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 The Bordogni Vocalises
Transcribed by David Schwartz
Volume One
Solo part for
f-{orn in F

DISK ONE CONTENTS - with approximate track times (min:sec)

1. Bordogni#l - l:51
2. Bordogni#2 - correspondingtoRochut's#2 2:25
3. Bordogni#3-Rochur#3 2:26
4. Bordogni#4-Rochut#4 2:44
5. Bordogni#5-Rochut#5 2:40
6. Bordogni#6-Rochur#6 3:09
7. Bordogni#7-Rochut#j l:42
8. Bordogni#8-Rochur#t l:56
9. Bordogni#9-Rochut#9 l:47
10. Bordogni # l0 -Rochut# l0 3:09
ll. Bordogni# 1! -Rochut# 1l l:44
12. Bordogni # 12 -Rochut # 12 3:14
13. Bordogni # 13 -Rochut's transposod # 14 435
14. Bordogni # l.l - Rochut # 17 3:21
15. Bordogni # 15 - Rochur # 13 2:3g
1ó. Bordogni# i6-Rochut'stransposed# l8 2.39
17. Bordogni# l7-Rochut #21 3.37
18. Bordogri # l8 - Rochut # 19 238
19. Bordogni# l9-Rochut#22 2.37
20. Bordogni # 20 - Rochut's transposed # Z0 l:j1
21. Bordogni # 21 - Rochut # 16 2:00
22. Bordogni #22-Rochut#23 3il9
23. Bordogni # 23 -Rochut# 25 Z3A
24. Bordogni#24-Rochut#24 l:12
25. fansposed Bordogni # 13 - in B Major - Rochut # 14 4:35
26. transposed Bordogni # 16 - in A Major - Rochut # lg 2:39
27. transposedBordogni #20-inEMajor-Rochut#20 1:51
28. fasttempoBordogni#21-Rochut#16 i:lg
, 29. fast tempo Bordogni # 24 - Rochut # 24 1:00

Times shown include silenee before i:02) and after (:10) each study and preparãtory
metronome ciieks.

The enclosed audio compact disc includes Marco Bordogni,s own

piano accompaniments for the first twenty-four of his voialises.

BORDOGNI/Schwartz The Bordogni Voc

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The Bordogni Vocalises

Transcribed by David Schwartz
Volurne One
(24 Nouvelles vocalises à la portée de toutes les voix)

Solo part for

Horn in F

lncluded within this book is an audio compact disc with

Bordogni's original piano accompaniments, Disk One.

lïllrilill

O 2003 David A. Schwartz

Belmont, Massachusetts
 This volume incÌudes a companion audio dis( DISK ONE.
Each track begins with two metronome clicks.
Each accompaniment begins on beat one of measure one.

Volume One
24 Nouvelles Vocalises à la portée de toutes les voix
Horn in F Marco Bordogni ( i789- i 856)

Moderato (J =58)

No. 1

--'----"

Copyright @ 2003 by David A. Schwaru

Belmont, Massachusetts
 C
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Andantino (J=8a)
The cue, "acc.," indicates enfry of the accompaniment' rF
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solo acc. È
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The ''acc." cue shows where the accompaniment
resÌunes' tCê
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Allegretto | =SZ1

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Respiration marks indicate optional breaths.

 Andante cantabile (J =63)

No. 4

_. _
!-- P
Count and carefirlly end úe final note with the piano accompaniment.
 Allegro (J =96)

No. 5

--r------' cresc.
:/*. -------------- \.--\

dolcissimo â

Respiration marks indicate optional breaths

 Il
a
Andante cantabile (J :60)
II
No. 6
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 Allegretto grazioso (J.=100)

No. 7

-
 Andante cantabile 1,it:eO;
dolce con esP. ,

Itlo. 8
 Andantino con moto (.--76)
Ieggiero

No. 9

a temno
A solo

acc.
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No. 10 Ë
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Allegrefto moderato (.=126)

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Track *
lempo su.ggested by Glenn Smith
12
Andante sostenuto tì=AOl ë
ild;;;;;;;;;;i;Ì't'=eei Bordoeni'stemPo
Rochut's markrns ã'
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No. 12
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This study is fansposed up a halÊstep on page 29 and on track 25.

 Allegrefto (J =l0S)

No.14

a prccere acc
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No. 15

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16

Allegro brillante ( :fi2)

con slancio

No. 16

Con slancio: wiü dash, vehemence, impehtosirv.

This study is traasposed up a half-step on page 3b and oá track 26.
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 Allegro (,,1:120) Track 2 1 provides Rochut's tempo.

Allegro vivace (J.=66) Track 28 provides Bordogru's fast tempo.

No. 21

a íempo

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At Track 28, the ìnitial clicks represent dotted half note values,
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x x At measure 41 metronome clicks initiate the A tempo.

3:
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No. 23

----=-.---l

cresc.

^ apiacere. a tempo.'
acc.

