Trombone 14
Diagram of Baritone and Valve Trombone 15
Correction Positions of Holding the
Slide Trombone and Baritone—with Lip Illustrations 16
First Studies 17
Syncopation 30
Studies in Dotted-Eighth and Sixteenth Notes 33
Studies for the Slur 44
General Instructions for Position and Movement of the Slide 62
Directions of the Study of the Scales 62
Major Scales 63
Minor Scales 79
Chromatic Scales 80
Chromatic Exercises 84
Part II
Studies for Graces Notes 91
Preparatory Studies for the Gruppetto 93
The Gruppetto (consisting of three or four notes) 101
Double Appoggiatura 106
Tone Studies 108
The Short Appoggiatura 110
The Portamento 112
The Trill 113
The Mordent 123
Intervals 126
Octaves and Tenths 135
Triplets 136
Studies for Sixteenth Notes 143
Studies for the Perfect Chord in Major and Minor Keys 151
Studies for the Chord of the Dominant Seventh 156
Studies for the Chord of the Diminished Seventh 158
Cadences 161
Triple and Double Tonguing 162
Studies for Triple Staccato 162
Studies for Double Staccato 185
Studies for Slur in Double Staccato 194
Tonguing as Applied to the Trombone (with Studies) 200
Characteristic Studies 203
12 Celebrated Fantasies and Aires Varies
No. 1: Fantaisie and Variations 225
on a Cavatina from the Opera Beatrice di Tenda by Vincenzo Bellini
No. 2: Fantaisie and Variations 230
on a Theme from the Opera Acteon by Daniel Auber
No. 3: Fantaisie Brillante 234
No. 4: Variations on a Tyrolean Song 238
No. 5: Variations on a French Melody Vois—tu Ia neige qui brille
(The Beautiful Snow) 242
No. 6: Cavatina and Variations 245
No. 7: Air Vane on a Folk Song The Little Swiss Boy 248
No. 8: Caprice and Variations 252
No. 9: Fantaisie and Variations on a German Song 256
No. 10: Variations on a Favorite Theme by Carl Maria von Weber 260
No. 11: Fantaisie and Variations on The Carnival of Venice 264
No. 12: Variations on a Theme from the Opera Norma by Vincenzo Bellini 270
Category: Books Composer: J.B. ARBAN Arrangers: Edwin Franko Goldman, Walter M. Smith
The ideal gift !
Arbans complete Conservatory Method for Trumpet/ Cornet OR ANY Treble Clef Brass Band Instrument.
Includes Piano accompaniment CD for Arban's Celebrated Celebrated Fantasies and Airs Varies. Please note that while the vast majority of this book is suitable for all treble clef brass instruments, the piano accompaniment will only work with Bb. pitch instruments.
Contains : 1. Arban's Original Complete Method 2. The Art of Phrasing - 150 Songs & Operatic Airs 3. 68 Duets for two cornets ( or any two Bb. or two Eb.instruments). 4. 14 Characteristic Studies 5. Numerous fantasies and other solos
Piano Accompaniment Tracks :
No 1, Fantaisie and Variations on a Cavatina Track I Introduction-Andante Track 2 Theme Track 3 Variation 1 Track 4 Variation 2 Track 5 Variation 3 and Finale I Track 6 Finale II
No. 4, Variations on a Tyrolean Song Track 13 Introduction-Andante moderato Track 14 Theme-Andante Track 15 Variation I 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 I Track 22 Variation 2 Track 23 Variation 3 Track 24 Finale-L.ento Track 25 Allegro
No 6, Cavatina and Variations Track 26 Andante Track 27 Andante, continued Track 28 Theme-Moderato Track 29 Variation I Track 30 Variation 2 Track 31 Variation 3
No. 9, Fantaisie and Variations on a German Theme Track 37 Allegro moderato Track 38 Interlude Track 39 Theme-Andante Track 40 Variation I Track 41 Variation 2 Track 42 Variation 3 Track 43 Finale
No. 10, Variations on a favorite theme by C. M. von 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 No. 11, Fantaisie and Variations on The Carnival of Venice Track 51 Introduction-Allegretto Track 52 Interlude, Theme Track 53 Interlude, Variation I Track 54 Interlude, Variation 2 Track 55 Interlude, Variation 3-Andante Track 56 Interlude, Variation 4
No. 12, Variations on a theme from Norma Track 57 Andante maestoso Track 58 Interlude Track 59 Theme-moderato Track 60 Variation I Track 61 Variation 2 Track 62 Piu lento
JEAN BAPTISTE ARBAN : Joseph Jean Baptiste Laurent Arban was born at Lyons, France, February 28, 1825. He entered the Conservatory at an early age, taking up the study of the trumpet under Dauverné. and won first prize in 1845. His military term was spent in the navy on board the “La Belle Poule,” whose chief musician, Paulus, became Chief Musician of the Gardea Parisduring the reign of Napoleon Ill.
