fhe | : Edited by* CLAUDE GORDON ‘Transposed into Bass Clef by William B. Knevitt CARL EISCHER, INC. ony Mex oy Co 1 crn, Nes York, Renewed, ‘Copyright Conn ence by menDOOD ODD DD DD DO CO OC OCC COCO OC OOOCOOOCO OO DONO NNO DO OOC O00Herbert L. Clarke 1867-1945 Herbert L. Cla xe became a houschold word during his carcer, and he is still today a legend in his profession and undoubtedly the greatest name of ‘all time among cornetists and trumpeters. His activities, feats and acts of generosity have filled many volumes. As a teacher, he was without equal, He opened the way so that anyone who wished could play brass instruments naturally—as easily as deep breathing. 11am grateful and proud of my association with this great man. He guided me to a successful career, always admonishing me, “Don’t stop where I stopped. Heretofore, his books, which set the standard for trumpet development, have not been available to the bass clef brass instruments. I have found them just as valuable for all brass including the slide trombone. Thus, heeding his admonition, I am making this effort to bring the valuable Technical Studies to the lower brass instruments. Claude GordonIVOIONOINDON NOONAN DOV OOCOO OOO COO ONOCO OOOO OOOO OCO00OGOO000CINTRODUCTION This work has been especially written to show the student ‘how through proper practice and application, any obstacles which may occur in musical passages written for his instrument, may be overcome. By playing the exercises contained in this book in one breath, according to instructions, the student will acquire endurance without strain or injury. - The muscles which control the lips must be trained until they are clastic and stréng, and always remembering that only a slight pressure and not brute force is necessary t¢ produce a ton: It will be found possible to play the highest, as well as the Jowest note in these exercises with equal tone quality.if they are practised according to the instructions that precede each study. All the exercises in this book are playable, and not very difficult, if practiced slowly at first and not for too Jong a time. I have used them in my daily practice for years and they have been the means of my reaching the highest notes after playing a two hour concert and also of preserving my lips so that they never tire. What has been a help to me should surely be of benefit to other players. One cannot expect to attain the highest point of excellence without hard work and perserve Never be perfectly satisfied with yourself. Try te improve to some extent cach day and to experience that satisfying pleasure in having conquered what at first seemed an impossibility. Correct the east mistake you make immediately. Bad habits are easily formed and difficult to remedy. To become an expert on your instrument, one should familiarize himself with as much material for this instrument as possible. In this way a substantial musical background is assimilated and ‘much information and knowledge is gained, There are few celebrated solvists, although thousands play the instrument. Most players practice incorrectly and by neglecting the clementary work, lose many of the benefits to be gained. . Herbert L. ClarkeFeO ROOD DT VISTVSVTOSHUEESEEEELEEEEEEE SI FIRST STUDY fo ‘All these exercises must be played very softly. By practicing in this way your lips will always ve fresh and under control. If they are played loud, the oppos result, and the lips may be permanently injured. ‘he principle is the same as that of a physicia ng three drops of medicine which will cure, whereas 2 spoonful will kil. pre: ners down firmly and keep the fips urate. Contract the fips slightly in Pract’ -e cach exercise four to sixteen times in one breath, Press moving. On slide instruments make sure that slide positions a ascending, relax in descending.et peas eee LET aaaa Ep. Perf 2 | 3 L i 2 a > ~ + ~ q Sue eee ETUDE I COS tere ieSECOND STUDY Accent the frst ofeach group of four notes to insure perfect ehythm, When practicing this Study, first play each exercise slurred, as ‘marked, then practice it single tonguing very lightly. T + become still more expert try double tonguing. tod Should certain exercises prove more difficult than others work on these until they are thoroughly mastered, | bal ¥- Remember that to improve one must master difficulties each day, “Do not waste time on those that are eas 1 | (Met, Form Je 60 ww Je 120,4 uy THIRD S'TUDY i salt 4 nH jaf Practice without repeating at first, until the fingers or slide positions are under perfect control. i JP. These exercises are excellent for training the lips to be flexible in slurring, single and double tonguing, I jas, especially towards the end of the Study. ath va") Etude 111 can be played in one breath with practice. : (tet. J260 1 do120 ee ee ee 1 5924ae ra eeanqeqcecer? 5926 56ee FOURTH STUDY eR ts On account of the difficulty of producing a whole-tone tril, itis often played in an irregular and clumsy is difficulty that these exercises were written. manner. It was in order to overcome # struments, but by slow and careful rly in the different registers. Mechanical imperfections are frequently found in the construction of i practice these defects can be remedied and the intervals made to sound cl <3 wrryy ‘The slide arm, fingers, as well as the lips must be elastic, Single and double tongue the exercises after you have made sufficient progress in slurring them perfectly. ~) Try to play Etude 1V in one breath. 