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LilJohnnieC
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 Posted: Sat May 02, 2020 5:56 pm Post subject: The top trumpet books |
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After Arban's what are the top 5 or 10 (whatever number you like) "must have" books? I am thinking mainly of technical/characteristic studies/etudes etc. Thanks all!
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Mt Vernon Bach 37, 43, 72 and 25 (large bore)
Bach NY7
Bach Mariachi
Bach Commercial
Bach 239/25H w/ slides for C and Bb
Bach 181 long model cornets 37, 43, 72, 25 (large bore)
Bach 184 short model cornet
Bach 183 flugelhorn
Bach 3C for all |
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kehaulani
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| Posted: Sat May 02, 2020 6:03 pm Post subject: |
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Ernest Williams
Schlosberg
Charlier
Herbert Clarke
Brandt
Herring
Kopprasch
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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
Benge 3X Cornet
Adams F-1 Flghn
Last edited by kehaulani on Sat May 02, 2020 9:48 pm; edited 1 time in total |
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zaferis
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Posts: 2322
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| Posted: Sat May 02, 2020 6:24 pm Post subject: |
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Clarke
Cichowicz- Schlossberg - Adams
Getchell
Goldman
Concone - Snedecor - Charlier
Bousqet
Bordogni
Brandt
Sachs
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Raya2
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Posts: 31
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| Posted: Sat May 02, 2020 6:59 pm Post subject: |
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Clarke
Thibaud
Goldman
Sachse
Bousquet
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Jaw04
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| Posted: Sat May 02, 2020 8:14 pm Post subject: |
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My Desert Island trumpet books would be:
Clarke's
Irons
Gekker: Endurance Drills for Performance Skills
Augie Haas: Build Your Range
Charlier Etudes
Worlds Favorite Masterworks for Trumpet (includes Saint Jacome, Bousquet, and Brandt etudes)
Rochut/Bordogni (for trombone, good practice reading bass clef) |
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Voltrane
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| Posted: Sat May 02, 2020 9:40 pm Post subject: |
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(Arban)
Franquin
Schlossberg
Stamp
Collins Flexibilities
Flexus
Optional if you have Arban: St Jacome
Edit: it is Colin of course, not Collins! My mistake!By the way I forgot Caruso but it was, in my opinion, supposed By Flexus.
Last edited by Voltrane on Wed May 06, 2020 12:23 am; edited 1 time in total |
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Dayton
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| Posted: Sun May 03, 2020 1:43 am Post subject: |
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One of the other great methods
Franquin
Gatti
St. Jacome
Williams
Etudes
Bordogni
Brandt's 34 Orchestral Etudes
Charlier's 36 Etudes
Sachse's 100 Studies
Smith's Top Tones
Flexibility
Colin's Advanced Flexibilities or Bai Lin
Belck's Modern Flexibilities or Progressive Lip Flexibilities
Technical Studies
Clarke's Technical Studies
Transcriptions
Charlie Parker Omnibook 1&2
Edit: Tried to keep the numbers down, but have to add Caruso's "Musical Calisthenics for Brass" and Schlossberg....
Last edited by Dayton on Mon May 04, 2020 3:33 am; edited 1 time in total |
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RussellDDixon
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| Posted: Sun May 03, 2020 6:06 am Post subject: |
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Herbert L. Clarke Technical Studies
Herbert L. Clarke Setting Up Drills
Herbert L. Clarke Characteristic Studies
Claude Gordon's Systematic Approach
A Tribute to the Teaching & Routines of Bill Adam
The Maggio System for Brass
Charles Colin Advanced Lip Routines
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Seymor B Fudd
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| Posted: Mon May 04, 2020 3:53 am Post subject: |
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| Voltrane wrote: | (Arban)
Franquin
Schlossberg
Stamp
Collins Flexibilities
Flexus
Optional if you have Arban: St Jacome |
+1 for Colin! The complete book, not just the flexibilities kept me going throughout the seventies, eigthies and half nineties+ Schlossberg. Then I added Stamp. Colin seems to be underestimated! (?).
And of course selected parts of Arban.
Today I have a rewarding relations to Laurie Frink (not to mention my faiblesse for the BE...) and Belknap.
Back in the day I used the trumpet schools of James, Berigan - now and then but Colin was great and the main menu.
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Yamaha 6335 RC Schilke 14B
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astadler
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| Posted: Mon May 04, 2020 8:10 am Post subject: |
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| IMO, Clarke Technical Studies, Schlossberg, Charlier, and some sort of Conconne/Bordogni lyrical studies book are essentials, and cover most bases (at least as a classical player; I can't speak to the jazz side of things) in combination with Arban. Beyond that you get into personal preferences or schools of pedagogy that might cover more specific things or talk about them in a different way. As a teacher, those five (including Arban) are the books I would make sure every student has and plays out of on a regular basis, and then from there it would become much more individualized based on each student's needs. |
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TrumpetMD
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| Posted: Mon May 04, 2020 8:49 am Post subject: |
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| astadler wrote: | | ...at least as a classical player; I can't speak to the jazz side of things... |
Lots of good answers on the traditional/foundational side of things. For jazz, my list would be ...
