Giulio Marco Bordogni COMPLETE VOCALISES FOR Tuba by Wesley JacobsATE SOzp, > ee VL © TUBA ~ “s sl Guilio Marco Bordogni COMPLETE VOCALISES FOR Tuba by Wesley JacobsComplete Voealises for Tuba Published by Encore Music Publishers MAPLE CITY M1 4964 swwww.encoremupub.com wwwebordogniccom (© 2006 Encore Music Publishers Made in USA. All rights reserved. “The Bordogn graphic is reproduced with permission of The New York Public Library. ‘Wesley Jacobs photograph credit: Randall Hawes. [No part of chs work covered by the copyright hereon may be reproduced, stored ina retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or ‘otherwise excepe as permitted under Sections 107 or 108 of the 1976 United States Copyright Act ‘without written permission of che publisher. ISMN M-800004-02-5Guilio Marco Bordogni (1789-1856)Introduction uilio Marco Bordogni (1789-1856) was a great Italian tenor who became a celebrated vocal professor atthe Paris Conservatory. He premiered ten of Rossini’ operas with the Théétre Ialien between 1819 and 1833. He taught at the Paris Conservatory from 1824 until his death in 1856, During his tenure at the Conservatory he published 12 books of vocalises. Iris these compositions that have become legendary among brass players and that are included in this volume. Bordogni said “Let it never be forgotten that the very simplicity of good singing is the most difficult concept of all for singer and teacher to grasp.” Wis this simplicity of interpretation—coupled with the required drama and intensity—that must be achieved when performing Bordogni’s music. Begin this journey of musical interpretation by listening to great vocal performances. I particularly recommend recordings by che tenor Jussi Bjérling, His performances of Italian arias demonstrate 'y drama and dynamic contrast required in this style of music, When listening: perfectly the simpli «Notice the extreme range of dynamics. «Determine the “high point” of drama in each aria, 1+ Notice how the performer uses rubato co bring excitement to the music. + Understand shat the art and the spirit of the music cannot be reduced to notation on paper: “Most of Bordogni’s original dynamic markings have been omitted from this collection. The performer should develop a unique interpretation of each etude. Remember the need fora wide range of dynamics. Carefully mark the music with your own interpretation of dynamics, phrasing and tempi. Strive to find and express the drama and beauty of each etude. Performa in the practice room, Recreate memorable performance events when you are practicing alone. Keep in mind: «Listen very carefully as you play this music. Your instrument will tell you what you need to practice. © Work intensely on each phrase that needs improvement. ‘* Practice as though you have unlimited time for small details. © Make your performances consistent (musically and technically) each time you play. ‘This book is about musical interpretation—not technique. To use this book for technical advancement is to miss its point entitely. ‘The range, endurance, key structure and ornaments used in each etude should all be at the command of the performer before practicing this music. Preparatory work on flexibility should be undertaken before—and continued during—preparation of these etudes. Bordogni’s etudes will help the player to develop beautiful legato style, but