The Bordogni Vocalises
transcribed by
David Schwartz

Volume Analyses
An Annotated Resource Guide for Students and Teachers of Trombone
compiled by
Dr. Robert Lindahl, Professor of Trombone
Central Michigan University
May-August 2002

Schwartz, David, trans. The Bordogni Vocalises. Volume One: 24 Nouvelles Vocalises a la portee de toute les voix. Compact Disc with piano accompaniment included with book. David Schwartz, 2001.

These relatively new additions to the literature can really be useful to young players. With the employment of the piano CD the students will have to learn to keep good time and will also learn better intonation at a faster rate. The trombone part as transcribed from Bordogni is slightly different at times from the Rochut editions, but Schwartz does a good job indicating these differences. He also provides a list for comparison between the two edition numbers. Other benefits of the book are that there are 3 etudes provided again in different keys at the end of the book, and 2 etudes with faster tempos (although in one of these cases it is difficult to make music at such a tempo). Schwartz also provides a nice overview of Bordogni and concisely explains his edition. Overall this is a welcome addition to our literature, for we now have the ability to rehearse these famous etudes with a CD accompaniment, and it is likely that some may use these for public performances. Grade 2-3.

Schwartz, David, trans. The Bordogni Vocalises. Volume Two: 12 Nouvelles Vocalises. Includes a CD recording of piano accompaniments. Schwartz, 2001.

This is a continuation of Volume One, with slightly more difficult etudes. This is great practice for students in relation to pitch, time and volume. It is also available in Treble clef. Grade 4.

Schwartz, David, trans. The Bordogni Vocalises. Volume Three: 24 Nouvelles Vocalises. Includes 2 CD recordings of the accompaniments. Schwartz, 2002.

As with the previous volumes Schwartz preserves the original piano accompaniments with this volume. There are very good terse instructions from time to time, and Schwartz also indicates various tempos, some given by Bordogni, and others the preferred tempos of well known trombonists such as Doug Yeo and Glenn Smith. Grades 3-4.

Schwartz, David, trans. The Bordogni Vocalises. Volume Four: 12 Nouvelles Vocalises. Includes CD recordings of the accompaniments. Schwartz, 2002.

This volume includes 12 etudes which correspond to Rochut's #61-72. They are presented in the original Bordogni keys and the four that Rochut presented in different keys are also included in those keys by Schwartz at the end of this edition. These etudes were written for mezzo-soprano Madame La Duchesse de Nemours. Schwartz utilizes original tempo markings and includes original titles. It is refreshing to finally learn that some of these etudes have titles such as "The Little Woods", "Longing for the Homeland", and "The Return". Due to Schwartz's holding to Bordogni tempo markings a few of these etudes require a pretty good slide technique, but overall these are very beautiful and playable etudes. Grades 3-4

Schwartz, David, trans. The Bordogni Vocalises. Volume Five: 12 Vocalises pour Contralto et mezzo-Soprano. Includes 2 CD recordings of the accompaniments. Schwartz, 2002.

These 12 etudes can be found in Rochut Book 3. This volume includes all of the etudes in tenor clef (Bordogni's keys), and in alto clef (Rochut's keys). Subsequently, there are two CDs - one for each version. These advanced etudes provide an excellent opportunity for the trombonist to hone skills in tenor and alto clef. Once again this edition is very clearly produced, includes helpful information such as Rochut's tempo markings, Bordogni's tempo markings, and provides information relating the Rochut, Bordogni, and Schwartz numbering systems. Schwartz also includes the recommended tempi of Douglas Yeo when they vary from either of the others. There are also excellent practice suggestions regarding legato, rhythm, intonation, breathing, articulation, and many other elements. Schwartz explains appoggiatura, long appoggiatura, double and compound appoggiatura, portamento, mordent, trill, gruppetto and measured gruppetto. This is certainly a great volume for the serious college student. Grades 3-5.

Schwartz, David, trans. The Bordogni Vocalises. Volume Six: Thirty-six Vocalises (originally for soprano or tenor voice). Includes CD-R disc with recordings of the accompaniments. Schwartz, 2003.

This is the most difficult of this series of etudes. These etudes (Rochutıs numbers 74-109) are the most challenging rhythmically and melodically. Schwartz presents them here with original Bordogni piano parts in a DVD ­ MP3 compatible form. There are also 17 bonus tracks, 7 with transposed keys and 10 with faster tempi. These etudes are great for the advanced player who wishes to work on reading skills and brush up on technique. Any good college player would do well using this book for development. There are many scholarly and helpful comments provided throughout the book. As a special bonus the CD-R also includes pdf files of the original Bordogni editions as well as the Spicker/Schirmer editions of 1897. Grades 4-5

Schwartz, David, trans. The Bordogni Vocalises. Volume Seven - the duets. Includes CD piano accompaniment. Schwartz, 2002.

There are 12 duets in this volume and Schwartz has done a good job with his transcriptions and meticulous treatment of the original material. This is a fine book for a teacher to utilize with a student. Grade 4

A six-grade system is employed, with Grade one being the easiets and Grade Six the hardest.
A brief description of each grade follows.

Grade One - Literature suitable for the beginning trombonist. Solos and etudes at this level are basically limited in range to about one octave with an occasional note higher or lower than the Bb - bb range. Rhythms are very simple, the piece is fairly short in duration, and the player is given room to breathe correctly. In general grade one is for use by elementary school players, or beginners at any level during the first or second year of study.

Grade Two - Literature in this category begins to expand the novice's rhythmic expectations - quarter note triplets, sixteenth notes, syncopation - and also provides a wider tessitura. Grade two pieces would be suitable for players at the end of their first year of study through their third of fourth year of study depending on their development of good fundamental practice habits.

Grade Three - Literature in this category begins to include music in mixed meter, complicated rhythmic patterns at times, a full two-and-one-half octave tessitura, and some demands on flexibility, slide technique, and endurance. Students in school grades 9 through 12 will find much good literature of this nature in the repertoire.

Grade Four - Literature in this category places demands on the player to maintain a high level of physical fitness regarding the embouchure muscles. Students who are serious enough to develop very good fundamentals in regard to breathing, flexibility, scale development, and articulation will find good challenges at this grade level. In general, very good high school players can adequately perform music at this grade level as early as 10th grade. There are many standard works for trombone with a high level of musicality at this grade level. College students will work at this grade level for their first two years and possibly beyond.

Grade Five - Literature in this category places high demands on the player in terms of range, endurance, and technique. Grade five literature usually has one or more elements that are extremely difficult to the player. Players of any level who work on grade five literature must spend a lot of time practicing the fundamentals which will give them the ability to master the grade level.

Grade Six - Literature in this category is of the most difficult nature. This literature would be very hard for even the professional to read at sight. One or more of the following elements could be present: atonal development, extreme range shifts, extreme range demands, extreme dynamic demands, extreme endurance requirements, unusual diatonic or arpeggiated patterns, or difficult double or triple tonguing.

Revised January 20, 2005

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