1. Jamey Aebersold Jazz Handbook (Much of this is included in Vols 1, 2, and 3 of the Play-Along Series)
2. Jerry Coker How To Practice Jazz
3. Jerry Coker Patterns For Jazz
4. Dan Haerle Scales for Jazz Improvisation
5. Ken Slone 28 Modern Jazz Trumpet Solos, Books 1 and 2, or any other of the transcriptions books out there
6. Jerry Coker Jazz Keyboard for Pianists and Non-Pianists (If you want to develop some piano skills)
Mike
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Bach Stradivarius 43* Trumpet (1974), Bach 6C Mouthpiece.
Bach Stradivarius 184 Cornet (1988), Yamaha 13E4 Mouthpiece
Olds L-12 Flugelhorn (1969), Yamaha 13F4 Mouthpiece.
Plus a few other Bach, Getzen, Olds, Carol, HN White, and Besson horns. |
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kehaulani
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| Posted: Mon May 04, 2020 9:07 am Post subject: |
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Not as popular a Coker's works, sometimes overlooked, but I found Jazz Improvisation: The Goal-Note Method outstanding.
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"If you don't live it, it won't come out of your horn." Bird
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Jaw04
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| Posted: Mon May 04, 2020 1:54 pm Post subject: |
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| astadler wrote: | | IMO, Clarke Technical Studies, Schlossberg, Charlier, and some sort of Conconne/Bordogni lyrical studies book are essentials, and cover most bases (at least as a classical player; I can't speak to the jazz side of things) in combination with Arban. Beyond that you get into personal preferences or schools of pedagogy that might cover more specific things or talk about them in a different way. As a teacher, those five (including Arban) are the books I would make sure every student has and plays out of on a regular basis, and then from there it would become much more individualized based on each student's needs. |
I think for studying jazz it's important to go off book. Not that there isn't great information in jazz books, but I think anybody learning jazz needs to close their eyes and open their ears. Students need to learn the importance of listening and transcribing, not reading theory and looking at examples in a book. You cannot learn jazz from a book literally and figuratively.
I also think any "jazz" trumpet player should do the same foundational Clarke's, Arbans, Charlier, lyrical etudes, practice that a "classical" player does. |
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TrumpetMD
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| Posted: Mon May 04, 2020 2:10 pm Post subject: |
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| Jaw04 wrote: | | I think for studying jazz it's important to go off book. Not that there isn't great information in jazz books, but I think anybody learning jazz needs to close their eyes and open their ears. Students need to learn the importance of listening and transcribing, not reading theory and looking at examples in a book. You cannot learn jazz from a book literally and figuratively. |
Often these issues are not "yes" or "no", but a matter of degree. Playing jazz requires a foundation, just like it does for classical music. And although there are many ways to acquire this foundation, there is value in learning at least some of it from books.
At the same time, "closing their eyes and opening their ears" is not exclusive to jazz, and is a skill that would help classical musicians as well.
Mike
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Bach Stradivarius 43* Trumpet (1974), Bach 6C Mouthpiece.
Bach Stradivarius 184 Cornet (1988), Yamaha 13E4 Mouthpiece
Olds L-12 Flugelhorn (1969), Yamaha 13F4 Mouthpiece.
Plus a few other Bach, Getzen, Olds, Carol, HN White, and Besson horns. |
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lgt0412
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Joined: 11 Mar 2012
Posts: 462
Location: North Carolina
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| Posted: Mon May 04, 2020 2:40 pm Post subject: |
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| Jaw04 wrote: | | astadler wrote: | | IMO, Clarke Technical Studies, Schlossberg, Charlier, and some sort of Conconne/Bordogni lyrical studies book are essentials, and cover most bases (at least as a classical player; I can't speak to the jazz side of things) in combination with Arban. Beyond that you get into personal preferences or schools of pedagogy that might cover more specific things or talk about them in a different way. As a teacher, those five (including Arban) are the books I would make sure every student has and plays out of on a regular basis, and then from there it would become much more individualized based on each student's needs. |
I think for studying jazz it's important to go off book. Not that there isn't great information in jazz books, but I think anybody learning jazz needs to close their eyes and open their ears. Students need to learn the importance of listening and transcribing, not reading theory and looking at examples in a book. You cannot learn jazz from a book literally and figuratively.
I also think any "jazz" trumpet player should do the same foundational Clarke's, Arbans, Charlier, lyrical etudes, practice that a "classical" player does. |
I totally agree with this! There is absolutely nothing wrong with any "jazz" book, BUT you will never learn anything beyond an academic understanding of Jazz if you only get your knowledge from books.
