MUSIC FOR BRASS No. 281 MARCO BORDOGNI 43 BEL CANTO STUDIES | for TUBA (or Bass Trombone)=STUDY SUGGESTIONS While it is not feasible to give detailed instructions for playing each of the studies, the following general suggestions will be helpful in attaining correct and effective performance. GENERAL CHARACTER These etudes, originally for voice, have traditionally been treated as legato studies when adapted for instruments. In this edition legato phrase markings have been used freely to emphasize their prevailing cantabile character, and to indicate phrase-groupings for purposes of breathing. Within groups so marked a gener@lly legato style should be employed; however the various degrees of semi-legato or "'soft-tonguing" which lie between the extremes of détaché and complete legato should also be resorted to for spe purposes to impart greater definition, to heighten rhythmic effects, and to mark sub-group- variations ings within phrases, It is not practical to give markings forall possi of articulation as it would overload the page; also, their application would depend greatly upon the characteristics of individual players and instruments, However, a few have been inserted where it seemed especially important for style. Tenuto marks (dashes) under the phrase markings indicate here not only very full duration, but also [except at the ends of phrases) an additional weight and intensity of tone, for expressive purposes. Dots under these markings indicate soft-tonguing suffi- cient to give some definition, but without separazion, and without additional weight. The études are by no means all alike in character, and itis desirable to study each one thoroughly to find the tempo, mood and rhythmic qualities appropriate to it, as well as to perfect the execution, TEMPOS The metronomic markings are based on three factors: the musical character of each study, the demands imposed by the physical nature of the tuba, andthe pre- sumed ability of the "typical" player at each level of difficulty, It is recommended that they not be greatly varied for performance, The fastest possible tempo seldom conveys the character of a piece, nor is it conducive to development of precision and consistency, The more advanced studies will furnish sufficient challenges to any player's agility and flexibility. Rapid movements should of course be studied At considerably slower speeds, and then gradually brought up tothe tempos marked, Tempos should be held very steady throughout each moveme| these melodies is essentially classical, and is best conveyed ng of phrases, and through refinement of articulation, Rubato and any marked po fluctuation are not appropriate here, The studies should be played with the ome as a check occasionally, but not habitually as a crutch, Try to develop me within yourself to a high degree of reliability. MFB N° 2009BREATHING Phrase-lengths are realistic for tuba players of average physical endowment and well-trained breathing technique. Commas in parentheses indicate breath to be taken if the player cannot comfortably render the longer phrase. Where no rest occurs at breathing points, be sure to take time for the breath away from the pre- ceding note, to avoid delaying the following attack. DYNAMICS It has been considered best to use dynamic indications rather conservatively. Often the nature of the melodies does not clearly mandate a certain dynamic level for each section, and any editorial choice will be to a degree arbitrary. The markings which do appear are intended only to bring out the main structure of the piece, and to illuminate a few expressive highlights which might otherwise be over- looked, They can be taken as feasible and appropriate, rather than vuu.ugatory. What is primarily important is that the student accustom himself, not necessarily in any one study, but over the many, to employing with assurance and discrimina- tion a full scale of dynamics, from a pianissimo which however retains clarity and presence, toa molto forte of real dramatic power, which yet stops short of the harsh and overbearing. Also of great importance are the shadings within the phrase, which are generally impractical to spell out in detail. In music of this period the phrase typically