A Little Travel Rant - Page 2

swissdude · 08-14-2005, 10:00 AM

During my undergrad in France with Eric Aubier, we would have a contest every week with the 2nd Clarke study. Our goal was to see where Aubier would fold....took him 6 weeks, when everyone else did during the first two weeks. We did the studies normal, minor, diminished, augmented, with an augmented half step, whole tone...but the hardest one was one made by a jazz player...can't remember his name but everyone failed.

Practice scales as much as you can, well and transposing (also being able to read the other clefs), you never know when you'll have to play a trombone or viola part at a gig.

Thank you Mr. Carroll for sharing your knowledge with us.

JC

ecarroll · 08-14-2005, 10:06 AM

JC,

Wonderful story and spot on. Where exactly did you study with Eric? He's about as top drawer as they come. . .

Best,
EC

swissdude · 08-14-2005, 10:17 AM

I studied with Eric at the Conservatory of Rueil Malmaison in Paris...just before I moved to the US. He is a wonderfull teacher...used to call him Doctor Eric because he would accept students with serious problems and fix them like a french cook would cook bread in the morning, not big deal.

JackD · 08-14-2005, 10:25 AM

Quote:

Originally Posted by ecarroll

I had the privilege of teaching at London's Royal Academy of Music from 1996-1999. John Wallace, as you may know, was head of brass studies then (my title was the International Chair of the same). The trumpet class at the RAM was the best, top to bottom, that I've found anyplace in the world (probably still is). The school required that all students pass a scales exam (major, minor, diminished, augmented, whole tone -- ascending/descending (or reversed), legato, detached, staccato, etc.) each year in order to graduate, and one could sense panic during the week before the exam was to be held. The few who sailed easily through it were the few that included memorized scales as part of their daily routine. These were the students, not surprisingly, that were also playing the most difficult solo and ensemble repertoire. 'Nuff said.

When I was studying with Paul Archibald he used to get me to do all scales in minor thirds. I haven't done that for a while, so I probably should. If you don't practice it for a while it becomes really quite tricky.

trumpetmike · 08-14-2005, 02:48 PM

Whilst we are on the subject of scales, can I ask you a question that one of my students asked me about them - how fast do you ask your students to play their scales?

My stock answer to this is "as fast as still sounds musical," but I would be very interested in other people's views. The last student to ask this was, by the way, 9 years old - he is rapidly working his way through an assortment of scales, including major, minor, chromatic and whole tone - he has already realised that there is only one chromatic scale and only 2 whole tone scales - he's a bright lad

ecarroll · 08-14-2005, 03:41 PM

Hi Mike,

Tempo isn't as important as memorization and fluidity. Your student should, however, be able to play them as fast as lightning after they become intuitive.

Remember how slowly we played the fast chromatic bit in Enescu's Legende when we were first learning it? Note how fast you're playing it now? (assuming)

Cheers, mate
EC

W Scott · 08-15-2005, 01:49 AM

Dave, O.K., I finally found 'Extraordinary Scales' at Dillon Music---but for $55.50?

How many pages are in this thing? Wow! That price is about double for an Arbans!

swissdude · 08-15-2005, 10:45 AM

For the past 2 years now I gave scales a big priority. Once you start freelancing a lot and you get to a gig (musical show) and most numbers have 5-6-7 sharps or flats.....well good luck if you don't know already how the key goes.
Just a thought for younger players who don't see the benefit of scales, sight-reading and more.

JC

dbacon · 08-15-2005, 01:02 PM

Quote:

Originally Posted by W Scott

Dave, O.K., I finally found 'Extraordinary Scales' at Dillon Music---but for $55.50?

How many pages are in this thing? Wow! That price is about double for an Arbans!

It is expensive, too expensive, but an excellent work.

ecarroll · 10-05-2006, 02:03 PM

Ressurecting this old thread, I'd like to recommend Twenty-first Century Technique/Modern Technical Studies for Trumpet (by Chris Kase, recently published by Balquidder) to those who read this forum.

