Arban Method for Trombone.pdf

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ARBAN

COMPLETE METHOD FOR

TROMBONE & EUPHONIUM

Josery äLesnd nm, ARAN WOWMAN

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EUPHONIUM

ARBAN

COMPLETE METHOD FOR

TROMBONE & EUPHONIUM

BY JOSEPH ALESSI AND DA. BRIAN BOWMAN
EDITED BY WESLEY JACOBS

Jean Baptiste Arban
(1825-1889)

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TABLE OF CONTENTS

Biography

Biography of Dr. Brian Bowman.
Dicc by Mr Joseph Ales...
Drefice by De. Brian Bowman
Fine Studies.

Studies on Syncopation cn
Studies on Dotted Eighth and See Notes
Studio on the Sur a

Scale Studis Major

Scale Seis Minor nn
Scale Srudies Chromatic...
(Omamentition.
Grupo
Double Appoggiatra cuna
Simple Appoggiturs
Grace Note

Tere Major and Minor Chords
Dominant Seventh Chords
Diminished Seventh Chord
Caden

Maple Tonguing (pl)
Multiple Tonguing (Double) u.
thai Comment from dhe Original Bon
The Arc of Phasing

Duets

Character Seis.
Solos

Fuphoniur Fingering Chart.

THE ARBAN BROTHERS
from

My Musical Life and Recollections
by
Jule Riviere 1893

‘heir diferent ways, were all remarkable men. Louis, the eldest, was the actonau of the day,
and his ascents in 1842-43 creed quite a sensation, like moe ballonists, he went up
ere 0 be heard of agin, This foral acent ook pla from a square in Madd

The second brother, Chats, was proprietor ofa grand casino in Lyons, called e Ronde,
where concer and ball wer eld all he year round. In addition to this onerous occupation
Charles Arban managed to superintend a large manuficory of freworks bearing his name, besides
also finding ti for certain ingenious inventions, one of which was aAying machine, chat howese,
i€1 remember rightly went no higher than the chimacy pots when the experiment was tre inthe
Barden ofa Ronde

‘The ion share of ail, however, inthe Arban family fll co Jean Baptist, who developed
talent very euh age and became at once a remarkable performer on the corneea-pistons Tell
remember Jean Baptist Aubans appointment at corner oo in the picked band har went out to St.
Helene on board the Belle Poul, under the command of che Prince di Joinville co bring back the
remains of Napoleon for sepulchre in the Invalides,

‘This clever come payer was aso à particule afable man, and instances of his good nature
were constantly oscuring, One that came within my own experience is worthy of pasing mention,
or it happened on he first day of our acquaintance when no lw, writen or unite could have
called for the gracious concession he made to play a cornet soo at a concert was giving on a sum
‘mer aficrnoon a the Salle Se. Basbe Aran, who was in his alors dress had nether cornet nor
music with him, but I had no soone made the suggeion fr im o oblige us with something than
Ie was ready ro mount the platform with an insrumen borrowed from the band, and o play the
Carnival de Venice with vations which he did in marvelous syle, Our friendship, which was sealed
fom that day, sted for nearly hala ensur il in fc, the day of is dest in 1889.

ban was always acknowledged to be one ofthe bes comer players in France. This was chat
‘he opinion of lin, who engaged him in conjunction with Kocnig as he two soloists in his
orchestra, en he was in the zenich of his popularity in London. Kocnig excelled in slow move-
ments, but when what is called tonguing was wanted Acban had no equal

(On his return co Pais he was appoined profesor of dhe comet cas at dhe Conservatoire, à
post he held silt his death, Besides being a ver fine player, Arban wa ls a composer of some note
his musical achievements coniing of ome ols, studies, ts whilst o him the musical wold à
indcbe fr à book called Arbus Comer Tate, which is ill considered the best that has cv been
published.

“As conductor aloof the Paris Bale de l'Open Arban wil long be remembered, For ths sa post
hailed for years, il in fc che winter of 1889, when he caught the chill which killed bi

‚Arban, who had never been an extravagant man, amassed a comfortable fortune which on his
death went to his only daughter. Many were the projet he formed as we used to si charting to
gether, of ending his days on the shores of che Mediterranean we both love o wel And with this
‘object in view he bought land enough co build wo vill upon in Monte Calo occupying his
leisure in superntendng che construction ofthe houses; bu, as ave sid, he dicd in hrnes in the
capital

I ves wile gus a Lyons tat mado th acqainance ofthe Aran baer who, in

Report

The Committee of Musical Studies of the Conservatory
‘on Mr. Arban's Cornet Method

Commitee of musical studies has examined the work submited to chem by Mr Arban
his wor, the extent of which is considerable is based upon exellent principles and con
sins ever instruction calalated to produce 2 good performer onthe corner.
his works, co acercan extent, résumé of the knowledge acquired by the author during his
long experience as both profesor and performs, and may be termed a wetten cmbodiment ofthe
{information resukng from his musical cares

The various kinds of acticulaton, the tonguing, the seen, and so forth, are seriously considered,
ingeniously analyzed, and succesfully resolved, the numerous leone which the author devote o each
ofthese points are deserving of special mention

In the copious series of instructions whercin all other musical questions are discussed, we obreve
a profound appreciation o ice, ad a thorough tat in overcoming them. The late pat of his
‘work contains long sucesion of studies as interesting in subject sin form, and concludes with a
calleton of solos, which are, si were the embodiment of application ofthe previous sons in
these studies, in these solos, shine forth the qualities, at once brine and old, of which be auchor
ass often given proof

For hi rayon the committee, rendering due homage to the Method of which Me Abani the
Author unhesittngly approve, and adope ie unreservedly for instruction a the Conservatory

Signet
Aber Meprbect Kastner, A. Thomas, Reber, Rain, Beni, Dauer, Voge, ramet
Per,

Edouard Monnais, Imperial Commisioner
A. De Beauchesne, Seen

MR. Joseph Ausssı

Joseph As was appointed Principal Trombonist ofthe New York Philharmonic in 1985,
Mi Ales bean musical sedis in his native California with his father, Joseph Ales, Se. He
as performed wich che San Francisco Ballet Orchestra and was soloist with che San Francisco
‘Symphony before continuing his musical eaining at Philadelphia Cuts Institue of Music,
Dior to joining the New York Philharmonic, he was second crombone of che Philadelphia
(Orchestra fr four seasons and principal trombone of LOrcheste Symphonique de Montreal
for one season

Mi. Alesis an active solis, reia, and chamber music performer. In April 1990, he
‘made hissolo debut with the New York Philharmonic, performing Creston Ant or Tom

bone, and in 1992 premiered Christopher Rouscs
Pale iize-vinning Trombone Concerto with the Or
chest, which commissioned the work for its 130%
Anniversary Celebration. He has bon a guest as
‘with the Lincoln Symphony, che Colorado Symphony
Orchesr, the Santa Baars Symphony, che New J
pan Philharmonic, the Orchestra of Tesco Belin in
(Catania Sicily, he Mannheim National Theater Or.
es, andthe Nasional Repertory Orchestra and has
appeared in rectal college and universities throug
fut the United Sets

Mr. Alsi has lo pariiated in numernus fs
tial, including the Festivale Musica di Camera in
Protogruaro, Taly the Cabrilo Muse Festival, Sis
Brass Week, and he ic Bras Week in Finland, He
vas featured inche 1997 International Trombone Fes-
vial in Feldkirch, Austria, ande International Meet
ingof Bras Instruments in Ll, France, Heisa faund-
ing member ofthe Sumit Best ensemble atthe Rabi
Mendez Bras Insicte in Tempe, Arizona.

Curteely on the faculy of he Julliard School
Me Alessi has tamgh ar Temple Universi in Philade!-
pia and the Grand Teton Music Festival in Wyoming, His students now oocupy pots with
‘many major symphony orchesea throughout the United Stats.

