Sei sulla pagina 1di 54
verwrwrww vw www wTwT Tw TTT wT TOT THT HHOUH HHP ESC ELERBUE 62 Clarke’s TECHNICAL STUDIES for the Cornet axsassasesegeee SECOND SERIES Containing Special Exercising Material For Breath Control, Endurance and Elasticity Of The Lips, High Note Production and Technical Perfection In General Together With Instructivé Text by Herbert L. Clarke Copyright © 2005 Hickman Music Editions INTRODUCTION This work has been especially written to enable the comet 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, arcording 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 as the lowest note in these exercises with equal tone quality, if they are practiced 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 for not 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 comet players. One cannot expect to attain the highest point of excellence without hard work and perseverance. 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. Cortect the least mistake you make immediately. Bad habits are easily formed and difficult to remedy. ‘To become an expert on the comet, one should familiarize himself with as mmuch material for his instrument as possible. In this way a substantial musical background is assimilated and much information and knowledge is gained. ‘There are few celebrated comet soloists, although thousands play the instrument. Most players practice incomectly and by neglecting the elementary wot, lose many of the benefits to be gained. ‘The third book of this series is devoted to characteristic studies of every description. While slightly more difficult, the melodious element has not been overlooked and the entire material has been graded with the same care as the contents of this Second Series. ~- rere rr errr rw rw www wewTweeeH HH HYBPEBSBI FIRST STUDY All these exercises must be played very softly. By practicing in this way your lips will always be fresh and under control. If they are played loud, the opposite effect may result, and the lips may be ly injured. The principle is the same as that of a physician prescribing three drops of medicine which will cure, whereas a spoonful will kill. Practice each exercise eight to sixteen times in one breath. Press the fingers down firmly and keep the lips moving. Contract the lips slightly in ascending, relax in descending. (Met. From J= 160 to d.= 112) ETUDE 67 SECOND STUDY Accent the first of each group of four notes to insure prefect rhythm. ingle tongues ven ighy. Tetecome all mserane ee le a ee single very lightly. me still more try tonguing. Shou cera xtelss prove mee tie Une bes ek eat they ae thoroughly mastered. Do not waste time on those that are easy. Remember, that to impr- ove one must master difficulties each day. 27 ETUDE & = o = ira) + KLARA Ag aga gagaagageqegqeqpeqegea: THIRD STUDY Practice without repeating at first, until the fingers are under perfect control. These exercises are excellent to training the lips to be flexible in slurring, single and double tonguing, especially towards the end of the Study. Etude III can be played entirely in one breath with practice. (Met. d= 60 tod = 120) 46 PRS SUE BS BE BE RUS RE CRE SOS a Tt Oo a 8 a 6 8 ALEAAAAAT EAC E TEN aeaganagennagegegeqeagess v 5 ote —— 2S = — I¥ ETUDE It 1 A 8 z 8 mae aaeneagages ‘TCT erate reagagaqaaaages 2B FOURTH STUDY On account of the difficulty of producing a whole tone trill on the comet it is often played in an irregular and clumsy manner. Twas in order fo overcome this dificulty tat hice exercises were written. Mechanical imperfections are frequently found in the construction of comets, but by slow and carefull practice these defects can be remedied and the intervals made to sound clearly in the different registers. These istegularities are often found in the interval from Ba to Cz, in Ex. 71, also C to D in Ex. 72. ‘The fingers as well as lips must be elastic. Single and double tongue the exercises after you have made progress in slurring them perectly. : ‘Try to play Etude TV in one breath. It is possible. (Met. J= 10010 144) 66 FECT O Tea gee age a gaa aaa a aaeananaenan: + rd 6 6 (ERAT A Aa gagaggagaqaqanqea eqgruqaanenean: 8 (MUAAAARATATARARAAAEAET ANAT ROCRE BAR Peneness = = ETUDE Iv (Mer. J = 144) REGGE aaa anaagagemasaagea en eeatasaeneene 81 FIFTH STUDY Endurance is 90 percent of comet 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 player ‘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 a step higher and so on until you have mastered all. Remember that a twenty story building requires a much firmer foundation than a structure of only two stories. 