*the piano accompaniment to number 1 is newly composed by Alan Raph. Bordogni did not write "number 1," but rather it was an etude written by Rochut and included in the 1929 edition. Nor was number 1 conceived with a piano part. Raph's new accompaniment is written in a similar style to that of Bordogni, with perhaps a little more harmonic interest.
(table of contents & sample pages)
(number 2)Some additional observations: The included CD contains both recorded and printed piano accompaniments. The audio tracks are MP3 recordings of live piano performances. The remaining tracks are PDF files of the piano parts that you can print out and have performed by your own pianist. This edition features new engraving (musical typesetting). As a result, the music is easier to read—gone are the chunky note heads, blurry flags and drop-out of the 1928 edition.
The lengthy material contained in volume 2 presents sometimes insurmountable page turn issues, so some do remain. That being said, Raph has managed to work in a few improvements, notably numbers 66, 77, 80, 81, 83, 88 and 89. I've also noticed a few places where Raph seemingly abbreviated an etude by a few bars, such as numbers 68 (drops the last three bars) and 74 (loses 8 bars at the end with a slight rewrite to resolve on A). The original Forward has been deleted. I'm not sure why. Some of these century-old blurbs are amusing to say the least, but this one is still, in my mind, quite relavent. Rochut really hits the mark with his comments, as many are contemporary in their instruction. I think it is a loss for them to have been omitted. Therefore, I've reprinted the old Forward below for your enjoyment. Like the rewrite of volume one, this one is, by and large, a more useful edition than the old. 68 pages with a lay-flat stitched binding. -cdpFORWARD from the 1928 Edition
These etudes trasncribed from the Vocalises of Bordogni have been specially prepared for use by trombonists, to perfect their technique generally and in particular to develop style in the interpretation of melody in all its varied forms and expression.
To this end the keys have been carefully selected and the phrasing adapted to fit the character of the trombone to best advantage. The work may be said to provide specifically for the following: NOTE: Designed for use with the original 1929 thru 2011 editions of the Rochut Melodious Etudes (our 000857). Does not fully match the new 2011 revised edition (our 086846).
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NOTE: Designed for use with all original 1929 to present editions of the Rochut Melodious Etudes, volume 3 (our 000859).
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NOTE: Designed for use with the original 1929 thru 2011 editions of the Rochut Melodious Etudes (our 000857). Does not fully match the new 2011 revised edition (our 086846).
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NOTE: Designed for use with the original 1929 thru 2011 editions of the Rochut Melodious Etudes (our 000857). Does not fully match the new 2011 revised edition (our 086846).
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NOTE: Designed for use with the original 1929 thru 2013 editions of the Rochut Melodious Etudes, volume 2 (our 000858). Does not fully match the new 2013 revised edition (our 096098).
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NOTE: Designed for use with the original 1929 thru 2013 editions of the Rochut Melodious Etudes, volume 2 (our 000858). Does not fully match the new 2013 revised edition (our 096098).
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* Can also be used with the new edition of the Rochut (our 086846) with some minor edits. -cdp
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(sample pages)
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Newly composed second trombone duet parts to accompany the famous Rochut Melodious Etudes as published by Carl Fischer. The 20 duet accompaniment parts in this volume coordinate directly with etudes 41 through 60 in Rochut's volume 1 (our catalog number 00857). The written and implied harmonies do not neccessarily correspond to the original piano accompaniments, and in fact are often vastly different. For Rochut etudes 1 through 20, please see Tom Ervin's Counterparts (our catalog number 18608); for etudes 21 through 40, see Rochut for Two, v.1 our number 43085.
(sample pages)
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The Rochut/Bordogni Etudes for Trombone or Euphonium have enjoyed immense popularity over the years. If you play the Trombone, Euphonium, or any brass instrument for that matter, you have most likely have played and listened to countless hours of them asa student or teacher in the studio or practice room. David Ritt composed his 60 Melodious Accompaniments to compliment Rochut's edition of Book 1 (original) as duets. Performed as duets they will be an invaluable asset to teachers and students, helping them gain insight into performing these gorgeous melodies and learning a melodious style of performing on the Trombone or Euphonium as well as intonation, rhythm and style. The original Rochut Etudes are NOT included in this collection, just these accompaniments. -the publisher
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Book 2 includes Etudes 61-90. The entire collection of the accompaniments to vocalises from Volume 2 of the Rochut etudes are contained in a handsome spiral-bound book of 67 pages. Beautifully engraved in Bass Clef, these accompaniments are perfectly suited for intermediate to moderately advanced performers. The original Rochut Etudes are NOT included in this collection, just these accompaniments. -the publisher
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Bass trombonist Nir Fishkin has arranged ten of the Melodious Etudes for brass quintet. The settings are suitable for moderately advanced performers. The arrangements spread the melody around between the five parts. -the publisher
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Bass trombonist Nir Fishkin has arranged 10 Melodious Etudes for Brass Quintet, Volume 2 which are suitable for moderately advanced performers. Mr. Fishkin's arrangements imaginatively spread the melody around between the five parts.
The trumpet parts are in B-flat and the trombone part is in bass clef. - the publisher
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Bass Trombonist Nir Fishkin has artfully arranged 10 Melodious Etudes for Brass Quintet, Volume 3 which are suitable for moderately advanced performers. Mr. Fishkin's arrangements imaginatively spread the melody around between the five parts. - the publisher
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(sample pages)
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This book may be used by teachers to play along in octaves with their students, locking in tuning and style. Also, for tenor trombonists, to work on and improve their low register. - the publisher
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(sample pages)
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(sample page)˙
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Most bass trombonists know and love the Bordogni vocalises, also known by some as the Rochut etudes. The purpose of this book is to provide some variety and possibly "fill in the gaps" in the Bordogni collection as well as provide a valid bass trombone alternative. Features:
• Some later etudes give octave ossia options.
• 20 additional pages present selected ‚tudes in higher and lower keys.
• Harmonic variety increases throughout the book even touching briefly on whole tone and diminished scales.
• Rhythmic complexity increases as the book progresses; odd meters and meter changes begin to appear sparingly.
• Each etude has a duet part.
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Most trombonists know and love the Bordogni vocalises, also known by some as the Rochut etudes. The purpose of this book is to provide some variety and possibly "fill in the gaps" in the Bordogni collection. Features:
• Range development builds progressively. Part One of the book (#'s 1-30) extends up only to G4 (with middle C being C4). Part Two (#'s 31-60) extends up to D5 and down as far as an optional E1.
• 20 additional pages present selected ‚tudes in higher and lower keys.
• Harmonic variety increases throughout the book even touching briefly on whole tone and diminished scales.
• Rhythmic complexity increases as the book progresses; odd meters and meter changes begin to appear sparingly.
• Each etude has a duet part.
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• Some later etudes give octave ossia options.
• 20 additional pages present selected ‚tudes in higher and lower keys.
• Harmonic variety increases throughout the book even touching briefly on whole tone and diminished scales.
• Rhythmic complexity increases as the book progresses; odd meters and meter changes begin to appear
sparingly. • Each etude has a duet part.
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(sample pages)
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Performed as duets (both parts on the same page) they will be an invaluable asset to teachers and students, helping them gain insight into performing these gorgeous melodies and learning a melodious style of performing as well as improving intonation, rhythm, style and getting to know the alto trombone. -the publisher/cdp
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Performed as duets (both parts on the same page) they will be an invaluable asset to teachers and students, helping them gain insight into performing these gorgeous melodies and learning a melodious style of performing as well as improving intonation, rhythm, style and getting to know the alto trombone. -the publisher/cdp
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(sample pages)
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