Joseph Alesis discogaphy includes Side Ar onthe DY Note record label and New York
Legends on the Cala label Hi recording ofthe Rowse Como can be heard on the RCA Red
‘Seal CD emtiled Gorgon. Other recordings featuring Mr Alcs are with the Canadian Bras for
Sony Classical and Philips Records. He was invited by the International Trombone Assocation
so second a solo dise of newly compose works, which was distributed to the Asociatons
_membaship of fe shousand wombs in cay 1999. Further information abou Me Ales

© found on his own website, hep /wwwrlideare.com

6 Arban FUNDAMENTALS

Dr. Brian Bowman

Dr. Bran Bowman is one of the foremost euphonium soloist in the worl today. His
isory of euphonium firs ie impresive

+ Fist euphonium recital in New Yorks Carnegie Recital Hall 1976 + First cuphoniumise
10 serve as presiden ofthe TUBISTS UNIVERSAL BROTHERHOOD ASSOCIATION
(TU.BA) + Fi euphonium concer tour of Japan + First Guest Euphonium Arts Falcone
International Euphonium Competition * Fist cuphonium master clase a he Paris Conservar
‘ory Superior of Music, France » Master teacher a theft Deutsche Tubaforum workshop so
Include the euphonium, tenor hor and baritone, Hammelburg, Germany 1991. Dr. Brian L

Bowman enjoys a distinguished carer as à soloist,

clinician, recording ant educator and administra
tor. De Bowman has held the principal euphonium,
postion, in addition vo being a featured solis in
‘ach of the bands he has been associated with: The
Univers of Micbigan Spmphony Band, The United
States Naty Band, The United Seer Bicentennial
‘Band, The United Sate Air Force Band and the River
Gin Bras Band.

In addition o his lve performances, Dr Bow.
man can be head on over 35 service band record
ings and hs six slo albums, Corenly Profesor of
Music (Euphonium) inthe College of Music ac The
Universe of North Texas, Dr. Bowman bas also
served on the musi cule ofeigh her univers
Sis. In 1989 he was named the British Magazines
Euphoniam Payer ofthe Yar and in 1995 wa given
the Liftime Achievement Award from he Tabs
Universal Brotherhood Astociation, He ie the only
living euphoniumist to be included in the book
Tere Centar Bras Sloss by Michael Meckna.
Asan authors in the ic of euphonium performance, Brian Bowman has been asked ta
serve as adjudicator of many national and international euphonium competitions over he past
tiny yeas. He has been a member of competition jure for international professional muse
‘competitions in the United States, France and Japan. He was the presiden of the euphonium
solo competition in Australian December 1999. In 1994, an annual compecion in Sapporo,
Hokkaido, Japan, was named the Brian L. Bowman Euphonium Solo Competition in his

Dr. Bowean has contibured sgnifiandy to the body of literature avaiable for eupho-
‘ium performers coday. Nor only have composes writen new works at Bowmank specific
request, bu also many works have resulted merely from the composer being acqueinted wich
Bowman and having heard his performance capabilites. OF the sven new sphonium works
commisioned by the Tubiss Univenal Brothethood Association since its inception in 1974,
Bowman has premiered four. A major thru of Bowman carer has been working to generate
qual new compositions for his beloved instrument

FUNDAMENTALS Arbon +7

PREFACE

by Mr. Joseph Alessi

Uathlees have daly routines which they rely upon eligi inthe most stressful and

compet moments of thee careers In my teaching experience Ihave found that add

1 mune ora group of repetitive exercises can greatly increase dene productivity

and consistency from day to day. The pupils who had not experienced these regimens beforo—and

‘who do now—all se immediate improvement in dei playing 1 believe the Arban back to be
pethaps the gres staple in a Dass-players rutin,

owe my introduction co the Arban book to my father and my rt teacher Joseph Ales Se,
He had the opportuicy ro stud with another creator of fine base fundamental study book, Max
Schlossberg, Fundamentals is wha che Arban book al about. Too often hear students trying co
ea dieu pieces without respecting fundamental approach. The Arban Merod oles these
basics and propresively introduces the daly if bras playing, The book efile with exercise on
long tones, atacks using immediate ar, the lip lur—one of the most fundamental understandings
2 bras player can embraco—exibli, inter, theory and chord structure, rapid tonguing and
she fabulous character suds. Each one of Atban sections can be pre ofa fantasti journey
into a smal pice ofthe real purl,

1 mentioned theory here because daly studying of pages 161-171 was invaluable co me or
‘music theory and harmony tess. Arba references ro a wide array of arpeggios and choral sruc-
rares were very important to me at 2 young age. Upon close examination ofthe Asban book, you
wil find that good percentage ofthis book i geared cowards che euphonium player. However, at à
young age, Iwas not aware of his point, and I concentrated on practicing mos of these exercises a
if chey were designed forthe wombonis. Thi helped tremendously in my ques ro have command
ofthe instrument. Ifyou ar looking wo have gres technique —espocal the kind that wil allow
you t play difcae sols, Le. Creston Fama, the Payor reperoie, or any other pyrtelni solos —
the Ara book should be included in your daly routine. cannot begin o ay enough about this
wonderful collection of exercises by Aran. I wil = only a few shor thoughts o chat is contained.
therein: Use a metronome often when exploring this book, Also, atempe co lara thse exercises so
that they bocome serond nature, When the dial Factor eses allow yous brain to completly
direct its ación to musical thoughts and cxcaciviy Like a juggler who can keep four or five
‘objects inthe ai and can simultancouly carry on an unrelaed conversacion, learn Arban inside out.

(8+ Arbon FUNDAMENTALS

PREFACE

by Dr. Brian Bowman

1 Arban Complete Comeratory Merad or Tumpet has been the most widely used bass text
for over a century Although writen almost one hundsed-ifty year ago, e til i the most
‘comprehensive and complete ext covering ll spaces of technical development. This material

is especial valuable forthe euphonium/barcone horn student si covers many aspets of echnical
development appropriate for valved brass instruments.

‘While numerous icons have been prepared in reble cf, here hasbeen no complet bass clef
ion available forthe low bras player Especially valusble inthe newly prepared iin à the
inclusion of tions hercofore unavailable in bas lef including the melodic Art of Phasing stds,
(Care has been taken ro climinate the note extors and other mistakes prevalent in other bas lf cd

{nthe original edicion of Ardan Complre Conservar Method Arban wrote preface, which is
para blow

e may appear somewhat strange to undertake the defense ofthe comet feuphonium) ara sme
when this instrument has given proof ofits excellence, both in che orchesra band, bras band) and
sol performance, where it is no les indispensable tothe composer and no les ike by he public
than the Aue, the clarinet, and even the violin; where, in short, it has definitely won fr cl he
rated poston co which the beauy ofics tone, the perfeccion ofits mechanism and the immensny
fin resources, so july endef,

‘Buc this was mor aways the case; the comet [cuphonium) was fr less col when i fst
appeared: and, indeed, not many years ag, the masse rat the instrument with supreme indie
‘ence, while har time honored antagonst—routine—<contsted ite qualities, and ave hard to pro
hibic thee application. This Phenomenon, however is of neering rcureence a che birth of
‘every newinvention, however excellent ic may be and of this fit the appearance of he sazhorn and.
the saxophone, instrument of sill more recent dae than the comet, gave anew and ling proof,

The fire musicians who played he corner feuphonium) were, for th mas par, icherhom or
reumpet play. Each impartd to his performance the pculiaric ring fom his taste, his
ables and his habis, and I need search add chat che Kind ofexcution which resulted fom so
many incomplete and heterogeneous elements wat deficient in the esse, and, for along while,
presented the lamentable spectacle of imperfecrions and flutes ofthe most psinfal description.

