The Arban Method (La grande méthode complète de cornet à piston et de saxhorn par Arban) is a complete pedagogical method for students of trumpet, cornet, and other brass instruments. The original edition was published by Jean-Baptiste Arban sometime before 1859 and is currently in print. It contains hundreds of exercises, ranging in difficulty. The method begins with basic exercises and progresses to very advanced compositions, including the famous arrangement of Carnival of Venice.
Below you will find three of the main sections of the Arban which you can download for free totally legally.
The 1973 Chilean coup d’état was a watershed event in both the history of Chile and the Cold War. What followed was an extended period of social and political unrest between the center-right dominated Congress of Chile and the elected socialist President Salvador Allende, as well as economic warfare ordered by US President Richard Nixon. Allende was overthrown by the armed forces and national police. All hell broke out in Chile which meant a much needed diversion and reprieve for me. This horrendous up-rising allowed the Cavalo family to seek asylum in the UK and most importantly of all, the addition of another scared, small, brown boy to Wordsworth First School. I was off the hook!
Jose could run and I mean really run and he could fight like his life depended on the outcome which it had, back home. However, Jose could not speak a word of English. Now, I had never been any further than Devon at this point and the only Spanish I knew was Sombrero so the obvious answer was to put us together ‘cos we were both a bit odd. To my delight, in 1974-75, Wordsworth First School belonged to Jose and I. As it turned out, my new found ally could provide the necessary muscle and I the brains to ensure both our safety, domination of the playground, dressing up corner
and Mrs Goodwin’s undivided attention.
Sadly, all good things come to an end and by the Autumn it was clear that Jose and I would not be going to the same Middle school in the September of ’75. In fact, after a glorious summer of playing out doors when all the white children had to hide from the sun, I only saw Jose briefly again as teenagers when it was clear his life had taken a very different path to mine and he was entwined with grief, pain, miss-understanding and crime. The last I knew of Jose’s life was from the local newspaper. “18 year old Jose Cavalo paralysed from the neck down after crashing a stolen car.”
Timofei Dokshizer was born on December 13th, 1921 in the town of Nezhin, Ukraine to the family of musicians. He received his initial education at the Glazunov Music College in Moscow under the tutelage of Ivan Vasilevsky. He continued his studies at the Central Music School in the class of professor Mikhail Tabakov. In 1950, Dokshizer graduated from the Gnessin’s Music Institute under the supervision of the same professor. Mr. Dokshizer received his Master Degree in conducting from the Moscow State Conservatory in 1957, studying with Leo Ginzburg.
At age 19, Timofei Dokshizer won the Soviet-Union brass instruments’ players competition and in 1947, Mr. Dokshizer won the International Competition in Prague, which jumpstarted his performance career. From that point on, his profound artistry and creativity set a standard of excellence for other trumpeters to follow.
He frequently toured the USSR and abroad, winning aclaim from critics who praised his timber, beautiful tone, unique phrasing, and filigree technique. In addition to his solo performances, Dokshizer worked at the Bolshoi Theatre of Opera and Ballet in Moscow. Here, he was revered for his brilliant renditions of some of the most difficult orchestral trumpet solos, particularly in Tchaikovsky’s “Swan Lake,” Prokofiev’s “War and Peace” and “Romeo and Juliet,” Khachaturian’s “Spartacus,” and many others.
His Repertoire was incredibly vast and included nearly everything ever written for the trumpet, along with works previously arranged for the instrument, from Bach, Haydn, Hummel, Albinoni and Vivaldi to his contemporaries, Shostakovich, Wainberg, Schedrin, Gershwin and others. Many works performed by Timofei Dokshizer were his own transcriptions, of which there were over 80 along the course of his lifetime. Among these were popular miniatures, originally written for violin, piano or voice by Kreisler, Sarasate, Debussy, Ravel, Rimsky-Korsakov, Rubinstein, Rachmaninoff, Chopin and he often included his own cadenzas for concerti by Haydn, Hummel and Arutiunian. Mr. Dokshizer was responsible for a tremendous expansion of trumpet repertoire, both through his own contribution to the art form and through compositions written especially for him throughout his life.
