Séquences - Bruno Tomba
to begin the trumpet
I have always been fascinated by the power of mimicry of young children, their ability to reproduce very quickly any gesture, expression or behavior, is quite impressive. So I tried to exploit this in my teaching. Another idea that has always been close to my heart is to propose work structured in chapters - staccato, fingers or flexibility for example. Many methods are structured in this way and I have drawn on them extensively. Finally, I have taken up an idea that my father, Dino TOMBA, proposed by writing work sequences intended for his advanced students. These 30 sequences published by Billaudot, in the form of relays or duets, allow the work of the basics, in pairs, encouraging listening in a healthy emulation. I would add that working with others on these exercises makes them more fun.
This volume is divided into two parts. The first, from sequence 1 to sequence 8, aims at progressively acquiring an octave range. It seems fundamental to me that at this stage of the learning process, the teacher should systematically show the example, hence the presence of the second voice dedicated to this effect.
In a second phase, from sequence 9 to 22, the student can work either on the first or the second voice, with the teacher or another student taking the lead. This makes it possible to bring together two students of a similar level during the lessons, by having them actively participate in listening and sharing the music.
The posture, the position of the embouchure, the breathing or the detachment, here are great subjects which are, in themselves, the objects of several books, methods and theses, developing all the aspects and the difficulties encountered. It is not uncommon to find opposing ideas in all these publications. It therefore seems essential to refer to one's teacher who will have been able to establish a relationship of trust and a constructive dialogue allowing one to gradually become familiar with these different techniques. This may seem like an easy solution. But to propose a theory without knowing the student, without seeing his or her reaction, seems to me to be risky. An explanation adapted to the age, the morphology and the maturity of the student is obvious. The role of the teacher as a referent, by example and well-chosen words, is for me essential.
It is obvious that these sequences are not an end in itself, but rather a moment in the student's journey, as a complement to studies, accompanied pieces and collective practices. The teacher will know how to diversify, interrupt, change or return to a particular method depending on the student's progress and feelings.
I would like to specify that these sequences would not have been possible without the encouragement and the sharp pedagogical eye of David RIVA, trumpet teacher at the Conservatoire of the XIIth district of Paris, and the very active collaboration of André FEYDY, eminent pedagogue, composer and arranger, teacher at the Conservatoire à Rayonnement Régional de Paris, without whom the multiple duets of these sequences would be less pleasant to hear.
Finally, I warmly thank Manon SOUCHARD, who, with her superb illustrations full of poetry and refinement, brings a little color and aestheticism to these sequences.
I wish to all those who will find in these sequences a tool of playful progression, as much pleasure as I had to write them. This one being the essential engine of the success of the learning of any thing.
Principal trumpet supersoloist of the Orchestre de Paris