After having been professor of saxhorn at the Military School (1857), Arban was elected professor of cornet at the Conservatory, January 23, 1869. Afterattending to these duties for a period of five years. he left the Conservatory for six years, returning again in 1880.
He was the most brilliant cornet player of his time, and his astonishing performance and triumphant concert tours throughout Europe were the means of establishing the valve cornet as one of the most popular of all musical instruments. Arban’s artistic ideals, sound musicianship and invaluable instructive principles were perpetuated in his splendid Method for the Cornet, which has succeeded in maintaining the very highest position among similar instructive works and which has never been surpassed in point of practical superiority or artistic plan.
Arban died at Paris on April 9, 1889. He was an officer of the Acaddmie, Knight of the Order of Leopold of Belgium, of Christ of Portugal. of Isabella the Catholic, and of the Cross of Russia.
PREFACE to the 1982 Edition by Claude gordon :
It is not only desirable but necessary for the student when. working with a method to study the text thoroughly. Only by understanding the meaning of the author’s statements and applying his teachings can a method be successful to the student.
To help with this understanding, I have, with the aid of footnotes, attempted to clarify and augment the full sense of what Arban is saying in his text as it applies to modern instruments and today’s practices. In certain instances, where the explanations and teachings are obsolete or no longer applicable. I have deleted them from the text proper so as not to confuse today’s student. Arban’s book, however, is Arban’s and, in my opinion, should not be impulsively changed. Accordingly, deleted material has been placed below in the footnotes within brackets [ ] along with appropriate comments as called for. Further, in an attempt to maintain the book’s authenticity, the entire original French text along with a picture of a very early cornet of the type used by Arban appears at the back of the book.
Perhaps more than any other person, Arban was responsible for successfully demonstrating the possibilities of the cornet. He wrote his method at a time when valve instruments were just beginning to be accepted and those instruments were far inferior to those which we have today. It is important then to remember when studying the original text that Arban discussed things in terms of the instrument known and available at the time. This is quickly apparent when we note his references to the tuning slide and the use of “crooks” which are obsolete today.
The tuning slide that is used today to place the instrument at “common pitch” is still a slide at the end of the leader pipe on the trumpet or cornet. Some players today use a ring on the 3rd slide, some have one on the 1st slide, and some have one on both the 1st and third slides. These are used to put the low C# and low D in tune while playing; low C# on the better instruments is usually quite sharp while low D is just a little sharp.
All this not withstanding, many positive developments have come about over the years with both the instrument and the players capabilities so that except for a few things that apply only to that era and the older horn, Arban’s method stands today as modern, as sound and as correct as it did over one hundred years ago. Indeed, this method along with another equally great method by Saint-Jacome serve as an absolutely necessary basis for anyone studying and playing trumpet or cornet.
Today, the modern cornet has come to resemble the trumpet in external shape and tone quality and both instruments, are widely used in ensemble and solo work. Because of this amalgamation, Arban’s method is equally suitable to form the basis for either instrument.
— Claude Gordon
PREFACE to the 1894 and 1936 editions :
It may appear somewhat strange to undertake the defense of the cornet at a time when this instrument has given proofs of its excellence, both in the orchestra and in solo performance. where it is no less indispensable to the composer, and no less liked by the public than the flute, the clarinet, and even the violin: where, in short, it has definitely won for itself the elevated position to which the beauty of its tone, the perfection of its mechanism and the immensity of its resources, so justly entitle it. But this was not always the case: the cornet was far less successful when it first appeared: and, indeed, not many years ago. the masses treated the instrument with supreme indifference. while that time-honored antagonist—routine— contested its qualities, and strove hard to prohibit their application. This phenomenon, however, is of never-failing recurrence at the birth of every new invention, however excellent it may be. and of this fact the appearance of the saxhorn and the saxophone, instruments of still more recent date than the cornet, gave a new and striking proof.
