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 generally legato style should be employed; however the various degrees of semilegato or "soft-tonguing" which lie between the extremes of détaché and complete legato should also be resorted to for specific purposes to impart greater definition, to heighten rhythmic effects, and to mark sub-group- ings within phrases. It is not practical to give markings forall possible variations 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 separation, and without additional weight. The études are by no means all alike in character, and it is 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 movement. The character of these melodies is essentially classical, and is best conveyed through dynamic shaping of phrases, and through refinement of articulation, Rubato and any marked tempo fluctuation are not appropriate here, The studies should be played with the metronome as a check occasionally, but not habitually as a crutch, Try to develop the metronome within yourself to a high degree of reliability.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 vuugatory. 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, whichare generally impractical to spell out in detail. In music of this period the phrase typically has a"center of gravity" corresponding to the key words in a written or spoken sentence, and the player must, by subtle variation in the intensity of tone, convey an impres- sion of motion toward it, and then of release and relaxationas the phrase is rounded off, It is this intelligent shaping of the phrase thatraises 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 mostimportant in defining a rhythmic grouping, They must be enunciated 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. ORNAMENTATION 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 thetuba and other large, low-pitched instru- ments; the figures may sound "difficult" if played in strict rhythm and tempo, It is often desirable tobegin the embellishmenta 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 other: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 own time. The instrumentalist who fails to make himself thoroughly at home with these melodies from the "golden age of bel canto" and who is not pnepared to play them beautifully as regards both style and technique will not be able to perform with assurance and authority the works of later masters. The-character of these studies makes it necessary to set them principally in the middle and upper portions of the tuba's range. Rather than working on them exclu- 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 Eeinetpaly rubs 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BEL CANTO STUDIES MARCO BORDOGNI Edited and compiled by Chester Roberts 2 Andante cantabile [ 63) we SS : ae = = Saiz: we pose Zs SS al 2 3 ae aS ai = ——S=—T “> Since the triplet predominates, be careful that J-@ 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, 1972ALLEGRETTO [¢ = 104] "~~ een = — ae is Since the rhythmic character of a piece depends mainly upon the rendition of the FF iiares in the above study must be played with vigor and pre- shortest notes, the # finon. Itis a very common fault that the sixteenth note does not project equally with the dotted eighth.CON MOTO [4 = 88] es SS aeALLEGRO [4 = 104] —_ > —_ —— 10) ee ee rs eee f 7 i 2 Trills are optional, These lie well for BBb, C and F tubas, but badly for EP >ANDANTE CANTABILE [¢= 66] SS 50 SS fe < a ™p P — 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.ANDANTE PASTORALE [¢-= 54]ANDANTE_GON MOTO [¢-= 58] sg RENNES ae tJ x = eens nee “ MODERATO [¢ = 100 2 __ Ssa piacere artempo ee —- The above study is rather longer than preceding studies. It will help your endurance to breathe deeply by free expansion in the abdominal