Tag Archives: #musiceducation #trumpet #wales #brassbands #marchingbands #edtech learn to read music

How to Practise: Arban Double Tonguing Exercises Nos. 77-86

Improve your Single as well as Double Tonguing.

It’s best to start practising them at a single tongue tempo. Indeed perhaps single them and then with the sound of singles in your head practise your double tu and ku (particularly the ku).

Try single tonguing at Tempo 50bmp AND THEN Double Tonguing being careful to get the Doubles as equally crisp and even  as your singles.(excuse the Christmas Carol Pun)….Good King Wenceslas….:) If you find it difficult to go all the way to F just stop where you need to , start again….your muscles will develop the strength to reach the higher notes the more practice you do. DO NOT force the sound out by using too much pressure or altering the shape of your embouchure.!


Now try it at 60 bpm:

There is a temptation to use double tonguing too soon , at speeds, which would be better single tongued. It is therefore very useful to use use these exercises to quicken your single tonguing technique as well as your Double Tonguing.
If and when you get the App test yourself on how quickly you can single tongue…you should aim for perhaps 100/ 110 semiquavers( 16th Notes).
Here’s  110 bpm:

Available for:
iPhone and iPad from the App Store


How to Practise: Carnival of Venice


Here’s the first, an Introduction, to a series of Blogs on How to Practise: Carnival of Venice…

Few would argue that Carnival of Venice by Jean Baptiste Arban is one of the Airs and Variations they would like to play. BUT it really does take a lot of work.

This App is designed to give you the practice tools that will make your practice sessions as efficient as possible; so that you make organised , steady progress.

One off the mantras is that to play fast you practise slow. Carnival is certainly the place to put this into practice and this App gives you facilities to practise all the Variations slowly at first and build up to the speeds that are suitable for your ability and your interpretation of the piece.

To help choose the tempi we should include, I analysed recordings of Carnival by Wynton Marsalis, Maurice Andre and the American Navy Band and have included the range of tempi used by them.

For instance Wynton Marsalis takes Variation 4 at 100 bpm. You could aim to practise to……

Maurice Andre 85 bpm …a little slower…perhaps he preferred it musically that speed:

Using the App you can build up to your tempo from 30 bpm:

Why not go through the tempi…here’s 40 bpm:

Don’t move on until you are absolutely in control…here’s 50 bpm:

60bpm next:

70 bpm:

Last one 80 bpm…85 and 1§00 are above remember….oh and the App has 95… at these tempi a slight difference makes for control or uncontrollably….always be in control….and musical.


eto Practice Thoughts (Trumpet/ Cornet): Listening, tuning and breathing

  • The volume of your phone or Tablet my not be loud enough . Why not use  a set of headphones and just use one ‘ear’.
    Having said this you will find that you WILL hear the part you are practising if you play a wrong note….your mistake will be highlighted and stand out from the correct recorded performance.
  • It’s not only wrong notes that will stand out but also your tuning, your intonation.
    If you play out of tune you will notice it, so do your best to adjust.
  • A good way of practising in these cases is to practise slowly…even though you may be able to play the notes easily. Slower practice will allow you time to adjust your tuning and also strengths you embouchure muscles.
  • Breathing properly effects your tuning and sound. It’s worth viewing this 8 minute video explanation of ‘how to breathe’ as a trumpet player. It’s by the great Australian player James Morrison.
  • have fun with practise and see links to our current trumpet apps as below:

Links to Trumpet/ Cornet Apps Apps:

  1. Arban No. 1;iPad; iPhone;  Android Tablet…
  2. https://itunes.apple.com/us/app/arban-study-no-1-advanced-trumpet-practice/id624151228?mt=8
  3. Arban Triple Tonguing;  iPad; iPhone
  4. https://itunes.apple.com/us/app/arban-triple-tonguing-exercises-1-4/id1021099892?ls=1&mt=8
  5. Arban Double Tonguing;  iPad;
  6. Arban Slurs;  iPad
  7. Arban Single Tonguing;  iPad
  8. Carnival of Venice; iPad
  9. Solo from So What; Desktop; iPad
  10. Jazz Level 1; Desktop; iPad
  11. Arban No. 10; iPad

How to Practise: Arban Triple Tonguing Exercises 1 to 4


Developing your Triple Tonguing technique takes a great deal of hard work…..a great deal of hard physical effort…OK not as painful as working toward a 26+ mile marathon or weight lifting but similar in many ways.

