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Reviews

Concone Complete Solfeggi

Reviewed by
Mark Nelson
I.T.E.A. Journal, Winter, 2000

Wesley Jacobs has edited another winner in his growing collection of studies and methods designed for the tuba. This edition contains the complete solfeggi etudes of Concone optimized for the tuba through tasteful editing and key transpositions. This complete edition includes the “Thirty Daily Exercises,” “Fifty Lessons,” Twenty-Five Lessons,” “Fifteen Vocalises,” and the “Forty Lessons.”

Many of these exercises are very short and in some cases are abbreviated as to continuing with a similar pattern without actually writing out the notes. The lessons and vocalises are the true strength of the book as they are written in similar styles to the Bordogni etudes but generally shorter and not filled with as many grace notes, gruppetti, and other ornaments. They also lie better in the lower range of the tuba without being so low as to be unclear. The basic tessitura of these etudes is within the bass clef staff and down to a comfortable G below the staff. The ranges are perfect for the BB^b and CC tuba in the “cash register” of the instrument and are not so technically challenging that many high school students as well as undergraduate college students would find them useful and engaging.

There are a couple of minor problems with page turns with the longer etudes that are no worse than any other etude book. Virtually all the etudes are on a single page and spaced appropriately. Of particular interest is that the editor purposefully left out all dynamic indications to help the student interpret the music without too many editorial considerations. As well, the editor suggests each etude be played on a high and low tuba to facilitate performing comfortably in the lower register with a high tuba. I concur that is a great way to become comfortable playing in the lower register of an F tuba, for example.

These etudes are sure to be of interest to many teachers and their students. They also are good examples of the legato playing style that are not as difficult to learn as some of the other repertoire currently available. Use it in conjunction with the Arban Complete Method for Tuba reviewed elsewhere and the combination of technical and lyrical styles go far to develop the complete musician.

Arban Complete Method for Tuba

Reviewed by
Mark Nelson
I.T.E.A. Journal, Winter, 2000

Back in 1996, Encore Music Publishers heralded the launching of a complete Arban method specifically transcribed and edited for the tuba. At the time of the release it received much praise for the completeness and thoroughness of the edition and for the updated pedagogical essays reflecting current tuba practices. It also received its share of minor complaints primarily over note mistakes and poorly conceived page turns. This new second edition corrects those oversights. It continues to be written for the CC tuba fingerings although the music can obviously be played on any tuba. The complete method in this version also has some interesting surprises that greatly contribute to a more thoughtful edition. The primary complaints of the first edition centered around poorly conceived page turns. For those of us who literally grew up on the Thompson/Mantia trombone edition published by Carl Fischer in the 1930s, having to turn a page for such basic work as intervals studies, arpeggios, and gruppetto work seemed a bit much to take for a $50 price tag. The second edition eliminated virtually all of the awkward page turns of the first edition. One exception is the last song, God Save the Queen, of the 150 songs which has an awkward page turn not present in the first edition (and was titled America in the first edition!)

Through creative uses of font size and selective compression of music and text, the second edition was also slimmed down from 396 pages to its current 334 pages without eliminating one measure of music. Secondly, there were some note errors (as there are in the trombone edition) which have now been addressed and corrected. Thirdly, the first edition Characteristic Studies are considered by many to be over-edited with rests for breathing eliminating notes from the original studies. The original notes have been restored in the second edition. Finally, the key and range choices of the duet section in the first edition seemed a bit “muddy” as these choices reflected more of an accurate transcription rather than the need to make the duets sound playable. New key choices of mostly a fourth or fifth above the first edition key signatures have greatly enhanced the playability of the duets and challenge the student and teacher with higher but not impossible tessitura. The addition of a standard fingering chart for both the BBb and CC tuba completes the second edition.

Jerry Young and Wesley Jacobs have listened well to concerns voiced over the first edition and have re-worked many key aspects of the Arban Complete Method for the Tuba to make this second edition a true masterpiece that is sure to stand the test of time. The price is still the same after nearly five years on the market! Save your first edition copies for posterity. They may be worth much on the E-bay auction site in a few years.

