ATTENTION: The Clarke "Solos" have NOT been recorded......only the 24 Etudes!
REMARKS ON TONGUING - Clarke Characteristic Studies for Trumpet (Cornet).This is a subject which has caused more controversy than any other pertaining to the Cornet, 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. Being 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 different way. Some tongue heavily, others lightly, but those of the Latin Race as a whole, seem to have the hest control over proper attack, whether for Single, Double, or Triple Tonguing. Perhaps they give more study to this particular point; then again their language may help them to be more decisive, besides guiding them with great certainty as to the attack for the different varieties of tonguing, which should be taken up as soon as a pure tone is acquired. Many players advocate certain syllables to he used in proper tonguing, such as "Te," "Ta," "Tu," "Tit," etc. This places the ambitious student in doubt, wondering which syllable he should adapt. The attack should be started as distinctly as possible and must be positive. But there is a difference in using the tongue when playing loud or soft, also when playing either high or low registers. When playing loud, more of the tongue is used and less 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 tonguing is rather unique. But the results I have accomplished by diligent study and practice, have proven to me to be not only the easiest, but the most practical in many ways, both 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. I then produce the staccato, by the center of the tongue striking against the roof of the mouth. This I have practiced so as to acquire a rapid single tonguing without fatigue, nor causing a clumsy tone, and when under full control, Double and Triple Tonguing become a simple matter by diligent practice, keeping the mind upon each articulation. To produce a sforzando attack, such as in Trumpet playing, the point of the tongue is used decisively. In my Elementary 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 tonguing. Each player must discover the most natural 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" in the 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 necessarily pronounce "Te," and when relaxed for low tones, "Tu"; consequently it would be unnatural, and almost impossible to use the same syllable for tones in all registers on the cornet.