Nearly a quarter century of Mr. Dokshizer’s career was dedicated to pedagogical work. He was a professor at the Gnessin’s Music Institute and has brought up scores of talented trumpet players. He has left behind invaluable teaching materials. Mr. Dokshizer conducted and adjudicated countless teaching seminars, master classes, international competitions and festivals. He moved to Vilnius, Lithuania in 1990 where he lived until his passing on March 16, 2005.
We believe every child should have access to music education. We are working on a solution to bring free music education to the world that is sustainable. We want to make sure that all young children, adolescents and adults have access to high quality music education. We work with and support music teachers and many non-profit organizations. 10% of all our proceeds go to The Harmony Project. Other proceeds go to sustain our free award winning music educational app BandBlast and help bring music education to underserved communities .
HYS is Hawaii’s only statewide orchestra program for youth, and a comprehensive community resource for orchestral music in Hawaii. Each year, HYS serves approximately 650 students, ages 7-18, from nearly 100 schools on different islands – and from all skill levels.
An unparalleled and comprehensive music education
During the academic year, HYS operates three full-symphonic orchestras and four string orchestras, instructing students who are absolute beginners to the most accomplished young musicians. Education and performance are key elements of the HYS curriculum. During the summer months, HYS conducts two outreach programs: Summer Strings geared toward elementary school children; and the Pacific Music Institute (PMI),a music immersion program for middle- and high-school students from all islands of Hawaii, the mainland, and the Asia/Pacific region. HYS’s commitment to excellence requires students to audition each year for all groups except the two youngest string orchestras, Beginning String Ensemble and Intermediate String Ensemble,and our summer programs. Partial financial aid for registration fees, instrument rentals, and required private lessons assists many students who could not otherwise participate.
HYS learns and plays together and for the community
Typically, more than 16,000 seats are filled at 24 public performances during a regular season. The concert season includes free performances on Oahu and the neighbor islands. HYS also presents free Listen & Learn educational concerts for nearly 10,000 school children each year. These are Hawaii’s only symphony concerts by youth for youth. HYS develops its curriculum around four core values
A Future for Music
“My favorite thing about HYS is allowing me to challenge myself with orchestral music, a thing I cannot do at my current school because there is only a band, not an orchestra.” Leilehua High School string bassist
Why we do it
The understanding that music education contributes to general learning is time-honored and supportable. Music students do better than their non-musical counterparts in math, reading and writing, and on SAT tests. The demands of weekly rehearsals and multiple performances require responsibility, organization, commitment, discipline, self-confidence, poise, and an ability to listen to others. HYS also expects a high standard of professionalism from its participants. HYS fills a large gap in music education for Hawaii’s youth. Though music education has lasting, positive effects on childhood development and learning, the quality of HYS’s music program is not available in most public schools. Few music specialists exist at the elementary schools and only 15% of the state’s high schools offer any type of orchestral program. HYS provides a learning environment that fosters cooperation, communication and teamwork among students from many schools and cultural backgrounds. HYS collaborates with artists, musicians, composers, entertainers and arts groups throughout the state and beyond to give its students musical experiences they cannot find elsewhere. No music program in Hawaii offers as many opportunities to perform in professionally-produced concerts with other musical partners. These performances greatly enhance students’ musical understanding and expose them to a rare spectrum of presentation art forms. “Exposure to classical music has helped me to grow in the way I’ve learned to read and interpret music.” – Kalani High School trombone player
Music makes better communities. In addition to contributing to the cultural richness of society, it is clearly associated with academic and personal characteristics that correlate with developing well-educated young people necessary to preserve and carry forth the well-being of our communities. By bringing together hundreds of youth from diverse backgrounds and schools, HYS’s strength lies not only in its reputation for unwavering musical excellence but in its ability to create common bonds around orchestral music. HYS’s commitment, however, goes beyond training young musicians. HYS gives its students the skills for lifelong learning and the foundation for becoming better citizens. By upholding its tradition of musical excellence, HYS is making a significant contribution to the future of music by developing new generations of musicians, and audiences with an appreciation for their music.