Arban Complete Method for Trombone and Euphonium

Review
ITA Journal April, 2002 by Mark Hall

Joe Alessi, Brian Bowman and Encore Music Publishers have teamed up to present a modern, definitive, bass clef edition of this staple brass method, edited specifically for trombone and euphonium. The EMP edition is spiral bound, a big improvement on previous editions, and is handsomely and clearly engraved. It maintains the original format of musical elements, presenting them completely and in the same order Arban presented them; and it maintains the editorial tradition established in editions subsequent to the 1864 Paris original, that of employing modern virtuosi as commentator/editors.

American trombonists are probably most familiar with the 1936 Carl Fischer edition adapted by Charles Randall and Simone Mantia. Here, as in CF's 1982 trumpet edition annotated by Claude Gordon, we get discourse from modern masters on their use and interpretation of the exercises, discourse that modernizes and often supplants Arban's comments. Beginning with the preface and throughout the exercises, each make their own intriguing statements directed specifically to their respective instruments. The information ranges from anecdotes on their own practice as youngsters, to advice that reveals teaching philosophies, to step-by-step instructions on how to practice a particular exercise. Interestingly, they aren't necessarily in agreement on every point. Alessi tends to give detailed instructions on how to practice each section and skill while Bowman's comments are more general and brief. EMP includes "68 duets" and "the art of phrasing" sections, neither of which appears in the Randall/Mantia edition.

Drawbacks? There are some impossible page turns in the "Characteristic Studies," which invites a trip to the copy machine even though EMP expressly forbids such practice on their title page. One alternate position marking is misplaced, and some notes are a bit crowded together. Otherwise editing and presentation are first-rate. Although dated, Arban's commentary on his own Method is interesting and often profound, but EMP gives only one page: a paragraph on mouthpiece position and another on faults to be avoided. The rest must be sought in other editions.

While many fine brass methods have come forth in the last 150 years, none seem to have replaced Arban's Method in its role as the preeminent, biblical, method of methods. The real value in EMP's edition comes not so much from the exercises themselves, but from Bowman's and Alessi's teaching. If you subscribe to their ideas you will find this volume a valuable teaching tool; it is certainly destined to become a historically significant addition to the long linage of Arban's Method editions.

Arban Complete Method for Trombone and Euphonium

Review
ITEA Journal April, 2001 by Sharon Huff

After Encore Music Publishers and Wesley Jacobs produced an Arban Complete Method in 1996 which was edited and transcribed specifically for tuba, euphoniumists and trombonists have awaited an updated and corrected edition of their own. Through the collaboration of Jose Alessi and Brian Bowman, such an edition has now been published. Though there are many desirable features contained in the Alessi/Bowman edition, the most obvious improvement is the spiral bound structure of the book, finally putting to rest the broken spines and loose pages of thoroughly practiced older versions. In addition, this publication restores the sections containing 150 Classic and Popular Melodies and 68 Duets found in the original trumpet edition makes this book the only complete Arban method transcribed for euphonium and trombone players. Furthermore, the section on scales has been expanded to include a larger number of key signatures.

Another drawback of the older Randall/Mantia Arban book for euphonium/trombone is the presence of quite a number of errors of various kinds. Alessi & Bowman have worked hard to correct these discrepancies. Although a few small errors are still present, this new edition is not only closer to being error-free, it is also much easier to read than previous publications. In particular, problems discerning ledger lines in the upper register have been eliminated with the dark, clear print of this book. Also, page turns have been much more thoughtfully placed; and, if a page turn is necessary, the spiral binding enables the performer to accomplish this task with only one hand, unlike the gymnastic adventure inherent with the older edition. Even if a performer was able to accomplish the awkward page turn, there was no guarantee that the page would stay turned, or even that the book would stay on the stand and not end up on the floor! Thankfully, this barrier has now been removed.