11 is possible. (Met, dz100 wanDBEELLELELEE EEENs924nse easel aati bd bbbbdh | BPHSSE SELLE Ns924! 3 : : NoatT ETUDE IV afa FIFTH STUDY Endurance is 90% of Brass playing, and will-power is necessary to accomplish what is considered an impossibility by many plz ers. Diligent practice of the preceding must have improved the bre: now be ready for this Study containing more ambitious exercises, Hei control as these exercises comprise a range of two octaves. h control of the players who should a test of endurance and breath Do not attempt Ex. 94 until you have played the preceding ones over many times with perfect ease. 1 the next a step higher and so on until you I. Remember that a twenty story building requi a much firmer foundation than a structure of only two storie uy Do not strain or force the tone. Single and double tonguing this study will add to your advancement. Etude V Must be played in one breath.SCTCSCSCTCTET SSF FOTOOSCOSTVSETGUSTOSSIE efetPlttes. speek tt ————————— ————__=Ns924Y These minor and maj te agility of the fingers, and the slide whi > important in solo playing. They shoul! be played m ery slowly at first, then as rapidly as possible many times in Jone breath. iter Je76w de a naeepeittl Petre + 103 See cee ae eerie a. eet tee,eee eee eee ee eeeETUDE V COCOUTCUULUUATEESEES335353072 15924 BVP S RIV IPI IIIIIIIIIIAIDDO 3 z it ¥ ‘ :SIXTH STUDY ia Another form of major and minor scale practice in different registers; great help towards endurauce, techie and elasticity of the Vi ay Re Both tonguings should be practiced as usual Perhaps now you will realize that much more benefit is derived from playing these exereises in one breath an by holding long tones, At the same time technic, elasticity of lips and the knack of reading ¢ rapidly. is pained. 119 S924 .CoCr ruererurv eR Dy?) OOO OO www www ww er Pr s ye Ne val _ bo _ {é) Ns924& zt et =: p 3S t =” ETUDE VISEVENTH STUDY 3% ‘The practice of chromatic triplets is ben cial to all brass players. In this Study there are a series of triplets in all registers, augmented by arpeggios whi h are most helpful. Master each exercise by playing it as clearly and Muently as a good violin or clarinet player would do, Frequently I have had a clarinetist play over certain exercises with me, so that I might imitate him in reproducing difficult studies.on my horn as fluently as he did on the clarinet, It is a good idea to try this. Notice the change of time from sixteenth triplets in Ex. 154, common time, to’ sixteenth notes in six-eighth time in Ex. 155. Quite a distinet change in rhythm, (let, e116 to d= 168) 133 FE saaponaal pe Ns924DOO Orne weve r reyes PRP roerII7 79000 eww wwNs924) NS924esa ee Pp 148 ae rere erte ie _ | 2 iH 11 4 Ex. No. 155, 156, 157. Practice these arpeggios triple tongue also, but do not strain to reach the high notes, Use double tongue for Owe T TTS PPTCSCOSCOCSCOOSCSESESEESESETEEEEEEEEEEEEEEE» 162 BES ET BD BFP F Arpeggios using the chord of the diminished seventh. aL «Play each =xercise from four to eight times in one breath. (Met de 132) Met, 4.176) 159 (Met, 42132) 1612 : Pe (et, J160) PSSOCSCFTSFFEVSESSEEEETE SCTCSCT TS FETS SVP PSTOHCTVSSVIVVTVSVSTS 2 ETUDE VI (tet, J=152) a5 SBS cetcet te S924EIGHTH STUDY s Here are more chromatics in an extended form to test technic, flexibility of lips and also for acquiring fluency of tone. When practiced softly the lips will never feel fatigued no matter how many times the exercises may be repeated. These exercises will strengthen the whole system, but must not be attempted until sufficient progress has been attained Practice them both with single and triple tonguing. N5924EWERER RE mae nmamomaee eS teedBerane eect xe}NINTH STUDY ay Each of the following chromatic scales advances one step higher and each one is to be played four or more times in one breath. No strain is necessary if played properly.meee eee My daily practice, four times in one breath, to test my endurance under all conditions. 1 . . ™ a » » » » » i» a Ih tet, Je 160)To Phy these last two exercises correctly, and at the marked tempo in a single breath, requires an instrument With Perfect slide oF valve action. Otherwise the slide or valves may not respond immediately. Under these Gontitions the player is badly handicapped and often becomes discouraged: A 00d instrument is half the battle, OCCaEB ten J 100 ) COC ORO TOK OOO SOOO roroa et ek a tt dete, g a Bh peredececeecceaes:TENTH STUDY a Brass instruments have unlimited possibilities, This by ingenious players who have a knack of working ot which surprise the entire brass fraternity. demonstrated nearly every day in some part of the world . with comparative ease, original freak or stunt playing This study illustr-tes how, by using arpeggios, a melody may be played to sound complete, without an accompaniment. Play the small notes sotto voice, or like a whisper, accenting the large notes full and strong. Of course the lips ‘must be soft and pliable to obtain good musical re ts. ote. deaiba 52 i Wet, J 661 AN IRISH BALLAD TREATED IN THE SAME MANNER oven deFOLKSONG Zz < = oa AN OLD GE8 Ubungen in allen Tonarten, Vas Tempo int bei den folgenden | ig entirely at the iscret Ubungen ganz beliebig tu nehmon, pl 4. Osdur oc. «i . sith - BaF SPST REE te | a sacs = isccaadusfasezceeataenes ' poptierete wetee, AESCERE ete et A = Sf : RE . So Sa ET aD ea erescendo .