é 4 STUDIES TECHNICAL FRR SR eI ON OT AAR RAR AD AIA DAA AAA TI easefUxosure cenUrererenereresenereresereserecclexeLorererelenererelcleoxerereneseororenes DOCLLuLTUL HERBERT L. CLARKE TECHNICAL STUDIES FOR BASS CLEF INSTRUMENTS Edited by CLAUDE GORDON ‘Transposed into Bass Clef by William B. Knevitt Indafecio Bonet Manti Terrehermore, 0 = 12540 VILARREAL (Corte! = CARL FISCHER, Inc. 162 Cooper Square, Now York, NY 10003 ‘oprah MCN! by Cart char, ne, Rew York. Copy Renened (ony MCAEXXSNY by ar Fischer, In, New York Ing te York 2 ‘atts te acral Gop A ih reser Icing pub erormnce fr pote 04968DOOG EU CIE CUE EEUU UU EP U UU UE UU IOS OGUUCUVUOOGUOSUUUOUOLOUUE Herbert L. Clarke 1867-1945 Herbert L. Clarke became a household word during his career, and he is still today a legend in his profession and undoubtedly the greatest name of all time among cornetists and ‘rumpeters. His activities, feats and acts of generosity have filled many volumes. As a teacher, he vas without equal. He opened the way so that anyone who wished could play brass instruments naturally~as easily as deep breathing, Tam grateful and proud of my association with this great mat career, always admonishing me, “Don't stop where I stopped.” He guided me to a successful Heretofore, his books, which sot the standard for trumpet development, have not been available to the bass clef brass instruments. I have found them just as valuable forall 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VOCEULEsGuLLUSY 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 elastic and strong, and always remembering that only a slight pressure and not brute force is necessary to produce a tone, It will be found possible to play the highest, as well a the lowest 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 long 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 perserverunce. Never be perfectly satisfied with yourself. Try to improve to some extent each day and to experience that satisfying pleasure in having conquered what at first seemed an impossibility, Correct the least mistake you make immediately. Bad habits are easily formed and difficult to remedy. To become an expert on your instrument, one shiould 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 soloists, although thousands play the instrument. Most players practice incorrectly and by neglecting the elementary work, lose many of the benefits to be gained. Herbert L. ClarkeWU GUUUGULU UU UEUU CUCU VUOUGUOUOUeUIN GUO US VOCE CELLS Indalecto Bonet Manrique Torrehormote, 20 » Tel, 5251 37 2540 YILARREAL (Covell) _ FIRST STUDY 5 Al these exercises must be played very softly. By practicing in this way your always be fresh and ‘under control, If they are played loud, the opposite effect may result, and the lips may be permanently injured. The principle is the same as that of @ physician prescribing three drops of medicine which will cure, whereas a spoonful will kil, Practice each exercise four to sixteen times in one breath, Press the fingers down firmly and keep the lips moving. On slide instruments make sure that slide positions are accurate, Contract the lips slightly in ascending, relax in descending. {let Form J 160 to d-— 112) S924Ns924 i Ss nN oO ~ aol 4 Sal i 12 eo 7 4 ~ m 18 19 20 21 - — TRAP A OAR OR AARON OOOO DODO DAO DOA ARANDA AAA AAN AANA IAA AAD DOOETUDE | (let de 120) Ns9a4 a nN 2 © a nN 23 24 DOO OOOO OTA OO OR ARORA OAR AANA AAA AAA AAA AAAIObey VEE SOG UG UU UCSC SEO COGN TOG UU SOUS YUU DUN UOUNUS ue : ‘SECOND STUDY © Accent the first of each group of four notes to iiisuté perfect rhythm, ‘When practicing this Study, first play each exercise slurred, as marked, then practice it single tonguing very lightly. To become still more expert try double tonguing. Should certain exercises prove more difficult than others work on these until they are thoroughly mastered. Do not waste time on those that are easy. Remember that to improve one must master Met. Form de 60 tod 120) culties each day. 27 28 29 30 31 32 33 34 35 36 5924ETUDE a 592 xy cs o eo 8 oo oD ~ 42 43 44 2 ~ BOO COCOA OOO AOD DOOD D AAA ODA OOD AAA AA AN AAA DANA AANA DIODVOOO CES OU Gee SU UU GUC UE GEO UUUTEEGIOOG0C0008 » << Tuten STUDY” ee a ‘These exercises are excellent for taining the lips to be flexible in slurring, single and doable tonguing, especially towards the end of the Study. Btude II can be played in one breath with practice. (Met de60 to J120) 5924n Ns924 DAA AAA ORO ODA OT ODDO DOOD DOOD OO ARTA AAA ARRAN AAA 8 FN FN ADIOF5924 aancesec nonocnnonoo AAnaNAANAIANA 790005 g a » & i} ference ee FF anes == ere 7 == (Met Je138) ae sonDOCG CC CC ee ee ge oc Cee OO Coe Oe Oe 6 soo oO) coc te FOURTH STUDY On account of the difficulty of producing a whole-tone trill, itis often played in an irregular and clumsy manner. It was in order to overcome this difficulty that these exercises were waitten. ‘Mechanical imperfections are frequently found in the construction of instruments, but by slow and careful practice these defects can be remedied and the intervals made to sound clearly in the different registers. The slide arm, fingers, as wel asthe lips must be elastic Single and double tongue the exercises after you have made sufficient progress in shsring them perfectly Try to play Etude IV in one breath Its possible, Met. 4100 to144) = == == SS SS Se 66 —, ee ee er se eer cee cee ae 592415 5924 PRO AO A AAO ROOT DORADA OAD ARORA RAR AAR ARAN AAA AIR AA AAOSl . eS = 72 Ns524 16 BOR OO RAR AR AAD AAD OOOO AAD DOA AA AAA AAA AAA AAA AAT AAA AAAIcg > = SS SS pass See SS ~ 6 15 son 76 OOOO ROTOR AAAI AAA AAA OA A AAR AANA AA ARAB ARAN INNA 99979 99 OF18 Ns924 LOO RR OOOO AAA AAO RA AORTA OOD AAA AR AR AA AAA AAA AAD AAA ADIN OOF» A | 4 4 | 4 & Hy i s oe Nsous RRA RAR OR AR AREA ROTORS ODOR DARA AAR AAR AARA AAA AAA ANNA O85924 DO OCCU US CUCU UU EU UU UC UU UG IU UU US UU OU OFC UES OUND TS IGN GIN9NSSNE2a zoeee ETUDE IV atts = = = === 2 soe COO OO COT OOO ORO TDA OOD AAA DIA AAA AAA AAA AAA A AAAIAAARAA IANA OOFFOOD CGE CU BU BU UU UU BU UU UU GUS UU UNE UUs OGUU UNIDOS ELS Endurance is 90% of Brass playing, and will-power is necessary to accomplish what is considered an impossibility by many players Diligent practice of the preceding material must have improved the breath control of the players who should now be ready for this Study containing more ambitious exercises. Here is a test of endurance and breath control as these exercises comprise a range of two octaves Do not attempt Ex. 94 until you have played the preceding ones over many times with perfect ease. Then try the next. step higher and so on until you have mastered all. Remember that a twenty tory building requires a much firmer foundation than a structure of only two stores. 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. ro 2 Mer. dere 0 Je1s8)OSU CCC Cee UCC UCU oO UCU eee COC OSC Ce OOC Uo Jo CC OOOO dooce. 5924+ 2 nso x 8 El: oouca Ooo et CeCe eee CeO COO Os COC oo Coase) 20® : = thee 5 5 weeeptiters Spee ee ae SE > SS = > = 6 eek saree eee Saeimensces eee _ Sep ttterserttes, geetiteesr ree po SS SS SS SSS SS = sep epettttes apiseticer ee, . Ns904eeoesgoaussogososoD OG UCC UCC UCC COU OU CC OU GUC Ue uC OC oCoOe 26 SSS EE SSS ‘These minor and major scales are written to promote agility of the fingers, and the slide which are so ‘important in solo playing. They should be played very slowly at frst, then as rapidly as possible many times in ‘one breath, et. Ju 76 vo d= 160) 99 100 Pe a - 101 Sas ager es Settee ey xn siege Freres 102 SES. ts pepe Fee eee 103 SSE ager SOl ee Sere 104 5924seesogggaccguC"N BOBO ULC UGE GUO UN UU UE UU UU UU UTE U US UOGU LOGS OSETUDE V Ploy the entre Etude in one breath. Ns924 28 COA ROO RAR BOT ARADO DDI A OAR A AAA AAA AA AAAA AAA AANIAINNO BOFSIXTH STUDY oe Another form of major and minor scale practice in different registers; a great help towards endurance, technic and elasticity of the lips. Both tonguings should be practiced as usual. Perhaps now you will ralize thet much more benefit is derived from playing these exercises in one breath than by holding long tones. At the same time endurance, technic, elasticity of lips and the knack of reeding susie rapidly, is gained, let, 4292 to 1321 118 pe = v 119 Ns924Nsov431 Ns004pete pete et eget oe wee eet ages 127 & 128 = Nso24 CO OOOO OAR COR OO RIAA AOR ARIA DADA AAA AAA AAT AA AANA AAA AANA AO ea33. 