HERBERT L. CLARKE CHARACTERISTIC STUDIES | FOR THE CORNET a | 410 Takwtukutokuta ka takataka takataka teke- 9 = == ~ takata kata kata ka a "2" SO. + tu uta kata kata ka tw ta kata katukutu ko tuka = 2+" 14 tala 5 ta kate kete kete ke ta kata ka te ~ teketake 15 in what taka ta ta kata te tekete te ke ta stakata (aka ta ta kata i a takata (ka ta (kata tke te teketa taka ta te ta kate take 16 teketekatakate ke tekatekatekateka a takatukutakatwky tukata ke ta tekatekateketeka teketekatakate ke tekatakatukataka (ckatakatukata ka 17 flaw tkeekets @ lata taka f& ta to Galata takuta talaakata (keto te tekatakataka (ukutukutukuta ka takate kete tekete whee tatatakata t ta takateke 1s SE Seaeieenaaee Bagi Siete teketeke teketoketokoteke teketokatakat taka taka (aKepteks, somes tt “fe FZ see taka takatekatuke tu fukutaku taka (katakata ka ta ka takate kaa ka fake =~ + Glatt 6811-60u TRIPLE TONGUEING The majority of cornet players attempt Triple Tongueing long before they have thoroughly mas- tered perfect Single and Double Tongueing. In consequence the results are not satisfactory and the player never reaches perfection in Triple Tongueing, and yet it is the most simple form of tongueing if properly practiced from the beginning. The syllables used are a series of triplets, pronounced: “Te Te Ke;” “Ta Ta Ka? “Tu Tu Ku;” each detached, but sounding equal in attack, without emphasizing or accenting any one syllable, especial ly the first. The student should control the syllable “Ke,” “Ka” or “Ku,” to do this properly, other- wise it will be impossible to tongue triplets evenly. Commence by practicing the following: examples slowly: Zs > -_ FS > zs ta ta ka ta ta ta ka ta ta ta ka ta ta kata ta ta ka ta ta ka ta PPP z tatakatatakatatakata 20. . tatakatatakatatakatataka 2. By using middle “G”, the lips and tongue will not become rigid; furthermore the mind can concen- trate on using the syllables correctly and without thinking of other notes or fingering. With slow and care- ful practise, this form of tongueing will become easy in a short time. Then triplets should be tried in other registers, = z 4 F z re led Nowe iF tutukututulutatakata teteketatakatatakatu tutukututukutatakata teteketatakatatakata ta BT ar ae Sal ae Fz tutukututukstatakatataka teteketatakatatakatutuku = - - 2 2 2 2 2 2 2 ee Refer to CLARKE’S TECHNICAL STUDIES and practice the Exercises using Triple Tongue, from page 35 to40: Page 43 to 46: Page 49 to 50 inclusive. 26811-6012 HERBERT LINCOLN CLARKE was born Sept. 12th, 1867 in Woburn, Mass.,which is about ten miles from Boston, He is essentially an American,his ancestors landing at Plymouth, Mass.,on the sailing vessel “Lion” in 1684. Mr. Clarke is the fourth son of Dr. William Horatio Clarke, who was one of the most celebrated organists and composers in this country. Born in a musical atmosphere, Clarke developed musical tendencies at anearly age, and showed marked ability, studying the Violin while quite young, afterwards taking up the Vi- ola with such success that he was engaged to play witha celebrated String Quartet. [At the same time, he was attracted to the Cornet, and began studying this Prince of Brass Instruments, at the age fourteen, and by diligent study, absorbing all his time and energy, made quite a local reputation as a player. Through perseverance, he gradually advanced in his profession as one of the greatest of living Cornetists. During his musical career, he has been the Cornet Soloist of many celebrated organ- izations, among which were the Bands led by P. S.Gilmore, Victor Herbert, Fred Innes and later with John Philip Sousa with whom ‘te was associated for more than twenty years. Clarke has made numerous transcontinental tours, playing many times in every large city through- out the United States and Canada; everal tours to Europe, playing before the Crowned Heads and Nobility of many countries, also making an entire trip around the world. The severest critics were unanimous at all times in praise of his splendid ability. His experience in the orchestral field has also been varied and large, playing in Sym- phony Orchestras, as well as the New