You’ll need to be consistent in your practice and don’t expect quick results…

It would be foolish to attempt or expect to run anywhere near the 26 miles on day one ..or even month one.
You don’t start by lifting the heaviest weight you can!

Build up your distance and lifts with sensible, planned repetitive routines.

Even with the physical demands of running and weight lifting there are some vital subtle techniques that are to be recognised and adhered to. It’s not all wam bam...let’s get as strong as we can.

The VITAL subtlety when Triple Tonguing is practised is that with each of the three tonguing motions…the triples…MUST be of the same length and crispness.

The ONLY way this can be achieved is by practising slowly and only moving on to a faster tempo when each one of the triple tongues sound as if it is a controlled single tongue.

This is where the eto App can really help. The app presents numbers 1 to 4 of the Arban Cornet Method Triple Tonguing Exercises. ALL the exercises can be heard at tempi from 50 to 240 beats a minute and the ‘printed’ music  can be seen with a realtime Beat Counter ‘moving’ in perfect sync above the notation acting as your personal conductor.

I’m now going to create and publish a few demo videos to show how this would work.

First of all, as suggested, start very slowly making sure each element of the triplet is even and crisp…. This is playing at 60 beats per minute…you could start at 50bpm.

You could then , when absolutely ready..move on to 70 bpm:


Then 80 bpm:

The tempi rise in increments of 10 beats per minute :

Here’s 150bpm:

and 190bpm:

The tempi available are 50 to 240 bpm inclusive…

You can start and finish according to your needs and experience….but plenty to keep you practising for quite a while:)

You will probably already own an Arban Cornet Method but in case you do not, there is a link to a pdf of Exercises 1 – 4 within the App.

Here is the link on iTunes to our app:


This app is also contained within two further discount app bundles description on the iTunes page. Enjoy!

I shall occasionally be sharing some extra tips about this App and hope to eventually have a full series of How to Practice ….for all eto Music Practice Apps.

If you have any questions or comments or suggestions for the Trumpet/ cornet repertoire you might like to practise via our Apps, please let us know via the comment box  at the bottom of this post.

Thank you for getting in touch!



Why use eto apps to practise?

eto Music Practice apps are not designed to dilute the value of  and need for lessons with a teacher.

We are ourselves, musicians, music teachers and music technology experts with a history of playing and performing music.


We produce and publish as musicians; the technology is second to the music!

We are absolutely not detracting from the value of music lessons…we encourage teachers to use our apps  and experience for themselves the way our apps motivate and help practice.!

The primary intention of the apps is to motivate and enable students to practise between lessons.  whatever age level of ability.

Our apps provide the music notation, a beat counter and control over practice speeds, as well as the ability to repeat bars  or sections.

We welcome and invite suggestions for new music to include.

Here are our current apps : https://itunes.apple.com/gb/developer/eto-music-practice-ltd/id624151291

Let us know what you think:


How to Practice: Arban Characteristic Study No. 1

Available for iPad and iPhone at :


and now on android:


Or for Desktop: http://www.etomusicpractice.co.uk/shop/

This iconic study has been practised and helped to develop the technique of many thousands of brass players since the 1860s. Its part of what many call the Bible of Cornet and Trumpet Practice; the Arban Cornet Method. It appears on many examination syllabi.

I remember, many, many years ago playing it for my first audition for the National Youth Orchestra of Wales.. I was about 16 years of age and pleased with myself that i could play it quite quickly…somewhere around 90 beats a minute.

I was soon brought down to earth by the orchestra’s conductor …a very experienced and eminent conductor Clarence Raybould. Play it slowly he said …which I did…no slower…slower. Eventually he had me playing it t about 30 beats a minute.
At this speed it was far more of a test of stamina, breathe control, certainty of pitch and tone.
I learnt a hard but invaluable lesson which I’ve  never forgotten…the way to play fast is to play slow.
Indeed it probable had a great deal of influence on my thinking all these years later whilst developing eto Music Practice.

