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 for all 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 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 dernands 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. MPB N° 2009BREATHING Phrase-lengths are realistic for tuba players of average physical endowment and well-trained breathing technique. Commas in parentheses indicate br. be taken if the player cannot comfortably render the longer phras 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 wuugatory. 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. ‘Aloo 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 a "center of gravity" corresponding to the key words in awritten 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 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 beginnin 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 to begin 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 others. MFB N°2009 :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 prepared 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 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BEL CANTO STUDIES MARCO BORDOGNI Edited and compiled by Chester Roberts = 63 jempbnantntiann 2 Andante cantabile [ aa ee 3a fo) Z Seer Tse nee ger ee == — pa + —t 3 SSS SS SSS ee ae Ss See See 3 ye LS et Sa = = ~e Sa ral ee SS ood Since the triplet predominates, be careful that IB does not become J . Where sotes are repeated in a legato line, tongue the secohd one, for example, the first rete of mesure 10. This does not apply where the tie is printed, as fn measures 48 and 49, The desired effect here is one of syncopation, © Robert King Music Co. 1972 Editions Musicales Alphonse Leduc 175, rue St Honoré, 75040 Paris cedex 01 Printed in France MFB N° 2009ALLEGRETTO [¢= 104] Talla tempo > Eo eS — => ¥ P Since the rhythmic character of a piece depends mainly upon the rendition of the shortest notes, the #¢ figures in the above study must be played with vigor and pre- Cision. It is a very common fault that the sixteenth note does not project equally with the dotted eighth. NFB N* 2009CON MOTO [4 = 88] —- MFB N° 2009ALLEGRO [¢ = 104] poe Ze 0) a SS ee SS === — 30] te. te. se ee Fall. an 5 a a tempo _ > = 2 > f : ? {rills are optional. These lie well for BBD, C and F tubas, but badly for EP, MFB N° 2009ANDANTE CANTABILE [4 = 66] the foregoing study is a good test for breath control, In the slow tempo indicated, h of the phrase, then practice rationing to Take ample breath according to the lengt! avoid expending it too freely at the beginning. MFB N* 2009ANDANTE PASTORALE [¢-= 54] — See === 1p MFB N° 2009MODERATO [¢ = 100] a een Sere MFB N*2009a piacere SSS SSS OO — It will help your endurance The above study is rather longer than preceding studies. and to remove the mouth- to breathe deeply by free expansion in the abdominal area, piece from the lips wherever the rest is sufficiently long to permit it- MFB N° 2009ALLEGRO MODERATO [ 4 = 96] = mp ———— ———————— —— , ae MFB N°2009MFB N° 2009‘crescendo 120 | ALLEGRO [¢ MFB N*20097 mM See er = Bisse aie = =F SSS ae 3 - “area z Birettando e cresc — ea brillante 7 LARGHETTO [2 = 92] MPB N° 2009Sass 14 of So See ae ANDANTINO QUASI ALLEGRETTO 1 ¢ = 58] : —~——— ss ——- MFB N*2009BN of — ee & te —= Te pee? MFB N* 2009ANDANTINO [4= 80] 15 ae E = = 4 kc a oer a ; : x Es = SS MFB N° 2009ANDANTE GANTABILE [#= 104] 16 _ Ferescendo poco a poco _— of —————_— ss 1 _ * {spe a piacere = MFB N° 2009ALLEGRO COMODO [= 100] » MFB N°20092 ANDANTE CANTABILE [= 72] is «Se Poco piu_mosso [+= 84] Sempre crescendo TEMPO I MFB N° 200922 ALLEGRO MODERATO [4 = 104] = MFB N° 200923 CANTABILE [#= 100] 10} 20 ee = [2.0} Se _ a FS op Se ——— a J a tempo mp MFB N° 2009oC fl ee S 8: SS == MFB N° 200925 = = Se lh MAESTOSO [¢ = 88] 22 ~~ — MFB N° 2009ALLEGRETTO [#= 108] Ss Sr ee SS, a tom = ALLEGRO [4 MFB N* 2009———_ OT = if MFB N° 2009 ee —ALLEGRETTO [¢-= 54] 28 10) MFB N*2009ALLEGRO [4 = 104], 26 nf (a0) > crescendo — — — —— — — — —_ = G => —— ‘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. MFB N° 2009ADLEGRETTO [#= 132] ALLEGRO [4 =112] tt 28 Sa = pei phecsitesl a pratt im ——— ™P leggicro = > — (r00} To tempe “erese. =< _S_< fr 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. MFB N° 2009ALLEGRETTO GRAZI MFB N° 200933 CANTABILE [¢-= 60] SS ee Ke yf MFB N*200934 ANDANTINO CON MOTO [ 4 = 76] —= te ee ALLEGRO [4 = 104] 32 sa) See! Ses ee = er ~— MFB N° 2009Sa “ a = ee tornando in tempo ta ™ ——_ ee Leo et, Po torhando Tn Fermpe — = £ MFB N* 200936 ANDANTE CON MOTO [#4 = 80] os ™ 33 [Se q pee ee MEB N* 2009ALLEGRO [¢= 116] 34 Seite SSS oe ~ +e re ay" + * risoluto Ae" Tempo siusts ——_ 2 Seana as MFB N*2009re NFB N* 2009MPB N° 200940 ANDANTE [2 = 92] a Ss SS espressivo ees See molto sustenuto ANDANTE [#= 88] 37 = peel ee MFB N*2009MFB N° 200942 ANDANTE MAESTOSO [4 = 54] ss Si SSS ee ————_——— mp apiacere > MFB N 200943 ran, 2 tempo affrett. 