York Metropolitan Grand Opera, and under celebra- ted conductors such as Anton Seidl, Walter Damrosch, Luigi Mancinelli, Enrico Bevignani, Alfred Herz, M.Pauer, Engelbert Humperdinck, Adolf Neuendorff, Vigna and others. Clarke has been leader of many bands,among them Reeves’ American Band atProv- idence,R.I., First Light Infantry, Naval Brigade of Mass., and was commissioned while Bandmaster of the 2nd Regt. of Rhode Island. For five years, Mr. Clarke was conduct or of the famous Huntsville Band, of Huntsville, Ontario, Canada, and for the past eleven years, he has conducted his own band at Long Beach, California, with continuous success. 2eust-60‘TWENTY-FOUR CHARACTERISTIC STUDIES ™ © MAJOR ‘Allegro moderato (Met.4-120) 1 nme 1 aS14 A MINOR Allegro (tet 4-144) nfleggiero ut Tt —— = 26811 60Db MAJOR Allegro risoluto Otet.d-132) ————— 2e811- 60Bb MINOR Allegro mi 26811- 60D MAJOR Moderato energico (Met. d- . ave 3 + aye ae Fe 26811- 6018 B MINOR Moderato marcato (tet. d-100) p staccato F > nf 20811 - 4019 Eb MAJOR ‘Allegro moderato (Met. d:189) SF well marked SS Pp cresc- == en - - do 2e811-60Cs (es oT La ODO Ge a HERBERT L. CLARKE BARACTERISTIC STUDIES FOR THE CORNET Elementary Studies First Series 02273 Tachnical Studies Second Series 02280 Characteristic Studies Third Series 02281 Setting Up Orills Calisthenic Exercises 02282 CARL FISCHER: 62 Cooper Square, New York, NY 10003 02281 TSBN 08258 02504 =20 MINOR ‘Allegro agitato (met. d:1s2) pine) fw BEL Ye Seo =~ a ae Se = - a ere ee21 = £ MAJOR Allegretto giusto (atet.d = 104) Fe mf accentuated Hiv ihd 26811-6,22 cH MINOR Allegro moderato (tet. J-96) fond meee eeontttasnt te, Pbravoura furioso mibeal Se PSE ea ae Bygte een heT ea geaei F MAJOR p simply Allegretto (wet.d-188) 2324 D MINOR Allegro moderato (tet, 4 : 120) =~ sa 12 (prchersanto aac p playfully = Sf marked 2% Bap25 FH MAJOR Vivace (et d= 160) Pégracefully26 Eb MINOR Allegretto con moto (et 4-98) 14 nf staccato 8811-80G MAJOR 27 Allegro ma non troppo (Met d: 6811-40 =28 & MINOR Tempo di Bolero (met -120) 16 3 mf bold Siovausty eyAb MAJOR 29 Mcderato (atet. d= 112) 1 P gracefully =" whee = 2e811-60INTRODUCTION Ever since J. B.Arban demonstrated the musical and artistic possibilities of the Cor- net, while concertizing in France, Germany and England, as long as 1848, this instrument has remained one of the most popular throughout the world for solo playing. Others of equal renown, with whom he vied, were the great French Cornetist and Author, Saint Jacome,Levy and Arbuckle from England, and later on, Liberati, Emerson and a host of celebrated Amer- ican soloists of the past and present In view of the progressive demands of modern Cornet playing, I made a thorough study of violin methods and exercises, and adapting much of the material I found therein, for the needs of Cornet players, Asa practical result the Twenty-four Characteristic Stud- ies contained in this book, while of difficult grade, have been adapted from existing violin studies, in carefully arranged form tosuit the requirements of the Cornet. They have been provided with metronomic tempo indications, proper breathing marks and will aid the student to gain absolute control of technic, articulation, slurring and endurance. Cornet students should not exert or torture themselves, by trying to master all these studies before careful preparation. With well-developed and proper embouchure, they will offer no undue difficulties. My Technical Studies, Series Two, if practised carefully as per instructions, will help the student to play with comfort and ease. 1e by persistently copy- Cornet players should strive to become creative, and not imita ing some great soloist, To the contrary, they should endeavor to produce original ideas which no other players have ever thought of, and try to demonstrate their own musical and artis- tic individuality. The following studies and solos should assist in arousing ambition and per severance amongst all serious minded students, and as everyone has an equal chance in gaining fame, I sincerely hope that this work will prove both helpful and beneficial. HERBERT L. CLARKE comme Ramen MOMLIIE ep yright MCMXV by Herbert L, Clarke 02281 Copyright MCMXXX1V by Carl Fischer Ine , New York International Copyright red Copyright, Canada, MCMXK by Herbert L. Clarke oC 288i.30 F MINOR Moderato (met. d= 92)31 A MAJOR ‘Allegro vivace (et, d.:182) 19 am anf staccato, lightly 2681-6032 FH MINOR Furioso (tet. d- 122) S tery regular f 26811-60 433 Bb MAJOR Moderato (net. J.0¢) 21 sustained and smoothlyG MINOR Allegrettocvet. J, 108) 22 efB MAJOR Moderato (Net. 4: 144) 23 Sptery marked and detached LR 26811- 6036 Gt MINOR Andante cantabile.