The Hawaii Youth Symphony has been incorporated since 1964 and is recognized by the IRS as a 501(c)(3) nonprofit organization. Our EIN is 99-0119771.
A year could easily pass by without any black player being seen on the concert platform. To be met with an orchestra that is predominantly made up of BME musicians feels like righting the inequalities of years in a single evening.
Chineke! is not the first black orchestra to appear at the BBC Proms, but it is the first from Europe. It was founded less than two years ago by the high-profile double-bass player Chi-chi Nwanoku and its players from across the continent can feel content that they have sailed through their debut at the Proms with their heads held high.
Each item in their late night concert focused in one way or another on black musicians. Cellist Sheku Kanneh-Mason, winner of BBC Young Musician of the Year 2016, was an obvious choice as a soloist and delivered the goods handsomely in lyrical Dvořák and spirited Popper. Soprano Jeanine De Bique sprinkled some sparkle over a trio of Baroque solos. There was music from two black composers: the elegiac Lyric for Strings from 1946 by George Walker and Hannah Kendall’s The Spark Catchers, getting its premiere, which tested the orchestra to the limit with its imaginatively intricate flashes of sound.
All told, conductor Kevin John Edusei should feel proud of his charges. The question is how far and wide Chineke!’s inspiring beam can shine. Earlier, the Royal Stockholm Philharmonic Orchestra had come to visit with a well-planned programme in its luggage. Andrea Tarrodi’s Liguria, written in 2012, made a rather dreary postcard from a colourful resort (was it raining the day she was there?) but chief conductor Sakari Oramo turned up the heat in Nielsen’s Symphony No.2, “The Four Temperaments”. The big draw was the appearance of Renée Fleming to sing two of the less familiar items from her repertoire. She was touching in Barber’s Knoxville: Summer of 1915, mostly radiant in the closing scene from Strauss’s Daphne, and in her two encores the years fell away. The electric silence as she sang Strauss’s “Morgen!” is what the BBC Proms are all about.
Date: 11/30/17 Location: Adler Theatre, 136 E 3rd St. Davenport, IA 52801 Position: 3rd/Utility Trumpet Time: 11:00 a.m. – 4:00 p.m.
Application Deadline: 11/20/17
Service Minimums: Section players must commit to 4 of 6 Masterworks sets and at least ½ of all other “non-masterworks” sets.
Per Service: $79.53 (base scale), 15 guaranteed services (GROUP B)
Meal Per Diem: $10.00
Hotel Reimbursement: $53.00 per night
Travel Reimbursement: $.40 per mile, $.50 if transporting additional musicians
Required Audition Excerpts: TBA
CLICK HERE to download the 2017-2018 QCSO schedule.
Application Procedure: To submit your application, complete the form . After you submit the form, you will be directed to submit a $50 deposit which will be refunded if you successfully attend the audition date, or withdraw before the application deadline. The credit card charge will be refunded on the first business day after the audition. If you withdraw from the audition after the application deadline, your deposit will not be refunded.
Hailed by critics as ‘fresh’ and ‘brilliant’, the UK’s first majority BAME orchestra Chineke! makes its Proms debut in a programme including works by Pulitzer Prize-winning George Walker and young British composer Hannah Kendall, whose The Spark Catchers takes inspiration from the urgent energy of Lemn Sissay’s poem of the same name.
Cellist Sheku Kanneh-Mason, winner of the 2016 BBC Young Musician competition, soprano Jeanine De Bique and conductor Kevin John Edusei all make their Proms debut here.
