5

Introductory Remarks
   

This new edition of the Arban Method for Trombone brings and
the book into the twenty-first century by updating much of the
original language (syntax) and by adding techniques in current
use such as various slide techniques, alternate positions, soft 2
double/triple tonguing and some F-attachment positioning. and occasional articulation effects:
    

The Arban book first published in 1864 for cornet, was
revised for trombone in 1936 by Simone Mantia and Charles

e
Randall, both well-known players and teachers of their day.
For over seventy-five years it has been a major text for the 1 3 1 3 1
trombonist. The terminology used by Mantia and Randall distinguishes

Several of the original pages have been herein reproduced
for their historical significance as well as for their content.
All corrections and additions for this edition appear in italics
throughout the book. The original text by Arban / Mantia /
Randall appears in regular (non-italic) print.
The comprehensive nature of the Arban book has been
l
between slur and legato in the following manner: Slurs are lip-
slurs; legato means light tongued attacks without breaking
the flow of the legato. When slurs are written over staccato
markings, the notes are meant to be light-attacked legato.
Play “ta” for the initial note and “da” for each successive note
within a phrase, taking care not to put any space between the
notes. The end of one note should be the beginning of the next.

preserved. Some exercises, etudes and solos which were
eliminated in the original transfer from the cornet/trumpet
method to the trombone method have been replaced.
Sections have been expanded (i.e., scales, arpeggios), and
new sections have been added (i.e., slide drills, contemporary
forms of double and triple tonguing). Alternate positions
have been updated and expanded. Sometimes F-attachment
positions are given to facilitate awkward slide movements.
Trombone slide positions are marked above the notes.
p
Supplementary Material
The Arban book is comprehensive. It covers most
everything pertaining to a player’s technique. Additional
material, such as longer etudes, studies in phrasing and legato
playing, special jazz techniques, and advanced solo playing,
may be found in the following Carl Fischer publications:
Classic Vintage Studies for Trombone (WF4). A compilation
of methods by Ernest Clarke, Otto Lange and Simone Mantia.
Melodious Etudes (O1594X). Vocalises by Marco Bordogni

m
F-attachment slide positions are marked above the notes (V =
valve). Baritone valve fingerings are marked below the notes. Trombonisms (O5130). Jazz techniques and articulations
Baritone (euphonium, valve trombone) players will not find
as many valve fingerings as there are in the Arban book for Coloratura Arias for Instrumental solo (WF25). Famous arias
trumpet. He/she will do well to learn the valve combinations in their original keys
as they relate to trombone slide positions and then to choose STOP and REST: Many exercises throughout the book

a
or discard the slide position suggestions throughout this book. appear to be non-stop, going on for line after line with no
The relationships are as follows: provision for breathing. Stop at any point along the way, take a
1st position = 0 (open) short break, breathe, rest etc. and then continue where you left
2nd position = 2 (2nd valve) off. The break will also refresh your concentration when you

s
3rd position = 1 resume. Do this often.
4th position = 1 and 2 or 3 ENDURANCE: You will best increase your endurance by
5th position = 2 and 3 stopping just before you get really tired, and resting. Don’t play
6th position = 1 and 3 to the point of exhaustion; you won’t be building anything.
7th position = 1 and 2 and 3
“If I have seen further, it is by standing on the shoulders
1
Valve combinations are “stacked,” i.e. 7 position =
th 2 of giants.” (Isaac Newton)
3
Dedicated to the memory of Simon Karasick, Glenn
Note: Most valve fingerings concern the maintaining of Bridges, Buddy Morrow, Gabriel Masson and Bob Brookmeyer,
a specific fingering to accommodate other notes in the same
overtone series.

 
—Alan Raph

 
Examples:
   
Candlewood Isle, Connecticut 2013

1
3

O23X
6
Notes and Track Listings for the MP3 Accompaniment CD
12 Celebrated Fantaisies and Airs Variés
Credits The cadenzas pose a minor problem with a play-along
Pianist: John Walker recording such as this. Generally, I have continued the tracks
Recording Engineer: Dietr Poppen through short cadenzas, and stopped the tracks for the longer
Supervising Engineer: Joseph Firman ones. You should play through the short cadenzas and try to
Recorded on the Fazioli concert grand piano in the Performing meet up with the piano at the end. For longer cadenzas, hit the
Arts Center, Brookings, SD stop button, play the cadenza, then start the next track. There

e
will be clicks to lead into the next section. In a few instances
Acknowledgements the track will continue in silence through the cadenza, then
Dr. Alan Taylor, professor of high brass at South Dakota give re-enter clicks at the end (Fantasy No. 6). There are also

State University for his in-depth knowledge of Arban’s tempos
and style tradition, and road-testing of the finished product.
Dr. Michael Reger and the administration of South Dakota
State University for his in-depth knowledge of Arban’s tempos
and style tradition, and road-testing of the finished product.
Dr. Michael Reger and the administration of South Dakota
l
a few cadenzas where accompanying chords that occur in the
middle or end are omitted (for example, No. 1, after the first
long cadenza). It is just not worth the trouble trying to play
through a long stretch of silence and find a chord at the end
of it.
According to traditional band performances, the interludes
between variations were usually played quite fast, and were

State University for use of the recording facility.
Using This Recording
I hope you will find these accompaniments helpful in
practice, but since there are so many pauses because of cadenzas,
they are not ideal for use in live performance. Each fantasy
is recorded on several tracks so that you may jump back and
forth between variations, or program the CD player to play one
variation over and over. Each track is introduced by metronome
clicks, unless the accompaniment itself leads you in. Tempos
are moderate, and occasionally flexible according to traditional
p
unrelated in tempo to the surrounding variations. That style is
adopted here with no qualms. Every fantasy also traditionally
ends with an accelerando, notated or not, which is also done
here.
The Fantasy and Variations on Actéon (No. 2) is rarely
played because it is written for the A-cornet and Air Varié on
a Folk Song (No. 7) contains many extended cadenzas and,
therefore, this piece has been eliminated from the CD.
—John Walker

m
interpretations. Breaths are taken in the accompaniment where
needed.
Arban’s Fantasies Accompaniment Audio MP3s
No. 1: Fantaisie and Variations on a Cavatina No. 6: Cavatina and Variations No. 11: Fantaisie and Variations on
from Beatrice di Tenda by Vincenzo Bellini Track 26 Andante The Carnival of Venice

a
Track 01 Introduction-Andante Track 27 Andante, continued Track 51 Introduction-Allegretto
Track 02 Theme Track 28 Theme-Moderato Track 52 Interlude, Theme
Track 03 Variation 1 Track 29 Variation 1 Track 53 Interlude, Variation 1
Track 04 Variation 2 Track 30 Variation 2 Track 54 Interlude, Variation 2
Track 05 Variation 3 and Finale I Track 31 Variation 3 Track 55 Interlude, Variation 3- Andante
Track 06 Finale II No. 8: Caprice and Variations Track 56 Interlude, Variation 4