(Met. about 4.72) 24 \P espressivo sostenuto tratenuto y Pp appasstonato 2 S465; e 7 — —rv tra = rivoluto ten tem rail. Pgrasioso ll eu ; —- ia sae er peseree Flocoso 7 animato eee x, 3 v af broad - ral sue == 26811-60The Bride of the Waves 37 POLKA BRILLANTE , (Trumpet Bb Cornet (7rumpet) Concert Adaptation HERBERT L. CLARKE Allegro agitato (wm. (Piano risoluto Andante (M.M.d= 76) 2 ee — 2p “appassionato $ WD cate =e < a Tempo di Polka a (Piano? co Copyright 1987 by Carl Pisoher, Ine, New York 27069-10 International Copyright SecuredB> CORNET TRIO iano) Dainty poco meno mosso (Piano) nf & 27000-10Bb CORNET a 39 S ralt ——_— © Cadensa Peart as ar = eS Slower fl ee ee Ta SU ad bib. Revit“ THE HARP THAT ONCE THRO’ TARAS HALLS CORNET SOLO WITH VARIATIONS CORNET SOLO HERBERT L. CLARKE Moderato, a 8 a Andante — pespress ——— y mee S a tempo brillante ! By permission of M-Witmark & Sons, New York 26811 - 60at 26811- 6042 F999 tooS 22999999 9999 J s0d,9 deg god" 3 9S SENaa Sounds from the Hudson a ‘és ‘es VALSE BRILLANTE ‘ornet (Trumpet) Concert Adaptation INTRO. Allegro vivace HERBERT L.CLARKE Piano) = ti alse oes Plano) aging Bayle Piste) ee Bie sd = Perse oz co ‘Copyrigns 1927 by Cari Fischer Inc., New York 2771-10 “ateraational Copyright SecuredBb CORNET (Zrumpet) ANd Zz Plu mono —————_ Fr* patempo a =~ eS eee a Vivo , 5 TL Pile mosso, (p staccato Hono mosso Piano) = espress. 7971-10Bb CORNET (Trumpet) 45 i 27071-10‘8 FROM THE SHORES OF THE MIGHTY PACIFIC CORNET SOLO, Bb RONDO CAPRICE Allegro vivace Solo ee HERBERT L. CLARKE jae Fe | = Lif fi pe a Moderato g very broa SJ 2 3 Dhara al Cad. a | i poe. pes . pet Oost = woo Beate cater ag eta aS See) | p ad lib. =) i vt i — = z = ey oo eS By Permission of M, Witmark & Sons, New York 26811 -60CORNET SOLO, Bb 47 ea ee = pa P > ag) Brillante ¢ us eee Tey ‘neni - 60CAPRICE BRILLANTE CORNET SOLO, Bb a THE DEBUTANTE Allegro moderato z Pi pazan —— S furioso Cadensa a a ’ i ’ i ‘ pe CAPRICE Moderato Pp delicately a tempo Allegro Slower By Permission of 3M. Witmark & Sons, New York 26811 - 60CORNET SOLO, Bb % Rc aia eee De ae cas =——— LP ad lib. illant Brillaate a dolce and slow P Cadensa Hinee agai -60REMARKS ON TONGUEING This is a subject which has caused more controversy than any other pertaining to the Comet, and is one of the most important factors of correct cornet playing. Perhaps very few players have ever considered that different languages have an effect on the tongue. Bei 1S personally acquainted with many celebrated artists throughout the World and conversing with them on the different points of cornet playing, I have noticed that nearly all tongue in a diffe ent way. Some tongue heavily, others lightly; but those of the Latin Race as awhole, seem to have the best control over proper attack, whetherfor Single, Double, or Triple Tongueing. Perhaps they give more study to this particular point; then again their language may help them to be more decisive, besides guiding them with greater certainty as to the attack for the different varieties of tongueing, which should be taken up on as a pure tone is acquired. Many playere advocate certain syllables to be used in proper tongueing, such as “Te,” “Ta? “Tu,” “TitT tc. ‘This places the ambitious student in doubt, wondering which syllable he should adopt. The attack should be started as di ctly as possible and must be positive. But there ix a difference in using the tongue when playing loud or soft, alwo when playing either high or low registers. When playing loud, more of the tongue is used and lews when playing softly. The tongue