The App allows practice of the whole study in tempo increments of 10 beats a minute starting at 30 going all the way to 100.

You should aim to be able to play it all through totally correctly at the speed you choose to start practising.

The audio will help you hit the correct pitches and you will be helped to keep in time by the visual beat counter …as well as the audio.

In fact you will find that the audio helps most if you play a wrong note/ pitch. You will hear it …and you can correct yourself .

It is sensible to divide the study into bars or sections and set Repeat.

You could start very simply with:

  1. Tempo 30
  2. Start bar 1; End Bar 2
  3. Set Repeat
  4. You will see the Count In beats
  5. Play the two bars…the audio and Beat Counter will fade in bar 3
  6. The Count In will then automatically begin again
  7. You play these two bars until you can play them perfectly.
  8. When ready you could go to Start bar 3 End bar 4…then
  9. Start Bar 1; End Bar 4…when ready
  10. Start bar 5 End Bar 6…then Start Bar 1 ; End Bar 7

You may choose to build up your speed of playing before going on to the next bars/ section OR practise the whole of the Study at one tempo.

There is nothing wrong with…… and indeed a good argument….. for being able to play it ALL the way through at the slower speed speeds.

You would find that your stamina and pitch control will really develop using this method.

The worse thing to do is to push yourself on without being in total control of the notes at a particular tempo.

Don’t worry if it takes some time to be able to do this…there are no short cuts if you want to really control your playing.

To give you a taster, and for some fun, I’ve prepared some movie demos with the first two bars paying at 30 to 90 beats per minute. In the App you can set an automatic Repeat. The App also gives you the challenge of 100 bpm!.

Just replay the movies for practice if you wish…Enjoy, improve and test yourself….:)

Arban Characteristic Study No. 1 Bars 1 and 2 at 30 bpm.


Arban Characteristic Study No. 1 Bars 1 and 2 at 40 bpm.


Arban Characteristic Study No. 1 Bars 1 and 2 at 50 bpm.


Arban Characteristic Study No. 1 Bars 1 and 2 at 60 bpm.

Arban Characteristic Study No.1  Bars 1 and 2 at 70 bpm.

Arban Characteristic Study No.1 Bars 1 and 2 at 80 bpm.

Arban Characteristic Study No.1 Bars 1 and 2 at 90 bpm.



And now on android https://play.google.com/store/apps/details?id=air.com.wp.piano.arban1&hl=en

Or desktop:



Who are you? Cenfyn Evans eto creator #musictechnology





We were lucky enough to drag Cenfyn away from the trumpet, although in the pic he’s playing mellophone, and have a few moments to see where it all began. The eto music player is now used in some 35 countries for instrument practice, but also across some 3,000 school choirs and at least 150,000 voices. Probably the most successful learn to read and play music and learn to read and sing music app in the world.

From a studio in the little village of Pontsian near Llandysul, West Wales, the eto music player is respected across the world.

How was this achieved?