s
No. 3: Fantaisie Brillante Track 32 Andantino No. 12: Variations on a theme from
Track 07 Introduction-Allegro maestoso Track 33 Andante moderato Norma by Vincenzo Bellini
Track 08 Interlude Track 34 Variation 1 – Allegro moderato Track 57 Andante Maestoso
Track 09 Theme Track 35 Variation 2 Track 58 Interlude
Track 10 Variation 1 Track 36 Variation 3- Piu lento Track 59 Theme-moderato
Track 11 Variation 2 No. 9: Fantaisie and Variations on a German Track 60 Variation 1
Track 12 Variation 3 Theme Track 61 Variation 2
No. 4: Variations on a Tyrolean Song Track 37 Allegro moderato Track 62 Più lento
Track 13 Introduction-Andante moderato Track 38 Interlude
Track 14 Theme-Andante Track 39 Theme0Andante
Track 15 Variation 1 Track 40 Variation 1
Track 16 Variation 2 Track 41 Variation 2
Track 17 Variation 3 Track 42 Variation 3
Track 18 Variation 4 Track 43 Finale
Track 19 Rondo-Allegro No. 10: Variations on a Theme by Carl Maria Weber
No. 5: Variations on a song The Beautiful Snow Track 44 Introduction-Allegro moderato
Track 20 Andante quasi Allegretto Track 45 Interlude
Track 21 Variation 1 Track 46 Theme-Andantino
Track 22 Variation 2 Track 47 Variation 1
Track 23 Variation 3 Track 48 Variation 2
Track 24 Finale-Lento Track 49 Variation 3
Track 25 Allegro Track 50 Variation 4
O23X

Instructive Comments
Compiled from the Original Arban Method
by Charles L. Randall
Holding the Trombone and the Need for Relaxation
The entire weight of the trombone should be sustained
by the left hand. The slide should be freely thrown between
the thumb and fingers of the right hand, using the elbow and
wrist like hinges to lengthen the reach and not forgetting that
the player must learn to throw the slide to the fingertips for the
seventh position. Modern players use no tension in the right
hand, as relaxation will enable a freer system of shifting when
using both elbow and wrist.
Position of the Mouthpiece on the Lips
According to Arban’s personal method of playing, correct
position of the instrument, and particularly of the mouthpiece,
is of the utmost importance. In his own words, he advised that
the mouthpiece should be placed in the middle of the lips,
two-thirds on the lower lip, and one-third on the upper. As he
always stated, this is the position he himself had adopted and
which he believed to be the best.
Danger of Changing the Position of the Mouthpiece
In his further instructions, he dwelt on the fact that some
teachers in his time, just as they still do, make a point of
changing the position of the mouthpiece previously adopted
by pupils, who came under their care. Arban seldom knew
m
of this method to succeed. According to his own knowledge,
several remarkably talented players had attempted what was
called at the French Conservatoire as the “orthopedic system,”
which simply consisted of rectifying and correcting the wrong
placing of the mouthpiece. Arban in his time considered it his
duty to state that these players, after wasting several years in
a
uselessly trying the system in question, were compelled to
return to their previous mode of placing the mouthpiece, not
one of them having obtained any advantage, while some of
them were no longer able to play at all. It is to be concluded
from the above that when a player has commenced his studies
s
faultily, he should, by all means, endeavor to improve himself,
but let him remember that he must not change the position of
his mouthpiece, especially if he has already attained a certain
O23X
7
degree of proficiency. It is a well-known fact that there is no
lack of performers who play perfectly, who are even capable
of producing a most beautiful tone, and who nevertheless
place the mouthpiece at the side, and even at the corners of the
mouth. All that can be advised to be beware of this faulty habit
e
and to remember that no absolute rule for the position of the
mouthpiece exists, as everything depends upon the formation
of the mouth and the regularity of the teeth.
l
Production of Ascending and Descending Passages
As mentioned so frequently in the foregoing remarks,
the mouthpiece, once placed, most not be moved either for
ascending or descending passages. It would be impossible to
execute certain passages if the performer were compelled to
change the position of the mouthpiece whenever he wished
p
to take a low note after a high one in rapid succession. In
order to produce the highest notes, it is necessary to press
the instrument against the lips, so as to produce an amount of
tension proportionate to the needs of the note to be produced;
the lips being thus stretched, the vibrations are shorter, and the
sounds are consequently of a higher nature. For descending
passages, lower sounds are obtained in proportion to the extent
to which the lips are opened.
Action and Position of the Lips
The lips must never be protruded. On the contrary, the
corners of the mouth must be drawn down, enabling a freer,
more open tone production. When the lips begin to tire, the
performer should never force his tone. He should then play
more softly (piano), because with continued loud playing, the
lips swell, and at last it becomes impossible to emit a note. The
performer should cease to play the moment the lips begin to
feel weak and fatigued; in fact, it is folly to continue playing
under such circumstances, which are liable to lead to an
affection of the lip and take a long time to cure.
8
Striking or Commencing the Tone
To start the tone, the tongue must be drawn back as one
would when trying to throw off a small seed; at the same time,
the column of air must be allowed to go forward, and, in doing
so, the lips will vibrate and cause tone production. Returning the
tongue instantly stops the air and produces a short note known
as staccato in musical parlance. This attack may be as sharp
and decided or delicate and reserved as occasion demands. For
a trombone-sized mouthpiece, it is a very practical attack, and
it should be observed that a pencil or finger held vertically
against the lips is barely touched with the tip of the tongue.
It should never be lost sight of that the expression coup
de langue (stroke of the tongue) is merely a conventional
expression; the tongue does not strike, but on the contrary it
performs a retrograde movement and it simply supplies the
place of a valve.
The circumstances should be well borne in mind before
placing the mouthpiece on the lips. The tongue ought to be
placed against the teeth of the upper jaw in such a way that the
mouth should be hermetically sealed. As the tongue recedes,
the column of air which was pressing against it is precipitated
violently into the mouthpiece and causes the sound.
Method for and Regulation of the Breathing
After the mouthpiece has been placed against the lips, the
mouth should partly open at the sides, and the tongue retire
in order to allow the air to penetrate into the lungs. In doing
this, the lower part of the body (the abdomen) must not be
m
allowed to swell, but, on the contrary, must rather recede in
proportion as the chest is dilated by the respiration. The tongue
should then advance against the teeth of the upper jaw in such
a way as to hermetically close the mouth, as though it were
a valve intended to keep the column of air in the lungs. The
instant the tongue recedes, the air which has been pressing
a
against it precipitates itself into the instrument and determines
the vibrations which produce the sound. The abdomen should
then gradually resume its primitive position in proportion as
the chest is lightened by the diminution of the air in the lungs.
The breathing must be regulated by the length of the passage
s
to be executed. In shorter phrases, if the breath is taken too
strongly, or repeated too often, it produces a suffocation caused
by the weight of the column of air pressing too heavily on the
lungs. Therefore, as early as possible, the student should learn
to manage his respiration so skillfully as to reach the end of a
long phrase without depriving a single note of its full power
and firmness.
O23X
All of the foregoing by Arban/Randall is as originally
stated with the exception of Production of Ascending and
Descending Passages. Here the last two sentences have been
edited.
An illustration of ascending and descending passages is
as follows:
For higher notes:
1. Blow faster
e
2. Change the syllable “ta” becomes “tee”
3. Pucker the lips toward the center
l
For lower notes:
1. Blow plenty of air to support the sound
2. Change the syllable “ta” becomes “taw” or “toe.
3. Open the mouth (drop the jaw)
Do not simply relax the embouchure; you’ll lose the note.
p
Loud vs. soft:
Loud:
1. Open the mouth and use a large volume of air.
2. Attack the note and back off a little. The attack needs to
be the loudest part of the note.
Even a loud mass of sound needs to have character;
the attack calls attention to the note and thereby
gives it character. A loud mass of sound without any
discernable attack soon becomes monotonous (and it’s
hard to maintain).
3. Work in some dynamics, taper the notes, make it
interesting to listen to.
Soft:
1. Narrow the air stream, go for intensity not inaudibility.
2. Unless specifically asked not to; attack the note (never
too soft however, for fear of getting no responsive
sound).
Long vs. Short
1. Long notes start with an attack and have a taper (decay)
over a period of time. The attack calls attention to the note
and the taper keeps it from becoming tedious to the listener.
2. The attack is crucial with short notes. The pitch must be
recognized immediately. The note may be stopped with
the breath but more often and more effectively stop it
with the tongue.
“Ta” when stopped with the tongue becomes “top”
or “tot.”
Good conductors and good ensembles have learned the value
of attacking and releasing together. They have also learned the
effectiveness of silence.
Finally, listen to the best; you’ll learn the most, the quickest.
14
First Studies
 