should work perfectly with the muscles of the lips, contracting it slightly for the higher notes, and relaxing it for the lower notes. My own method of tongueing is rather unique. But the results I have accomplished by diligent study and practice, have proven tome to be not only the easiest, but the most practical in many wayspoth for solo and other work. First, always practice softly, try to produce a light positive attack in the middle register. My tongue is never rigid when playing, and rests at the bottom of my mouth, the end pressed slightly against the lower teeth. Ithen produce the staccato, by the centre of the tongue striking: against the roof of the ‘mouth. This I have practiced so as to acquire rapid single tongueing- without fatigue,nor causing a chim. sy tone, and when under full control; Double and Triple Tongueing become a simple matter by diligent practice, keeping the mind upon each articulation. 26811-602 CARNIVAL OF VENICE CORNET SOLO, Bb CORNET SOLO WITH VARIATIONS zi HERBERT L. CLARKE Allegro 6 Allegretto ——— a SSS tees Te. ora —_——= ag THEME. Moderato 5 VAR. Allegro YAR. 11 Slow (6 Beats) By Permission of M.Witmark & Sons, New York 2eatt - 60 nz:CORNET SOLO, Bb 51 o FINALE Slow _ 2681-60os: SHOWERS OF GOLD CORNET SOLO, B> SCHERZO ‘Tempo di Polacca ‘Allegro moderato HERBERT L. CLARKE ‘iano Cadensa 10 4 be Pac. gy “ae ap rs SCHERZO Moderato ad (ib. ri p atempo 2 Moderato nae 3 = gy Permission of M.Witmark & Sons New York esti -60CORNET SOLO, Bb Pes Z27> z Moderato ad ib Pe rit atempo atempo ea (ES NS Ne deplete catece p= 22,2 Fie J Sree 5 a3 y4pteteba,? Bee 22, tcl Se = irre Crees ES = > 5 = $iane ge wee SS ae i Rel taplesis es See Sa & EE essed ees Allegro vivace : 26811 60ot DU DU LIEGST MIR IM HERZEN CORNET SOLO, Bb CORNET SOLO WITH VARIATIONS HERBERT L. CLARKE Allegro, e ; —-— a7 te = 3 @ = <= ee aero re a —— a : Ring Mouerato VARI f Allegro _ fF Ry Permission of M. Witmark & Sons New York 2681160VAR. II esti 8056 Dedicated tothe Australians THE SOUTHERN CROSS CORNET SOLO ROMANTIQUE HERBERT L. CLARKE Allegro 12 atempo re ff dolce 8 Amant Piuao Cad. ————f Allegretto a < accel. e crest. Pomposo. 7 = Frou # to # may be omitted in Piano 4% From A to Band C to D may be omitted ByRerplpsion of M. Witmark & Sons New YorkSlower 44 Amoroso P prem. es ee Ofte om Li viretio Cadensa Oo anne ae 26811-60= SIDE PARTNERS Allegre, Allegro = Pespress. ep -Ut e Allegro,, 6 2 St 7 Sal = cre - seen - do ————rall Je ee CODA. cresa 3 Ey = Jn aan By Permission of M. Witmark& Sons, New York 2681-60TWILIGHT DREAMS * WALTZ INTERMEZZO HERBERT L. CLARKE Animato af Ziase Waltz. tempo. oc P dreanily Sy ene te ecer, L———— a tempo — atempo uf atemy Con anima I ae Tempo I Padreamily accel. Crest atenpo Le a rit. ral ¢ dim pp By Permission of M. Witmark & Sons New York 2681-60To produce a sforzando attack, such asin Trumpet playing, the point of the tongue is used decisively. In myElementary Studies, First Series, I state that there is no set rule for cornet playing, except by playing naturally; consequently there is no set rule for tongueing. Each player must discover the most nat- tural and easiest way for himself. There is any amount of experimenting necessary, before one really feels the proper way. Use of the syllable “Tu,” not “Thu” inthe middle register, seems to be the most natural way to express the attack. ‘As a matter of argument, when the muscles of the lips are contracted for high tones, one would neces- sarily pronounce “Te, and when relaxed for low tones, “Tu", consequently it would be unnatural, and al- most impossible to use the same syllable for tones in all registers on the cornet. SINGLE TONGUEING This is the first important essential to acquire before trying the other varieties of tongueing. Thorough control of the tongue must be gained by practising a series of notes regularly and evenly, using the open tone “G” and playing softly. (Met. J. 120.) Increase the Tempo to Met. J uk iP Staccato and detached. Repeat four times This cannot be accomplished correctly without patience and application, and sometimes requires many months practice and even years, according to the aptness of the student. ‘When full control of the tongue i acquired, practice all scale exercises with the Metronome, which ticks regularly, and keeps perfect time. Be sure each articulation is even and equal, in tonal quality, also positive in attack. There are as many different articulations on the cornet, as bowings on the violin, and every cornet. ist should acquaint himself thoroughly with all of these to be a good player, as they are used frequently in all kinds of cornet playing. 