1) When did you first realise you had a talent for music?
Piano lessons started when I was about 9 years old…..similar to children of my generation in the mining valleys. Most parents wanted to give their kids the opportunities they didn’t have as they grew up in the 1920’s… But my particular enjoyment and ability musically showed itself when I had the opportunity to play bugle in the Boy’s Brigade at our local Chapel. Playing the bugle tunes and calls came quite easily to me and from bugle came trumpet a couple of years later. By the way in that same Bugle band ……on drums…… was Chris Rees (AKA Chris Slade)…former original Tom Jones drummer now with AC/ DC
2) Did you have a music family background?
Yes. both Mam and Dad were involved for as long as can remember in the Amateur Musical Theatre companies in the Rhondda…and eventually they both sang in the Amateur Chorus of the Welsh National Opera Company.
3) You are from the Rhondda Wales, how did that influence you?
Hugely, with three world class Brass Bands within a 5 miles radius, similarly Mixed and Male Voice Choirs, Musical Theatre Companies; all amateur but of a professional standard. From the age of 14, I began playing in the accompaniment orchestras for the annual concerts that these groups worked toward……one week it may be The Mikado or Carousel…then perhaps a Messiah. This is not to mention that there were Dance Halls where everybody did a ‘Strictly Come Dancing’ for fun. I cut my Dance Band and Jazz Trumpet teeth in the 16 piece Top Rank Big Bands. But the back bone of my practical music education was the fantastic opportunity and encouragement we had via the Glamorgan Education Authority Music Service team of Peripatetic Instrumental Teachers ….free weekly lessons and residential courses every school holiday where we had a chance to rehearse the Classical Orchestral Repertoire.
4) You had a successful professional career in playing as a session musician and in bands, can you tell me about those days?
Because of the variety of opportunity I have already described I found that I could quite easily cope with a mixture of musical styles; Classical, Brass Band , Wind Band, Dance Band, Small Ensemble Jazz, Big Band Jazz, Soul Horn Sections, Keyboards in Rock/ Pop Bands. Since most entertainment was ‘live’ there was a lot of work available. I enjoyed the variety of styles; Soul, with the Four Tops, many Bach’s B Minor Mass performances particularly enjoyable at Llandaff Cathedral, Small Combo Jazz with my own Quintet and Keyboards with the Progressive Rock Band Hieronymous Bosch.
5) How did you move from a performer into teacher and music technology and highlights of where and when?
For a while after completing my Music Studies at University I taught Brass and Woodwind Instruments in schools during the daytime whilst performing whatever style I was asked to do in the evenings. After a few years I was invited to become Music Director of a National Theatre Company in Wales. The ‘memory bank’ of music styles I had developed held me in good stead when I needed to compose incidental music for plays.. I particularly enjoyed creating specific atmospheres which enhanced the drama on stage. At the time, Mid 1970s, the music was played live but eventually the company bought me a synthesiser..this was the beginning of my Music Technology journey….
6) The eto music player was actually created by you some time ago in the 80’s. Can you tell me about that?
I became fascinated by how music technology could enhance traditional music making and skills and noticed how captivated children were becoming with Computer Games. I wondered whether this fascination could help motivate them when they practised musical instruments. The eto concept was born…but it was called MUPADOS (Music Plays And Displays On Screen). It captured the imagination of many academics and was given rave reviews but it wasn’t easy to ‘justify’ music making with computers….(I have all the reviews). In 1983 we took part in a joint venture with Warner Bros. and published a series called Micro Maestro.
7) How has this now developed given broadband and apps?
Music Technology became my speciality……..or rather the application of Music Technology…composing, and creating virtual performances. Having ‘kept up’ with the rapid advance of technology, about 4 years ago I realised that the original MUPADOS concept was still relevant.
The speed of data processing allowed both sound and graphics to be manipulated far more. Perhaps most importantly music and computers were now totally accepted and everyone had a computer, Tablet or Mobile Phone.
8) You now sell the home learning music practice apps in some 35 countries globally and more recently school choir practice apps to some 3,000 schools in England. What comes next? Our aim is to increase our catalogue so that we can help offer the opportunity and encouragement at an affordable price to ALL those who want to play a musical instrument.
9) What can we learn and how do we learn from using the eto apps…?
eto Apps are the result of my life as a student, a teacher; a musician with experience of performing and composing a wide variety of styles. I had completed my school and university studies long before there was any conception of music technology as we know it today. I embraced the new technology and developed ideas as to how how it could help traditional music making; particularly practice.
Best used with a teacher eto Apps will help individuals practise IN BETWEEN lessons.
Very often teachers and parents are frustrated because not enough, or incorrect practice is done from week to week.
The pupils themselves are more likely to practise more and properly because they will have a recording of what they should practice. These recordings can be played at various speeds. Users can begin to practise slowly and build up to the final tempi.
Where appropriate there is an accompaniment to each of these which give further encouragement.
Individual bars or sections of the music can be chosen and repeated.
In others words your practice session can be customised to your own needs.



Education Groups and How to Connect #edtech #musiced #ukedchat #AussEd

What is a hashtag?

A word or phrase preceded by a “#.”

How do hashtags work?

Twitter can be a busy place with lots of tweets–and thus lots of “noise.”

A #hashtag is a way to aggregate tweets that are appended with a hashtag. Picture it like a magnet that attracts all messages categorized by that topical word or phrase.

Who can use hashtags?