The first musicians who plaved the cornet were, for the most part, either horn or trumpet players. Each imparted to his performance the peculiarities resulting from his tastes, his abilities and his habits. and I need scarcely add that the kind of performance which resulted from so many incomplete and heterogeneous elements was deficient in the extreme, and, for a long while, presented the lamentable spectacle of imperfections and failures of the most painful description.
Gradually, however, matters assumed a more favourable aspect. Performers really worthy of the name of artists began to make their appearance. However, regardless of the brilliant accomplishments of such performers, they could not deny the faults of their original training, viz., the total lack of qualifications necessary for ensenible playing, and decided musicianly tendencies. Some excited admiration for their extreme agility: others were applauded for the expression with which they played: one was remarkable for lip; another for the high tone to which he ascended: others for the brilliancy and volume of their tone. In my opinion, it was the reign of specialists, but it does not appear that a single one of the players then in vogue ever thought of realizing or of obtaining the sum total of qualities which alone can constitute a great artist.
This. then, is the point upon which I wish to insist, and to which I wish to call particular attention. At the present time, the incompleteness of the old school of performers is unanimously acknowledged. as is also the insuffiency of their instruction. That which is required is methodical execution and methodical instruction. It is not sufficient to phrase well or to execute difficult passages with skill. It is necessary that both these things should be equally well done. In a word, it is necessary that the cornet, as well as the flute, the clarinet, the violin, and the voice, should possess the pure style and the grand method of which a few professors, the Conservatory in particular, have conserved the precious secret and the salutary traditions.
This is the aim which I have incessantly kept in view throughout my long career: and if a numerous series of brilliant successes obtained in the presence of the most competent judges and the most critical audiences.t give me the right to believe that I have, at any rate, approached the desired end. I shall not be laying myself open to the charge of presumption, in confidently entering upon the delicate mission of transmitting to others the results of my own thorough studies and assiduous practice. I have long been a professor, and this work is to a certain extent merely the resumé of a long experience which each day has brought nearer to perfection.
My explanations will be found as short and clear as possible, for I wish to instruct and not to terrify the student. Long pages of “text” are not always read, and it is highly advantageous to replace the latter by exercises and examples. This is the wealth which I consider cannot be too lavishly accumulated; this is the source which can never be too plentifully drawn from. This. however, will be perceived from the extent of the present volume, in which, in my opinion, will be found the solution of all difficulties and of all problems.
I have endeavored throughout to compose studies of a melodic nature, and in general to render the study of the instrument as agreeable as possible. In a word. I have endeavored to lead the pupil, without discouragement, to the highest limits of execution, sentiment and style, destined to characterize the new school.
Categories: Books, SOLOS for E♭. Horn Composer: Alwyn Green
Seven classic tunes for Eb.Horn and piano - click on MORE DETAILS to view.
Medium difficulty.
Some beautiful and well known melodies to give the E flat horn it's opportunity to shine - medium difficulty.
Includes : 1. Touch Her Soft Lips and Part - Walton 2. Salut d'Amour - Elgar 3. O Rest in the Lord - Mendelssohn 4. Siciliana - Telemann 5. Allegro finale - Albinoni 6. The Love Theme from Don Juan - Richard Strauss 7. Jack in the Box - Eric Satie
Category: SOLOS for E♭. Horn Composer: Philip Sparke
The beautiful slow melody from Hymn of the Highlands, now available with paino accompaniment for Eb.Soprano Cornet or Eb. Horn - there is alos an optional Bb. Piccolo Trumpet part included - click on MORE DETAILS to view these parts.