 @@ 
2nd


5th 6th K4th
According to the special directions provided throughout
this edition by Simone Mantia to master accurate intonation,
some positions must be slightly raised, which is indicated by
a sharp symbol (®). Some are lowered, as indicated by the flat
The(­).
symbol positions for trombone
This process areused
is to be shown above,
when andthe
near fingering forThe
therespective valvepositions for is
instruments trombone are shown
shown below above, and the fingering
the notes.
intervals, instead of shifting distances: for valve instruments is shown below the notes.
6th 5th

   T T T T T T T T T T T T
 @ @  T T T T T T T
1st Pos. 5th 4th 3rd 4th 1st 2nd 1st 1st

e
1.
0 0 0 0 1 1 1 1 1 1 1 1 0 0 2 2 0 0 0
2 2 2 2 6th
T
6th 5th

l
 @ @  Ç Ç Ç Ç Ç Ç T Ç Ç Ç Ç Ç Ç
1st Pos. 4th 2nd 1st 4th 2nd 1st 3rd

2.

Ç Ç
0 0 1 1 2 2 0 1 1 2 2 0 0 1

Ç Ç Ç Ç
2 2 2 2

 @@
1st
Ç
2nd
Ç T
4th 1st 2nd
Ç Ç 4th
Ç Ç T
1st

p
1 1 0 0 2 2 1 0 0 2 2 1 1 0
tu tu 2 2 2

 @ @  Ç Ç  Ç4 Ç2
simile

Ç Ç Ç1 Ç4 T1 T4 Ç Ç Ç1 Ç4 T1
4th 3rd
T T T
3 1 3 3 1 3

3.
3 1 3 1 0 1 0 1 0 1 1 0 0 0

Ç1 Ç3
2 1 1 1

 @@ Ç Ç Ç2 Ç1 T2 Ç4 Ç2 Ç2 Ç1 T2 T1
2 2

T4 Ç Ç4
2

T4
2

T
4 2 1 1

1 2 1 2 0 2 0 1 0 1 2 1 2 0 2 0 1 0
2

Ç Ç
2 2 2 2

T

m
Ç Ç Ç Ç
1

T Ç Ç T3 Ç1 Ç3
3 simile K41
T Ç Ç T1
1

T
1 K4 K4

 @@ 
3 3 3
1 1 2 1 2 3

4.
1 0 1 1

Ç1 Ç3 Ç1 Ç3
0 1 0 1 0 1 0 1 0 2 0 2 0 0

 @@ Ç Ç T2 Ç4 Ç2 T4 T1 Ç2 Ç1 T2 Ç Ç4 T T1
2 1

a
1 1

2 0 2 1 2 1 0 1 0 2 0 2 0 1 0 0 1 0
2 2

Ç1 Ç1
2

  4
Ç Ç Ç Ç Ç Ç T4 Ç2 Ç T2 T1
simile
 @@  Ç Ç T
1

T
3

T
4 1 4 5

s
3 4 3 1 2 1

5.
0 1 1 1 0 0 1 0 1 1 0 0 0
1 1 2 2 2 2 2 2

Ç1 Ç
2 2

Ç T1 Ç T Ç Ç T Ç Ç
 @@ Ç Ç
1

T Ç Ç
3

T
1 2 2 4 1 2 1 3 4 3 4 1 4

T
4 5

0 0 0 2 1 2 1 0 1 0 2 0 1 1 1 1 0 1

Ç1 Ç2 Ç1 Ç

2 2 2 2 2

Ç1 Ç2 T4 Ç3 K Ç4 Ç K4Ç Ç @ Ç1 Ç2 Ç1 T3

3 simile
T2
1

 @@  Ç KÇ Ç Ç4
3 3
1 2 1

6.

Ç1 Ç
1 1 1

Ç3 Ç1 Ç3 Ç2
0 2 0 1 0 2 1 1 0 1 0 2 0 2 0 2 0

Ç1 Ç4 Ç2 Ç1 T1
1

Ç2 Ç4  T5 Ç Ç T2 Ç2 Ç4
2 2 2

 @@ Ç  Ç5
K4 2
4 4 2

0 0 1 0 2 1 2 1 2 1 2 0 1 2 2 1 2 0 1 2 0
2 3 2 3 2 2 2
Copyright
Copyright©©19361982by byCarl
CarlFischer,
Fischer,Inc.
Inc.
All
All right
rightsassigned
assignedtotoCarl
CarlFischer, LLC
Fischer, LLC
ThisThis
edition Copyright
Edition © 2008,
Copyright 2013
© 2013 byby Carl
Carl Fischer,
Fischer, LLCLLC
O23X
O23X International
InternationalCopyright
CopyrightSecured.
Secured.AllAllrights
rightsreserved
reservedincluding
includingperformance
performancerights.
rights.
 Syncopation 29

The correct attack for trombone or any instrument with a larger p. 8. The definition concerning attack as given on this page,
mouthpiece should now be defined again. The syllable “tu” as for middle F and downward, should be carefully followed.
widely urged is not correct. The player should try it himself However, when rising chromatically from F, the jaw gradually
and he will discover that the tongue will strike at the base of closes and then the attack is higher in the mouth and teeth.
the upper teeth. It should not be used for attacks as yet. It will Tonguing lower notes will at some point require the tongue to
andthat theTonguing
teeth. lowerisnotes willdefined
at someatpoint require
of the
hit tongue
in backtoofhit ineven
backbetween
of and even
the between the lips.