area, and to remove the mouth- piece from the lips wherever the rest is sufficiently long to permit it.ANDANTINGQ_CON MOTO [#= 921 a ALLEGRO MODERATO [¢:= 96] 10 = = pS ~—_* ein -1314 NDANTE CANTABILE‘[# = 84] 11 = = —— wae 7 SS ee = ALLEGRO [¢ = 120](ei) —— ye * NS Nor > aiirettando e cresc. —— brillante J f fo LARGHETTO [#= 92}eS NS ANDANTINO QUASI ALLEGRETTO\[¢ = 58] 14 ‘mp ——— ae —_—18 ANDANTINO [4 =- 80] ofANDANTE GANTABILE [#= 104] 16 7? > ———_— crescendo poco a poco 10) ee ~ a m__—> 20) a piacere 7p a tempo20 ALLEGRO COMODO [¢? = 100] 17 ese {t9)ANDANTE CANTABILE [# = 72] ir} auusste =] a Aaa So erES eens, sas = Poco piu mosso [+= 84] =~ ; re es Sa SS ——_ a as pS SSS °F poco agitato TO SS eneet SSS —— sempre Crescendo ral. 7 TEMPO IALLEGRO MODERATO [4 = 104]23 CANTABILE [@ = 100] i) 20 ae a 7 20) =a es NF VF nf ———_— =. a Tt ¥ — — 8 SS tcl [e0)24 ALLEGRO MODERATO [4 = 104] + - a=2 See ee — F rai — MAESTOSO [¢ = 88] 22 S ~~ eo a =a Some26 ALLEGRETTO [#= 108] a ~~ ‘a tempo lz] ome eeEaee ° —_—_— ALLEGRO [¢ = 88] 2428 ALLEGRETTO [4-= 54] 25 = = +f > SS ra —— nese a tempo aS — EEE”!ALLEGRO [4 = 104] 26 ry > ee crescendo Ss Se ee aed = fF This study is very different in mood from many in this collection, Bring out its ener- getic character by strong accents, and by short quarter-notes as at the beginning of the first and second measures and at the end of the third measure, and in similar spots throughout the study. After you are familar with the notes, practice this study with the metronome and hone the rhythms to a fine edge of precision.30 ALLEGRETTO [#= 132] poco rit. a tempo 2S ae a == — = — SS ag ee atl oo = °2 app —— —— ” @ piacere eS ee ALLEGRO [¢ = 112] 28 nf a energico*F sontenendo ssa = [7 0} SSS ™P leggiero = 7 =— ~ <= ee ral, ft. Y Stempo une, DO SL ¢ The energetic, strongly rhythmic character of this study demands staccato eighth- notes. Accented quarter-notes should be held to full value, but tapering after the attack, with a quality of vibrancy or "aliveness', Note the change in character of the E major section,2 ALLEGRETTO GRAZIOSO [4 = :54] 29 y33 CANTABILE [¢.= 60] 30 = a je == = ~ ee 934 ANDANTINO CON MOTO [4 = 76] 31 we SS 0} 5 - ¥ —— Oo Steen ee 2 Eee Go} = =— —=—_ ff ALLEGRO [4 = 104] 32 oe panama—_ a a7 tornando in tempo 20) ——— FO ——_— 1p Yh eee >= ___—_= "rh PO orhando tr tempo = 50)36 ANDANTE CON MOTO [¢ = 80] 2 2 33 Pa SR ae 09), ae =— 4 ee brillanteSop NE pp ALLEGRO [¢= 116] = rebrillante aye yee mes = Rn ce a : (60) Se ere ANDANTE ESPRESSIVO [= 88] 35 : 2p SSeo —_ ee ai Tee SSeS SSS apace Pam — eo es) === BER See Siem + eS sige eee Ree tee ees40 ANDANTE [# = 92] 36 SS po espressivo leggierd ANDANTE [#= 88] 37 =~:42 ANDANTE MAESTOSO [4 = 54] () ANDANTINO [4 £ 69) eee ™p a piacere __>43 3 Seer SI == a affrett. 50) —— ; = MENO MOSSO [+= 116] A nooo 2 WS dete44 LARGHETTO [# = 84] 39 fe Se ae See 7 ALLEGRO eicleul = 60] = wets je = = = = ee T T 2p ——46 MODERATO [¢= 104] Tisoluto +aan ANDANTE SOSTENUTO [#= 66]48 Se Se ALLEGRO [4 = 112] <= tempo molto giusto Se eae 50) cresc poco a poco49 — crescendo sempre trescendo sempre50 TEMPO PASTORALE [ #= 108] — 42 woe a SSS = - i—_—— SS Se Ss NE NY 255 Se eee a ete Bescon tit Sear ase molto Tall (40) po = lento Ptempo—__ s ———)- accel. TN51 3 SSS ANDANTE SOSTENUTO [# + 69] i 43 Yt — =: peas aa . aS cresc, poco a poco er u FF52 liberamente —- a= = ae + come a prima —S__ CC a a pieghevoleSTUDIES BLAZHEVICH 70 Studies (in two volumes) BORDOGNI 43 Bel Canto Studies GALLAY 30 Studies GRIGORIEV 78 Studies KOPPRASCH 60 Selected Studies OSTRANDER Shifting Meter Studi: VASILIEV 24 Melodious Studies TUBA and PIANO BARDWELL Sonata BODA Sonatina FRACKENPOHL Concertino WEEKS Triptych TUBA and STRINGS FRACKENPOHL Concertino FILIPPI Divertimento FRACKENPOHL Brass Duo MUSIC FOR BRASS SERIES — TUBA — MEB 2002A-B MEB 2009 