26811-6060 CORNET in Bb LILLIAN POLKA CAPRICE HERBERT L. CLARKE Allegro brillante 4 see TS aa = intro : F agitate mifdolce sostensto Fatt 3 Sp reg reed eS jurioso ———$——— Moderato er > So Spe > Be eager are tag By Permission of M. Witmark & Sons New York. 26811 -60 ease sigiesaes ———= =FCORNET in Bb 61 TP Bes Moderato cappice 3 a ore zesit - 40ie THE MAID OF THE MIST CORNET SOLO rectal wend HERBERT L. OLARKE ‘Tempo di Pollacea i a oe a Andantino paolce pe Tempo di Polka re 7 daintily, Pa SS atecel- er = an - do crese. wt zey1t~ 60 By permission of M,Witmark & Sone, New YorkCORNET SOLO BS NEPTUNE'S COURT sennenr cuanke arcarolle 15 a PN = a 1 —— INTRO, eT SS aceel. € crese. === 3s Moderato Pp ‘Andantino Allegro la paracifully ‘Moderato — SS ere é con moto~ & her ae =f slower64 MY LOVE FOR YOU CORNET SOLO in Bb A pdoter sees ty Permboion of W.Mhimark & Sons, New-York seeu—e0 HERBERT L. CLARKE —————S with passion —S= P ENS crese. a tempoPractice each of these different forms of articulation many times. 2681-60DOUBLE TONGUEING This form of tongueing is produced by articulating or pronouncing the syllables “Te Ke” for the upper register, “Ta Ka” for the middle register, and “Tu Ku” for the lower register. ‘The player must have acquired proficiency in Single Tongueing before attempting to double tongue, and as each syllable, to be accurate, must be pronounced distinctly, it is absolutely necessary to produce a5 equal a staccato effect with the use of “Ke”, “Ka” and “Ku, as with “Te”, “Ta” and“Tu": Therefore advisable to control the “Ke’, “Ka”, “Ku” attack. This form of articulation ix usually overlooked by ‘a majority of cornet players, whose double tongueing, as a result, is never correct. In using this form, Practise the exercises therefore, slowly and distinctly, in order that the result will be exactly as with the single tongue attack. Ka kaka ka kaka kaka kak kak kak kak kak kak kak kak ‘When this attack is thoroughly mastered, practice notes in different registers, using the syllables required ‘when the lips are relaxed and contracted . kik kok kak kak kek kek kek kak kak Kek kek kek kak kak kuk kuk ku Increase the speed as you progress with this articulation. Do not become discouraged if this method is difficult at first, as it requires time and patience to gain proficiency. Think of each syllable separately. After this is thoroughly mastered, try using both syl- lables, “Ta”.“Ka.” ‘Then practice Scale Exercises using the Double Tongueing distinctly. Many players neglect to practise’ tongueing in the lower register, with consequent unsatisfactory re sults, By using the lower tones, neither the lips nor the tongue will tire so readily on account of be- ing relaxed. ‘When this is accomplished, use higher tones, but do not strain nor fatigue the lips by practicing too stead- ily, Rest often, to relieve the constant strain on the muscles of both lips and tongue. Refer to CLARKE’S TECHNICAL STUDIES, Second Series, and practice the Exercises from page 5 to 34 inclusive, using Double Tongue, very staccato. 20811-60Practice each exercise many times. Articulate distinctly and play softly. ta kata ka ta ta kata ka ta ta ka ta ka ta ta ka ta ka fa tu ku tu ko to ta kata ka tu ta ka ta ka ta ta ka ta ka to fu ko tu ku tu to ko tu ku ta ta ka ta ka te ta kate ke ta ta ka ta ka ta kata ka ta ka ta ka ta ta ka taka taka ta ka te ke te ke te Rat nats is hake eee ad nd eg edb ore Ge tee con ie a 5 a ea te Kaen se 10 tukutu katakatake teketakatakatu ku tukutukatakatake teketakatakatuka ti tcknl. < Een Ee SSA Screg ES te 12 tukutukataketake teketeketeketeke teketekatakataka tukutukutukutuku ta 2811-80