  <  Ç<   Ç< Ç<

be found correct attack the one the top and lips.

< Ç<   Ç<

  K 
1.
 @@   Ç   Ç œ 
 Ç<  Ç<    Ç< K   Ç< @   Ç<

e


 @@ Ç œ <   Ç<   Ç< K 
  <   Ç< <   Ç< T

l
< <   Ç< K   Ç<
Ç Ç 

 @@  Ç    @ @ Ç

< <
<
Ç<   Ç<   Ç   Ç   Ç  T<
 @ Ç<   Ç<  

@@

p
2.
 Ç<   Ç<   Ç<   Ç<   Ç<   Ç<
 @@   Ç<  T
@
< <
 @   < < <   <   <  (  ( (  ( Ç
@@ (  (  ( ( ( ( ( ( (
3. (
 <   <   <   < (    <
<   <  Ç

m
 @@ ( ( ( ( ( ( ( ( ( ( ( (
@ (
< < <
< <   < < 
<
  <
<
 (  <   < <    <  (   ( Ç
5

 @   ( ( ( ( (
@ @ ( ( ( ( ( (

a
4.

 < <   < < K4  < <   < <   < <   < <   < <  Ç
K4 1

 @ ( ( ( ( ( (
@@ ( ( ( ( ( ( ( (

s
G < G G < < < < <
<   < <    <  (  <   < <  Ç
  G  
5

 @  
@    ( ( ( ( ( ( ( ( (
S
5.

< <  < < 


 @@ (   < <  <
  <   < <   < < 
G< < G
( ( ( ( ( ( ( ( ( (     Ç
(

    < (  < ( ( <  <  Ç
 @   <   < < ( ( (
1

( ( ( ( ( ( ( (
 < 
6.
 <   <   <   <    <
@ ( ( ( ( ( ( ( ( ( (  <  Ç
( ( ( (

O23X
32
Studies in Dotted Eighth and Sixteenth Notes
As the pitch rises, the jaw closes slightly and the tongue strikes higher on the teeth. Conversely, for low and lower notes,
the tongue may move
the tongue forward,
may move andand
forward, tonguing may
tonguing mayoccur
occur between thelips.
between the lips.

 @                                      
Tempo di Marcia
13.

       
@          œ                  
K4
6 2

e
                  
 @             

l
K4 K4

 œ
1

With thisexercise
With this exercisethe
thejaw
jaw is open
is open andand the stroke
the stroke of theoftongue
the tongue is between
is between the lips.the lips.

   
 @ @                          
Allegro moderato

 

p
  
14.

         K4    6     
 @@                    
K4
6 6

  K4     K4    K4   1  

 @                
K4

    œ
1

m
 K4                     6   
 @@          
K4 K4

 
6

     6          

a
 @@                  œ
 
6 6

s
 @ @  ±            
 1   
± 0        
Allegro

15.
0
     1      
 @@   
± 0 K     K     K 
1

±   
0
    K4  K4    
 @@ Ç Ç             
1

 

          K4   K  1   
 @@ Ç        
1

O23X
38 
Meter
Exercises 28 through
Exercises 38 38
28 through arearetoto be practicedwith
be practiced with a light
a light staccato,short.
neverFurthermore,
heavy or loud.the
Theplayer should
right hand mustalways
be keptthink
free of striking
of never
staccato, tensionheavy
and the
orplayer mustright
loud. The let it hand
glide instead
must beofkept
stopping
free short.
the Furthermore, the player
note as he passes should
it with thealways
slide. think
A freeof right
striking theand a
arm
noteand
of tension as hethe
passes it with
player musttheletslide. A free
it glide right arm
instead and a short, light
of stopping short,staccato are essential
light staccato in developing
are essential technique. technique.
in developing




Allegretto
 G
 @      ± ±   ± ±     ± ±   ±     ± ±
28. @ @ ( 
( (
 

 

e

 G
 @ @    ± ±   K  ±  K   ( ± ± @     ±   
@ ±

l
simile
 
 @ @     ±   K @   ±     ±    ± @    ±     ±

@
5  @  5 @ 5  @  K  @  5 5  @ 
 @     @   @    @ 5
 @@ (  (
5 5

p
5

@ (
J


 @ @    K       ( ± ±     ± ±    G ± ±     ± ±
5
6 6

@ ( (
5 

 
 @    ±      ± ±    G ± ±    ±     ( ± ±
6

@@ (

m
        K4       
Allegro
   1    
 @@  ±     ± ±  
5 K4

 (

a
29.