MEB 2010 MB 2016 MB 2006 MB 2003 M{B 2004 MB 820 M£B 811 MB 814 ‘MEB 815 MB 707 TUBA with HORN or BARITONE ME£B 230 ‘ME£B 207Robert KING (1914-1999) wurde als einziges Kind eines tubaspielenden Vaters und einer Pianistin in North Easton, “Massachusetts geboren. Er selbst lernte Baritonhorn (Eupho- nium). Seine Musiklehrer waren Walter M. Smith und Aaron Harris. Nach Abschluf des Musikstudiums an der Boston Uni- ‘versity im Jahre 1936 erwarb er den Magister Artium der Har vard University und studierte im folgenden Jahr Diigieren bei Fritz Mahler an der Juilliard School. Wahrend des Krieges le tete er das Musikcorps der 81. Infinterie-Diviston, die im Pazi- fik kimpfe. ‘eit den frahen 30er Jahren arrangierte und edierte Robert king Musik fur Blechbliser, zuerst nur fir seine Schdler, dann auch fur Studienkollegen und schlie@lich im Rahmen seines eigenen Verlagshauses, das 1940 gegrtindet wurde. Als er 1946 aus dem Krieg zurickkehrte, fand er die Stimmung fur weitere Blechblaseditionen gnstig. Er hat immer daran festgehalten, sich personlich mit den vielen Details der Herausgabe von ‘Musik einschlieflich des Notenschreibens und -druckens zu beschaftigen. Seine Frau Sally schrieb die Rechnungen und fihrte die Bucher. In den spiten S0ern entdeckten auch andere Verleger den. Blechblasmusikmarkt und machten der .Music for Brass"~ Reihe Konkurrenz. Aus dieser Situation heraus wurde die Ent scheidung getroffen, die Blechblasmusik aller Verlage im Ei zelhandel zu vertreiben. Damals erschien auch der Brass Player's Guide" (Blechblasfuhrer), dessen Ziel es ist, einen Oberblick aber alle lieferbaren Titel der Blechblasmusik zu ‘geben, Auf diesen Zeitpunkt geht ebenfalls die geschaftliche ‘Verbindung mit Alphonse Leduc zuriick, die sich in ber 30 Jahren bis zur Fusion der beiden Firmen im Jahre 1991 ent- wickelte aN bee 19149 KAR ISIE are ERR, (1914-1999) Robert KING (1914-1999) nacté en North Easton, cerca de Boston. Era hijo nico de una buena pianista y de un aficio- nado que tocaba la tuba. Estudié la tuba tenor con Walter M. Smith y Aaron Harris. Terminados sus estudios en el Boston University College of Music en 1936, continué con un diploma de Master of Arts en la Universidad de Harvard, completando su formacién en la clase de direccién de orquesta de Fritz Mah- ler, en a Juiliard School, en 1939. Hizo la guerra como director de a banda de la division 81 de infanterta, que participé en la batalla del Pacifico. Desde principios de los afos 30, Robert King arreglaba y edi- taba miisica para instrumentos metdlicos, primero para sus ‘alumnos, luego para sus compaheros de estudios, y mds tarde para la empresa editorial que cred en 1940. En 1946, al regreso del servicio militar, comprendié que era momento propicio para ampliar las ediciones de musica para cobres. Durante toda su carrera de editor tuvo siempre empeno en dedicarse personalmente a diversos aspectos de la edicién musical, ‘incluso de a grafia manual y de la imprenta. Su esposa Sally se ‘encargaba de llevar las cuentas yredactar las facturas. Al final de los afios 50, empiezan a interesarse otros editores por la muiisica para cobres, y la serie “Music for Brass” editada ‘por King. ha de enfrentarse con la competencia. Entonces decide ‘emprender la venta al por menor de miisica para cobres de ‘cualquier procedencia, lo que le anima a publicar el Brass Player's Guide, pretendiendo constituir un repertorio toral de la ‘musica para cobres disponible en el mercado. De entonces, datan las relaciones comerciales con Alphonse-Leduc, que se hhan desarrollado durante més de treinta afios, desembocando por fin en la fusion de ambas firmas en 1991 AmARYERENS, LUT FanNhh, HEAMORSETERETAD ORL THI- M.AEREP Oy (Ba 7H STL) OFS, 1996, RE AT Th RELI, & L199, ees BauT— FRSC, OHRID 7 92 CHE MERE, TOM, BOLL MAO RRL LC, RANE: mts HORT RB OM O