Ce: eee CORNET SOLOIST reek, BEIGE of the Sousa Band HERBERT L. CLARKE =, BnHERBERT L. CLARKE - A Brief Biography - Herbert Lincoln Clarke is arguably the best known American cornetist. His fame as cornet soloist with the bands of Patrick Gilmore, John Philip Sousa, and others is legendary, and it could be considered equal to that of leading celebrities of today. Similarly, his abilities as a band conductor and educator were formidable, and because of them he earned a position of prominence in the music world that has survived over a hundred years. Clarke was born in Woburn, Massachusetts on September 12, 1867. His father was a professional musician and church organist. When Clarke was a small boy, he was not allowed to play a band instrument because his father felt that band boys were a rowdy bunch. Instead, Clarke learned to play the violin and viola. However, he eventually took up the cornet when he was twelve years old. Clarke performed as a violist in several amateur groups, and at the age of eighteen received his first employment as a musician, playing viola in the Indianapolis Opera House Orchestra. The following year he was employed as a violist in the When Clothing Company Band and Bell Ringers. During this time, he continued to practice the cornet but because of not having a proper teacher for the instrument, had to settle for whatever tips on playing he could pick up as he listened to and met various cornet soloists. Eventually, he began to perform solos in public and won a cornet solo contest in Evansville, Indiana in 1885. The Clarke family moved to Rochester, New York in 1887. Herbert won a cornet position with bands in Ontario Beach and then Toronto where he often toured as a cornet soloist with the Innes Band. He was also engaged as a teacher of cornet, violin, and viola at the Toronto Conservatory of Music. He began his conducting career at this time as conductor of the Heintzman Piano Company Band. In the spring of 1892 at the age of twenty-four, Herbert Clarke won the position of cornet soloist with the Gilmore Band. He was required to perform twice daily and eventually memorized and performed over 300 different solo pieces. The unexpected and sudden death of Gilmore in the fall of that same year brought about the end of the Gilmore Band, although D. W. Reeves was brought in to finish the season. The band was reorganized by Victor Herbert, but Clarke decided to move to New York City in hopes of finding suitable employment as a cornetist. He performed all sorts of engagements and had a few months of steady work with the orchestra of Ellis Brooks and as a member of the New York Philharmonic and the Metropolitan Opera Orchestra. In March of 1893, Clarke received a telegram from Sousa offering him a contract as first chair cornet and soloist. This was done without any audition because of Clarke’s reputation with the Gilmore Band. After joining the Sousa Band, Clarke was encouraged by trombone soloist Axthur Pryor to compose his own solos. As a result, numerous compositions ensued including Bride of the Waves, The Debutante, From the Shores of the Mighty Pacific, Stars in a Velvety Sky, Maid of the Mist, Southern Cross, Sounds from the Hudson, Showers of Gold, and many others. During a career spanning some 30 years, Clarke performed as soloist over 7,000 times and made more phonograph recordings than any other cometist. He was soloist during 34 U. S. and Canada tours, 4 European tours, and one world tour. He was a past president of the American Bandmasters Association, and composed over 240 cornet solos, duets, trios, and band selections. He also received an Honorary Doctorate from Phillips University in Enid, Oklahoma. His four cornet instruction books, Elementary Studies, Setting-Up Drills, Technical Studies, and Characteristic Studies, remain important pedagogical tools today. Herbert L. Clarke died on January 30, 1945 in Long Beach, California at the age of seventy- eight. His ashes now rest in the Congressional Cemetery in Washington, DC near the grave site of John Philip Sousa. The Herbert L. Clarke Library is housed in the Department of Bands at the University of Hlinois-Urbana and contains instruments, recordings, composition manuscripts, photographs, and other memorabilia.Preface Herbert L. Clarke was the most renowned American cornetist during the early part of the twentieth century. His many years of touring as soloist with the bands of Innes, Gilmore, and Sousa made him