 K   K4 


               1   
  K 
5 K4

 @@    ±
5 4
6 6 1 1

± ±

s
    @   @     @   1
 @@ ±     @ @  @     @  @ 
 @ ± ± @    K 
5 5 5
1 6

  1 K
  K  4     6 6  
 @@  @   7  K 
 K   ± ± K       K  
5 4

±
6 7

   K4 @       6 1 ¦1         K4 
 @@ ±       ±  
K4

         1     1  
 @@     ± ±        (± ±
K4
6 6


O23X

Studies for the Slur
This section was set forth in Arban’s original method as
one of the most important in the entire book.
As indicated in the first exercise on the following page,
slurring by means of a moving slide in either direction is
done best when playing piano. The breath must be lightened
and reserved, almost entirely held back or the effect will be
a glissando; this would be unfortunate in all cases, except
comedy, or when intended for descriptive purposes.
Good taste demands a very light articulation, just back
of the teeth, at the precise time the note occurs. Care must be
taken to make the tone continuous,
Examples 1 and 2 below should be tried both ways:
first, with nothing but the slide motion, very little breath and
particular care taken to play piano. Immediately after this, try
them with the light articulation back of the upper teeth, using
more power and depending on the articulation to bring out
 @@ @       7 œ œ
7 7
Example 1 @
 @     @ Ç Ç   Ç Ç      Ç Ç T
Example 2  @   @  Ç Ç K   
m
Lip slur vs. legato phrasing
Lip slurs work well when there is a natural lip break
between notes (e.g. middle B­ to middle C). When there is
no lip break between notes a light articulation is required to
a
prevent an unwelcome glissando (e.g. middle Bb down a half
step to A).
Lip slurs upward require three things: 1. Change the
vowel (ta - ee) 2. Pucker the lips toward the center 3. Blow
s
faster (crescendo)
Lip slurs downward: 1. Change the vowel (tee - a) 2.
Open the mouth (drop the jaw) Note: Don’t loosen; keep the
corners of the lips firm and supportive of the tone 3. Blow
faster (crescendo). Yes, “crescendo.” It will enable the lower
note to be more responsive and to speak more quickly.
O23X
45
each note at the exact moment it occurs in the count. Without
a doubt, the player will prefer the articulated effect, especially
as it is so necessary in playing a melody when tonal volume
is important; in addition, the breath is steady, and the tone is
continuous until the next breath is taken.
To produce a beautiful and continuous effect when playing
melodies, slurring up or down from any interval is used when
e
and whenever possible. The only other articulation used is
the legato, which may well be defined by a gentle forward
stroke, back of the teeth. However, the articulation must
l
never be forceful enough to stop the tone. It merely divides
one note from another as in the third measures of Example 1
below. This method of attacking is in good taste at all times
where melody occurs. The player must think of it as a means
of continuing melody where no slur is possible, either when
shifting or sustaining in any position; without it, the singing
tone on the trombone could not exist.
p
   @ Ç œ œ
6
Legato phrasing. Tongue everything with a light
articulation after the initial note. Moving the slide quickly
between notes and articulating immediately upon arrival
is a skill to be acquired. Ta - da is the usual articulation to
practice. This articulation works well for the notes which have
a lip break between them as well as those with a glissando
between them. The “da” articulation evens everything up and
allows for a very smooth legato.
Two and three note slurs (at a moderate to rapid tempo)
sound very clean when the last note is played short. Note
Exercises 12 and 13.

General Instructions for Position
and Movement of the Slide
The slide must be held freely and glide easily.
Remember to strike as the slide passes the note. Freedom
of action and clean playing will result. The player should
Directions for Study of the Scales
Major Scales
It is of urgent importance that scales should be diligently
practiced. Owing to the importance of this branch of study,
scale work has been treated to great length and in every variety
of key in the following pages. One of the principal objectives
71
disregard slurring when continuous and make a habit of a flat
fourth when passing D natural in the keys of B­ and E­.
e
l
1. Tonguing short clear notes while the slide is in motion
Play very short notes using the syllable ‘top’ (tap) or ‘tot’
(tat) for the attack and release of each note.
 @ @  ( ±
to be gained through such study is equality of sound and attack. 7RS7RW

p
Minor Scales
Owing to the fact that the minor scale is naturally less rich
than the major scale, examples of only the tonic and dominant
Make sure that each note has a clear tonality, not just an attack
have been given to offer an idea of its resource.
noise. Clarity of pitch is all important.

Chromatic Scales and Triplets

 @ @ ( ± ( ± ( ± ( ± ( ± ( ± @ ( ± K ( ± Ç »
7RS 7RS 7RS 7RS 7RS 7RS 7RS 7RS 7D
The chromatic scale is one of the most essential scales, and
as its study imparts ease to the manipulation of the instrument;
it has been treated at considerable length in this method. Care
must be taken in its study to the accurate location of the various
positions, in order that all the notes will be emitted with purity

m
In other registers:

 @ @  ±  ±  ±  ±  ±  ± @  ± K  ± Ç »
and fullness
7RS 7D

( ( ( ( ( ( ( (
It would be most helpful (for slide motion) to start with
the six pages of chromatic scales (pp. 100-105), which always
have a half step between notes, rather than the diatonic scales

 @ @ G± G± G± G± G± G± G± G± »
which mix half-step and whole-step distances.

a
When deciding which alternate positions to use, play
as many notes in one slide direction as the beat will allow.
      @  K  Ç
Synchronize the change of direction of the slide with the
following beat to start a new group of notes. Accent the first Maintain the short notes and move the slide evenly

s
note of each group. from first to fifth position and back to first position, tonguing

<
the short notes en route. Note: This is similar to patting your
< <  K  
 @ @       K       K 
3
7 6 5 4 head while rubbing your chest; it’s a knack to acquire.
œ
6 5 4 3 7

6 5 4

@ S  @ @   @   @  K   K  Ç »
Slide Technique
Clean and fast “linear” playing (lines of notes and scales)

   @   @  K   K  Ç
In other registers:

»
both diatonic and chromatic, is a combination of:

1. Tonguing short clear notes while the slide is in motion.

2. Using alternate slide positions to maintain slide direction.
 @@  Ç »
3. Choosing these alternate positions in relation to the rhythmic
structure of a passage.
 @   @  K   K 

O23X
72
2. Using alternate slide positions to maintain slide direction. “Pivot” Notes
3. Choosing these alternate positions in relation to the
rhythmic structure of a passage. Most major scales contain a pivot note, a note which is
gone “out-to” and then “back-from,” keeping the slide motion
Changing direction or acquiring new notes (continuation smooth and eliminating excessive back-and-forth motions.
of a scale or passage) should occur on a downbeat whenever
This note usually occurs at the first ledger line.
possible. You can move great distances if you aim for a downbeat


for the change of direction. Without this you’ll be faced with Keys of B­ and E­ major, it is “D” in b4th position.


(and often discouraged by) an awkward slide motion.

e
Clumsy

 @
@ @  K   K       K Ç » Keys of A­, D­ and G­ major, it is “D­” in ­5th position.

l
@

Easy
Keys or E, A and D major, it is “C®” in ­5th position.
 @@ Ç
@   K   K      »
 

p

Clumsy The scales of B, G, C and F have their own considerations:

                    œ
6 5 4 3 2 1 5 4 3 2 1 4 3 B scale: play middle A® in 5th position


G scale: middle A may be used as a pivot note in 6th position
C scale: middle A is a good pivot note in 6th position
F scale: use D or A depending on the structure of the scale

Easy As the scales progress stepwise there will also be a note

m
<
which alternates:
<
 @ @       K <      K   K   œ
3
6 5 4 3 7 6 5
5 4 4 7 6
In the flat keys (F, B­, E­, A­, D­ and G­) it is middle F
@ S which alternates between 1st and 6th.