There will be no interval
Please note that this event contains an update to the concert programme from that in BBC Proms 2017 Festival Guide
The Chineke! Foundation was established in 2015 to provide career opportunities to young Black and Minority Ethnic (BME) classical musicians in the UK and Europe. Chineke!’s motto is: ‘Championing change and celebrating diversity in classical music’. The organisation aims to be a catalyst for change, realising existing diversity targets within the industry by increasing the representation of BME musicians in British and European orchestras.
The Foundation’s flagship ensemble, the Chineke! Orchestra, is comprised of exceptional musicians from across the continent brought together multiple times per year. As Europe’s first majority-BME orchestra, the Chineke! Orchestra performs a mixture of standard orchestral repertoire along with the works of BME composers both past and present.
Chineke! is the brainchild of Chi-chi Nwanoku OBE, who has this say about the project: ‘My aim is to create a space where BME musicians can walk on stage and know that they belong, in every sense of the word. If even one BME child feels that their colour is getting in the way of their musical ambitions, then I hope to inspire them, give them a platform, and show them that music, of whatever kind, is for all people.’
Many cultural organisations such as the BBC, Association of British Orchestras, Royal Philharmionic Society and Arts Council England agree with this sentiment, and have supported Chineke! After its launch concert at the Queen Elizabeth Hall in September of 2015, the Chineke! Orchestra was appointed as an Associate Orchestra of the Southbank Centre, and returned there to perform in September of 2016 at the Royal Festival Hall. After a sold-out debut at St George’s Bristol in April 2017, the Chineke! Orchestra has an exciting series of concerts lined up for the coming year, including appearances at the Brighton, Cheltenham and Salisbury Festivals, a return to the Royal Festival Hall, overseas tours to Ghent and Rotterdam, and an engagement at the Royal Albert Hall as part of the BBC Proms.
MusAid connects musicians across the globe through educational exchanges designed to inspire individual and community transformation.
Through the MusAid Fellowship, musicians have the unique opportunity to teach, perform and develop their artistic leadership ability at socially driven music programs around the world. Through our innovative and immersive program, MusAid seeks to empower a new generation of globally and socially aware musicians.
MusAid is a 501(c)3 non-profit that connects musicians across the globe through educational exchanges designed to inspire individual and community transformation.
Through the MusAid Fellowship, musicians have the unique opportunity to teach, perform and develop their teaching ability at socially driven music programs around the world during two-week long summer workshops. Through our innovative and immersive program, MusAid seeks to inspire a new generation of socially and globally aware musicians. Alongside empowering the Fellows that attend our workshops, MusAid tailors each summer workshop to the specific needs of our partner schools in order to provide them with the tools and knowledge necessary for their growth and self-sustainability.
Founded in 2008, MusAid has supported music schools and orchestras in Kyrgyzstan, Laos, Burma, Haiti, Belize, El Salvador, Bolivia and the Philippines with donated instruments and volunteer teacher training workshops through the MusAid Fellowship.
The impetus to begin MusAid arose from the founder, Kevin Schaffter, who while living and studying music in Asia, saw the struggle and difficulties that many musicians face in various parts of the world from having poor access to proper educational opportunities and music instruction.
It is heart wrenching to witness the dreams and aspirations of musicians crushed by the lack of the most basic materials necessary to pursue their art. Our vision is one where artists from any cultural or financial background should be granted the opportunity to share their unique artistic voices with their community. In this world of materialistic ideals it is too often forgotten that the greatest contributions to art come from within each individual and collectively, through the international language of music, reveal the simple and beautiful similarity between all human beings.
Arts are more crucial now than ever before. Globalization has shrunk the world, increasing the need to preserve cultural diversity and identity. The arts, including music, have always been an integral part of every society and are a pure reflection of the creativity, the search for beauty, and the spirit common in all of us. Music has an immense power to inspire, to heal, touch hearts and emotions, and to uplift us. It allows humanity to set physical and political differences aside, and to work in harmony to produce something universally appreciated.