RHE HE FOU OIL, 19305 KBD TAB. ETHIDHILDID, KELTKOID, ELT 1940, SHEE ECTS, MOR REM A EARIE, OATIRRE Seino fe, RARER ELS He bo TARO, PRS ORUNAN TERE b FOr UNE MERAY TROY oem > TAL OERAT =the. SORE FEDER (Sk. LODE AL AE RRA: MOR EL tend. ke THOME Sa 4 977A TPAD PMP LON RE RIE (SHIRE, HR BIOS MS 17 APRA ONE RODS, FORE MEMENTOS, AMENTOSETOSMRINE 2 POT E LOSI EE BEL ROTIR*TUANA HHA Ky ORTTHE, SOREL ETN DR WF ay TAL ORTRDURLE ELAS 20R EI RU 1991, A RMR fe, PY-xtRobert KING est 6 & North Faston, pres de Boston, en 1914. Fils unique d'un pere joueur de tuba amateur et dune mere bonne planiste,hul-méme apprit le tuba ténor. Il eut comme professeurs de musique Walter M Smith et Aaron Haris. Apres voir termine se études au Boston University College of Music fn 1936, echaina sur un dipldme de Master of Ars & TUni- wersitéd'arvard en 1936 et compléta sa formation dans la classe de diteetion dorchestre de Fritz Mahler 8 a Juilliard School en 1939, Durant la guerre, i servit comme chef de musigue de la 8f* division d'infanterie qui participa & a batale du Pacifique DDesle début des années 1930, Robert King arrangea et éita de la musique pour cuivres, d’abord pour ses éleves, puis pour ‘es camarades études, t enfin pour la maison d'édition qu'il ‘nda en 1940. Ason retour du service militate en 1946, i pro- ta d'un climat favorable pour développer les éditions de rnusique pour cules, Toutau ng de sa carved éiteur, 1a ‘oujours tenu 8 s'occuper personnellement des nombreux aspects de Féation musicale, y compris la graphie manuelle des notes et Timpression, Son épouse Sally se chargait de tenir les comptes etd étabirfesfactres. Vers la fn des années £950, d'autres éditeurs commence rent sintéresser la musique pour cuves, eta série « Muse for Bras» éitée par King se vit confrontée ala concurrence. I diécida alors d'assurer la vente au détall de musique pour cuivres de toutes provenances: cela Tineita a puble le Brass Players Guide, qu se propose de répertorier la totaité de la musique pour culvres disponible sur le marché. C'est de ce ‘moment-la que datent ls relations commerciales avec les Eai- tions Aiphonse Leduc, relations qui se sont développées pen dant plus de rente ans et ontfinalement conduit la fusion des deux firmes en 1991. Robert King est mort en 1998. bert KING was born in North Easton, Massachusets on [November 27, 1914. the only child of «tuba playing father and «4 plantst mother He imslf took up the euphonlum. His muste teachers were Walter M. Smith and Aaron Harr. After gradu ‘ating from Boston University College of Music in 1936, he was ‘granted an MA. from Harvard in 1938 and also studied con. ducting with Frit Mahler at Julliard in 1939. During the war he served as the band leader for the 81st Infantry Division which fought tm the Pacific. Since the early 1990s Robert King has been arranging and ‘editing music for brass instruments, fis or his pupils, then for ‘is college friends, and finally for his own pubilshing company which was started in 1940. After recurning from war service in 1946, he found the climate right for more and more brass edi Hons. He has always insisted on tending to the many detail of the ruusie publishing himself, including the hand-drawing of the notes and the printing. His wife Sally did the billing and kept the books. Late in the 1950s other publishers became attracted to bras ‘musi, which presented the Music for Brass Series with ton. It was then that it was decided to sell the brass music ofall publishers at retail. This was when the Brass Player's Guide was issued, the aim of which was to list all the music for brass instruments which was in print. It was at this point that the ‘business connection with Alphonse Leduc Editions began and hich has grown for over thirty years to the merging of the two {firms in 1981. ‘Robert King died in 1999.