130 # lenncncencencnannnnanananaasaas = SSS SSS ES 131 2 Ns924 AAR AARARDAADAAAAAA AAAS ANION DOO!5 y > 2 9 > > Dd 2 > d > 9 > 9 o ) > > > > > > > > d > > > > > > > > d ) > ) > > > > > 3 > > 2 > ) > 2 3 d > > 9 ° a soeo d 3 SEVENTH STUDY od > oO ‘The practice of chromatic triplets is beneficial to all brass players. In this Study there are a series of triplets in ied all registers, augmented by arpeggios which are most helpful. Master each exercise by playing it as clearly and > fluently ase good violin or clarinet player would do. Frequently I have had a clarinetist play over certain 5 exercises with me, so that I might imitate him in reproducing dificult studies.on my hor as fluently ashe did } on the clarinet. It is a good idea to try this. 2 Notice the change of time from sixteenth triplets in Ex. 154, common time, to’sixteenth notes in six-eighth Oo time in Ex. 155. Quite a distinet change in rhythm, o 9 ° tet Ja116 to ds 168) 2 5 133 ° aD 7 6 2 ° 7) > 2 > d ° sou POSOGLEU VU SLU GU EU EEE UU EU EEE2 HH is 5 i ihe | 8 al DRORA AAR ARR AR AAR RA ORD RADA AAAAAA AAA AANA AAA AAA AANA DOOD 138 139 = Ns924141 & 142 2 143 Nso28 SOO CO OOO OAR AAA AOA ARORA AORTA AA AA RAIA AAA ARADOsagan ioe Pte neeinven ee >. oo =e fee po 144 38 Ns9n4 OOOO ROAR ORR ODA RADAR EARN OOO RAR AAA AAR AAR ARANAANIIAAN OOO!OBO GGL U GUS OEE CUE UU UE UU UU SOOO UUINNS Practice these arpeggios triple tongue also, but do not strain to reach the high notes. Use double tongue for Ex. No. 155, 156, 157. (Met. J 72) = = = ep aap etd i & az p< 2D “Fal P= fo2\ <9 SS SS ESS ESS ESS N52OX TeTORORO ICRC OnORORCRURCROIOLUIORUORORCEG) N5924 | a eS EES SES2 BTU VUE UOUGEC UU UOOUUSGuOCUNCCOUGoUSEsSsONS JSOOGCLLLUU LULL Arpeggios using the chord of the diminished seventh. Play each exercise from four to eight times in one breath. (Met d= 132) 159 Met. d (16 (aa a xe lMet. da132) 6 PE (Mer. 4160), 41CO OOUEE COVE GUC EU EU OEE U UU OU CUES OC UUU UES SOG OGGOS FIGS S9595005 = ETUDE VI Met. 421521 agitato t dn. = Ee a nINe eee ae HanRRnnRRE meee C Utd eee aoenmeneeees ceanaee cage: 5904VOOCU UU GUS UES C GLUE GU UU UE GU UES OOCUNU SSE CUS C CU ose oUSasECONL EIGHTH STUDY = Hore are more chromatics in an extended form to test technic, flexibility of lips and also for acquizing fluency of tone. When practiced softly the lips will never feel fatigued no matter how many times the exereises 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. let. 492) N94sozete Serotet N50ETUDE Vill soz COC OOOO OO SOO DOT DOOD DOOD ODDO AAAI ARAN AAR AAA ANAND OOPROC EGU UN UU BU EES UU UU UU EUS UOUCUE TOU EIS IV eR NINTH STUDY - 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. (te. det osc = en 180 wp csc ~~~ = me -~ ~~ boCOS EEO BEE BSE UB U UCU UU OU GI GES O GUE GTGV SS IOS SIGUE yoo t din. =——— My daily practice, four times in one breath, to test my endurance under all conditions. ‘et. J. 160) 184 NsomDOCCe CCU CCC Co CeU CeCe vec Ce UCC CC OCC UCU OO e DOU CC OOo Joo jo 00 e 9 To play these last two exercises correctly, and at the marked fempo in a single breath, requires an instrument with perfect slide or vaive action, Otherwise the slide or valves may not respond immediately. Under these conditions the player is badly handicapped and often becomes discouraged. A good instrument is half the battle. (Mier. o100) 185 soa7 pop feet e ie = aa feedeste Ty & ie fiepintice Neva FOO COC OOOO OOOO ATO D ARO ATO ORO ATA AAA DAA AA AAAI ARAN INNATE 00TENTH STUDY 5 Brass instruments have unlimited possibilities. This is demonstrated nearly every day in some part of the world by ingenious players who have a knack of working out, with comparative ease, original freak or stant playing Which surprise the entire brass fraternity. ‘This study illustrates 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 rust be soft and pliable to obtain good musical results oe. det Ns904TREATED IN THE SAME MANNER AN IRISH BALLAD Met. d-66) o cs a Ns924 2 cs at 52. PO CORO OOR ARO CAAA AONE AOA AAA A AAA AAD ARIA RAAT A AIAN AAO33 TREATED IM LIKE. MARNER AN OLD GERMAN FOLKSONG (et. 480) Nso24 o a = POO COCO COCO RDO OT AOTC OAC OO ROTA A ORD AD AA INDIE INIA 9NIINIIII000