I would say even more perfect still because, on this new instrument, a player has two or three different ways to play the same note (which is to say any sharp, flat, or perfect diatonic note) and, therefore, can create the most delicate modulations with as much precision as it is possible to have on the violin.” On his achievement he writes “I developed a system, with the help of which the cornet became an instrument as perfect as the flute, oboe, or the clarinet.
With the addition of the fourth piston, the rest of the chromatic scale could be played exactly as well, doing away with all of intonation problems we deal with day to day.
This meant that C, B, Bb, A, and Ab were in absolutely perfect tune. The instrument had 4 valves as well as an extra multi-slide trigger, which effectively gave you a total of 5 different fingerings. This new instrument came to be called the Cornet-Arban, and in this book and it’s companion book, he explains why this instrument design would be the cornerstone of his legacy. While he was there, he further developed the instrument variations he had worked on in the past with Antoine Courtois. Here is the back story, you are going to love it.Īt the end of his career, Arban returned to the Paris Conservatory for one more short stint of teaching. This has not been seen in over 130 years and, before today, has never been read in English. The Arban Method you are looking at is like nothing you have ever seen.
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