Gradually, however, matters assumed a more favorable aspect. Executants realy worthy ofthe
name of ars began to make their appearance. However, regardless ofthe brian: acompli
ments of such performers hey could aot deny the faults of thei orginal ring; vn, he total lace
‘of qualifications necessary for ensemble playing, and decided musician tendencies. Some excited
admiration for her extreme agility others were applauded fr the expresion wit which they played
‘one was remarkable fr lip; and other forthe high tne o which he ascended; others forthe bil
liancy and volume of hi one. In my opinion, it was the sign of specials, bute doesnot appear
tha singly one ofthe players then in vogue ever thought of rliing oro obaining he sum coral
‘of qualities which alone can constitute great ats.

This then, is che point upon which 1 wish to init, and to which I wish co cll parlar
atenton. At che present time, the incompletenss ofthe oldschool of performers is unanimously
acknowledged, as s also che insufiiency ofthe insction. That which i required is methodical
‘execution and methodical instruction. In a word, is necessary har he cornet, as well asthe Mut,
the clarinet, the violin, and he voice, should poses the puse yl and the grand method of which
feu profesor, che Conservatory in particular, have conserved the precious sere and the satay
dons.

FUNDAMENTALS Arbon +9

‘This i the aim which Ihave incesanly epe in view dhroughout my long career; and if a
‘numecous series of bilan successes obtained in the presence ofthe most competent judges and the
‘most critical audiences, give me de right to bei that Ihave, at any at, approached the desired
rd, shall not be laying myself open co che charge of presumprioo, in confidedy entering upon
the deat mision of ransmitng to others the rules of my awn chorough scudies and assiduous
price. have long been a profesor, and this work eto a certain extent merely the résumé of along
experience which each day has brought neater o perfection,

My explanations will be found as shore and clear as possible, for | wish 0 insu and not 10
‘erly the student. Long pages of tex are not always eu, ad iris highly advantageous to replace
the latter by exercises and examples, This is the wealth which I consider cannot be 100 lavishly
accumulated this the source which can never beto plentialy dawn rom. This, homer, wll be
Ppereivd from the extent of the present volume, in which ia my opinion, wil be found the solucion
ofall ficulties and of al problems

have endeavored hroughout to compose studies ofa melodic nature, and in general o render
the cudy ofthe instrument a agreeable as posible. In a word, have endeavored to Kad the pupil,
without discouragement, to the higos limits of execution, sentiment and style, destined ro charac
terio the new school

1-8 Arba

IKicincrsing to note that many of Me. Arbark obserstions are sil elevan toda. Before this
‘edison, student with the bass cle versions would have to consult he tcble lf editions for sections
missing and to corc note ers Ie is hoped tat the appropriate preparation and practice ofthis
edicion will prepare the euphonium player for every technik] challenge.

Great approciton for this edition should be given to Wesley Jacobs, principal rubs of the
Detroit Symphony Orchestra and Publisher ofthis volume, Without his work his dition would not
be posible

10+ Arban FUNDAMENTALS

FINGERING CHARTS

Fingering chars for non-<ompenssting and compensating bartones and cuphoniums appear on
page 394 of this book

FINGERING

“To aut accua and hyibmicehnique, pes he fingers down quickly. Many techie
problems can be avoided by snpping the fingers down quickly. The Fingers should be placed on che
valve urtns in agen cuve with the thumb laced opposite he fingen. Avid ting the Binge
Slide over the valves 5 ha he second jin ofthe finger Is over the vale ant,

SLiDE MATTERS

eis important to have your side in good working onde o avoid any sess when manewvering
‘the handilide. Denis, alignment, and corrosion can all contribute 0 a slags slide. Hold the ide
with the fst vo fingers andthe thumb. The third Finger should ide on che undersde ofthe lower
slide, The fs evo Angers and he hub should always be in contec wich che slide brace, When the
slide is being extended, che thumb should ac ike a drive rein—iniehing the movement -and the
first wo fingers should ace like che brakes. The reverse iste when reacting the side (he thumb
"being the brakes and the two fingers being the drive esi, The wrst and arm act together as one unig,
‘thus avoiding excessive movement with the vr which cad o sloppy lid technique and gly ide

Toots OF PRACTICE

Every serious student should have some additional practice equipment co id histher development:

+ A mirror isssencal help give the player an idea of embouchure activigy and ro wash for
‘ices movement —especall while ongoing, Le may be a small mirror that fis on che music
stand ora larger one mounted on a wall or door. Furthermore, watching oneslfin a misor
while practicing slo performances can help limiaate any visual pecliaricis tha might be
distri during performance,

+ A metronome serail o developing a sen of pulse and rhychmiesabily. Using a metro
rome to ure shythmic precision and consistency is the sure way o develop accuracy and.
speed in performance

Electronic tunes will help the player check intonation and can be invaluable in training the car
o har pitch correc.

FUNDAMENTALS Arban 11

+ A recording device san essential practice ool in the practice studio fr chcking shythm and
Pitch. It is not necessary to spend 2 lt of money on this valuable device, but the machine
Should have two essential features a ui in speaker for instanc playback and feedback, and ic
ost be machine chac i capable of playing bac the same pitch at which you recorded. When
practicing cuning, try recording low BF. Satan this noe for along as possible ake a deep
breath and sepa i several times, Pla tis note back on the recording device, preferably
through quaiy sound sytem. On your instrument, play other note on rop ofthis recorded
drone note thus producing various incerval. This wil teach you excl wheter place your
perfect 4, 5% and other intervals. Tuning on your instrament by tht method chen becomes
tity a matter of Tsening for intervals a it hould be

Basic MECHANICS

Me, Aussı

A good bras player spends many hours in front of mimos watching and listening, A good rule to
fellow isoform the embouchure so that all he muscles around the aperture ae working in unison,
Picture fireman’ net—the center being the apertue of your embouehure, Around this net ae cight
firemen pulling ou from the center to koxp the nec tu Think of your muscles working in this sie
‘vay co preserve the stability and opennes of the aperture Keep a close ee on the area jus below the
bottom lp, che goal being ro have a lle movement as possible and to maintain a flat chin In add
Sion, u 1 form your embouchure away kom the mouthpiece and che instrument. A good bras player
emo bow so do this.

Teds important to sud inhalation and exhalcion. Developing both embouchure and air togber
is winning combination. Breathe throug the corner of your mouth and ty co foro the embouchute
as ou inhale, aways keeping the mouthpice in contact with the lips, This vil avoid excesivo mover
ment after he one is initiated. Ti to brcarhe inthe most natural way stating the inhalation fom near
‘he belt ine, Fel this sensation by lying on the flor on your back and breathing normal. I often
think conceptually of breathing—avay fom the instrument and ty to chink ofthat concept again
‘when my instrument isin my hands, Breathe as you would in a doctor office when the stethoscope
hasbeen placed on your ches, Try closing your eyes and imagining hi scenario. Notice that when you
Ichi dis manne, your mouth i formed perfedynarualy I is held very imply and without

12+ Arbon FUNDAMENTALS

First STUDIES

Me Avess:

‘TONE CLONING--In these nial exercises (1-8), there are several points and goleo keep in
mind:
Breathe null

+ me cach ote the noces an th sm se and tone qual
+ avoid eee embouchure movement,

+ Blow srough al the note ann gener pay witha longer ape and afm ra
+ “Takes bree or ern double ba

Da. Bown

Most student do nor begin paying wich he Arba book as dci fist text. These fs suds can
bbe used co improve tone qual intonation and especially articulation control and larg ay level
of performance. be sgn ofa mal fine performer is the oninengy feneprhing done tenia This
means tha each note has the same cleat, clean beginning articulation and tone quali