a legend in the music world. Acting on the advice of Arthur Pryor, famed trombone soloist of Sousa’s band, Clarke composed his own solos for the cornet, many of which are now standard in the repertory. Clarke recorded many of his solos for the Victor label between 1904 and 1921. These solos have been recently popularized through the International Trumpet Guild’s re-issuance of many of the early Clarke recordings on an LP album for the Crystal Records label in 1979. I was fortunate to be the ITG president and Clarke project chair during that time. Many of the recordings were taken from the Herbert L. Clarke Library, housed in the Department of Bands at the University of Illinois, where I was professor of trumpet from 1974 through 1982. The Crystal album is now available on compact disc. In addition to being America’s premier cornetist, Herbert Clarke was a prominent conductor and pedagogue who taught many of the leading brass players of the twentieth century. He opened the Clarke School for the Cornet in 1906, and for the rest of his life taught the so-called “Clarke Method,” based on wind control and flexibility studies. He developed and published four instructional books for the cornet - Elementary Studies, Technical Studies, Characteristic Studies, and Setting Up Drills which have been staples in the study materials for brass instruments for nearly one hundred years. This publication is the first to include all four of Clarke’s books. I have provided suggestions for practice routines so that maximum results can be attained through the efficient use of these exercises and studies. David R. Hickman, Editor Further Readings on Herbert L. Clarke: Clarke, Herbert L. A Cornet-Playing Pilgrim’s Progress. Chandler, AZ, Hickman Music Editions, 2005. [reprint of 24 autobiographical articles by H. L. Clarke from Jacobs’ Band and Orchestra Monthly magazine, 1927-30]. Hickman, David R. Herbert Lincoln Clarke, series of four biographical articles, Brass Bulletin, Vols. 18, 19, 20, 22, 1977-78. Hickman, David R. Herbert L. Clarke - The Standard of Excellence. The Instrumentalist, Vol. 31, No. 9, Apr. 1977.TABLE OF CONTENTS Editor’s Comments and Suggestions Elementary Studies (FIRST SERIES) Introduction Position of the Mouthpiece on the Lips Commencing the Tone Method of Breathing Music: One of the Great Arts Lessons begin Technical Studies (SECOND SERIES) Introduction Characteristic Studies (THIRD SERIES) Introduction Remarks on Tonguing Single Tonguing Double Tonguing Triple Tonguing Twenty-Four Studies begin Setting Up Drills (Calisthenic Exercises) Preface Expert Advice Groups of Exercises beginEditor’s Comments and Suggestions FIRST SERIES: Elementary Studies Clarke’s first book - Elementary Studies, written in 1909, is aimed at the beginning player. It offers excellent advice and exercises. Clarke’s main principle in playing is to keep the embouchure relaxed and pliable. Although he believed in the many benefits of long tones, his exercises are based on “moving long tones,” building breath control and embouchure strength through flexibility. He advocates a vertically and horizontally well-centered mouthpiece placement on the lips, and directs the student to hold the instrument parallel to the floor. Concerning articulation, Clarke advocated that the tongue release from the base of the upper front teeth. This is contrary to his own manner of tonguing, described in the “Remarks on Tonguing” section of his Characteristic Studies, but is perhaps more appropriate for the majority of players. The thirty lessons contained in Elementary Studies progress very rapidly beginning with the Seventeenth Lesson. Therefore, lessons 17-30 should be developed over whatever time is necessary to play the exercises well. The Thirticth Lesson is well beyond the ability of the average beginner and is more suited to the student who has played for several years. The three-octave chromatic example, to be played four times in one breath, is a virtuoso-level exercise which Clarke became well-known for demonstrating at any time. SECOND SERIES: Technical Studies Clarke’s Technical Studies, written in 1912, is considered to be among the best-known exercises for developing finger and tonguing dexterity. The patterns contained in these scales, arpeggios, and melodic sequences are quite universal in all types of music. Thus, the benefits of mastering these exercises will last a lifetime. The editor suggests practicing all of the exercises