Hello... Looking for advice on music to try next

Discussion in 'Introduce Yourself' started by davidf, Dec 2, 2016.

  1. davidf

    davidf New Member

    Hi everyone

    I've been playing Euphonium for about a year now and am playing in our local 3rd band. enjoying reading the forum's and getting inspired

    I've just finished the first book in the Look Listen and Learn series and wondering if anyone has any advice on good books to try next in addition to playing the pieces I play in our band. I've got a solid background in music already (I did grade 7 piano when I was younger), so I'm happy trying something that might be a bit tricky and working up to it. And if it helps in your advice my current range is about 2 octaves from the g below middle c upwards

    Thanks in advance

    David
     
  2. TrumpetNick

    TrumpetNick Member

    The Arban Book. Every decent piston brass player has gone through it. Be aware - it is a big book.
     
  3. davidf

    davidf New Member

    Thanks, had a look tonight and it looks like a great book to work through. I only read treble clef, am I right in thinking the versions for trumpet (such as this one on Amazon UK) are still suitable for euphonium?
     
  4. TrumpetNick

    TrumpetNick Member

  5. Tom-King

    Tom-King Well-Known Member

    Arban (already mentioned) is excellent, and though methodically laid out does little to help with what or how to practice - it is, rather, a manual of suitable exercises for a teacher to prescribe (or for an experienced player with a flexible routine to choose from).

    Claude Gordon's "systematic approach" is a cracking book, with lessons laid out for you with suggestions of supplementary exercises - however, to get the most out of it, you need either supervision or a good deal of self honesty and self criticism (IMHO).


    I don't think one can have too many books - with enough time and practice, you find what does and doesn't work for you.
    Ultimately, good, consistent playing comes down to building the right underlying habits, and that takes time no matter what and how you choose to practice - lessons (even if little more than a critical ear and confirmation that you're doing it vaguely correctly) are useful, even if you can't (or don't want to) commit to them regularly.
     
    Last edited: Dec 3, 2016
  6. TrumpetNick

    TrumpetNick Member

    I use arban as would use a Fake book - I decide first on what I want to work on and then just find an exercise in Arban that's suitable for that purpose. I bet you will find an exercise for whatever you need to work on. You can just start from page one and go through, but that is not really wise. Arban is best served with a seasoned teacher.
     
  7. Tom-King

    Tom-King Well-Known Member

    Exactly.
    If you're taking lessons, and you take it with you, a teacher has everything they could need....
    If you don't know where to start, it won't help a jot with structuring practice sessions.

    On a personal level, I mix and match from 5 or 6 books regularly (and rarely arban)... But I know what (for me) I need to get into consistent form.
     
    2nd tenor likes this.
  8. davidf

    davidf New Member

    Thanks all, that's really helpful. I hope to get some lessons next year although cost is a bit of an issue. Up to now I was having lessons with an experienced player at the band. These books look like they are a way to help me structure my practise sessions, when I was doing piano I placed a lot of value in good technical exercises as well as learning pieces, so these will be great,

    Thanks again

    David
     
  9. TrumpetNick

    TrumpetNick Member

    I tried different formats as far as structure is concerned. The most optimal IMHO is to do a first 30 min on long tones, slurs, lip trills with exhaling the notes, no staccato articulations, starting from middle G and expanding in both directions with no overblowing, dynamically speaking between mp-mf and frequent short breaks (every~5 min-20-30s rest, every 15-20min - a 1 min break) Once I've done that, I work on articulations, pieces/tunes or extreme dynamics.
     
    Tom-King likes this.
  10. Tom-King

    Tom-King Well-Known Member

    Agreed, great advice :)

    I think personally I rest a little more than that. CG suggests resting as much as you play, that's a little excessive (for me), but there does seem to be merit to resting a little more than I *feel* I need to.

    I do about 30 mins on long notes and flexibilities, not including rests, then move on to other things.
    Irons 27 groups book is great for this part of practice - the first few groups (starting comfortable tempo, then repeating a whole group noticeably slower) always, then groups 6, 7, 8 always, then rotating through progressively harder snips of the rest (or others, particularly Charles Colin, sometimes Arban or Saint-Jacome... There are loads more out there, several on my Xmas list!).

    After that it depends what I fancy doing (which is hardly the best approach but nevermind), sometimes some Clarke studies (I love the characteristic studies, the technical studies book is probably the more useful though), sometimes music that needs working on for band and sometimes solo's (slow melodies for tone and control, air varies for applying technique).



    For a player who hasn't had the experience of trial/erroring this to find their personal routine - a collection of useful books and a good teacher is a massive advantage, not every teacher will push you to do so unprompted but any worth their salt will be able to help find exercises that help you.
     

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