Arban Etude 1
Maria Mauri
Like #11, this etude is fantastic for tone cloning, but I find it to be more helpful if I add some character. Pianissimo staccato might be a tap dancing mouse. Fortissimo staccato might be a tap dancing elephant. Work your imagination and it will do wonders for your style. Choose a dynamic, articulation, note shape, and note length before you begin so you can practice deliberately.
You can purchase your own Arban book in a number of places, and like Gabe, I recommend purchasing the newer editions edited by Alan Vizzuti (trumpet), Alessi/Bowman (trombone/euph), Young/Jacobs (tuba). These editions are worth it for the spiral binding and the advice of modern virtuosos.
This may well be one of the coolest finds in recent memory. Julien Porret was a teacher at the Paris Conservatory. This Paris Conservatory connection gave him access to some of the people who studied and taught along side J.B. Arban during his tenure there. Julien worked with Merri Franquin and Alexandre Petit, both contemporaries of Arban, who taught Julien the ins-and-outs of the famous Characteristic Studies from the Arban book.
After taking in all of this knowledge, he wrote this book. Each study has a preface that explains exactly how Arban used to teach the particular challenges within, and includes multiple pages of exercises for each study to help you tackle the complete etude in the most efficient way possible. There is simply no closer way to studying with Arban himself than with this book, it is truly astounding.
You can see the supplemental material that goes with the first characteristic study in the samples to the left. Porret also included complete markings and dynamics that were missing from the original Arban method, and corrected errata as well.
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Arban starts by focusing on tone (Studies 1-10), a necessary part of playing any instrument. Next (11-50), guides the readers with fingerings, develops the range and insists on the habit of being precise while attacking notes.
He dedicates exercises to syncopation, from a simple quarter-half-quarter rhythm to a sixteenth-eighth-sixteenth repeated rhythm, as well as in the dotted eighth-sixteenth and eighth-double sixteenth rhythms.
Now that Arban has taught the student his or her basics and instilled within him or her all the best of playing habits, he integrates these into performable songs. These include his popular etudes:
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Undergraduate Concentration: (Education, Jazz, Theory, Composition, History Majors) Galliard - Sonata No.1; Hutchinson - Sonatina; Rochut - Melodious Etudes (any etude in book 1); any solo from the performance major list below; all major scales. Please note that the works listed are only suggested pieces. Standard works of comparable quality may be substituted with prior approval of the euphonium faculty.
Graduate Euphonium: In addition to the admission requirements to the Toulouse School of Graduate Studies, all students must qualify by audition for acceptance into graduate performance programs in the College of Music. Both on campus auditions and off campus auditions are scheduled in January, February, and March of each year. A live audition is recommended for entering graduate performance students. Admission via audio or video recording may result in provisional acceptance into a graduate performance program and will require a live audition as a part of the jury at the conclusion of either the following fall or spring semester.
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