has alicenter of gravity" corresponding to the key words in a written or spoken sentence, the player must, by subtle variation in the intensity of tone, convey an impres- on of motion toward it, and then of release and relaxationas the phrase is rounded f. It telligent shaping of the phrase that raises it to the dignity of a state- ment, rather than a mere succession of pitches, and it must become second nature to the interpretive artist before expressive playing is possible. RHYTHMIC DEFINITION The shortest notes are the most important in defining a rhythmic grouping, They must be enpnciated very precisely, and with a shade of emphasis as necessary for clarity; however this must be done with restraint, as it becomes pedantic if exag- gerated. Syncopated notes call for a suggestion of accent at the beginning, and frequently a slight tapering away of the tone after the attack, Be sure to avoid any suggestion of a secondary accent or swelling of the tone where the beat would nor- mally fall. ORN NTATION Gruppetti, appoggiature and other embellishing figures are often encountered in these melodies, "Correct" interpretation, which has derived mainly from keyboard practice, is in many cases ill-suited to the tuba and other large, low-pitched instru- ments; the figures may sound "difficult" if played in strict rhythm and tempo. It is often desirable to begin the embellishment a fraction of a beat earlier, to give it time to speak ina graceful and leisurely manner. Allthe notes inany embellishing figure must sound clearly and at a dynamic level with the context, Trills where indicated should be considered as optional. Often they will lie well for tubas in some keys but badly for others.‘The quality of melodic expression represented here is very much in the main- stream of Western musical tradition, being organically related both to the earlier eras and to the most Significant music of our owntime, The instrumentalist who fails to make himself thoroughly at home with these melodies fromthe "golden age of bel canto! and who is not prepared to play them beautifully as regards both sty’ and technique will not be able to perform with assurance and authority the wor! later masters. The-character of these studies makes it necessary to set them principal: middle and upper portions of the tuba's range. Rather than working on thers excl sively for long periods, it is advisable to alternate with other materials, such as Blazhevich: 70 Etudes for Tuba (MFB #2002), Vasiliev: Etudes for Tuba (MFB #2004), and Kopprasch: 60 Selected Studies for Tuba (MFB #2006), which make free use of the lower register as well. CHESTER ROBERTS, Editor and Compiler Principal Tuba Pittsburgh Symphony Orchestra The Cleveland Orchestra Chautauqua Symphony Orchestra Teacher of Tuba Oberlin Conservatory of Music Western Reserve University Baldwin Wallace Conservatory of Music Duquesne University Chautauqua Summer Schools Gloucester, Massachusetts, 1972 MFB N° 2009Music for Brass Ne,- 2009 BEL CANTO STUDIES Edited and com Andante cantabile [= 63] ee aa 1 can t === = ==: a Ret AE i a ee Oe gr rl 3 os alge eed 2 3 —__ EO * ~ 3 fe eee _ 2 oe 2 9] a ae Since the triplet predominates, be careful that 3 does not become d #. Where notes are repeated in a legato line, tongue the secohd one, for example, the first note of measure 10, This does not apply where the tie is printed, as in measures 48 and 49, The desired effect here is one of syncopation, © Robert King Music Co. 1972 Editions Musicales Alphonse Ladue 175, rue St, Honoré, 75040 Paris cedex (1 Doct ie HFB N° 2009ALLEGRETTO [d= 104] 2 EES SSS = a mp ~. ‘ai af = === Tt SS ee Oe ee bal <2 : => ~; = 2 rhythmic character of a piece depends mais the #-a figures in the above stucy mu eis a very common fault that the sixteenth note MFB N° 2009CON MOTO [¢ = 88] 10) MFB N* 2009ALLEGRO [4 = 104] PSS SSS eee io) aS = =| oat po Sor = = + a *¥d, = Sens P = < f es ale These lie well for BBb, Cand F tubas, but badly for EP, MFB N° 2009SF rit. » » a tempo ¥ In the slow tempo indicated, the foregoing study is a good test for breath control, Take ample breath according to the length of the phrase, then practice rationing to avoid expending it too freely at the beginning. MFB