Good beginner books for grownups who want to start to play.

Discussion in 'Trumpet Discussion' started by Leonin, Aug 9, 2007.

  1. OdieLopez3

    OdieLopez3 New Friend

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    Jan 21, 2007
    You can never go wrong with David Hickmans books. Incredible stuff to get your chops and flexibility going. Not to mention technique as well.
     
  2. s.coomer

    s.coomer Forte User

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    Mar 25, 2005
    Indianapolis, In
    I would buy the complete method which you can use forever. Anyone who says they have done the Arban and no longer need it should be teaching us all.
     
  3. ROGERIO

    ROGERIO Mezzo Forte User

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    Sep 30, 2004
    PHOENIX, AZ

    well said...

    Our time with Manny proved that to all of us. It's the only time that it's okay to take something simple... and make it hard. LOL
     
  4. Leonin

    Leonin New Friend

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    Aug 9, 2007
    As I understand it the Arban complete...... is more like a dictionary for the trumpetplayer. Am I right?
     
  5. Stile442

    Stile442 Piano User

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    Mar 26, 2007
    Deland Fl
    A playable dictionary is a good way to describe it. It contains everything we need to become a solid player and anybody from beginners to pros can find something to work on. It's a book that you will use for the rest of playing career.
     
  6. Leonin

    Leonin New Friend

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    Aug 9, 2007
    Just got my "bible". Wow it certainly is huge book and I really understand now why I should buy the manual.
    I can't imagine that anyone can everything that's in the book by heart. Looks like I will have some work to do for the next 100 years. :D
     
  7. carltonsstudent

    carltonsstudent New Friend

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    May 2, 2007
    Richmond, VA
    Leonin,

    Welcome back to the trumpet! And congratulations on buying Arbans. I would like to make a comment on what Arbans is and what it isn't. First off - it is a wonderful collection of world class exercises that you can practice all of your life. The reason to practice them is to develop the ability to play them and this ability will manifest itself in all aspects of your playing. In otherwise, they are exercises. As you develop your ability you can extend the exercises in a couple of ways, the most obvious of which is to play the exercises up an octave. I got this idea from a great trumpet player named Larry Macquire who was playing lead with Gerald Wilson about 37 years ago. He told me that his teacher, Johnny Clyman, required him to do this. Larry said that he could not play everything up an octave at first but with practice he developed the ability. Look at the Characteristic Studies in the back of the book and consider playing them up an octave and you will gain some respect for Larry Macguire. I called Johnny Clyman and arranged a lesson from him and he did indeed mention playing Arbans up an octave. He called it the "new validity of Arbans".

    As for what Arbans isn't: It is not a complete method book. In fact, one of the most important ideas is that how you practice is more important than what you practice. How to practice is something you generally don't arrive at on your own, although there are some good books now, such as Bob Odneal's book which you can buy on the Web, to point you strongly in the right direction. I really suggest getting a good teacher who can help you.

    Your playing should be natural and unforced, relaxed, with a centered tone that is projected and conelike. Learn to play in the center of every tone and in so doing you will play more easily and efficiently.

    As for the embrouchure, there are differences of opinion. I personally play the Maggio way but another way, preferred by many, is the tongue controlled method of Jerome Callet. You can also buy his book on the Web. Mr. Callet is one of the very nicest of men who has considered every aspect of playing the trumpet. I play his mouthpiece called the Superchops 1 which is really a great mouthpiece for playing Big Band type music but is not what you need for playing symphonic or concert band music because in that setting you will probably be playing with people using wider and deeper cups. So in selecting a mouthpiece, who you will be playing with and what type of music you will be playing is a major consideration.

    As for playing the Maggio way I have little to suggest. My teacher, Carlton MacBeth, endeavered most of his adult life to propagate the teachings of his beloved teacher, Louis Maggio. Unfortunately, Carlton passed away a couple of years ago. I have tried to buy his book 'The Original Louis Maggio System For Brass' but have been unable to. Fortunately I has several of them, but in general I don't know how to buy any more.

    You can buy the 'Systematic Approach To Daily Practice For Trumpet' by Claude Gordon. Claude Gordon was a student of both Louis Maggio and Herbert L. Clarke and his book is a superb systematic study. Throughout the book he presents Maggio exercises, but they are often extended with Claude Gordon additions or extentions to Maggio. Claude Gordon does not credit Louis Maggio as the source of the exercises, and one would believe that the exercises orginated with Claude Gordon. Some people have commented on this and have remarked that these are really Maggio exercises. I asked Claude Gordon about this somehow, although I don't remember exactly the question. I do remember the answer though and I must confess that I didn't like it. His answer was: "Well, Louis Maggio only taught one thing."

    An obvious distinction was that Carlton credited Louis Maggio with everything and Carlton's continual goal was to tell people about Maggio and to propagate his teachings. I knew Carlton from 1956 until his death in 2005 and I can state and affirm this perhaps as well as anyone else. As for Claude Gordon, I only took one lesson from him, and it was a good lesson. I did not, however, care for him very much. He has produced some excellent players but whatever I learned and am able to do I credit Carlton and Louis Maggio but not Mr. Gordon.

    In contrasting the two as players, my assessment is that Carlton was a great player but Claude Gordon may have been an excellent player. I never heard Claude in his prime as a player, but Carlton was the most thrilling player I have ever heard. You hear about other great players such as Pete Candoli, Micky Mangano, and even Maynard Ferguson, but when they played with Carlton, they played second, third, or forth. An interesting sidelight is that I had mentioned to Carlton that Claude Gordon played lead in the studio orchestras. Carlton said: "When he played with me, he didn't."

    As for the Herbert L. Clarke Studies, I recommend you get the book 'Clarke Studies' from David Hickman. It contains all four of the Clarke books, including the Elementary Studies which is excellent. Clarke was a master of teaching the trumpet and his exercises are superb in every way. I have heard great players say that if they could take only one book with them on the road, they would take the Clarke Technical Studies, which is the second book in the Hickman compendium.

    I guess that is enough for now. If you would like, I will tell you more in another message about other books I think you could profit from and why. Particularly some of the Charles Colin books.

    So, welcome back. After you have tried everything else, try playing the trumpet. It is one of God's great gifts to us and it is indeed Holy Ground.
     

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