Additionally, mistakes found in the original trumpet book have been corrected, such as replacing the word Cadence with Cadenza. Moreover, the error in the symbol for a gruppetto, or turn, has, at last, been remedied. Pictured upside down in the trumpet book as well as in the euphonium/trombone book, this mistake surely must have bewildered more than a few students. Best of all, Alessi and Bowman have included their helpful hints at the beginning of each section, and these provide a wealth of excellent pedagogical material. From multiple tonguing syllables of tah kah tah kah, instead of tu ku tu ku and dah gah dah gah for faster tempi, to the suggestions of using the vowel shapes of oh, ah, and ee, the comments of Alessi and Bowman are colorful, informative, and descriptive. One rather serious problem did exist in this edition: pages 353-356 were partially missing, which includes portions of the Fantasie Brillante. Hopefully, this has been rectified or was merely a one-time fluke. Regardless, producing this edition of Arban's complete method was an exhaustive project of considerable merit. Although the $50 price is a bit daunting, this book does include an additional 133 pages from the previously available incomplete version. And, the editor's comments and corrections provide a definite advantage over the older version. Without a doubt, this publication offers more for the musician and will weather the wear and tear of years of practice much better than its predecessor.

Arban Complete Method for Trombone and Euphonium

Review
Online Journal by John Seidel

I was introduced to Arban's Famous Method (Complete!) in junior high school by the late Raymond Shenk, Principal Trombone and President of the Ringgold Band in Reading, Pennsylvania and Second Trombone in the Reading Symphony Orchestra. As is, or was, the case with thousands of other young players, Arban was the core of my study. I remain grateful to Mr. Shenk for many things, but primarily for helping me build a base of technical skills at a young age that I can rely on to this day.

In my own teaching, I stress the importance of establishing that fundamental core of technique through daily routine practice in Arban's, combined with other technical etudes and studies. I have, of course, heard many fine teachers and players say "Oh, I never use Arban's--it's so unmusical." These statements, coming as they do from respected members of the profession, have certainly given me pause, but it seems to me that any of this stuff is as musical as you make it. Arban can be played musically, and by the same token Kopprasch, Tyrell, Slama, et al can be played quite un-musically. Obviously, Arban was not Schubert or Brahms (do compare, however, No.13 in Arban's Studies on the Slur with the opening of Brahms' Serenade No.2!), but many of the studies do have a readily identifiable phrase structure that lends itself to elementary study of form and how it relates to musical performance. Further, Arban contains those virtuoso theme and variations solos in the back of the book from which the highly regarded solos of Arthur Pryor, Gardell Simons and others are directly descended.

Obviously, I believe Arban's to be a valuable treasure, if not the crown jewel, in the literature of trombone pedagogy. Imagine, then, my delight in learning of a new, expanded edition of Arban with commentary by Brian Bowman and Joseph Alessi, two of the brightest stars in today's low brass world. As much as I liked the old Arban's, it was definitely in need of some work. The commentary by Simone Mantia and Charles Randall, while often amusing and actually not always that far off the mark, is obviously quite out of date. Carl Fischer, the publisher, did try to update the book somewhat by the addition of commentary by Alan Raph, however Raph's thoughts were merely added and did not supplant those of Mantia and Randall.

In this new edition, published by Encore Music, the comments of Messrs. Alessi and Bowman are presented unencumbered by pre-existing editorial material. Both of these gentlemen bring impeccable credentials to the task, and their comments provide wonderful insights into each of their individual approaches to musical and technical matters. While the book is worth the money for these alone, Encore has made a few other improvements as well. First of all, the format is very clean and readable. All of the well-known misprints and typographical errors of the Carl Fischer edition seem to have been corrected, and while there may be some new ones, I am not aware of them. Suggestions for alternate positions/fingerings have been left out completely which in my view, is an improvement. In the Fischer edition, alternate positions were suggested quite indiscriminately. It seems to me that the newer format allows for judicious recommendations for position/fingering choices by the instructor/coach while eliminating questionable recommendations or non-recommendations in places where an alternate position would be a logical choice.

Encore has included some materials which previously were available only in the trumpet book. These include the Duets (fun) The Art of Phrasing (short tunes for musical study), and additional theme and variation pieces at the back of the book. Best of all, the book itself is spiral-bound so as to lay flat on the music stand, a most welcome innovation!

Kudos to Encore Music Publishers, and to all those involved with this project. While the concepts and exercises remain essentially unchanged, this new edition is long overdue. Special recognition is due to Mr. Wesley Jacobs, Principal Tuba of the Detroit Symphony and, according to Brian Bowman, publisher of this volume. While the price is a little steep compared to the Carl Fischer edition (which will still do the job, of course), there are, in my view, some substantial improvements to format and readability, not to mention the commentary of Bowman and Alessi that combine to make it definitely worth the extra twelve or thirteen bucks.