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Discussion in 'Trumpet Discussion' started by oceanjaws, Nov 29, 2014.
Aye, that's the one!
A fair trek from Lagos, though.
I enjoy Lagos. Hope I get some for Christmas.
Thread has gone on a bit of a tangent but to go back to the original question, I'd say it's simplistic to consider it as a progressive book. Beyond the early sections, what you have is a huge catalog of specific goal oriented tools to overcome the difficulties of the instrument. It should really be considered that way. How to use it depends on your goals, type of music played and many other factors.
It is best used under guidance of a teacher, who may be better able to determine what exercises you need in the big catalog of the method.
It is also strongly influenced by the musical fashion of the times in which it was written, and therefore carries a certain concept of how the well rounded player should sound when reaching the higher levels of the method. Because of Arban's background, taste and the music of the period, that influence owes quite a bit to the Bel Canto tradition. It is a great way to learn but not necessarily corresponds to what one may want to play in our days. Still, Mr Wise has indicated on this forum how useful the method has been to himself and Lee Morgan, so it reaches way beyond 19th century Western European trends.
Arban, the one stop shop for all solutions to trumpet/cornet playing problems...
I do sometimes feel it trains a trumpeter to play cornet music - more of the lyrical, less of the declamatory. Just a thought.
I am under the impression that it was originally written for cornets, the only high brass of that time period.
Arban champions the cause for the cornet as a solo instrument throughout the work. It's my impression that in Arban's day, the trumpet was an orchestral instrument, and the cornet was the high brass voice of the band.