 

a
When it s impossible to structure a passage by downbeats,
the next best approach is to use the upbeat (the middle of a
beat).
In the sharp Keys (G,D,A,E and B) it is middle E which
alternates between 2nd and 7th.

s
Example:
1 @ 2 3 4 @ 1 2 @ 3 4 5 6 2 3 4
  K  @  KÇ
QRW 5 1 2 3
Sometimes even this is impossible, and you must change
direction on the weakest part of the beat (the second or fourth
sixteenth note). An F-attachment trombone will usually solve
this problem; otherwise, it will have to remain an awkward
(but playable with practice) passage.
Example:
 
Recognizing the “pivot” note (and the “alternating” note) will
help in quickly structuring a particular linear passage.
In order to gain speed and accuracy in slide movement, it
would be advantageous to practice the six pages of chromatic
scales first (pp. 100-105) and then come back to work on the
diatonic scales. This will help keep the slide motion smooth.
ZLWK
)DWWDFKPHQW

 @ @   K      K        
1 7 6 5 1 ! 6 5
K2

 K   

O23X
 73
Major Scales
For Example 1, think of a moderate tempo; strike the same All of the slurs in this section are optional for the slide
number of notes on B­ as there are in the first two measures. trombone. When playing them, however, play the last note of
This will set a standard to judge by when playing the scales as the slur “short.”
they areA
 llwritten. Evenin tonguing
this sectionand
are shifting
optional make
for theaslide
pleasing

 
of the slurs trombone. When playing them, however, play the last note of the slur “short.”

     
effect which will result when tongue and arm are more intimate.
 @         
K4

œ    œ   œ
6 2 1

@  
1 1



K4  K4   K4     K4

       
 @ @      œ

 œ  œ  œ

e
6

 K4    6      1     6    1 

l
  œ
K4

 @   œ   œ   œ
@

  
Note the alternating "F" in the above exercise.

 @@            2 1 
 
K4

     K4

œ  œ  œ
6


6 1

p


K4 
  K4  
      
 @ @                 1
4


4

œ œ  œ   œ
6 6

     6    1  
  œ
K4

 @   œ   œ   œ

6

@
4 K4
 

m
           
K4

 @@         
        
6 6

 

 simile     
    K4     K4 

 @@       
     
K4 K4

a
 K4    K4  
 @             6       1  
K4

 
6

@
1

s
 
   
         
K4

           
@ @     
          
6



        simile    
  K4   6         K4   
 @             
K4 K4
6

@
 K4       K4   6
 @@                       6     
K4 K4 1 K4


6

 6 
 @@       1       1                1    œ
6

O23X

Ornaments
The Gruppetto (or The Turn) Consisting of Four Notes
The first twenty-three studies of the following division are
especially intended to prepare the player for the execution of
the gruppetto, or turn, which is a collective Italian term, for a
group of grace notes to surround, as it were, a fundamental note.
These studies should be practice slowly, in order to accustom
the lips and fingers, or lips and slide, to act in perfect unison.
It is, therefore, necessary to pay as much attention to such a
111
which, as he stated, is the only correct method and which
should be carried out in this way on all degrees of the scale. As
he said, such players find it more convenient to use a simple
movement of the lips, which obviates the necessity for moving
their fingers, as though it were not more natural to produce the
true notes by employing the valves, or in the case of the slide
trombone, the slide. Some players pursue this practice still
further, even executing triplet passages, through movements

e
group (above or below) as to the note which it surrounds. The of the lips instead of using the valves or moving the slide of
four-note gruppetto is used in two different ways: 1) ascending, the trombone. As an illustration he adds a passage which, with
and 2) descending. Ascending is written and played as follows: the aid of valves should be played as follows:

 Ç 2A     

l
 @@  Ç 2 œ  @ œ ±(  
A
œ @@
   
 @ @        K     K 
Ç    
Effect:

 @ ǝ   @
@ œ œ

p
instead of merely employing the lips, which would result in the

             K @ 
following effect:
The sign for the ascending variety is turned upwards, indicating
that the group should be started with its higher note. Such a
 @ œ ±(   
group of grace notes may be either major or minor, according @@
  K         
to the tonality of the piece.
K     K     
The second variety of the gruppetto, descending, is written
 @  
@@
*
and played as follows:

Ç
 @@  Ç 
*
 œ

m
*
œ

The Gruppetto (or Turn) Consisting of Three Notes
This variety of the gruppetto is also used in two different
ways: (1) ascending and (2) descending. In either case they
Ç  
 @@  Ç 
Effect:

œ
may consist of a minor or diminished third, but never of a
  
œ major third. This variety is written and played as follows:

a
Andante
 @  K   Ç  œ    Ç  œ
@@
Here the sign is reversed, turned downwards, denoting that the
first note of the group must be started with the lower note. This
lower of the four notes should always be at the distance of a
 
 ( 

s
Andante

half tone from the note which it precedes, and any necessary
accidental for such a purpose is always placed beneath the
 @@  
±
    ( ±
sign.
@
In his original Cornet Method, in the course of explanations
for the slur, Arban points out an intolerable defect, as he calls
it, much affected by players who use the so-called lip-trill, and But they should be executed in the following manner:

 @ @  K   Ç  œ    Ç  œ
in this article, he alludes to the manner in which such players

 @
execute the gruppetto, calling attention to their manner of playing

 @ @  Ç    œ Ç  K  œ
 

 
 (        
Andante

   Ç   K  
 @@  
± ( ±
 @@  Ç @
instead of playing
œ œ
*on the other hand Andre LaFosse makes good use of the lip-
break turn.

O23X
114

Preparatory Exercises for the Gruppetto

These studies present the best exercises for legato tonguing (in back of the upper teeth.)
These studies easily present the best examples forlegato tonguing (in back of the upper teeth).

 @  ±  K     K        K       K      
6

1. @   

 @ @   K        K        K        K       Ç
6 6

  

e
 @ @ @ @ ±  K     K         K         K      
6

@@@

l
 @ @ @ @   K         K        K         K       Ç
@@@ 

 ±                                       

p


                           Ç


 @ @ @ ±  K     K         K         K         K      
@@

m
 @ @ @   K      
@@   K         K       Ç

   ±                                

a
                                      Ç

s


 @ @ ±  K     K         K       
 K 
    
@

 @ @   K         K         K         K       Ç
@

     ±                               
5

                                         Ç
O23X
136
Short phrases may be joined together.
Short Etudes
Ç
  Ç   Ç   Ç Ç   Ç Ç  
Andante con spirito
 @@ Ç Ç   K 
44. @@@ ( ( (

K  ( 
 Ç Ç
K  K ( 
Ç

 @@ Ç   Ç Ç Ç
@@@ Ç  (
crescendo poco a poco J
  Ç Ç    Ç K Ç   K  

e
1
4

 @@ @  K  @  K  Ç Ç @  (  ( 
@@ (

l
Ç 

J J

 @@ @ K   K  @ Ç K@  K         Ç  
@@ (  Ç (
Ç Ç Ç
J 
 @@ @ Ç   Ç   Ç

  Ç
rall.

@@ ( Ç   K   œ

p
(

  
Allegro moderato
•  Ç       •@    • kG  
 @    •      ± 
45. @ (
  •    •K         K      Ç     (   (
 @@ ± ± ( ( (

m
 @@  Ç          K         
   K (    (   ( 
5

 Ç  •     •   Ç       •@    • 
 @ K   

a
 
( ± (   • 
@
  •    •K     
 @@   ±   kG        Ç 
6

± K  ±
rall.

s
Alternate positionsfor
Alternate positions forlip-breaks.
lip-breaks.

