Bordogni did not write "number 1," but rather it was an etude written by Rochut and included in the 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. The bracketed numbers tell you the precise instrumentation of the ensemble.
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Bordogni did not write "number 1," but rather it was an etude written by Rochut and included in the 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.
The bracketed numbers tell you the precise instrumentation of the ensemble. The first number stands for Flute , the second for Oboe , the third for Clarinet , the fourth for Bassoon , and the fifth separated from the woodwinds by a dash is for Horn.
Sometimes there are instruments in the ensemble other than those shown above. Whenever this occurs, we will separate the first four digits with commas for clarity. Thus a double reed quartet of 2 oboes, english horn and bassoon will look like this:. Titles with no bracketed numbers are assumed to use "Standard Instrumentation.
Following many of the titles in our Brass Ensemble catalog, you will see a set of five numbers enclosed in square brackets, as in this example:. The bracketed numbers tell you how many of each instrument are in the ensemble. The first number stands for Trumpet , the second for Horn , the third for Trombone , the fourth separated from the first three by a dot for Euphonium and the fifth for Tuba.
Titles listed in our catalog without bracketed numbers are assumed to use "Standard Instrumentation. Following many of the titles in our String Ensemble catalog, you will see a set of four numbers enclosed in square brackets, as in this example:. These numbers tell you how many of each instrument are in the ensemble. The first number stands for Violin , the second for Viola , the third for Cello , and the fourth for Double Bass. Thus, this string quartet is for 2 Violas and 2 Cellos, rather than the usual The system used above is standard in the orchestra music field.
The first set of numbers before the dash represent the Woodwinds. The set of numbers after the dash represent the Brass. Percussion is abbreviated following the brass.
Strings are represented with a series of five digits representing the quantity of each part first violin, second violin, viola, cello, bass. Other Required and Solo parts follow the strings:. Instruments shown in parenthesis are optional and may be omitted.
The Beethoven example is typical of much Classical and early Romantic fare. In this case, the winds are all doubled 2 flutes, 2 oboes, 2 clarinets and 2 bassoons , and there are two each horns and trumpets.
There is no low brass. There is tympani. Strings are a standard configuration 4 first violin, 4 second violin, 3 viola, 2 cello, 2 bass. Sometimes strings are simply listed as "str," which means strings. The second example is common for a concert band or wind ensemble piece. Note the inclusion of the saxes after bassoon for this band work. Note also that the separate euphonium part is attached to trombone with a plus sign.
For orchestral music, saxes are at the end see Saxophones below. Multiples, if any, are not shown in this system. The numbers represent only distinct parts, not the number of copies of a part. In the third example, we have a rather extreme use of the system. Note: This system lists Horn before Trumpet. This is standard orchestral nomenclature. Also, it should be noted that Euphonium can be doubled by either Trombone or Tuba.
Typically, orchestra scores have the tuba linked to euphonium, but it does happen where Trombone is the principal instead. Saxophones , when included in orchestral music they rarely are will be shown in the "other instrument" location after strings and before the soloist, if any. Letters that are duplicated as in A in this example indicate multiple parts. Hickeys Music Center. Errors have been corrected, omissions have been replaced and piano accompaniments are now included.
This edition draws from the original Bordogni etudes for voice, the Rochut transcriptions for trombone produced around and Bordogni's original piano accompaniments. It is compatible with these accompaniments by key, introductory measures and inserts.
The etudes are sometimes rephrased to better suit the trombone. The audio tracks are MP3 recordings of live piano performances by Rae Moses. The remainder 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 edition.
In addition, some though not all of the problematic page turns have been eliminated or mitigated. Number 15 for example now turns during a one bar rest; numbers 18 and 19 each occupy a two-page spread, eliminating the ugly turn in A few new turns havecrept in, most are good, a few are rough no These are largely offset by the removal of many ugly ones elsewhere. By and large, this is a more useful edition than the old. Brass Instrumentation Codes Following many of the titles in our Brass Ensemble catalog, you will see a set of five numbers enclosed in square brackets, as in this example: Description Price Copland Fanfare for the Common Man [ This is a special instrumentation adopted and perfected by the Philip Jones Brass Ensemble.
It consists of the forces In addition, there are often doublings in the Trumpet section - Piccolo and Flugelhorn being the most common. While this instrumentation has come to be common, it is still not "Standard" as many Brass Dectets use very different forces, most often with more Horns than PJBE. Example 1 - Beethoven: [2,2,2,,2,0,0, tymp, ] The Beethoven example is typical of much Classical and early Romantic fare.
Example 3 - MacKenzie: a fictional work, by the way. Copland Fanfare for the Common Man [ Beethoven Symphony No 1 in C, op 21 [2,2,2,,2,0,0, tymp, ].
The elusive “Rochut No. 1.”
Giulio Marco Bordogni 23 January — 31 July , usually called just Marco Bordogni , was an Italian operatic tenor and singing teacher of great popularity and success, whose mature career was based in Paris. Bordogni was born in Gazzaniga , near Bergamo , Italy. He was a product of the Bergamo tenor school which originated with Giacomo David and Gaetano Crivelli , and in which can be counted, in addition to David's two best pupils namely his son Giovanni and Andrea Nozzari , both notable in Rossini 's operas , and besides Bordogni himself, also Domenico Donzelli and Giovanni Battista Rubini. Bordogni made his operatic debut in Novara in without initially meeting with much success. In he distinguished himself as a performer of the role of Argirio in Rossini's Tancredi  at the Ferrara revival with a tragic ending  and at the inauguration of the Teatro Re in Milan, and became later very active in promoting that composer's music.
Bordogni / Rochut – Melodious Etudes for Trombone, Book 2
Bordogni, Marco (Rochut/Raph) Melodious Etudes, v.1 [revised] w/online audio accompaniment