You could put any number of A/B test subjects in front of me ..... one having learned from books and one from listening/transcribing ...... and i could tell them apart correctly 100% of the time. You can fully learn to play jazz without the aid of a book. You can NOT without the aid of listening/transcribing. (Note i am only talking "jazz" books. Fully on board with EVERYBODY needing the same study of the fundamentals of trumpet playing.)
Part of Jazz ..... REAL Jazz ..... is living it. You can't get that from a book!!
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Jaw04
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| Posted: Mon May 04, 2020 3:32 pm Post subject: |
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| TrumpetMD wrote: | | Jaw04 wrote: | | I think for studying jazz it's important to go off book. Not that there isn't great information in jazz books, but I think anybody learning jazz needs to close their eyes and open their ears. Students need to learn the importance of listening and transcribing, not reading theory and looking at examples in a book. You cannot learn jazz from a book literally and figuratively. |
Often these issues are not "yes" or "no", but a matter of degree. Playing jazz requires a foundation, just like it does for classical music. And although there are many ways to acquire this foundation, there is value in learning at least some of it from books.
At the same time, "closing their eyes and opening their ears" is not exclusive to jazz, and is a skill that would help classical musicians as well.
Mike |
I disagree. I don't mean to get too off topic but please allow me to pontificate a bit. Classical and Jazz are often posed to trumpet students as 2 different styles approached the same way under the same Eurocentric school of learning. Truthfully I think this is wrong.
I think it is a failure to apply conservatory-style pedagogy to jazz. European art music is intrinsically tied to a standardized system of notation. African diasporic styles of music are intrinsically tied to... not that. Oral tradition and communal experiences and self expression. Keep in mind I am not trying to be rigid in definitions of jazz or classical music. I only make such a distinction because I see it as a serious problem from middle school jazz band all the way to university jazz degrees.
Players are either playing something that has some form of communication with the spirit of "jazz" if we want to call it that, or they are sounding like a cheap knockoff. And it has to do with the Foundation that we are talking about here. If you are "thinking" really hard about your scales and resolving to the 3rd and 7th but you lack the FOUNDATION of hearing the music, you will 100% of the time sound lame. And it's not the same thing as a classical performance, because we are dealing with improvisation on a much greater scale than the interpretation of articulation in a symphony, or the choice of tempi in a concerto. Those classical variables and listening skills, which are valuable skills in classical music, pale in comparison to hearing lines in your head while you are in the act of creating them, which is what happens in jazz.
Will getting jazz books hurt a player's development? Actually, yes they can. It causes players to think too hard and not hear and feel. You have to hear the lines in your head. Could jazz books help? Yes. But I think they are not foundational at all and should be introduced only after a player has developed their foundation, as a way to expand their skills. I think "classical" books in which a player learns how to play throughout their range, in all 12 keys, in different modes, read different styles of music, interpret melodies, are more valuable for a "jazz" player than any "jazz" book.
Thanks for reading. Food for thought... |
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TrumpetMD
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| Posted: Mon May 04, 2020 4:08 pm Post subject: |
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As I said, "Often these issues are not 'yes' or 'no', but a matter of degree." For you, this topic seems to be more black-and-white. Maybe we learned to play jazz differently. Maybe we have a different definition of what it means to play jazz. We see it differently, and that's okay. And as such, I think it's okay to leave it at this ... that we disagree.
Mike
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Bach Stradivarius 43* Trumpet (1974), Bach 6C Mouthpiece.
Bach Stradivarius 184 Cornet (1988), Yamaha 13E4 Mouthpiece
Olds L-12 Flugelhorn (1969), Yamaha 13F4 Mouthpiece.
Plus a few other Bach, Getzen, Olds, Carol, HN White, and Besson horns. |
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Jaw04
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| Posted: Mon May 04, 2020 4:54 pm Post subject: |
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| TrumpetMD wrote: |
As I said, "Often these issues are not 'yes' or 'no', but a matter of degree." For you, this topic seems to be more black-and-white. Maybe we learned to play jazz differently. Maybe we have a different definition of what it means to play jazz. We see it differently, and that's okay. And as such, I think it's okay to leave it at this ... that we disagree.
Mike |
Of course it's okay to disagree. That should go without saying. I think it's also okay to hear other perspectives especially when it's something I feel is important. I think this dialogue is productive and might be interesting to other people as well. I think to some degree we all feel an obligation to speak out about things that we care about in an appropriate way. That's what a forum is for. If it's too far off topic of the thread, I'll stop. But I won't stop a dialogue just because we disagree. |
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kehaulani
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| Posted: Mon May 04, 2020 5:02 pm Post subject: |
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Sometimes we just like to hear ourselves talk. 
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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
Benge 3X Cornet
Adams F-1 Flghn |
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jhatpro
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| Posted: Fri Jun 26, 2020 2:21 pm Post subject: |
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Snydecor's Lyrical Etudes
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