  K   Ç K4  K  
Andante con espressione
K   K     Ç 
(     Ç  œ
6

 @@  ( ± ( ± Ç
6

(
5 5 5

46. @ ( ( ± ± (
  K  5 K  
 @ @   ± K   ±  ( Ç (± (± Ç   @
( K ( ± ( ± K   Ç G  
7 5

( K  ±   ±
1

@ ( ( ( (Ç
  K    K   Ç K4  K   1 5
K  ( ±  @ ( Ç   Ç œ
4

( 
6

 @@ (± (± Ç
5 6 5

@ ( ( ± 

O23X
152 The Mordent
J 
   @      @      
:ULWWHQ 3OD\HG 3OD\HGRQWKHWURPERQH
The mordent starts on the beat of the main note and is
accented. A trombone lip-break in the same position
willmain
as the bringnote
this about. this (ex077.pdf)
Example
will bring about. Example:

  J  J
*
 @  J  J J
 
  J  J J
  
Allegro moderato

@ 
         
 @@                                      
K4
81.

e

J J J J 
 @    J   J  J
 J
 

l
@   
           
 @@            
K4

  
5 5

  
J
K  J  Ç J J

p
 @ @ J   J J
  J    Ç
   Ç
 @      K              
K4
6 6

@  Ç

J  J J J  J
 @@       J 

m

               5         
K4

 @@     
6
82.

J J

a
 @@  J  J  
 J  J  
            K4         
 @@     

s
J    J  
1

 @ @ J  J   J  J
2

  
 @ @                     
          

J
 @ @ J  J  J    J  J  

                  

 @@    
* Exercises 81-83 show different types of mordent-like embellishments. The basic mordent is shown and explained in the text
and examples at the top of the page.
O23X
156
Intervals
Interval study should be assiduously carried on with care not to
alter the position of the mouthpiece, in order to pass from a low
to a higher note, or from a higher to a lower one. By observing
this rule, the performer will acquire surety in taking the note
and great facility of execution. Practice of Exercises 1–7 will
Set for the highest note before starting each exercise. Work to play
develop strong muscles. The student should make no change in
embouchure and use an open jaw for low notes. It should also be
noted that the position of the tongue is higher in the mouth for
higher notes, that a deliberate tempo is to be maintained. Set for
the highest note before starting each exercise. Work to play each
lineeach line
(with its(with its repeat)
repeat) in one breath.
in one breath.

  
2 5

 @ @                Ç
6 6

 
6

1.
 
                   

e
           Ç
 @@ @ @ 
2

   
5 5

@@@   
                    

l
      
              Ç
                    

 @@ @                 Ç

  


p
@@                     

       
 
            Ç
                    
       
 @ @                               Ç
  
@

m
  
                                           Ç
7 7 7

     K4  5 
 @                               
 
6

Ç
K4

a
6 6 6

       5 4 5 
 @ @ @ @                             
 Ç
K5 4 5 5
6

@@

s
     2 K4  

                          
 
2

 
3

  Ç
K4 2
4

              Ç
 
 @ @ @                         
3

@
   2 3 3  
 
                             Ç
     
3 3
2

       
            Ç
 @ @                     
1

O23X
 166
Octaves and Tenths
Exercises 8, 9, 10 11 and 12 are very beneficial for slurring wide
intervals which may occur when playing a difficult melody
where the note cannot stop and the melody does not permit
help through the use of a “ta-e,” as the back of the tongue rises
slightly for “e” at the moment the note occurs; the first measure
of Exercise 8 should be taken for a trial, and using “ta-e” on the

 
of a new attack on the upper note. Many young students find

two slurred notes in octaves. Set for the higher notes.
4  T 4 6
Set for the higher notes.

 @@     
8. @     

K    T   4    3
 @   
7 6 6

@ @ K      

e
T2 6 4   K  2 T    


l
 @   K     
@@ 
4    4 T
 T   
 @@       
@

p
 4  4      4   4
 @@           
6 6

       
9. 
  4   4    6 4 T
 @@  
6 6 6

         

 4   3  K 
 K  4 6 4  K  @ 
    K

m
 @@    K      K  @ 
4     4   K 7    K   @   
5

 @@
4 4

       K    K @  

a
4 6 4         
 @@            
6 4

       

s
  4   4      T
 @@ 
6 6 6 6 4

          


 K   4 K 
5


4

 @ @
   K  
        K  
10. @
  K    
 @ @       K           K         
4 4 4
6 6

@ K 
  4     4  Fine
 K 
7

 @ @           K          
6 6

@ ±

O23X
174 Studies for Sixteenth Notes
In order to arrive at perfection of execution, these exercises
should be played with scrupulous attention to time and rhythm,
due regard being given to the articulations therein indicated.
The performer should begin slowly and only increase the
great a rapidity of execution does not always impart to the
performance the brilliancy expected. Precision and regularity
are the real foundation to perfect execution. Two-note slurs:
Play the second note short. Three-note slurs: Play the third

  6       
speed when he has become familiar with the exercise. Too note short.

        
Two-note slurs: Play the second note short. Three-note slurs: Play the third note short.
 @        
28. @       
         4          1   4 
 @@             
simile

e
    4 
         4 
     1   

 @@                   
1 4

l
Ç     1  4         
           
 @@ 
6

  
 @     

p
@
 @@                                         Ç

           

29.
 @@@  
    
      

m
 @@    
@
     
 @@
@

a
    
 @@
@
           
 @@                     

s
@

 @    
   K              

30. @      K         

 @ @  K            K                           
 
simile

   K    @ 
 @ @  K                     K            

    K          K       K           
 @@     K           

O23X
O23X
200
Double and Triple Tonguing
This page is important and needs to be read carefully.
It goes beyond the original Arban concept of double/triple
tonguing and into the contemporary use of such articulations.
The next section (pp. 203-247) is for double and triple
tonguing. The original Mantia/Randall wording remains intact
(with a few syntax changes).
Practice double tonguing as set forth in the Arban pages
Once “Ta ka ta ka” (and “Ta ta ka Ta ta ka” for triple
tonguing) has been learned, a softer form of double and triple
tonguing may then be worked on. “Da ga da ga” (“Da da ga
Da da ga” for triple tonguing) will allow more speed and less
percussiveness to the attack. It is a good legato articulation.
Finally, the articulation “Da dle da dle” (“Da dle da Da
dle da” for triple tonguing) is a very fast and super-smooth
articulation, used profusely in jazz. “Da dle” tonguing allows

e
using “ta ka” (rather than the former “tu ku,” which was
the mixing of double and triple rhythms with none of the
confusing). A group of four sixteenth notes is articulated “Ta
tongue-tied-ness that the other two forms of double (and triple)
ka ta ka” (the uppercase “T” signifies the natural downbeat
tonguing (“Ta ka” and “Da ga”) often fall into when mixing

l
accent).
duplets and triplets. It is a good articulation for playing jazz
Go through the following pages and learn the technique(s). improvisations.
In trying to match the “t” and “k” articulations, it will be
There are studies for these forms of double/triple tonguing
helpful to first use the syllables “ta kya” rather than “ta ka.”
outside of this book. One source would be Trombonisms, a
The “kya” allows the back of the tongue to articulate farther
Carl Fischer publication (05130).
forward, thereby shortening the arc formed and allowing

p
better definition. As speed is increased, the “y” is dropped, but
the tongue will remain in the better position.

