The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.

Description
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.

How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.

Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.

Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.

Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.

All of the characteristic studies and celebrated fantaisies are considered performance pieces.

Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.

The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.

Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.

Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.

Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.

Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.

For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.

The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.

The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.

How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.

Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.

Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.

Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.

All of the characteristic studies and celebrated fantaisies are considered performance pieces.

Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.

The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.

Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.

Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.

Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.

Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.

For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.

The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.

About SMP Press

Here's how to play "We Are The Champions" by Queen on piano!

With these piano sheets, you can play "We Are The Champions" by the British band Queen.

It's an accurate piano arrangement of this legendary song including all parts of the song.

It's a "We Are The Champions" piano version which is not too hard to play, and sounds fantastic!

You can also get a version of this arrangement which includes the song's full lyrics:
https://www.sheetmusicplus.com/title/21186075

If you want to play more Queen songs on piano, here are more of my arrangements:

"Love Of My Life": https://www.sheetmusicplus.com/title/21145110
"Love Of My Life" (Easy Piano): https://www.sheetmusicplus.com/title/21145489
"Bohemian Rhapsody": https://www.sheetmusicplus.com/title/21155920
"Bohemian Rhapsody" (Piano Solo): https://www.sheetmusicplus.com/title/21156151


"We Are The Champions" is a song from Queen's 1977 album "News of the World", and served as the album's first single.
Of course, it was written by the one and only Freddie Mercury.

The song became a world wide hit, a popular anthem for sports events, the official theme song for the 1994 FIFA World Cup, and stayed one of Queen's most recognizable and popular songs.

Now you can play it, too!


Here are the full lyrics to "We Are The Champions":

[Verse 1]
I've paid my dues
Time after time
I've done my sentence
But committed no crime
And bad mistakes
I've made a few
I've had my share of sand kicked in my face
But I've come through
(And I need to go on and on, and on, and on)

[Chorus]
We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions
Of the world

[Verse 2]
I've taken my bows
And my curtain calls
You brought me fame and fortune and everything that goes with it
I thank you all
But it's been no bed of roses
No pleasure cruise
I consider it a challenge before the whole human race
And I ain't gonna lose
(And I need just go on and on, and on, and on)

[Chorus]
We are the champions, my friends
And we'll keep on fighting till the end
We are the champions
We are the champions
No time for losers
'Cause we are the champions
Of the world

Contains:
"Greensleeves 2012"
- taken from the Isadar solo piano collection, "O Christmas" (also available on SMP)

Sounds like: Vince Guaraldi's "A Charlie Brown Christmas," Liz Story's "The Gift," George Winston's "December," legacy Windham Hill solo piano artists, "A Winter's Solstice" compilations.

Note: ?Greensleeves 2012? is a revisited and evolved arrangement which like my earlier version, was inspired by ? and also pays ?homage? to ? Liz Story?s brilliant take on this timeless piece.

Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording

Album review by: Michael Diamond (http://michaeldiamondmusic.com):

Fresh on the heels of his highly acclaimed chart-topping CD, Reconstructed, Isadar gifts us with a sparkling new album of holiday-themed instrumental music for solo piano, entitled ?O Christmas.? Given the proximity to his recent release, one might assume that this one was quickly produced, but in reality O Christmas has been 7 years in the making. Various circumstances including other recording projects, a segue into the field of video production, and a cross country move from NYC to the west coast and later back again, created delays with the completion of the album. But as they say, ?good things come to those who wait.?
One of the most interesting things about this album is the fact that the selections are traditional Christmas songs, yet some were chosen because they are less well known, or ?off the beaten path? as Isadar characterizes them. This follows the pattern set by his 1999 Christmas album ?In Search For The Meaning Of Christmas,? yet this new CD mines even deeper in its quest for interesting and unusual choices.

The album begins with a track called ?Good Christian Men.? Steeped in history, the song dates back to 14th century Germany and its Latin title was originally ?In Dulci Jubilo? before it was translated into English in the 1800?s. Isadar?s interpretation creates a lively and festive air that makes a perfect portal to the recording. The high-spirited mood continues on the next song, ?Teddy Bears Picnic,? which although not technically a Christmas song, has been interwoven by Isadar with ?March Of The Toys? to tie it in with the holidays ? a clever arrangement of these intriguing melodies. One of the more well-known carols on the album is ?O Christmas Tree? and is sure to have listeners humming along with it?s familiar refrain.

A track entitled ?Still? is an innovative rendition of the classic ?Still, Still, Still? which Isadar has put his own spin on, or as he jokingly puts it ?jazzed up shamelessly.? No such liberties were taken on the classic ?O Come, O Come, Emmanuel,? however. This song provides a showcase for Isadar?s accomplished grand piano work, featuring lush left hand arpeggios creating a strong foundation for his more delicate right hand melodies to dance upon ? a powerful and moving combination. Another of the less well known, yet equally inspiring tunes is a Puerto Rican carol entitled ?Song Of The Wise Men.? It has been said that: ?Christmas is, above all, a children?s holiday, and many hymns are addressed to children, reminding them that the real reason for the sugarplums and Christmas trees is the celebration of the birth of the Christ Child.? This theme is well reflected in Isadar?s choice of ?O Come Little Children,? based on a carol from the 1800?s.

Among my favorite tracks on the album are the wistful strains of ?Greensleeves 2012,? which Isadar interprets with elegance and grandeur and also pays ?homage? to Liz Story?s brilliant take on this enduring composition. This is followed by a rendition of ?Masters In This Hall,? which can best be described as, well? ?masterful.? The song dates back to the sixteenth century, and is another of the less well-known tunes that Isadar has chosen to feature. The album draws to a close with Isadar invoking artistic license on what is perhaps one of the most unique and liberal versions of a classic carol heard here yet. Based on ?We Wish You A Merry Christmas,? Isadar characterizes it as ?an uninhibited melancholy arrangement.? While I don?t know if ?melancholy? is the word I would use to describe it, it does have a pensive quality and is presented more as a nocturne than usual lively carol it is known as. I really liked the interpretation and respect Isadar?s creativity and distinctive rendering of the song.

?O Christmas? is an exceptional holiday collection, not only for Isadar?s elegant grand piano artistry, but as well for the interesting and sometimes unexpected repertoire contained within. Like ornaments on a tree, the songs adorn the album, enhancing its beauty with their diversity, individuality, and timelessness. Given the well-deserved accolades and popularity of Isadar?s distinctive piano style, I?m sure that fans will want to include ?O Christmas? in their collection and make it a part of their holiday tradition.