One of the best uses of his fst section ist help develop clarity of aculaion. Using 2 mirror to
check embouchure subio is often very useful. Mos action dary problems ate not jus tongue
ing problems, but a lack of coordinacion ofthe tongue, brea and embouchure, Be sure 10 work for
complete independence ofthe tongue from the embouchure and the av. Pills to avoid would be
‘exces movement of deja and the lps While watching inthe mirror play the execs keeping the
embouchure firm and not chewing or Hsing each note with esse embouchure anja” motion.
Begin each tongue with the embouchure in place ruhe: chan ing the arcalation form the embou-
cure. At the same de avoid geting argid or sf embouchure that snot exible. Listening to your
‘sound sche bes ad for improving all aspect of performance, Indetions of ronguingarculion
problems include a scooping of he beginning of each sound, a delay in heels ofthe ai and a
Fuzay begining o che sound

FUNDAMENTALS Arban 13

2.3 = ==
er E
3, BS See ERES HE
AE EE A
woe E AA
= steep Php ER ;
=> mem 2 HE
sr = pros
EE E E _ L
ae HE j =;
RE ES DR. EEE nee
6.395 d SSE
E e o e go a Bie
> FE u
7. = = = =
ne. y A A
2 he y be
5 == ===> 5

4 Arban FUNDAMENTALS

Deo == = = Lo
agi bo — 2h 2. +
zig 22 ba == be e
8, SS - E
==. \. pa
SSS
a = b ES
= Fe 5 = =|
t =
ei eg ba \

Eruoes 9 ano 10—Mn. ALess!

Practice ches exercises luted, The goal so use naar shuts when possible. Peform these
series owl, astempring 10 have the smoothese posible slide connections. Listen o what happens
‘while eaveling 0 and from notes, Is the sound clean and smooth? Try to move the ide alate as
posible without affecing your air low. Separate aie low and slide movemtene so char these functions
‘work independently, When bracing, repeat the preceding note 50 a nor o miss any connections.

9, Be === = ==)
EE = ==
I = E =
Beane === i ==]
ee E : ¿ = = ta

FUNDAMENTALS Arban + 15

Ne
i
nw

e
23
ee
SE i qe =
= e eee
ES z = === :
Dar =|
e, E ae
ee Æ

10. He SSS E ==
eu

By =
a = ==
Fee = ==
2 rs —-

> >

paa + f ==

16 Arban FUNDAMENTALS

==
== = E TE
pt Ey $= en
A > =
aes = = = = E E
e th 2 3 £ E +

Eruoes 19-27—Ma, Ausssı

Once again, i is important co clone every note, and auack each no firmly. When breathing, ty
otto ose against hc metronome. Learn how to breathe quickly through the comes of your
‘mouth. Conceal your breathing for the recording and play ie back to hear if any breaths are noticeable
(Gimileo how a magician practices in order to conceal hand movements from the publi).

11 See eS =

er = = er en

A = Frage freier
DE aot + = =:

FUNDAMENTALS Arban 17

18+ Arbon FUNDAMENTALS

FUNDAMENTALS Arban 19

Arterien ss
nr Le

De

tonte Free

e etre:

20+ Arban FUNDAMENTALS

FUNDAMENTALS Arban 21

Exencises 28-45—Ma. Arcssı

Segal tempo Je 96
‘The ol fre ri shoul be cordate de ogi ie and iso tha al ee of
thee funca apro imme For pd pling sees he
Een won ta hei he oping melee ing oye eng
(cos Ply numba 28 a Jal pc, Di ih car ak want ksh heen och
for mora youd ug de to poa oft tc rte cttw pu
‘vig The wl mad you dle nd ining se movement ye of pag
nine nora esol tipo with Se une eng naga i nee Sie
foc mado wis bal ap oping Fo more ener mal oy cr
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46. FE

Inromanıon ın Coro Parreans ano Enourance 46—Mr. Aussi

‘There are many goals ro keepin mind when practicing number 46.1 would like vo bring to your
intention the importance of knowing your music theory and how it relate to caning. Nocce how tis
exercise proceeds through the circle o fours. Her is brief analyse of the fst 8 measures: Measures
1:2: chord; Measures 3-4: dominant seventh chord of BY major ar F7, Measute 5: | chord in fist
inversion with and added dominant srenth of E* major; Measure 7: Ist inversion E* major, Measute $:
AS chord again which becomes the dominant of he new key on the second linc, E major.

‘The point ofthis isto know where 0 place the intonation of major thirds (generally lower) as

wells re know how o tune he dominant seventh chord (by loweting he pich ofthe 7) as resolver
to the major hin ofthe I invesion chord.

‘The other goal so play the eme exercise without stopping always remembering to sriv forthe
seme sound and rack Suggested tempor «= 120.

mapper

26+ Arbon FUNDAMENTALS

Iureevacs 47-50—Me. Aussi

‘+ Ply equal and even-sounding (fll sounding) eighth noces. Dont play to re or short.
Im number 47, sten tothe 2%, 3% and 4° beus of every other bar for an even-sounding sale as
i descends co he downbeat.
+ Hold she side firmly with no breaking ofthe wri.

In number 48, be arf not to zpla he lower nove, Keep the lower noe full sounding.
Its very important a the interval widen, o think sllabieally from note ro not. Think AH’ and
TER when executing the incerval ofan octave—the lower being TAH, Fora low Bt {prefer to think of

che sylble TOE
Remember to kee the same anchor point on the bot ip—doni et the mouthpiece ne upon
pour face wen eating. wide ascending interval, Be cael not to pounce on or sla the lower note

47, HEAR
[aa

co

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28 + Arban STUDIES ON SYNCOPATION

STUDIES ON SYNCOPATION

Eruoes 1-12—Ds, Bowen

“The nwo basi als for syncopation ate: Sept and Ace. In usual practice and interpretation
this means to separate the shorts notes and accent the longer ones. Be certain tar all of the shorer
notes in these exercises ae the same length, Avoid the pil of playing the ls note ofthe measure 100
Tong —instead male i che same length asthe fis noc ofthe measure. In accenin the longer nots
tse more breath accent than asonger articulation. A basic ule of playing these crises well
1% many sections ofthis books to play che longer notes fuller and louder and he shorter noes soft
‘within the chosen dynamic.

Eruoss 1-12-Ma. Ares

Two additional poinc to remember when playing syncopation:

Fed a tr beat in sponse o every accent long na played Fo example, in measure one it
youre counting for bats to the bar is important to fed strong bent sre response tothe
reac ofthe F half note. you continue his process the thym is glued together in many respec
‘When feling this strong response ty to her i à percussion instrument. (e. aeymbal or bass
rum) thus cesinga band in your head.

"Move he slide lthmicaly, Often we do nor think of slide movement in this way. As an exc
iss, ongue cach note and move the ide very accurately without making any tone. In away, mine the
nte cristo enhance coordination berween the tongue, dide and ai. OF course, when doing any
serre in this book, always remember toute a metronome. In general, breathe towards he end of
(ich bar afc he final longer note value. Phas every eo, fous, or cigh bas

panes er
E ae
pod x A
E
Ay been À te, podes
ay y = be
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STUDIES ON SYNCOPATION Arban +29

riet

30» Arban STUDIES ON SYNCOPATION

STUDIES ON SYNCOPATION Arba 31

ae ft Phebe an s
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Srubies on DoTTED ElGHTH AND SixTEENTH NOTES

Eruoes 13-18--Dx. Bow

This thythm is often played a a iper rather than a duple, Be certain o subdivide cach bea into
the lowest value note and make the ratio shythmicllycorrect—three-o-one in he dove Eguren
Avoid cutting the dee note short or puting a resin between the dotted note and he short noe

Eruoes 13-18 Me, Ausssı

‘The dotted eighth followed by a siteenh sone ofthe mast importan chythas to kam cor
rec Is frequently performed incorecdy. The common mistake is performing this shychm aa
‘spl To present his from happening think eights while playing (with the emphass on eights 2, 4,
6, and 8 in common timo) Hear these empluasied beat in your head as you would hear percusion
inserument. This wll help preven the tendency to play the thythm asa le. Accent gd the
sisteenth or kk o playin he correct marked syle. Sustain the ded eighth as violinist would

lola ow
ened . a
13. 2 = ae Sere rere sy

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32+Arban STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES

STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES Arban «33

Sica

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434+ Aran STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES

Senne
er

En esse

Anrcnanon axo Sine 19-38
Dr. Bonn

These studies are exelent for developing ariultion speed and casey and at the same dine
leering basic principles of sje. The mos important ad correct spe is wo determine what notes ae
medal grouped together As an example, in #19, the ie four notes comprise he first bas
Statement and belonggeiher. The fifth note realy leads across che bar lin and is a pekupto the fs
four note figure in the sccondl measure. This patterns repeated many times throughout he exercise
Determining che musica tendencis in cach exercise will be essential co the musical development
offered by this section

‘Generally, play the cg notes ahore than the teen notes and make che eighth noces al the
same length. Dont be hampered by playing rom bar line to ba lines co play musical over the
bar lines

Me, Aussı

“These ae some of my finie exercises. Play the sist notes evenly. Think o al che exercises
(419-27) in 4/8 cme, Move the tongue with air, nar che reverse. To help develop this gue ith air
‘concep, adjuse the air tongue mitre making sure nt to use too much tongue: Think dab dab when.
‘executing repeated teen, For more advanced player, perform exercises 19-38 without interrup-
tion, Male segue fom one eerie tothe next, siming or consent rome and articulation, This is
ele anining for embouchure and ic.

Abbey

STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES Aran +35

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Ss £

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38+ Arban STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES

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STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES Asten +37

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38 Arban STUDIES ON DOTTED FIGHTH AND SIXTEENTH NOTES

STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES Arbon +39

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42 Arbon STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES

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STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES Arbon» 42

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42+ Arban STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES

STUDIES ON THE SLUR

Sruokés 1-15—De. Bowan

Mos students are aware of ip sue and flexbilgy exercises Thos fine cerises can be used as
legato and intonation exercises. Exercies#1-15 ate excellent for listening to inconion, An clcronic
tuner an be wed o check che er accuracy and develop interval memory. Exercise #15 isan exellent
ter of ip lexibily and brach conta

Sruores 1-2-Ma. Ausssı

Suse Moose Har Sros-Sruoes 1-2

For the wormbonit it is most importan to reale cat the hal step slide movement from I"
postion ro 2 position can sound more gi han when moving the slide from 1" position 10 4%
postion. Perhaps this happens because we ae moving he side che distance of only one poston and
Brive is fine vo rex the wrist and mind. Therefor, te grea care in executing these most basic
Fale movements, moving he slide later rather than soonet

z ER at Dette

russ 3-16—Me. Aus

Brow Tens ma Bora Nore Srs 3-16

One ofthe most fundamental concept for bas players the importance o blowing th
bottom note when executing ascending natural urs. Think oa diver preparing to diveoiTasprng-

THESLUR Arbon +43

loaded diving board. The diver’ fist motion is o flex the muscles and go down, which create tension
in he springboard. This tension will pope the diver up and off the board, This is exactly what 1 think
of when breathing and blowing for these ascending natural sar. This concept along wich thinking
‘vowels in thi manner ab fo the bottom note and e for he pi a winning combination for clean
natural sur. Exec this ction in an unhurried tempo, using natural lus when possible, vin for
clean slurs wich no imperfections. Please note that when ascending and moving the lide out, be careful
vo adjust he spord of ai in onder nor to dump th top note causing a rough sur

A A LR
3, Se — É

44 Arbon THE SLUR

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Srunes 16-30—De. Bowne

While performing exercises 16-30 be sure ro take deep breaths and keep a steady How of air
throw the sur. When notes sik or the sur is not smooth, ey playing the interval on the mouth-
pice alone (buzing) and playa glsando berween the sticking notes to asute thatthe lip are vibra
ing, Use this technique whenever here are response problems in legato lus 0 ip dus. Using the
mat fingering for some ofthe motes will adversely ace intonation, Leon eo play al fingerings in
tune and with a good sound

Sms 16:36—Me. Aussı

bly che ey 0 libre hs, corn embouchure nd cormeing uneven eh
oes ora fing in your ym, When escote conan pets, bent, and pls, her
reseca pons to Lp i in
+ Breathe on the har line wich a short auxiliary sip breath so as not to upset the rhythm.
+ nce, plate dons to ay corinne wich the menonome advanced lares an
dard augen)
+ Think ah-ce-ah-ce-ah-ce-ah-ce for all these exercises, especially for the faster chythms.
À Sc tempo 0 at you con ect the ter ls Dot ly these ses too qui
“Themed pe fo exes 31-36 120,
For es 31-36 che pal obese of scnding at sire when moving e de ou
An oe: wos, be ar of gen the pain la. Len foray oughne or bumpruhen ing
ds peca To eel these robles dow te arabic andy nox jm tothe wpe nt

TUE SLUR Arbon +47

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Sruows 31-69—Dn. Bown

Exercises #31.69 combine lp lues wih fingering challenges to help develop coordination. Re-
member e push the fingers dawn all the way quickly and in yeh ”

pars

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Sruons 37-54—Me. Aussi
A common mistake when playing he cuo-note slur to ei the second nore, causing an uen
Alu To avoid thie problem:
* Mentally dana line over the second note and thik the syllables ahh pus play. This will
insure even ym.
‘Think 4/8 meter for ll ofthe 2/4 exercises o enure evens

+ Use natural ur when posible

Exercises 55-60 can be omitted fr che rombonis if desire. They are manly designed forthe
euphonium player.

THE SLUR Arba +55

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Sruotes 61-69—Ma, Ausssı

Gucs Nors—Sroous 61-67,
For trombonist, is importan: to play these exercises in a modera tempo, Solisicaly don't
rush the grace note and try ec 0 ei che note afer he grace. The goal so make the natural surred
grace sound ie the lgato<ongued grace. Keep the at moving,
Arnenano AaniceosSrunes 68-69
+ Use différent vowels when ascending and descending. OH, AH, EE.
+ Never clip the las slurred note,

+ Blow through all notes and let he ar move the tongue.

Allegro

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THE SLUR Arbon +63

SCALE STUDIES

Sruvus 1-69—De. Boman

Scales ae esencial to developing fundamental playing silts. The development of tingeting
patterns and aural recognition of key center are just woof the benefits of care sale practice.

1 recommend that he student use à metronome to asurecvenehythm and conssenoy of tempo
in each exercise. In addition, practice an equal amount of ime without the metronome so tha inner
pulse and ehyehmie seb ae developed.

Avoid articulating thes exercises wich a short stacesto articulation, expel as they increase in
speed. Keep an even flow of ac supporting the articulation. Practice the articulated exercises al sare
and then all aculaed, keeping the same ala foe both the slurred andthe articulated sections.

Dynamic can be altered to challenge che peformer. Try playing one exercise fand then another
ppp for control

A good ts for sped so play exercise 24 with a metronome, working upto pour op single
tonguing sped. This pater is appropriate wo rept in all keys eis muta and appropriate tocıe-
cedo when ascending and decrscendo when descending.

Change che ey signature of some exercises to provide more study in other kes. For example
perform dhe BY major eereiss in B majors shapes,

Srunis 1-69—Me, Aussi

Seals ae fundamental o technique and to che development of good intonation, Keep in mind
(hat speed is ot senal these studies, Ihave hear players perform che famous Willem Zeland La
Gaza Lada ecerps well technical —but with poor intonation making the performance or audi
‘ion awed. Be stem careful that you perform those scales with accusat intonation, rather han
jus playing inthe wicnity ofthe pitch. Lt he ai move he tongue and think the sable dab. Ply
with slighty frm wis will preve mesy slide movement tht cause pitch problems, Always subd
vide into eighth nots, and think of playing crescendo forthe ascending ins, When practicing sales
that ar allslurred, I suggest using lgarorongue fr every note, For extended study play these exe:
ses ima keys and different restr. cena def, and bas ef down an octave.