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Allegro 1J =a+; Schwartz's practice teúpo' Track 24

Alle!ro (J =120) Tempo of Bordogni and Rochu! Track 29

 Transposed Vocalises
Andante d=72) Track 25 accompades this transposed study.

13 transposed
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30

Allegro brillante (J :132) Track 26 accompanies úis transposed stt.tdy

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No. 16 transposed e
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 Andante (.i.=4S) Track27 accompanies úis transposed study

No. 20 transposed

This studv appears in Bb on page 24.

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Practice suggestions

e Portando la Voce'"
e
G
Legato. Bordogni marked his eiudes, "sempre Legato
breaks between the successive notes
(r' ligare' to bind)' *
Legato meanssmooth and connected without perceptible
portamento*;;gliil; detberately from note to note. (1t' po*are, to carry)
Ç
poríandomeans portamento.
vocal Õ
Keep the air flowing.
Ê
t]loristt white notes
Rhythm. Enors of rhy.thm are easiiy noticed. Mentally subdivide Tq :"Tt all the way lh!
a habit ofaccuracv in eighth notes and
Êvenness
ê
àìï.".ï. iïïìil"iüiroaividing (l-and-urr- z-and-új youbeat,
build
not late' Make vour frnal note end when the
Ë
iiïrilï; ""iJi't*. ?r.p .o*ting. Begin ,tot", oí ín.
accompaniment final note .oar. m"o skills will
*^t" V"" . t"ner soloist and a better ensemble musician' ê
ë
úey It is much easier to detect flafiress' Test your pitch by
Intonation. Many soloists are unaware when are sharp.
t,e accomp*ì-.nt and make your pitch compatibie'
ê
oìi"** iï'*. ïi iã. of tn. note. Listen to
Õ
strive for clarity. Notice that Bordogni often ë
Articulation and Accentuation. lmagine that you are singing words.
especially clear-
;;.*.j;'##;ioão. rn. final woã or notcof a phrase must be ê
scoÍes arefuÌl of markings for phrases, breathing' and articulation' Take
exfia breaths or ë
Breathing. Bordogni's
omit brearhs to accornmodare the music and your .upu.iti"r, but don't dõ tnings that would make a-listener
gasping breaths
e
sound unnaturai. overiy ihulro* or deep or
uncomfortable. overly short or overÌy long pirr*., air flowing' ê
sound easy, smooth, gliding' Keep the
distract from the music. Find ways to makã ihe -rrsi" €
Dolce oassases for Bordogni are soft and sweet, not
strident; intimate, not prominent; gentle and demure'
not F
;uJË;.iile ã.spit. a somerimes harsh or conrrasting accompaniment. F
Melodv. Bordo@i,s etudes are still popuiar today because
the melodies are beautiful' Bordogni recommended
t]1at e
studenis furi totitgt, then vocalize' Learn the
notes! ê
you do piay them'
Ë
ornaments if you wish' When
Ornaments. This score spells out Bordogni's gruppettos. Omit
.* with a single, short appoggiatura' A gruppetto can e
remember they don,t have to be fast. A t ilt be replaced

õi;*d ffi;ãoubte appoggiatwa. Accomrnodate the ornaÍrent to the phrase' Sing' e

e
your teacher when phrase marks do not make sense' Editors
Phrasing. Mark up üese scores with your student or
ofaitaff. Errors and omissiors by printers are not corrected
in F
and engravers sometÍnes stop a phrase at the enci
ffi !offi:'ilï;ï'pzur accend to the score. Always apply your own musicaljudgment'
F
of difficult passages' first at slow tempo or haif
Repetition. Use practice fime efiicientiy with mindful repetition
tempo. Don'tp*ìti.t wrong notes: practice makes permanent'

which is at fust uncomforlabie' Take on úe challenge'

After
Tempos. Some of the efudes move along at a pace
can play your instnrment as fast as Bordopi
expected
you have learned the notes through siowlractiie, .*; ii't;
his students to singl

your intonation'. Find the sweet spot where the note simply
vibrato. you can use vibrato during practice to check intonation is just
of the final note of a phrase' When
rings. Notice that many soioists limiì vibrato to the last'third
;d;, #ï;Jiïoo uiu.uro , resultant and reinforcemenÍ pitches enhance rhe harrnonies.
affects yow sound' ln a new room' experiment and
Environment. In any playing environment' learn how the room
get comfortable. ln an audition' remember this task'

Performance.Yourjobasperformeristobeawarearrdconcernedforthecomfortandentertainmentofyour like
by only appearing to make eye contact' Stage fright'
audience. With a large audience, limit your sensoryinput job conduit for the music'
a selÊinduilent state of *i"4. As a performer, is to be
your a
anser or fear- is sometimes
car:ingfor the comfort of everyone e/se in the room'
for at least five minutes'
Rest. Limit continuous practice to 25 or 30 minutes, resting