Anyone. When you tweet and want your message to be part of a larger conversation beyond just your own existing  followers, add a relevant hashtag from the lists below to the end of your message, and you’ll automatically reach anyone who is monitoring the same hashtag. Cool, yes?

What else do I need to know?

  • Don’t hashtag spam–if your tweet doesn’t add to that hashtag’s topic, discussion, or user base, don’t add the hashtag.
  • Use more than one hashtag if it applies to more than one topic, but choose wisely. If you want that hashtag’s community to value your input, take care to keep that twitter stream nice, tidy, and free from “visual debris.”
  • For Example add : #musiced #school #choir #songs

Meeting Times

Many of the hashtags have “meeting times” where educators agree to “meet and tweet”–that is, send out messages on a topic at a certain time on a certain day.

Twitter and Facebook can be like ‘Rolling News’. Not even your own Followers will be looking at you just when you send out your posting. So, make sure you post at the times each day they are mostly to be seen ( say, lunchtime or early evening ) and if suitable, to a group chat time as found with the different weekly #hashtag groups that you are interested in.

Use a free Robot such as Socialoomph to pre programme your postings during the day/night and if you are talking to groups/schools for example in different time zones, then at the best premium time for the posts to be seen in their country/Time Zone.

If you do participate at the agreed upon time, you’ll see the tweets stream in live and participate in said conversation (via twitter) in what is nearly real-time. But if you can’t make it, the great part about a hashtag is that it does the sorting for you. You can search for messages assigned to a given hashtag anytime–tomorrow, Sunday night, or during your planning period next week.

Note, this list of hashtags will be updated periodically, including reorganization, and functional linking on all hashtags.

Updated: Added #edcamp, #ukedchat, #whatisschool

Popular EDUCATIONAL Hashtags

  1. #lrnchat (social media and education)
  2. #edchat
  3. #blendchat (blended learning)
  4. #mlearning
  5. #elearning
  6. #ipadchat
  7. #pbl/#pblchat (project-based learning)
  8. #passiondriven
  9. #ntchat (for new teachers)
  10. #gbl (game-based learning, from serious games and simulations to video games and more)
  11. #edtech (education technology)
  12. #ukedchat
  13. #edtech
  14. #elearning
  15. #mlearning
  16. #web20
  17. #flipclass
  18. #edchat
  19. #BYOD (Bring Your Own Device)
  20. #iPaded (iPads in education)
  21. #EdApps (education and learning apps
  22.  #k12
  23. #cpchat
  24. #highered
  25. #21stedchat
  26. #whatischool

Trends: These are currently popular

  1. #flipclass
  2. #digped
  3. #byod
  4. #1:1
  5. #mlearning
  6. #blendedlearning
  7. #flatclass
  8. #ipad


  1. #earlyed
  2. #elemchat
  3. #middleschool
  4. #highschool
  5. #commoncore
  6. #cchat
  7. #edreformtribe
  8. #edreform
  9. #parentpower
  10. #edpolicy
  11. #teacherquality
  12. #eddata
  13. #schoolchoice
  14. #putkidsfirst
  15. #parentalchoice
  16. #edleadership
  17. #eduleaders
  18. #achievementgap
  19. #edgap
  20. #inquiryed
  21. #ibpyp
  22. #edcamp

Content Areas

  1. #engchat
  2. #litchat
  3. #arted
  4. #musedchat – also #Mused  #Musiced #musiceducation
  5. #math
  6. #mathchat
  7. #science
  8. #scichat
  9. #sschat
  10. #histedchat
  11. #historyteaching

Digital Citizenship

  1. #digitalcitizenship
  2. #edtech
  3. #edtechchat
  4. #privacy
  5. #21stedchat
  6. #digcit
  7. #parenting
  8. #ettipad
  9. #internetsafety
  10. #cyberbullying

iPad Specific Resources:

  1. #tablet
  2. #mobile
  3. #byod
  4. #ios
  5. #ios6
  6. #ipad
  7. #ipadgames
  8. #ipaded
  9. #ettipad
  10. #ipadedu
  11. #mlearning
  12. #edtech
  13. #ipadapps
  14. #apple
  15. #apps
  16. #edapps

Good Chatting !!