in this book with various articulations. Although Clarke warns of the problems with playing the exercises too loudly, the editor suggests varying the dynamics somewhat so that articulations are performed cleanly at all volume levels. For convenience, the exercises in each study progress chromatically from the lowest key to the highest key. The editor suggests that the exercises be practiced out of order to allow the player’s embouchure to feel ready for any register at any time. Therefore, mixing the tessituras of the exercises is essential. Finally, the editor recommends practicing the exercises in several short daily practice sessions of ten to twenty minutes each, rather than all at once. A practical outline for the First Study might be:FIRST STUDY: Day 1 - [Each exercise to be played as many times in one breath as possible. ] [NOTE: Exercises shown here are used to indicate practice articulations only] Practice Session One: of ye © re * oe - = “ = oe # Exercise #7 Exercise #1 34 iret i eet Fo od oe aa Exercise # 19 Exercise #25 Practice Session Two: 4 Exercise # & Exercise # 2 Exercise # 14 Exercise # 20 Exercise # 24 Practice Session Three: Exercise #9 Exercise # 3 Exercise # 15 Exercise 4 21 Exercise # 23Day 2: Practice Session SSS r ee 0 2 + re =: ay 2 Eres o = a Exercise # 10 : re ] a a a a a a a aa aa T "KT kK OT FX Exercise # 4 “A! WY ——* TOT TT 7 oF Exercise 4 16 = = aa i zi —— " - s ca o - Se 7 rr —_— Tor oK Exercise # 22 & = = } Sf be = ye = oF t an = Loa t K T K ee” T K Exercise 4 6 SS 4 = 2 = ; = z | t 7 TOF r T 1 T T T + t Practice Session Two: Exercise # 112% a Exercise # $ e : a K ar K T K T K T K T Exercise # ZS a i = ~ Fe z poe a ad : i a * T T T T T “ee” Exercise # | Exercise # 25 Practice Session Three: : Exercise # 12 az : = pe = io a 4 ve a a oe ed Ce ———— ee an — Exercise # Exercise # 18 9 i —— : ; = Exercise # 2 ———— z x st ; = T an K “Tr T K T T K T t K Exercise # 24 2 = — = 3 a oe - » re 5 ** ; K + K Tr K T kK 7 KDay 3: repeat Day 1, but faster Day 4: repeat Day 2, but faster Day 5: repeat Day 1, but faster Day 6: repeat Day 2, but faster Day 7: Etude I with various articulations Each study should be practiced in the manner previously described to develop various articulations in all registers and at all dynamics. Mixing the ranges will help keep the embouchure fresh. Always rest between each exercise! The goal is to build endurance and control through repetition, avoiding fatigue or stiffness of the embouchure. Ultimately, strive to develop a perfectly even rhythm, and smooth but clean articulation. Use of a metronome is essential. The editor suggests keeping a log of tempos mastered from day to day, concentrating practice on specific exercises which are slowest. With diligent practice over several weeks, speeds can be much greater that those indicated in the book. NOTE: The editor strongly advises that the student pay strict attention to the quality of tone and the centering of pitches when playing these exercises. The subtle changes in embouchure, tongue level, and air compression should be coordinated properly and are just as vital as finger and tonguing speed. Some of the studies in this book may be altered to assist in the development of jazz. Practicing the following modes in the manner prescribed in the earlier exercises will help the student develop a broader “vocabulary” of articulations and finger patterns. Second Study - Whole Tone NI ¢ { 1 ( wo Ne : ad Second Study - Diminished Fifth Study - DorianTHIRD SERIES: Characteristic Studies Clarke composed his Characteristic Studies in 1915 to be directed at articulation. In his Remarks on Tonguing section, he describes his own manner of tonguing, and states that it is rather unique. Today, this manner of tonguing is fairly common, although perhaps only a small percentage of the players using it can do it effectively. It is often referred to as “anchor,” or “dorsal” tonguing and is not to be discouraged if it works easily. Clarke’s section, Double Tonguing, stresses the importance of practicing with a clear “ku” syllable, and directs the pupil to practice double tonguing as well as K syllables only. This is sound advice, and may assist the player in developing precise articulation in the extreme high register. The section on Triple Tonguing discusses the grouping of attacks in triplets, indicating the syllables “Ta-Ta-Ka,” “Te-Te-Ke,” and “Tu-Tu-Ku” to produce various types of attacks appropriate to middle, high, and low registers respectively. Although the TTK pattern is most commonly used in triple tonguing, the editor also advises playing lengthy groups of triplets in a double tongue pattern, but with a slight accent on the first note of each triplet. Thus, a grouping of two triplets could be played as TKT KTK. By eliminating the same syllable in succession, this grouping will prove to be quicker than conventional triple tonguing. This method was advocated by a close friend of Clarke, Col. Earl D. Irons, and is discussed in Irons’ 27 Groups of Exercises. The editor has found this manner of tonguing to be especially helpful in extended passages of triplets al maximum speed. Clarke’s brief autobiography, although written long before his death in 1945, provides several details which are often excluded from other biographies on him. Therefore, the editor has elected to include it as it appeared in the original published version of Characteristic Studies. For a more complete autobiography of Clarke, please refer to his series of twenty-four articles in Jacobs’ Band and Orchestra Monthly magazine, titled “A Cornet-Playing Pilgrim’s Progress,” and reprinted (with numerous photographs added) by Hickman Music Editions. The twenty-four Characteristic Studies are etudes which incorporate all major keys and their relative minor keys. They begin with C major / A minor and ascend chromatically key by key, ending on B major / G-sharp minor. These etudes are fairly difficult and are meant to be played by the advanced performer. Overall, they encompass every imaginable articulation pattern and rhythmic assignment. As with all Clarke studies, lip flexibility is stressed in order to keep the embouchure pliable and fresh. The development of breath control and muscle endurance is also emphasized. The cornet solos typically found in the latter pages of the Characteristic Studies are not included in this edition because Clarke did not originally place them in the book. They were added by a subsequent publisher and serve, more or less, as an advertisement for the published Clarke solos with piano accompaniment.Setting Up Drills Setting Up Drills was first published by Herbert Clarke as daily calisthenic exercises for the cometist. They basically constitute his usual warm-up and strength-building routine. Clarke outlines the seven points of playing the cornet as: . the lips . the muscles of the lips and face . the tongue . the left hand . the fingers of the right hand the air . the wind-power SAMAR WN eS Each point must be developed individually so that the overall “machine” can function properly. Clarke provides common-sense advice on mouthpiece placement, teeth structure issues, and breath control. His practical approach and easy to comprehend method is simple, yet effective, and eliminates the need to address any highly detailed and complicated mechanics of playing. The thirty-eight exercises contained in Setting Up Drills provide a wonderful daily workout, and combine all of the flexibility, articulation, breathing, and range-building ideas found in his previous series of three study books. Exercises cover all enharmonic keys, providing a comprehensive foundation for scale and arpeggio proficiency. Clarke states that the entire thirty-eight exercises can be played in thirty minutes. However, he suggests resting a few minutes between each Group of exercises. Naturally, brief rest periods should occur between each individual exercise. FtEEHEE H+ Although typeset in modern musical notation, the following four Clarke books are exactly as they were first published nearly one hundred years ago. No attempt was made to address Clarke’s occasional grammatical issues, but several misspelled words have been corrected. David R. Hickman, Editor David R. Hickman has made over 2,000 appearances as a guest soloist and clinician throughout the world. He has released 15 solo recordings and is the founder and president of the acclaimed Summit Brass ensemble. His many texts on trumpet playing are standard in trumpet pedagogy. Mr. Hickman taught at the University of INinois for cight years before accepting a position at Arizona State University in 1982 where he is currently a Regents’ Professor of Trumpet. Hundreds of his former students play in major orchestras or other ensembles and teach at leading colleges and universities. He has served as president of the International Trumpet Guild and recently received ITG’s prestigious Award of Merit.