“Tromboniss may omic numbers, 16,22, 28,34, 41, 49,55, 61, 7, 68,

ee ee

PER

SCALES Arban 65

(65 Arban SCALES

SCALES Arban 67

68 Arbon SCALES

SCALES Arbon 69

20 Arban SCALES

SCALES Arban 71

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82+ Arbon SCALES

SCALES Arban+ 85

Kae

Mnos Sue Stuotes 101-109—De. Bowman

another complete er

attention in the Arban Method, the sy of
Fingering patterns hat will id technical development. suggest thatthe

ino cles can help with

student leer all he forms ofthe minor scale in al keys, eventhough they are nor presented here. (A
more complete presentation of Arba’ sale pacens can be found in he back Arb Scale for Esp

nium, published by Encore Music Publishes.)

serre Prete, >

CHROMATIC SCALES

Cimounric Scaue Sruous 1-30—Dr. Bownan

‘Use a metronome for this section and remember ro pes he fingers down all he way with
security The key 10 playing accurate chromatic eles inthythim is che even and steady spacing of each
note. Practice ongued aswel as slurred, Stare lowly and accurately and gradually increase the speed
‘anil great vlog is achieved. Listen carefully for good sound quali ar al times.

For those with 24 vale instrament, practice these exerci using the 4 valve and also with just
estandard 3 valves,

Comowane Seu Sruoas 1-30-Mn. Ausssı

Chrormaies are an important part ofthe trombonist di ale. Prericing ther regularly ends to
join the different registers together Chromic are ac gest for ide and tongue coordi

+ Practice these studie with a metronome alas ten minutes a dey.

+ Phy thers rongued and lured,

+ Practice them using diferent tempi

‘Wien using a slower tempo, notice how the slide pauses for each posten. Mase thi technique
fis before increasing speed

At faster temp) tthe ide goin one motion 0 as not to stop on cach poston. In ether words
der the ide glide,

‘One danger when playing Éste is that che ide may get abend-—or ill behind the tongue and
‘he mind. Ifyou ae having rouble with this slightly accent cach downbeat.

‘Ache end ofeach fragment, be certain to sustain longe note vals, i. quarter and whole not

Make a sigh crescendo when ascending,

38 + Arban SCALES

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See! tete

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SCALES Arba +89

SCALES Arban +91

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SCALES Arban + 97

Me, Aus

As the exercise increas in difculty-and when the spcd increases keep in mind to mentally
subdivide using eighth notes. Alo, remember to hold the side firmly with ch vo fingers and the

‘thumb. Avoid playing these studies too quickly causing you ro lose conto. Keep a clear and clean dur
followed by staccato. When changing the slide direction quickly, be cirefl no to accent this connec-

98 + Arban SCALES

SCALES Arban 9

ORNAMENTATION

Genes Comenrs—De. Bownss

‘The development of dil in using ornamentation is essential 1 the euphonium player to
prepare the ability play al period and styles of music. Ornamenttion i frequently an important
Factor in the performance of borrowed terature from che baraque and clasial periods and is lo
sf in al performance ares. The masery of ll he ornamental techniques presented inthe Arban
Mao gives a ood basis forthe interpretan and performance of his borrowed leraute.

‘The Fist 23 exercise ae exellent studies in accuracy and melodic interpreraton, Stet che
‘melody note in each Figure while kerping the one quality and sound a consisten as posible,

Gexenn. Conuenrs—MK. Aussı

‘While mos ofthis section is applicable to he euphonium play. here ac benefits to practic.
ing some of these exercises for the tombonist. Usa che trombonist snot confronted with
vradicional oenameneation, but ocasonally ies written: i, Bordogn Exide, Pryor solos, and some
«once The modern romboni mus acquire god lip-ling technique. Unforusately, Abas
original exercise forthe il inthis roger do not apply o the rombonst. For more pertinent
‘exercises for rg on the trombone, return ro studies 16-22 beginning on page 47.

(Certainly the gruppeto isthe most common ornament encountere by the rombonis. I
suggest combining the natura slur with che legaro tongue o make a smooth gruppetto tro. I it
also importan 10 mentally subdivide when executing his ornament.

Tieres 1-23 ae excellent for developing id technique, accuracy, and intonation as well at

ining natural sur wit the legato tongue, Be cal nr eo gla shot low notes, which is
‘most unpleasing sound on the trombone. When studying these exercises, ake the opportunity to.
make a natural dr by using the alternate positon co creat a no tongue event. Number 26 is a good
«example for this concept In the fs mesure, se the 4 posicion D and FI ch second mesure
usc the 5% position 4 Tale advantage ofthese oppormniies when i makes sense 1 do so

100 + Arban ORNAMENTATION

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4102+ Arban ORNAMENTATION

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104 Arba ORNAMENTATION

ORNAMENTATION Arban 105

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106» Arban ORNAMENTATION

‘ORNAMENTATION Arben +107

108 Arban ORNAMENTATION

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Grumerro—Da. Bow

More commonly ld ar, the gruppe has neo basic inepreaons ascending and
descending The mst common i che end form playing the four not Isola he noe
nef che note abre the note vel the not Below an the nat sc Th near by the
sm oe
The gruppeto may be inverted o the descending form af he noe ic. be note below the

sot el, and he not above Ths inverted form va noted rather dan ne by à

bol In ib ese dh choice of notes o be played shold ein the key situ of the ice
nc chomasicly ered by a sharp or A place above or below the sgn (or noted in e ee
the inverted gruppe), inating that he coresponding upper o loner not should be do
appropriate: Often dt or publisher do not ally flow eis novation pci, Ar wi a
‘ornamentation, ch hychm ofthese four noe should be compatible withthe main melde content
ofthe pec and bein god musical este

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ORNAMENTATION Arban 113

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Three Nore Gruprerro où Auncwanon—Da. Bomtan

The evo types of he note gruppesti or antcipatons ate ascending and descending, Either
one can bea minor or diminished thin but nota major shir Rhythasiclly thie figure should be
tueated as a grace note coming before the bat.

Name = .
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ORNAMENTATION Arban 115

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Douste Arrocamrumn—Da. Bowman

Actually his figure sa grace note Figure of two noes before the main noe ofthe melody
“There are vo ypc. The fs type can be «vo notes played diatonically either below or above the
main note. The second type has one note below and one note above the main note as demonstrated

Nowted

116+ Arton ORNAMENTATION

A Er See Dy
Be ee td

E ES
BR. Eye AM nae,
re ne ee

a engen
Bee Sr Er en

nee Eee Pr zn Dem et,

Allee moderato

y. Erg een Ste

ORNAMENTATION Arba 117,

pere fh

118 + Aran ORNAMENTATION

Sirve ArrocGaTuRA—DR. Bowwan

Played as half ofthe value ofthe note ic precedes often this ype of ppoggatur is more by
«small note with no sah on the stem. I's often used in baroque lecture but as with other
‘ornamentation, some editors and publishers have added ther own spe of notain these gure.

A E

Andante con sit.
4435

=
;

Fe

GELS

pat

E

PE

ORNAMENTATION Arban« 119

Aller moto
af

Allegra con spirit

pz no Hr irra y?

47. DRE pia
a er be be

kp SE pi oe bee AE 3 ge

sei rere a Eee si

AAA AA

IS

120 Arban ORNAMENTATION

A]
Le
is)
a
*
»
>

Shox Arvocairora-Grace Nore—Da. Bownat
The notated grace note (wich ask through the note sem} should usualy be played before the

regular sized note that fellows Ie should be played sf and quickly. Avoid playing the grace note with
an acen and making it sound more prominent than he note 1 whichis leading.