Robert Winter



The secret of clear crisp and fast trumpet tonguing !

The Trumpet Tonguing Exercises
The way to practise triple tonguing:
A combination of Arban’s Exercises and Solos and eto Music Practice Tools.
Suitable eto Apps are:
Practising along with eto’s Beat Counter and the recorded sound will ensure your triplets are absolutely even. This will make your playing clear and crisp as you get faster.
  1. Choose your starting Tempo and your Start and End bars and work your way through: the slower the better…
  2. The secret of clear crisp and fast triple tonguing is making each tu; tu; and ku sound like a crisp single tongue…YES especially the Ku
  3. You can repeat one bar and then two, you choose
  4. Increasing the number of bars you can sustain as you get stronger…….
  5. You can increase the Tempi by 10 beats a minute increments from 40 to 230 bmp….don’t be tempted to skip an increment.
You will need to put in the hard work BUT your efforts will be more efficient and better rewarded
The results will be felt and heard and you will be so encouraged to practise more and more.

How to Practise, Sing and Pronounce: Gwlad Gwlad (Mae Hen Wlad fy’ Nhadau

Do you want to learn to sing or pronounce the Welsh National Anthem?
You may even want to learn a harmony part: alto, tenor or bass. This brand new app from the National Library of Wales and etoapps will help you. Gwlad Gwlad will also give you an insight into the history of this wonderful song.
Learn the correct pronunciation of the Welsh words of Hen Wlad fy Nhadau.
Learn to sing the melody by selecting Female Melody or Male Melody.
Individual harmony parts can also be chosen and learnt: Alto, Tenor or Bass.
It can be practised from slow speeds to the speed at which it is popularly sung.
Practise in phrases or sentences. Start and stop points can be easily chosen and these sections can be repeated at the various speed until mastered.
Whilst learning your individual part you will have an instrumental accompaniment, your own part sung for you and eventually the other three parts for you to experience singing with others in harmony.
Follow the music notation and words for each part which are shown on the screen with a real time Beat Counter appearing above the music. This will keep you in time as would a conductor. The words are also highlighted in their appropriate place.
You don’t have to be able to read music to learn but you will have a better understanding of the music notation after singing with Gwlad Gwlad.
Gwlad Gwlad also gives the history of the music, lyrics and composers, illustrating the wealth of the National Library of Wales’s collections.
Gwlad Gwlad will enable people of all ages and background in Wales and throughout the world to sing the Welsh national anthem.

We are smallish very patriotic country. We all sing an anthem in the Welsh Language. Most who sing it  don’t understand the words or even pronounce them correctly…….. BUT no matter! Whatever the faults of performance it makes us all almost burst with a healthy pride.

No mention of  loyalty to a leader or indeed religion….which lessens the  problems of the rebellious nature of some…:)

It’s a pride in our Welsh heritage and culture that we celebrate.

Few emotions compare with the sense of national pride felt when blasting out the words Gwlad! Gwlad (my) Country, (my) Country with thousands of  compatriots at an international rugby match. It is the point at which the anthem reaches its stirring climax with a declaration of loyalty toward land and country and of the desire to see the ancient Welsh language endure.

‘Hen Wlad fy Nhadau (Land of my Fathers) was composed at a time (1856) when nations throughout Europe were rediscovering traditions which gave expression to their national identities.

However a romantic anecdotal reason for the words is that they were written in response to the author’s brother trying to persuade the family to emigrate to America. The words could have been a poem reminding the family of reasons to stay in Wales.

Usually only one verse and the chorus are sung. However, apart from the rousing celebration of Wales’ ancestry, poetic and musical talent of this first verse a second describes the country’s natural beauty . The final and third verse speaks of the nations survival.

If you want to learn even more of the Anthems history, perhaps help with the pronunciation and understanding of the Welsh words …or even want to have a go at a harmony part…alto, tenor or bass our App Gwlad Gwlad will help.

Here are links to a demo movie…
BBC NEWS VIDEO of the eto Gwlad Gwlad App:

……and links to various formats in the App Store, Google Play and our web site.

now also available for iPhone as well as tablet.

Learn to sing and Perform the Welsh National Anthem on iOS:

Learn to sing and perform the Welsh National Anthem on Android: