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lrandazz
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Joined: 01 Mar 2018
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 Posted: Tue Apr 03, 2018 4:23 pm Post subject: Question for Private Teachers |
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| Do you find yourself continuously learning new repertoire in the form of method books and solo pieces to expose your students to when they run into problems in their practice, or do you rather adapt the material that you worked on as a student to fit your own student's needs? If you tried both with your students, which method have you found more beneficial? |
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jiarby
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Joined: 08 Jul 2011
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| Posted: Tue Apr 03, 2018 6:09 pm Post subject: |
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They all get the same... old school
Arban, Clarke, Irons/Colin Flexibilities, Rich Willey "Scale Force", Voxman Duets, Sightreading
Haven't had a student that has run out of material yet. |
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Andy Del
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Joined: 30 Jun 2005
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Location: sunny Sydney, Australia
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| Posted: Wed Apr 04, 2018 4:25 pm Post subject: |
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New repertoire will not 'fix' a student's problems. Old repertoire won't either.
Assessing each student's needs, their abilities, interests and level of desire will help inform one of what to suggest the students gets stuck into so they may progress.
After that, they need to go and do some work!
for myself, I am always looking at how to develop my own playing and performing. sometimes this involves new repertoire, or looking at the old in a new light...
cheers
Andy
edited for rubbish spelling. stoopid computa!
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so many horns, so few good notes...
Last edited by Andy Del on Tue Apr 10, 2018 12:37 am; edited 1 time in total |
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etc-etc
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Joined: 19 Jan 2008
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| Posted: Wed Apr 04, 2018 5:53 pm Post subject: |
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| Stay on the first page of Arban for the first six months. |
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iiipopes
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Joined: 29 Jun 2015
Posts: 550
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| Posted: Mon Apr 09, 2018 11:16 am Post subject: |
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| etc-etc wrote: | | Stay on the first page of Arban for the first six months. |
Forgive me for this observation: this comment appears to run counter to the entire purpose of this thread, and the enlightened comment of Andy Del. Correct me if I am wrong.
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King Super 20 Trumpet; Sov 921 Cornet
Bach cornet modded to be a 181L clone
Couesnon Flugelhorn and C trumpet |
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etc-etc
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Joined: 19 Jan 2008
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| Posted: Mon Apr 09, 2018 7:39 pm Post subject: |
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| iiipopes wrote: | | etc-etc wrote: | | Stay on the first page of Arban for the first six months. |
Forgive me for this observation: this comment appears to run counter to the entire purpose of this thread, and the enlightened comment of Andy Del. Correct me if I am wrong. |
Dear iipopes,
Thank you for noticing my comment.
First page of Arban! This idea is taken from the text by Charles Colin who migrated from cornet to trumpet and was told by his trumpet teacher to stay on Arban's first page for the longest time (I believe, 6 months).
In my experience, lack of mastery of the first page of Arban leads to a variety of problems in trumpet playing, and in particular, inability to express musical emotions and proficiency within the constraints of technically simple repertoire.
I witnessed a famous player doing long notes - in an instructional video, no less - and it did not sound good. His specialty is to play fast riffs (and these were OK) but in slow tempo he was not a joy to be listened to - long notes were bland and devoid of musicality.
That is where the true greats stand miles above good, but not fantastic players. Masters of trumpet are musical at any tempo, dynamic, articulation and regardless of what (perhaps simple) tune they are playing:
"Bye Bye Blackbird" - try matching the articulation of Chet Baker;
"Someday My Prince Will Come" - tonal colors of Miles Davis;
"Chinatown" - intonation of Uan Rasey, etc. |
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dr_trumpet
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Joined: 22 Nov 2001
Posts: 2533
Location: Cope, IN
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| Posted: Mon Apr 09, 2018 8:40 pm Post subject: Re: Question for Private Teachers |
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| lrandazz wrote: | | Do you find yourself continuously learning new repertoire in the form of method books and solo pieces to expose your students to when they run into problems in their practice, or do you rather adapt the material that you worked on as a student to fit your own student's needs? If you tried both with your students, which method have you found more beneficial? |
Both.
It is my job as a teacher to find the way to reach the student with the concept or technique we are adding/developing/refining. If I use tried and true texts from the past, they reach many students well. However, not every method works for every student. Sometimes, a different approach, with different literature stated or reviewed in a different way, can benefit. Sometimes a student is a different maturity level and can benefit from materials presented in a unique way. Not every method is right for every student. Not every student thinks or plays in the same way. Not every text or method is best for every student. For those reasons, and for many others, a teacher needs to have more than the tried and true methods in their arsenal of potential teaching tools.
Does this mean lip slurs, Clarke studies, and Arban's have become antiquated? No, all methods and studies are tools, just tools. And, to ignore a new tool is to ignore a potential solution, and that is something we should all work to avoid as teachers.
Just my thoughts,
AL
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Dr. Albert L. Lilly, III DM
Artist/Clinician for Vincent Bach Trumpets (Conn-Selmer)
Principal Trumpet, Hendricks Symphony (Avon, IN)
Arranger/Composer; Lilly Music |
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kehaulani
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Joined: 23 Mar 2003
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Location: Hawai`i - Texas
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| Posted: Tue Apr 10, 2018 9:40 am Post subject: |
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| etc-etc wrote: | | Stay on the first page of Arban for the first six months. |
I read your response to this suggestion but I don't know if you mean to play this page only or to use supplemental material with it.
If it's exclusive, it seems to disregard, in practical terms, today's average student. I don't personally know of one student I've had that would tolerate this.
I do understand the point you're making, but I wonder if you also mean that the same type of development can't also be accomplished with other material, as well. Mixing it up for interest, as it were.
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"If you don't live it, it won't come out of your horn." Bird
Yamaha 8310Z Bobby Shew trumpet
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Billy B
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Joined: 12 Feb 2004
Posts: 6130
Location: Des Moines
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| Posted: Tue Apr 10, 2018 10:16 am Post subject: |
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| kehaulani wrote: | | etc-etc wrote: | | Stay on the first page of Arban for the first six months. |
I read your response to this suggestion but I don't know if you mean to play this page only or to use supplemental material with it.
If it's exclusive, it seems to disregard, in practical terms, today's average student. I don't personally know of one student I've had that would tolerate this.
I do understand the point you're making, but I wonder if you also mean that the same type of development can't also be accomplished with other material, as well. Mixing it up for interest, as it were. |
It's a joke son.
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Bill Bergren |
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Billy B
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Joined: 12 Feb 2004
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Location: Des Moines
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| Posted: Tue Apr 10, 2018 10:17 am Post subject: Re: Question for Private Teachers |
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| lrandazz wrote: | | Do you find yourself continuously learning new repertoire in the form of method books and solo pieces to expose your students to when they run into problems in their practice, or do you rather adapt the material that you worked on as a student to fit your own student's needs? If you tried both with your students, which method have you found more beneficial? |
Solos and etudes, yes.
Methods, no.
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Bill Bergren |
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Pops
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Joined: 14 Sep 2002
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Location: Dallas (Grand Prairie), Texas
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| Posted: Tue Apr 10, 2018 11:03 am Post subject: |
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I have always used the old school books.
Yes I look at all of the new ones and I have added a book or 2 over the last 45 years.
I also write exercises for specific students if the student has trouble getting there with the old school exercises.
Adding twists and turns to our practice makes us better and stronger.
Someone asked if a book was antiquated and the answer is that NO person will ever write the one and only perfect book.
If so then why were more than one book already listed?
If the perfect book is ever written then some composer will push the envelope and we need a few more skills.
For a 7th, 8th 9th grader Arban is great by 10th grade they need to push and expand some things. The range they are asked to play isn't touched at all by Arban. There is a handful that transposed and played up a 2nd, 3rd, 4th...
But 99 out of 100 won't. Things need to be written in a book so they understand it is a standard exercise and not extra credit.
Accept change. It happens.
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Clint 'Pops' McLaughlin
You can always Google me.
50 years Teaching. Teaching and writing trumpet books is ALL I do.
7,000 pages of free music. Trumpet Books, Skype Lessons: www.BbTrumpet.com |
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kehaulani
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Joined: 23 Mar 2003
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Location: Hawai`i - Texas
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| Posted: Tue Apr 10, 2018 11:13 am Post subject: |
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| Billy B wrote: | | It's a joke son. |
Why did he spend another post explaining this, then?
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"If you don't live it, it won't come out of your horn." Bird
Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
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etc-etc
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Joined: 19 Jan 2008
Posts: 6180
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| Posted: Tue Apr 10, 2018 9:44 pm Post subject: |
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| kehaulani wrote: | | Billy B wrote: | | It's a joke son. |
Why did he spend another post explaining this, then? |
No, not a joke. Here is another quote from Charles Colin - the trombonist Tommy Dorsey spent hours every day playing long notes - his tone was fantastic and still he continued working on it all the time. |
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trptcam
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Joined: 24 Mar 2018
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| Posted: Thu Apr 12, 2018 1:17 pm Post subject: |
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I tend to work on the similar technical studies that i've had to become more acclimated towards over the years. Arbans, Clarke, Schlossberg, Bai Lin.
With deep practice, a lot of issues students may have can be remedied with the same standards. |
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etc-etc
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Joined: 19 Jan 2008
Posts: 6180
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| Posted: Sun Apr 15, 2018 7:17 pm Post subject: |
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Having just read in another thread a beautiful interview with Uan Rasey (UR), here is a quote relevant to mastery of Arban's first page:
| Quote: | LM: Tell me about some of the different conductors that you worked with a lot, the composer-conductors, like Miklos Rozsa.
UR: A good conductor, knew what he wanted and knew what to write for the producer, but he couldn't write a wide variety of things. I always thought his romantic sounds lacked something. That's my own personal opinion. He did a fine job, [but] didn't understand, [since] he never played on the road with a band, that some things were more difficult than others. For instance, when you hold whole notes, that's the most difficult thing for a trumpet player or trombone to do. Finally I said, "Dr. Rozsa, give us a couple of minutes so we can] get the blood back in the lip." He said, 'Well, on the third page, you have all the whole notes, you can rest during the whole notes." It's like holding weights, you know, the weights get heavier and heavier but you
can't put them down, you just hold them. But, he was a good writer. |
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