Double Tonguing

m
This kind of tonguing is of great assistance in the playing
of rapid scales and arpeggios. In order to execute this with
precision, it must be practiced slowly, attention being paid to
As will be seen the tongue performs a front-and-back
articulation.
After having practiced all the studies connected with this

 @       
matching one note with another.
kind of articulation, recourse may then be had to the scales and
arpeggios. These should be executed by employing the same

a
double tongue technique, so as to accustom the fingers or slide
to proceed in conformity with the tongue.
Start by pronouncing the syllables “Ta kya ta kya ta kya ta
kya.” As control and clarity are accomplished, work on more
speed: Note that “kya” will become “ka”.

s
         
 @ @       ±      ±     ( ±
(Ta kya ta kya ta)
Ta ka ta ka ta

( ± ( ±

 @ ( (

          
simile
  
 @@ ( ± ( ± ( ± ( ± ( ± ( ±
@

 @ @     ( ±      ±
(
     ±      ±      ±
@ ( ( (
O23X
 Triple Tonguing 211
The student should first strive to pronounce with perfect equality, To obtain a really irreproachable execution, it is necessary to

 @              œ »
the syllables: pronounce the syllables “tu-tu-ku,” “tu-tu-ku, tu,”* as has just
7D WD ND 7 W N 7 W N 7 W N 7D
been shown, and not the syllables “du-du-gu, du-du-gu, du.”*
@ These latter, it is true, go faster, but do not detail the sound
sufficiently.**
   
In the following exercises note the use of uppercase (T) and
In order to accomplish the front-front-back tongue motion with lowercase (t) letters. The uppercase “T” reminds the player
perfect regularity, it is necessary to practice slowly, so that the of the natural accent which should be observed on the
tongue, like to a valve, may allow the same quantity of air to escape downbeat(s).
QDWXUDODFFHQWZKLFKVKRXOGEHREVHUYHGRQWKHGRZQEHDWV

 œ  œ

e
 @ @ 7D WD ND 7D WD ND 7D œ  œ
at each syllable.

39. @

l
 @@        œ        œ        œ        œ        œ
@
 @@        œ        œ        œ        œ        œ        œ
@
         

p
 @@       
@ œ œ œ œ œ

 @@        œ        œ        œ        œ       œ
40. @
           
 @@ œ œ œ œ œ œ
@

m
    œ  œ
 @@ œ œ œ
@

 @       

a
41. @ @
     
 @@
@

s

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O23X
218

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O23X
236
The Slur in Double Tonguing

 @  
In order to combine slurs with the double tongue, there is This articulation is obtained by pronouncing the following syllables:

a peculiar kind of pronunciation to employ. It would be
monotonous to be always performing staccatos without
occasional reference to the slur. The combination of the two
occasions a pleasing variety in execution, at the same time it
facilitates the acceleration of the movement.
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WD  D WD ND WD  D WD ND WD  D WD ND WD  D WD ND
The syllable “ta” serves to strike the first note and the syllable “a”,
which comes afterwards, enables the performer, by prolonging the
sound, to slur easily on the second note. The following exercises
may be played as indicated but always with lessened breath where

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slurred notes occur which would produce a glissando. *

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and the articulation would sound cleaner.
O23X
 243
Fanfare Tonguing
Isolated Triplets / Combinations of Double and Triple Tonguing
Ta ta ka Ta (sometimes Ta ka ta Ta) Ta ka Ta ta ka and Ta ta ka Ta ka
The following exercises will allow the player to experiment with different kinds of double/triple tonguing.
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Exercises 136, 138 and 139 offer suggestions.

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O23X
 273
Aria
IURPOtello
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GIOACCHINO ROSSINI

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O23X

Characteristic Studies
These studies put into effect the various techniques covered
in the preceding pages. They are all playable on the slide
trombone and have indeed been played by many fine players.
Soft double/triple tonguing is required, as is light legato
(single) tonguing as well as other forms of attack. The slide
techniques suggested for the chromatic and diatonic scales
in earlier pages are extremely important. The structuring of
linear passages so that the change of slide direction occurs on
a downbeat is crucial to clean playing. These positions may
be “plotted” prior to the actual playing of these studies. Once
structured, they need to be consistently applied and never left
to chance. The player should always know where he/she is
going and how he/she is to get there.
Mr. Arban suggests taking your own tempos and
working on your own interpretation, rather than attempting a
preconceived goal. Louder and faster is not the requirement of
these challenging studies.
The following fourteen studies were composed in order
to inculcate in students an unconquerable strength of will.
They will doubtless be fatigued, especially at the outset, by
pieces requiring such length of breath. Study and experience
will teach them to triumph over this difficulty and will provide
them with resources which will enable them without difficulty
to reach the end of their task. Among the means to this end
offered by almost every composition, the cantabile passages
are to be pointed out, which are recommended to the student to
a m
O23X
s
279
be performed with utmost expression, at the time, modifying
the tone as much as possible. As with the voice, clear tones
may be obtained by widening the lips and veiled tones by
contracting them. This circumstance affords the performer an
opportunity to rest while still continuing to play, and at the
same time, enables them to introduce effective contrasts into
the execution. It is to be repeated that by little artifices of this
kind, and by skillfully husbanding his resources, the artist
e
will reach the end of the longest and most fatiguing solo, not
only without difficulty, but even with a reserve of strength and
power which, when brought to bear on the final measures of
l
a performance, never fails to produces effect on an audience.
These characteristic studies together with the following
solos, of course, are strictly valve instrument studies and have
been carefully revised as such by Arban.
The editors of this work, as well as many other
teachers, have achieved considerable success with pupils by
p
disregarding the printed articulations and substituting for them
the articulations which belong to Slide Trombone described in
the order in which they occur in this work. It is possible if done
musically and does not entirely destroy their character. Every
player should consider his/her own technique and, above all,
play deliberately.
280
14 Characteristic Studies


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O23X
 No. 1: Fantaisie and Air with Variations 311

on a Cavatina
from Beatrice di Tenda
Introduction
by Vincenzo Bellini*
JEAN BAPTISTE ARBAN
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O23X
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