Chris expands on H.L. Clarke's motifs found in Technical Studies (studies #1-4) and presents them in minor, whole tone, dorian, phrygian, lydian, mixolydian, aeolian, and locrian variants.

Classic flow studies that expand the ear as well...

Best and happy modal practice,
EC

08-15-2005, 01:49 AM	#17 (permalink)
W Scott Piano User Join Date: Dec 2003 Location: Carson City, NV. Posts: 490	Dave, O.K., I finally found 'Extraordinary Scales' at Dillon Music---but for $55.50? How many pages are in this thing? Wow! That price is about double for an Arbans!
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08-14-2005, 10:00 AM	#11 (permalink)
swissdude Pianissimo User Join Date: Nov 2003 Location: West Chester, PA Posts: 146	During my undergrad in France with Eric Aubier, we would have a contest every week with the 2nd Clarke study. Our goal was to see where Aubier would fold....took him 6 weeks, when everyone else did during the first two weeks. We did the studies normal, minor, diminished, augmented, with an augmented half step, whole tone...but the hardest one was one made by a jazz player...can't remember his name but everyone failed. Practice scales as much as you can, well and transposing (also being able to read the other clefs), you never know when you'll have to play a trombone or viola part at a gig. Thank you Mr. Carroll for sharing your knowledge with us. JC

08-14-2005, 10:06 AM	#12 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,401	JC, Wonderful story and spot on. Where exactly did you study with Eric? He's about as top drawer as they come. . . Best, EC

08-14-2005, 10:17 AM	#13 (permalink)
swissdude Pianissimo User Join Date: Nov 2003 Location: West Chester, PA Posts: 146	I studied with Eric at the Conservatory of Rueil Malmaison in Paris...just before I moved to the US. He is a wonderfull teacher...used to call him Doctor Eric because he would accept students with serious problems and fix them like a french cook would cook bread in the morning, not big deal.

08-14-2005, 02:48 PM	#15 (permalink)
trumpetmike Forte User Join Date: Oct 2004 Location: Farnham (a place too smal Brand: Whatever works Posts: 1,202	Whilst we are on the subject of scales, can I ask you a question that one of my students asked me about them - how fast do you ask your students to play their scales? My stock answer to this is "as fast as still sounds musical," but I would be very interested in other people's views. The last student to ask this was, by the way, 9 years old - he is rapidly working his way through an assortment of scales, including major, minor, chromatic and whole tone - he has already realised that there is only one chromatic scale and only 2 whole tone scales - he's a bright lad

08-14-2005, 03:41 PM	#16 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,401	Hi Mike, Tempo isn't as important as memorization and fluidity. Your student should, however, be able to play them as fast as lightning after they become intuitive. Remember how slowly we played the fast chromatic bit in Enescu's Legende when we were first learning it? Note how fast you're playing it now? (assuming) Cheers, mate EC

08-15-2005, 10:45 AM	#18 (permalink)
swissdude Pianissimo User Join Date: Nov 2003 Location: West Chester, PA Posts: 146	For the past 2 years now I gave scales a big priority. Once you start freelancing a lot and you get to a gig (musical show) and most numbers have 5-6-7 sharps or flats.....well good luck if you don't know already how the key goes. Just a thought for younger players who don't see the benefit of scales, sight-reading and more. JC

10-05-2006, 02:03 PM	#20 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,401	Ressurecting this old thread, I'd like to recommend Twenty-first Century Technique/Modern Technical Studies for Trumpet (by Chris Kase, recently published by Balquidder) to those who read this forum. Chris expands on H.L. Clarke's motifs found in Technical Studies (studies #1-4) and presents them in minor, whole tone, dorian, phrygian, lydian, mixolydian, aeolian, and locrian variants. Classic flow studies that expand the ear as well... Best and happy modal practice, EC

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