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. (Met. J=72 to d= 144) 87 & & o a (GMAT Pagaae gears ae genet gegenaananean: © & & 5 MARAagaeagrwrMegraene*AMn AA ne ett ee ee ‘These minor and major scales are written to promote agility of the fingers, which is so important in solo playing. They should be played very slowly at first, then as rapidly as possible many times in one breath. (Met. !=76 10.4 = 160) 99 100 101 102 103 104 ire) s = 3 107 g 109 = = = = = 112: 113 114: 115 116 tae PARARARAABRAKRPA An geagaenseartaeaaaneaaeae 7 Play the entire page in one breath. ETUDE V d= 176) 117 = ae SSS = SSS be Pe Pe Ce OE SOSH SHU HES ESE SSEWOLEEUEGEHULELELI 8B SIXTH STUDY 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 realize that much benefit is derived from playing these‘exercises in one breath than by holding long tones. At the same time endurance, technic, elasticity of the lips and the knack of reading music rapidly, is gained. (Met. J= 92 to 132) z "¥ os 89 RVUGUARAERADAARAYERERAERARABDARARAAAgAeannangenas 91 pete = LU19099000000500099000 9000009998888: 93 YVU0910000000000909909200090000 08! . 8 ETUDE VI es = =|, EE PeOReSPseFse FeFLSSosFEseEsFESEESEESEBSEGELEEEEELELLLELBs SEVENTH STUDY The practice of chromatic triplets is beneficial to all cornet players. In this Study there are a series of triplets in all registers, augmented by arpeggios which are most helpful. Master each exercise by playing it as clearly and fluently as a good violin or clarinet player would do. Fre- quently I have had a clarinetist play over certain exercises with me, so that I might imitate him in reproducing difficult studies on my comet 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 distinct change in rhythm. (Met. J.= 116 to J.= 168) 133 ad é fee 4 tit et St [——! = Pp Se = 2 = z g Practice these arpeggios triple tongue also, but do not strain to reach the high notes. Use double tongue for Ex. No, 155, 156, 157. d= 72) 151 102 157 p ede SE a Stee Eee te et Arpeggios using the chord of the diminished seventh. Play each exercise from four to eight times in one breath, (Met. J= 132) 158 =———_ =§__ ?——— (Met. J= 176 * 159 = =e a =F aye? 3 ep Ss P (Met. J= 138) 160 ¥ = SS 2 OS 165 is z 104 Po is ETUDE VIL ie Seas eee aol — =~ ae th ‘ A 4 RAURARateaaaanaanagaaaacaaca Pa (Met. J= 152) aeaaanaannanaaans 405 EIGHTH STUDY ge ein ey rae a ge ae acquiring iuency of tone. When practiced sofly the lip will never fee fatigued no mawer how many times the exercises may be repeated. These exercises will strengthen the whole system, but must be attempted until suficient progress has been Practice them both with single and tripe tonguing. 171 106 Benen ea meaanaheananenenaannnananaenn2aantananmannmanas 107 108 ETUDE VIII (Met. J= 84) 5 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. (Met. J= 144) M0 My daily practice, four times in one breath, to test my endurance under all conditions. 8 2 8 = 3 Bngeaananaea ea tem ean anaeeeennnetanmonennnnannmewnenanne|s i To play these last two exercises and at the marked tempo in a single breath, requires a cornet with perfect valve action. se the valves may stick or not respond immediately. Under these conditions the player is badly handicapped and often becomes discouraged. A good instrument is half the battle. (Met. = 100) 112 ERULARARADCAAARARARARARARAAAAARADARADBEARADRE 113 TENTH STUDY The comet has 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, freak or stunt playing which surpasses the entire comet fraternity. els S2MY illustrates bow, by using axpeggios, «melody may be played to sound complete, out an Play the small notes sotto voce, of like a whisper, accenting the larger notes full and strong, Of course, the lips must be soft and pliable to obtain good musical results. (Ma. = 66) 187 14 66) (Met. J 188: us AN OLD GERMAN FOLKSONG (Met. |= 80) TREATED IN LIKE MANNER. 190 aa