Alley poco ande

4 Piles à
ae E
le 49 à
— on et SEE En
Ds E E pl lt ee ee
Load there À à rot. ne tte et,
Be mn

ORNAMENTATION Arban 121

Allegre moderato

Altres,
so. SEE tee
tetelfrele

re

auc

122+ Arban ORNAMENTATION

Allegro madero

vr Peles
ro == Se

E. AE Letgtz ¿late

== = +

tr et, plot, lied =
ES Ste

ge :
Per=-= Free
= a

tes, yat ei a patie
file, ten ee esp re te 3
te watt ie, des,
et ea = = ef

—

Postanenio—Dr. Bonn

In actual musical pra the portamento ia very smooth rapid lande type fing been
oro notes. This i done very esl by vocals and by musicians pecbrming on stinged instrument.
Although cuphoniumiss cannot play the portamento in thie exact manne, it canbe duplicated by the
Aexiily ofıhe embouchure, The same concept can be practiced by playing the exercise on the

mouthpice alone sliding or glsing between the ewo tones. Then work for the same smooth lgato
sound while playing on the instrument,

Aston =
— A A,

ORNAMENTATION Arban 123

124 Arban ORNAMENTATION

eier:
be e
ps

a ER

SR

Trus—De. Bow

Basic ling technique involves accurate rhythmic conto of the fingers nd, ac times, the use of
Alternate fingerings. Till should never sound fami nor become so rapid that the pitches are not
Astnguishable. Learn o use alternate ngeings char wor well The smoothes ui are those hat stay
in the same harmonic sr, and alternate fingerings make hat possible In mest cases.

En Be ear

ORNAMENTATION Arban 125

rater ne SFoterenetenelae ¿e Dia sizes
Att =F

126 + Arta ORNAMENTATION

ORNAMENTATION Arba 127.

128: Arba ORNAMENTATION

ORNAMENTATION Aran 129

130+ Arban ORNAMENTATION

ta

St

(he de

Ant

Fe

75.

ORNAMENTATION Arban= 131

e ” Ei
or POE > > e s

132+ Arban ORNAMENTATION

ORNAMENTATION Arb 133

|

Moroaxr—Ds. Boman

“The mordant ia fs il placed dicey on the best It may be seven] repetions or just one

depending upon the sped af the Rgure. Avoid making too many repetitions that ate uncle or roo

134+ Arbon ORNAMENTATION

ORNAMENTATION Arban 135

Allegro

vies} Es 2,
Zee pas stat

za

AE

ann
95, ee ze
miese Ale miete ale régies

et Set bes, ESA E u Pr

an een

re

Alegre

tate Le
tt

pati —

=== ISE:
een a
Seren a

136+ Arte ORNAMENTATION

Allo

> 2, Le: Bayraño: a E
E A a E

‘ORNAMENTATION Arban= 137

INTERVALS

Concert Comuenrs--Da. Bownan

One ofthe most demanding and taxing sections ofthis volume, the Interval Sei lio

among the mos valuable for the development of embouchure Rexibiliy and conta, Wer for accu-
racy and tone quay before increasing spe in ach exercise. Brey exercise should be played with
differen articulations including suring two notes and allured. Aer ll he Ins in a specific
exercise are mastered, a good way o review i to play al the sharp hay one day and al the a keys the

Exercises 1-7—Ma, Auzssı

Since began playing 2 bras instrament, ch following exercises on intervals have been among m

favorite studies. They are very good for development of consistent tone production nal esters, for
exil and for embouchure development. Keep in mind:

Seve forthe same tone chroughout.
‘Concentrate on che scale notes, making them even sounding and in consent syle.
Do one set of exercises a day in a continuous manner.

“Anchor your mouthpiece in one pation. (For myself this anchor point the bottom
ofthe lower lip)

Dori tthe mouchpiee travel up and down on he lips as you switch registers.
To preven this, make use of bc lowe jaw by thrusting i oue and down in a 45° angle
‘when caveling down in pitch while maincining the anchor poe.

Dent par the lower noe, Play with avenue styl

ge tempo d= 75

138 Arban INTERVALS

T IM I) Tm! M | m mf I

fe GE SE fy ay Sy à 8 + à

PEER ERE URE N:

HER Am E |

ig NT : i
F lo o o ie iy a,

A BR Li RER Et

qe SEE JE SHE E

ea eae

Be mE da ay me)
LAS

à It LEE ha

A h Al À ES i al

INTERVALS Arban 139

ae
et

==

ES

f,!

Bee „fer
Er

4 a
+ « wi wll] «
att “i
A Hi Ei aH E i
air iy aly of “a
a YN à +
‘ i 7
4 À 3 . $
Al a a
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' E ul
\ tt

me

af pees

FRS

torres

t

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2.35
>

Es

LEE £

ot]

SH]

140» Arban INTERVALS

agrée

es
EF

top erro

INTERVALS Arba 141

==

pe
ay
fi iw
a
pi El

=

be
==
==

==

ele
==

hp
Se Se Se SS

eg

142 + Arba INTERVALS

ANTERVALS Arban 143

A AS

eos be +, pe.
se: A ES

144 + Arba INTERVALS

= tiethetet be Phe Pre 2h
as ter pr fee £

entere

Em
SUR

INTERVALS Arban 145

ce

=

af

tet ES
fat

=

*

She

Ey uta

pepe

PERA

Br

E Zus =

ef

Bere ere

ES

SA

146 + Arban INTERVALS

Ocraves avo Tewras--De. Bonn

sen corea to she inonsion in hee sai, Practice the octave emo ways:
‘Use the specific fingerings or ech note.

+ Play dhe craves hing the ame fingering fr the op note asthe bottom noe

"iii excell pri or pei.
craves ano Tewras—Me. Aces!
+ Blow through che bottom not
+ Stare he boom note wih grs ound, Ikea pyramid wi huge bs.

+ When descending, thrust the lower ave forward and slighty downward and
ever use the tongue for hi typeof sla,

+ Think ofthe dipbragm as an elevator. When ascending, rive ic and when descending,
lec ie drop or relax

+ Make we of vowels e fr che upper notes and ah o a forthe lower

= Leon (tts ap

INTERVALSArban 147

i Fs

aa

ame

Tamers—Dr. Bowwan

In these eerie, he fingers must be completely under conto chythmicl Pracice slowly ar
first ut increase sped as much as possible withou losing hychmic integre.

Torıers—Ma. Aussı

+ Combine natural during wich ight lato tonguing or agi,
+ Play fll quarters

+ Vie a meronome.

+ Slightly pulsa downbeat if need,

+ Keep the ar moving.

Per

FE,

148+ Arba TRIPLETS

TRIPLETS Arban 149

op ages ru eat rta,

150=Arbon TRIPLETS

re
ea

TRIPLETS Arban + 151

EHE

152: Arba TRIPLETS

TRIPLETS Arbon 153

Sruous w Sorerurn Nores-—De. Bowwan

have used these exercise (928.47 0 improve dhe technical ability of my students. Play these
exce as rapid as possible—even though ot prey in rhychm ae fret, The slow chem down
and perece the ahychm with precision co lightening speed

Sruons m Sorrewm Nores—Me. Ausssı

Always think in eighth notes.
‘Concentrate on blowing through notes.

When making nur su, hin ah hah,

“Think yricaly by giving contour wo each exercise wing crecendi when ascending and
decrscendi when descending.

Play cach exercise with no Haus. Ifyou make a mistake, go back 0 the beginning and repeat
the exercise sony.