Three Antiphons for trumpet and organ are adaptations of Latin motets for unaccompanied choir, commissioned
originally by Janet and Douglas Mackay for the Canterbury
Chamber Choir and first performed in Faversham, Kent, in
April 2004. Regina Caeli, as a motet, was nominated for the
Liturgical seption in the British Composer Awards,
December, 2005. The re-scoring for this combination was
made for Paul Archibald and Leslie Pearson and first
performed attheYoxford Festival in 2004.
01. averegina
02. ave maria
03. regina caeli
The three texts I chose for the choral motets address the
Virgin Mary. The first movement, Ave Regina, is a gentle and lyrical response to the ‘Queen of the heavens. . . from whom the light came into the world.’ The Ave Maria, originally written for upper voices, is more intimate in expression with a plainchant like muted opening. In contrast, the final movement, Regina Caeli, is robust and exultant. Each chordal passage [an Alleluia in the motet) punctuates the linearwriting of the ‘verses’ which make use of the plainchant footprints of the Regina Caeli itselt Three Antiphons have also been arranged for trumpet ensemble and organ and have been recorded in this version by the International Celebrity Trumpet Ensemble for the Brass Classics label.
Category: SOLOS - Euphonium Composer: Philip Sparke
Composed between 1994 & 1995, this concerto was first performed by Steven Mead in November 1995 in Osaka, Japan with the Breeze Brass Band. It is in three continuous movements.
Click on MORE DETAILS to view the Solo Euphonium Part and listen to an audio extract.
1. - Moderato e energico has driving rhythms with a central cantabile tune. (5.04)
2. - Lento - based around a soulful melody and unusually for a concerto, includes the works two cadenzas. (9.09)
3. - Vivo e scherzando -is a sort of "caccia", with soloist chasing the his way to the florid finish. ( 4.12)
Category: BOOKS with CD Accomp. Composer: Pam Wedgwood
A variety of pieces in styles to suit any mood - sentimental ballads to cosy dinner jazz, wistful blues to cheerful, upbeat tunes - After Hours provides the perfect antidote to stress. So conjure up the dimly lit atmosphere of a jazz club withe the help of the backing CD, and relax with these lush harmonies and laid back melodies.
Note range two octaves G - G ( a couple of A's above the stave) Approx. Grade 4.0
01. Call it a day 02. Sliding doors 03. The friends 04. Remember when 05. Summer nights 06. Come dance with me 07. Falling 08. Survivor
Category: SOLOS for E♭. Horn Composer: Joseph Haydn Arranger: Owen Farr
Duration: c. 6.00”
Click on MORE DETAILS to view the Solo part.
Owen Farr writes about the music... The cello concerto in C Major was listed in one of Haydn’s own catalogues but remained unknown for almost 200 years until it was discovered by the Czech musicologist Oldrich Pulkert in 1961. The work was probably written for one of Haydn’s closest friends, Joseph Weigi who played principal cello for the court orchestra of Prince Paul Anton Esterazy. It is thought to have been written for an Esterhazy court concert in Fisenstadt during the early 1760’s shortly after Haydn became Kapellmeister to Esterhazy. Although the work wasn’t discovered until 1961 at a library in Prague. it has become one of Haydn’ most popular works for the cello. Its first modern day performance was May 19th, 1962 in Prague.
Category: SOLOS - Tuba in BC Composer: Richard Salzedo
This four movement work is dedicated to and was first performed by John Fletcher (Tuba) and Robert Noble (Piano) on 7th. December 1980 in "Music at the Green" at the Southgate Music Club.
Includes : 1. Ushercombe View 2. Tahitian Tango 3. Gorky Park 4. Mean Streets of Miami 5. In Memoriam — Vukovar
“These pieces are beautifully done within the imposed restrictions of range and general difficulty .... Will make middle graders feel ten feet tall ....” Reviewed ‘Music Teacher’
Some of the greatest melodies of twentieth century popular music are Latin American either in origin or in inspiration. The subtle and evocative rhythms of such forms as the Samba, Bossa Nova, Tango and Rumba are to be found in this collection of arrangements of Latin favourites all of which would make excellent concert material.
Includes : 1. Fly Me to the Moon 2. Feelings 3. Hernando's Hideaway 4. Little Boat 5. Masque Nada 6. La Fiesta 7. Nature Boy 8. Manha de Carnaval
To view 