7 — ——=—=—= Ff MENO MQSSO [= 116} fea Sf spre f NIRS MFB N° 200944 LARGHETTO [# = 84] —— MFB N° 2009= Sea eee a eae tornando in tempo ” MFB N° 2009MODERATO [¢"= 104] 46 risoluto MFB N*2009aT — ANDANTE SOSTENUTO [ 2 = 66] MFB N° 2009cresc poco ko MFB N°200949 = crescendo sempre 55 rat Crescendo sempre -F mp MFB N° 2009MFB N° 2009See tempo comodo (60) ANDANTE SOSTENUTO [# + 69] he 43 tS — cresc. poco a poco aD 10) Pe v MFB N° 2009liberamente come a prima pieghevole ‘OUDIN Imprimeur-Pites Septembre 2008 MFB N° 2009MUSIC FOR BRASS SERIES — TUBA —_ STUDIES BLAZHEVICH 70 Studies (in two volumes) MfB 2002A-B BORDOGNI 43 Bel Canto Studies Mf£B 2009 GALLAY 30 Studies M£B 2010 GRIGORIEV 78 Studies M£B 2016 KOPPRASCH 60 Selected Studies M£B 2006 OSTRANDER Shifting Meter Studies MfB 2003 VASILIEV 24 Melodious Studies MiB 2004 TUBA and PIANO BARDWELL Sonata Mf£B 820 BODA Sonatina Mé£B 811 FRACKENPOHL Concertino M£B 814 WEEKS ‘Triptych M&B 815 TUBA and STRINGS FRACKENPOHL Concertino M£B 707 TUBA with HORN or BARITONE FILIPPI Divertimento MfB 230 FRACKENPOHL Brass Duo MEB 207Robert KING estné North Easton, pres de Boston, en 1914, {ls unique d'un pére joueut de tuba amateur et d'une mere ‘bonne pianiste, ul-méme apprit le tuba ténor, Uf eut comme professeurs de musique Waltet M.Sinith et Aacon Hari, Apres fvoir terming ses études au Boston University College of Music ‘en 1936, enchatna sur un dipitime de Master of Arts 8 (Unt ‘versité d'Harvard en 1938 et compléta sa formation dans Is classe de direction ’orchestre de Fritz Mahler & ta Juilliard, School en 1939. Durant la guerre, il servit comme chef de musique de fa 61° division d'infanterte qui participa a la bataille du Pacifique. ‘Des le début des anynées 1990, Robert King arrangea et éita de la musique pour culvres, d'abord pour ses éloves, puls pout ‘es camarades ’études, et enfin pout la maison d'édition qu'il fonda en 1940. A son retour du service militaire en. 1946. pro- ‘iva d'un climat favorable pour développer les éditions de ‘musique pau euivees, Tout au long de sa carrére d'éditeur, ila toujours tent A s'oceuper personnellement des nombreux aspects de Fédition musicale, y compris ta graphie manuelle des notes et impression. Son épouse Sally se chargeaitde tenit Jes comptes et d'établi les factues Vers Ia fin des années 1950, d'autres éditeurs commenc®- rent asintéresser tla musique pour cuieres, etla série « Music, for Brass» éitée par King se vit confrontée& la concurrence. It déclda alors d'assurer la vente au détail de musique pour ‘cuivres de toutes provenances ; cela Vincita & publier le Brass Player's Guide, qui se propose de répertorier la totalité de la musique pour cuivres disponible sur le marché. C'est de ce tmoment-Ia que datent les relations commerciales avec les Edi- tons Alphonse Leduc, relations qui se sont développées pen- idant plus de trente ans et ont finalement conduit la fusion des ‘deux firmes en 1991. Robert King est mort en 1999. obirt KING was born in North Faston, Massachisets on November 27,1914, the only child ofa tuba playing father and ‘a pianist mother, He himself ook up the euphantum. His muse teachers were Walter MM. Smith and Aaron Harris. After gradu ‘ring from Boston University College of Music tn 1936, he was ranted an M.A. from Harvard in 1938 and also studied con. ducting with Fite Mahler at Juilliard tn 1989. During the war he served as the hand leader for the Bist Infantry Diviston {which fought in the Pacific Since the early 19308 Robert King has been arranging and editing muse for brass instruments, frst for his pupils, then for tis college friends, and finally for his own publishing company Which was started in 1940. After returning from war service in 196 he found the elimate right for more and more brass edt- tions. He has always insisted on tending to the many devas of the music publishing himself, including the hand-drawing of the notes and the printing, His wife Sally did the billing and ‘Kept the books. “Late n the 1950s other publishers became attracted to brass ‘musi, which presented the Music for Brass Sertes with compet: tHon, It was then that tt was decided to sell the brass music ofall pubitshers at retail, This was when the Brass Player's Guide was {ssued, the aim of which was 10 lise all the music for brass instruments which was in print. Iwas at this point that the business connection with Alphonse Leduc Editions began and which has grown for over thirty years to the merging of the nwo firms in 1991. ‘Robert King died in 1999. ISMIN-979-0:046-28608-9 tn oH'790046 1286049.