N° 2009ANDANTE PASTORALE [¢-= 54] MFB N° 2009MODERATO [¢ = 100] oe Seen MFB N*2009a piacere a tempo lp your endurance dy is rather longer than preceding studies. remove the mouth- eeply by free expansion in the abdomin t © lips wherever the rest is sufficiently long to permit it. MPB N° 2009ANDANTINQGON MOTO [= 921 Bey ae SS a SS a Se uO i0 =&| MFB N¢2009NDANTE CANTABILE‘[# = 84] ae = tf ee ALLEGRO [¢ = 120]3 Se eee BWUiFettando ¢ crese, Lee ae, Lt brillante J LARGHETTO [= 62} MFB N° 2009a= aS Fall, © a tempo Pre 2S = at ot eae # 4 pete ee wf SE np Sate ANDANTINO QUASI ALLEGRETTO [4 = 58) 14 : pp ———— SS >MFB N° 2009ANDANTINO [4= 80] MFB N° 2009ANDANTE GANTABILE [# = 104] 16 i ae ey wy P crescendo poco a poco Se of ———___— Ses sae a 9) eee rh a piacere MFB N° 200920 ALLEGRO COMODO [# = 100] 17 op ee a eS lL) eae === SSS So as SS —— pee =p uty | 4 \ t ta MFB N*2009ANDANTE CANTABILE eee 72] is See ASS aoe =i = =e — =—=p ees —— — crostendy poco a poco ee, sempre Crescendo TEMPO I22 ALLEGRO MODERATO [4 = 104] = 19 ee = = | Ee = == Se eS a 20) fe MFB N*200923 CANTABILE [2 = 100] fo 20 : gs a | ee Zt a tempo —= of —— * ™P MPB N° 2009ALLEGRO MODERATO [4 = 104]25 MFB N° 200926 ALLEGRETTO [2 = 108] 23 e Ba SS SS eee ‘a. tempo [20] i , =o" ALLEGRO [d = 88] 24 MFB N° 200928 ALLEGRETTO [¢-= 54] 5 er Sar eae ee: 5 MPB N° 2009a creseenda: ea ae > = —=—_ ff 5 study is very different in mood from many in this collection, Bring out its ener- racter by strong accents, and by short quarter-notes as at the beginning of st and second measures and at the end of the third measure, and in similar out the study. After you are familar with the notes, practice this study ronome and hone the rhythms toa fine edge of precision. MFB N® 2009poco rit, a tempo ALLEGRO [4 =112] —— toy 238 SES aS energico MEB ONr my f sostenendo ascai——> 70) = SS a ey ™P leggiero > =— (90 a Se: == SS (ro) te. - "tS tempo ef The energetic, strongly rhythmic character of this study demands staccato eighth- ‘Accented quarter-notes should be held to full value, but tapering after the Note the change in character of erese, notes. attack, with a quality of vibrancy or "aliveness". the E major section MFB N° 2009MFB N*200933 CANTABILE [¢-= 60] 7 Se 3034 ANDANTINO CON MOTO [ ¢ = 76] 31 oe ee of a mf —= -«s§ ~~ ee —— ef ALLEGRO [4 = 104] 32 - np Sea WFR N° 2009ae 5 a ee ee 7 tornando in tempo = ———_ * = —__ ee”, Por tnando tn tempo a = = ———— = 2 f eee MFB N° 2009ANDANTE CON MOTO [¢ = 80] bd brillante MFB N° 2009pe i fs ee ALLEGRO [@= 116] o Mie eS SS | pt ae 7 as eg ee = os = ad a Se MFB W* 2009MFB N° 2009ieee eee EE 2 Soa = = eS = i a) eee — SSeS | a piacere — * "Pa pe <= ae MPB N° 200940 ANDANTE [2 = 92] : a 36 SEES SS be eel Del —- S tot oe eS ps == = ra ae Se molto sestenito Se ~» See MFB N* 200942 ANDANTE MAESTOSO [4 = 54] MPR Ne 20N043 MENO MOSSO [e'= 116 © Messe 16} 5 2 a See SSeS MFB N° 200944 LARGHETTO [= 84] 39 ewer tease eal ee ALLEGRO [¢-= 60] Se eg ~~» MFB N* 2009tornando in tempo MFB N® 2009MODERATO [2 = 104] Tisoluto +at _ asf ANDANTE SOSTENUTO [2 = 66] rd — MFB N° 200948 a piacere ate ALLEGRO [¢ = 112 See tempo molto giusto BASE roe i cresc poce49 = dings ae crescendo sempFE———— OO 8 7 Swstense. sempre ae ee ze = === f MFB N° 200950 TEMPO PASTORALE [ d= 108] Go) 25 =e eee ae ? = = i = SS = = a : Sette ie SS SSS Ee Thy SNe a ae se a piacere a SS : < Rasta pe = SS eS z ae ert — Sear apetd molto ral. aa a Bg Sa ——- ¥ == oS a = a eH accel, lento atempo—__ *¥ NL aaa MFB N° 2009 eeepet ee ee tempo comodo 60] a tempo ——— ANDANTE SOSTENUTO [¢ + 69] he ee mee t a is Ea Sages cresc, poco a poco Pe 43 MFB N° 2009= ZB aS a oe 2s Bee BE << raat =] eS ja ee pieghevole —= SsMUSIC FOR BRASS SERIES — TUBA — STUDIES BLAZHEVICH 70 Studies (in two volumes) M£B 2002A-B BORDOGNI 43 Bel Canto Studies ‘M£B 2009 GALLAY 30 Studies MfB 2010 GRIGORIEV 78 Studies MEB 2016 KOPPRASCH 60 Selected Studies MIB 2006 OSTRANDER Shifting Meter Studies MIB 2003 VASILIEV 24 Melodious Studies MIB 2004 TUBA and PLANO BARDWELL Sonata MIB 820 BODA Sonatina MfB 811 RACKENPOHL Concertino MIB 814 WEEKS Triptych MEB 815 TUBA and STRINGS FRACKENPORL Concertino MIB 707 TUBA with HORN or BARITONE FILIPPI Divertimento M£B 230 FRACKENPOHL Brass Duo M{B 207