a solid foundation of flexibility (i.e. lip slurs) should first be in place. For more information go to www. bordognt.com. ey JacobsSOLFEGGI GUILIO MARCO BORDOGNI Transcribed by Wesley Jacobs Moderato No. 1Andantino No.2 D5 ee ee 2 . area 5 SeerAllegretto No.3 er a. —=r ¢ a| ) [0 Andante cantabile No.4 DSPeqAllegro _—_——_——_. No. 5 a tempo ral, oOAndante cantabileAllegretto grazioso a No.7Andante con moto No.9 LS 'p leggiero« « —_— — — =} = =e! 2 Se a——__ Ft ——— P dolce — Seco dolce > OO OS Allegro moderato No. 11crese tf diminuendo e rallentAndante sostenuto No. 12 p—_*— ee ee bt Sn Fe yete ne ae 2 mS sere ae Sere eee ee 7 |No. 13 DEER sas=tAndante No. 14 Deep ae ST Digees « ip rie eet aletees eS ee a ES ¥ eo —— a tempoModerato No. 15 a a tempo a piacerei a Allegro No. 16 D2 5Fe se Ea 2Xatempo Allegro $$ a ll atempo peg aL. lt.Andantino P subito No. 19 2” a nfAllegro No. 18 Z f 2Ba tempo 2Allegretto No. 21 2G a oe== Rasa = = ¥ Fale eas = =e ae eS >Allegro moderato - — : — is — No.22 Des Fa sale wee ss a tempo ral Sage ee —__—_a piacere a tempo QS ee POE Pp a tempo iAndante cantabile ———— No. 23 Doi Tae wale ais oe acne epi sae ; ? "AES RB ORE WARS GEa tempo Be Cy SeAllegro eeAllegro No. 25 a tempo ane.oe P dolce Allegro moderato No. 26 p—__— —___Allegretto No. 27Allegro No. 28 #38Andante cantabile No. 29 —— =a _ — —~_ rail, tempo = LereeteMaestoso ——Andante > tall. atempo Se eee ee en f —Allegro dolce 7 a tempo) —_— aAllegretto grazioso No. 33 D3" Fisges ©" sigeas: eeMaRAasesessseteseas PAndantino No. 34 DER “sive ae . atempo oS SSL tezeee? P 43Cantabile ISAndantino No.36 PFE:Allegro No. 37 Dee eee = wora + = a tempo SS teens Ses preres =e eee a == a a Jae = SSSAllegro No. 38 P fora fAmanteValse lenteSS > == SS = eee i a Dea ea a tempoAndantino cantabile a tempo om rall.s — eerAllegretto No. 42 FeSS= - — == a ea . Ayal a a tempoLarghetto —_ =a. : No.43 DOG ieee Se aah feacter =] Sect Pp —_— —_————___ . ~ = Pe Lone Annee SS = ee SS A _atempo a eo = Die warts fattetes, ee fe tee! za ; = — Se rall, PAllegroTa es Allegro moderato No. 45 Fee = og. eer e oe nfCantabileNo. 47 DyeCantabile adolce a ral. a a tempo bee = 6Andante cantabile No. 49 Dir oF- + atempo 7 aea tempo == we)> atempo. | on | 2S =5 ss fe ee i Allegro moderato No.1 DS ep P 66a ie tee “ye r a _ co Rene ee epee aS spe eee eee : = = = = aut eresc. € accel accel, -oe rall a a tempo5 a tempo, dolce 0Andantino con moto No. 53 D575, dolce espressivo 70Andante sostenuto == ral a tempo =— 3S Se == EF TatAllegro moderato No. 55 Dees =a f—_ Dy ae ee de i be | as oe ‘Meno mosso balbe-t— dolce = aS eel a ee ee ee all. mn a tempo —— Be = te ee dolceAllegretto grazioso P con graziaAllegro No. 58 3 DES : 6Andante sostenutoth eeeLarghetto = no 2 Sy at 33532 nae Tien ee ae 33S Ss SSS pS — P leggiero81Larghetto —_— No 61. 2224— = ——s a84Andante con moto _ =~, No. 63 9424212 SSS a P == : =o =~ Diggers TTY AE Bagh EEE SN = = : geeieeeee StAllegro spiritoso 3 . 8 No. 64 PP a eel esAndante cantabile Nos SSEE=AS Ses aes me ——————. — . 