154 + Aran SIXTEENTH NOTES

epithe Bram ante &
ae

SIXTEENTH NOTES Arba «155

156: Arban SIXTEENTH NOTES

SIXTEENTH NOTES Arban +157

Be A a

e ea eae

138 + Arban SIXTEENTH NOTES

45, AE

es

BR naan

Er Fee Fr Eee 3

SIXTEENTIL NOTES Arba +159

THE PERFECT MAJOR AND Minor (CHORDS

Choro. Parrenns—Da, Bown

The study of chords in all he keys wi help develop
wil be useful not only in reading music bu in improviu
mentally and aural

seing patter and itening sil chat
playing Keep track ofthe comal Both

Chonoae Parreans—Ma. Aussı

‘This section is one of my favorites. Use thee pates so help develop your knowledge of music
theory by memorizing all of thes excises Notice that most of these parsens proceed through the
(ice of fourths Learning these patterns thoroughly at young age wil help you when ir hocomes
time to study music heory in college. Make the same sound and tone for every note throughout each
“ei Tromboniss can omit number 52, i desed, as it designed mainly for the euphonium
player B

160* Arhan ARPEGGIOS

48, SSS

E

a
29 Pat
=

m

DS ate

a

PERS

cee
ESTEPA

a E
=

ji

gi

A

EEE

ARPEGGIOS Arban + 161

Sat

Er

==

162 + Arban ARPEGGIOS

ARPEGGIOS Arba 163

164 + Arbon ARPEGGIOS

ste

er]

de
es

=

a Sá

E

ee

aut
=

+

f

Le
SES

- DA
as

en
ae

ehr.

et

Bae Se

ARPEGGIOS Arban «165

LE 111: a a
k i E Eb Mt
Adal | a y
3302005
RIAS ES
RETIRE
RADA Ee
SERER: LE
Ñ A : A 4 À

166 ban ARPEGGIOS

Dominant Seventh Chords

ARPEGGIOS Arbon + 167

=
165 Arban ARPEGGIOS

ARPEGGIOS Aran 169

pete

Caoenzas—Dr. Bowman

‘These cadenza in 19% century sel ae useful or acquainin the senden with the period music
‘of he eal viruoso bras soloist ry combining different examples together and also transposing hera
into diferent key,

Cavenzas—Me. Less

‘While these cadenzas were designed originally forthe euphonium player, here are benefit to
tromboniss who practice these award studies--awkwad in the sense har they ae wren with
many omamens and rapid scale hat would be much easier on a valved instrument. When performed
in the prefered lower tempo, the phrases and sale uns become a bi long for th ae supply o plan
your beats crfül: In onder 1 make these cadenas sound appropriate forthe tcombone, do nor
rash the tempo. Sue for an elegans spe by no ling the music sound france. While playing the fst
scale passages think por apoco accent ad in the development of an elegant sole

Practicing these dificul cadenas wll prepare you forthe ur ofthe eur eperire that
includes this style of cadenza,

CADENZAS Arban 171

172: Arban CADENZAS

CADENZAS Arbon + 173

MULTIPLE TONGUING

Munwic Toncune--Da. Bonn

À famous euphonium solis once sai dat the secret to larg mile romping was simple:
just practice eo hours a da fr omo yea
“The key to his technique of articulation isthe consistency of ve aspects ol performance:
+ Artculation—Fachrongued note should have the same sound and art
+ Weight—Each note should have the same weight, do nt play some nots accented more

han others
+ Lengeh-—Each note shouldbe dhe same length, nt some log, some short
+ Spacing—The space between che duration ofeach noe should be intial
+ Volume—Al notes shouldbe he same volume.

‘Torte Toncunc—Ds. Bownan

In curren practice here are several way of developing mipleconguing, Some us the KAP
syllable the middlo—TAH- KAH-TAH—and obra alterne plable actualy using a double tongue
with changing acsents —TAH-KAH-TAH-RAH-TAH-KAH. prefe the vadicinal sable of TALL.
TAH-KAH.

Begin practice by learning o pronounce the KAH syllable, Practice pronouncing che syllables
hour the instrument working fo a lear and clean sound tha is no spirited, Practice ata forte
‘or forissimo dynamic o assure complet ir suppor, Start wih excrcia 1 at a very slow tempo
playing each note with a KAH aniculacion secato. Work fora clean sound that is very similar co the
Teound in a TAH arúculacion

Begin playing the exercise very slowly, staccato and forte, working fo pefet equa of the
points mentioned above. As the avcularion becomes clan gradually increase the speed, keping the
ote equal in length and weight

To further increase the challenge of these eeress, uy eliminain the quarter notes and play
anialated iles on each heat beginning with exec #3.

As speed increases many players sich ta diferent syllable and usc DAH-DAH-GAH which is
much smoother ar che ister tempi. Ii important 10 main art as speed increases and not to
play so rapidly thatthe ariculaion and shythm ae crushed together and become uncle.

‘When performing exercises tha articulate changed notes maintain the same carios precision and
dynamic contol a he repeated note acclaions,

Mure Toncunc—MK, Avess

Asa young lad, I was lucky enough ro have a cacher who seed the importance of mull
ronguing and who knew how wo practice it. Ile prefe the tadicional method of multiple tonguing—
TAH-TAH-KAH fo ipl and TAH-KAH for double, The mos difficult aspec of multiple onpuing is
to tan the tongue robe comforable with the KAH pilbl, Y recommend students practice speaking
‘hese pattes with repetition, Speaking these pttrne fr 5 minutes cach day will aceerte progress in
rares,

Practice very slowly using ZAH-TAH-KAPT for wiple and TAH-KAH for double tongue always
accening the KAM syllable. The amount of accent should equal the dynamic ol orússimo. Be ran
‘not co speed up in the slightest and 10 continue this songuing pattern tothe very end of the exercise.
Practice inthis manner wil srengihen che weak KAH lable to match the slteady-tned and
songer TA slab. In ime these syllables wil become even in strength and control,

174 + than MULTIPLE TONGUING

order to be proficient mile tonguing sis necsary 1 practice at las one of thee exes

vy day in the flowing manner:

To onde o have an even tripe or double tongue, you must be able to have a clan, eve, and.
Fast single congue. Practice the exercise a ride empo using all single conguing,
Practice th entire exerce slowly using all KAM lable,

Return 10 step 1 and begin very lowly, acenting the KA, Gradually increase the speed but
ssl remember to accent the KAM. As you accelerate, deci the amo of the KAM accent,
‘eventually eliminating i nar th end of he exercise,

Practice the exercise with no accent ata moderat tempo accelerating toa brisk tempo. When
practicing the fases empi [sugges using DAH-DAH.GAH plas for epletonguing and
DAH-GÄH sabes for double-tonguing.

As

retar teeta,

RE

ee poet ppeopéspepee EFEFERS pprrrra

=

AS

aa munis CPE)

prenne aprann. otteten aero oftCtte
3. refe E

MULTIPLE TONGUING Arbon +175

5, Dpeecttttttttttperrepesee cpeceesees enpunpannag SPORE

IE dd LS Sp pa E A

ces repepepep tepetteces teptteeees

RP EF

pates een EEE 286 EEE.

7.2 ER tétons rt

2 pptrrente
PEORES TES

e rttettre profil
ay artes

176: Arba MULTIPLE TONGUING

Me, Aussi

At this point, you are probably fling a bit more comfortable with ipl tonguing, This would be
2 good time o ases whether you have mastered the fe ten exercises. From this point on, the df
cay factor wll increase sharply especially from exetcte 14, where the intervals change more rapidly
In any cas, isa good idea to repeat the fs ten exercises to a acquire a slid Fling about the use oF
triple vonguing.

SSS

parecio tele erre Pt

E pt tere

a

IS
EEES

E

A mI pi a dd det IS ona

ar Pere e eensoetee peecepererer E opepperee Feesepeeest

ER

at effrefeen epee EeF ERFFEeFepe epnmennnnepn à antenne.

oy Serer

opp Lifters cerenteerer ppt crece fetter

a eters

178: Aran MULTIPLE TONGUING

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MULTIPLE TONG!

Bee
att
SEE

pipe

180» Arban MULTIPLE TONGUING

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