4 * ~ _ (eT nae 2 SS eo Se ee See eae a = = =] . : z Spaese=ror= se SS SS ; . mipiacere Allegro 2S Sa Sete Fae ae et = rob ~~ rall. Meno Allegro 7 ss —s = Seentre pee St _ i = Sa Se pO Da pitt Reet es - ope cra — 3 - ==: = = eriioee 3 GL = goes ase ee | oe "SSSSeS 2s %0Andante grazioso No. 66 D424 SSEAllegro moderato — ————— No. 67 :‘Tempo pastorale No. 68 D584 —=- = ae ee eS dolce -——__*a Gas. a 7S pee eee Saye we | eee a98- 99Allegretto alla polacca — _—__— No. 71 FA = : SeSa=an z cae mf - 100Allegro TE = 4 = _ a! -_ No. 72 DaiaRe a Se eee = oot * )aos 5 ta ee q Sera 103Allegretto => —— No. 73Andante _ 4 >—~ No. 74 Dye PAllegro Se SS - No. 75 D4#Cd eee seen | ae yd =a nf — oO — — = > ee ae ae = = “ 33 ——— SSS 7 = 106i oe * ast pete : = =: Sage? : 5 Siete SRSAndante No. 76 DfH a AES =e =a ——Allegro No.7 Deea tempo aorté‘i a > - =— —- | See neta ta eae SS asaaS = asAndanteAndante maestoso ee ade eee No. 79 DSS Ft : : Pe eee Be p00 IE Dy st eintinrl oa aeea tempo, ———— ids, ae ete —~ =~ = a tempo, Tal eae eee ceases Sai Ft terete Bt Bly = 3 naAndante sostenuto usDig aT ee eS ee ii a tempo_————__ = ralAllegretto + £ = No. 81 EAC: ay SS ee ee gol ores dolce ——__—— eR 18poco rall ~ ED ae ts TSA6 el ooo Pig) Pood) vdeo Ee ee ears a Se dae xq FFs, Tents tletegee sire z ot ages eet! poe eae] cee — tempo - = =—=>= = He EP ree ott ee Moderato _————__ No. 82 PRpFF wfsies TL) bs P ~ = > cs aa a eee coe Seals CA erAllegro _ No, 83 D5 Saye woo dl wewentetttrever doer iZ = nf =e 5 Ft SOT rage “re Doel tte te peer rier re eee . ee SSS SSa aes 6S Pope lS ae Owe = Dp pig ti age eee 1D Eerie ta SS 5 Se Tere eet Seah Nes LS —_ =, s ——_—— ~ ~ ee Fp terra «ie = z re = Fri efpcerereer — Se tree Doe vag Stl’ OE Sa + a — Dp betes tipi beeen fetter fe nS SSAllegro No. 84 FF a oS PP legatissimo y Ia—— Ss eae a : oe Dy Bt edaerea ge Epo a eee eee | = Se De, Flt we Sage eae te rete SsAndante sostenuto a No. 88 SS ea eS dolce ~_— __ atempo fe a piacereAllegretto non troppo. = = —-— SS == No. 86 #3 SS pe —S—— ve ES od eee —__—— a —= — =, gt: = See = S55 meg ETD rr = jh 2 FY eee _ a =i = Sa Se 2 era ee 7 : SSS ae a , : a f = ee eS a tee = we fe ete, : or] Jaca] elpine ftad ete + teed ES eeeate ee sage rall. 3Andante sostemuto No. 87 DERG eee ——— ==Det yas eee rall. a tempo, rage eae g ie eee eer otAndante cantabile ee No SE ae a tempoAllegro non troppo ™ z + > No.89 Dyp,Ce ae gle PP ite ie ee T T 7 dotce Se 3 = wee et —4 5 = == = 2, ee re eeAndante sostenuto — —— — —— = No.92 Dae tienen, ae EEE eaAndante sostenuto No. 93 Dc e+ — cesar teat tap tt p e . a tempo et «a piacere 140eb — Seen ores) eee) etl Seer fy Se Allegro brillante No.94 De?Mose ee a sitters tyes * = sage he pie pet — Pre 7 ae peg retest a Bayt & O rall. = oe 43Adagio eee tae o* + arte TT SS =a i_ == ie fESrSeree: sg Se ey eee ee oe tee TT ==. aos = ae aataee. 9 eae eee eee ee = eetetes opedNal tr ‘ . | a : : % v UMVz, a SS Se Tee 146== ~.> == SS I, oie re a Serre ee ate NE tg x = = = DS F = ee Se Se | Allegro moderato : — i> te No. 96 Fito oe = ore > ae SSS ae : a F wee we > 3 =e Fe a —— Pay 147Andante No. 97 D523 wo2D Seg ee ee a tempo ap iaeee ee =? fate ores Pinte g toe cae Eee : i. = a Dae aie fe ae Ee hens rS ——— ee apt tepers ee Sa See et Soe . _— a a ——— SS See _-—__ ~~, a carat ETD i = Se = = Be: Sn ep See aaoN 6 o Be ‘See aeAndante No. 99 DS Allegro hee P a piacere _———-ye = - + 2 a eet atempo SE s ew —_ ariela tempo. Taipei cresc Allegro non troppo No. 100 DECK ote Z mfNo. 101 159molto rall. Andante No. 102 160a piacere a piacere a tempo =f a PAndante No. 103 D5ipFy fa Ee tee a piacere wae aa Meno mosso_ eS re Fe ee Date IS See, = oie f a ee ey __ P eestats cee ae et ——<“"e5 Andante sostenuto SS No, 104 Diii9 9 Fla oe oa wey Dy, > = P harteesAllegro c+ fb freee eee! is a Shee ee ee SS = ae fe _ — _— DDE ftp gi BE ae22 =e eae ao aaeail . —_ “ —— => a oa SF See eer eerie = = on beh = = Dg ig tag tm Een piper at eal sen sis eal gees sees ae a —e aa . = pe ° = a : yee . be a _— Peres sae ae betel liege aay ee Digg teat alg) = Set)166Largo___—_—————__ No. 106 Des Ba * =e - == — —_____ : = 5. ~ = 9 ee eee = yg pe el eps ps Sas | Seer SS167Andante No. 107 D8", > ts dolce———_ i teal 5 a a = tempo =Allegro No. 108 P's ese im. «a piacere a placere = —~. a = a =F See) I ae ee so en Andante No. 109 #24 = Pp Mergen See “ee Ewea tempo Andante ——— No. 110 Ps= ee ee = aa —— —s lens Esgstetint| «jo (otaeang a 2 oa Cop ae oor tees Allegro marziale = Eaatay Ee = No, 111 Dee Fcdaee™= ses i iAndante espressivo No. 112 Ds eee: a === ee Sea eee qa FS bie eee Ss TE Fiphccere a tempo F eS SSS SS aa oe a nes Tiedns =|Andante cantabile zor Se 18ee a dolcelees Feet ggetn te eas Tempo pastorale No. 115 sas 182rall. poco a poco, SGP ES ee a ee 2S ee 4 =. Soa aga aeea ale eee eer eee 3 oer ae Se SSS ET ete eS Sgt eet teeeta te = : mn a a = j— a > sg eae184as a : f ae SS SSS SS De Bae Seo pe ats ei eres Sa SSS ; SSS] a piacere ie 2 2Andante cantabile TT No. 116 Spee i eS _ —[—=— — DES Rog ee S— OS == SS Ot ee oA Beg Seae sostenuto ao . No. 117 D5 ee = aa189Andante sostenuto ee No. 118 D3 Ne tals ie tea eee | x oe Ce Fe step Se a c —rf 2S S Sees Allegro con brioare ————— ——~ Pit mosso ettee djs Bo ea Sean Geeete es oS == 3No. 119 Allegro marzialeMaestoso. No. 120 a _—— Allegro vivaceEES 3 dolce 3 196THE COMPLETE SOLFE Edited for Tu ‘This 144 page book contains all of Concone! BB" cuba. The songs work very well for F and but not coo low. ‘These important studies are similar to the: ctudes in this book are one page long and ca studies. “This book will help the tubist learn to phrase printed in the book. The cubist must i ‘Concone Complete Solfeggtis appropriate Tuba Player's O COMPLETE ORC Volovcok Vol. Vol. 3 | Vol. 4 | Vol. 16 Vol a7; www.encoFinal the Atban studies, surely the ost celebrated “It would be posible fra band director to hand this ine Method Coen have en tseribed tor uba, t's ein to. young stent and he or have Filgh quality works sgpenor eiton, and even the itha'hat Belongs nthe lary of every taba performer rapes are remarkably reminscen ofthe orginal sence ee Taher version, Congrtuations Fo : 2, Bob Fiite Kaenrcg Loger (Gebe professor of Tuba, University of Michigan Tuba Soloist Principal Tuba Grant Park Symphony fered Bll Bell, my tuba teacher, co Arban Method the “bible” of ss pedagogy. | Wis a bo been share the same opin working on fo and | fom and am extreme havent even come close tefl to tapping its potential. It Op to wh, Rex Martin Professor of Tubs, Northwestern University R, Winston I Professor of Music Tennessee Technological University srban Complete hod for Cornet, a. st Now, thanks to Jerry Young and Wesley Jacobs, we have our own edition of the Arban Complete ‘hod for Tuba. No st teacher The Arban Method isthe Bible tor all brass players Wesley jacobs completed this g Iwi be a bene tubiss inthe wo Toru Misra Solo Euphonium Kose Wind Orchestra, Tokyo ARBAN emplete Methed for the Tuba AVAILABLE ONLY FROM ENCORE MUSIC PUBLISHERS Heawey G. (hellips Distinguished Profesor of Music Emeritus, Indlana Unversity www.encoremupub.comwww.encoremupub.com ww bordogni.com