Has anyone put the 120 Rochut/Bordogni etude ACCOMPANIMENTS into Finale (select tempo, click, play) ?
Posted: Wed Sep 18, 2024 3:31 pm
eh?
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Has anyone put the 120 Rochut/Bordogni etude ACCOMPANIMENTS into Finale (select tempo, click, play) ?
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Re: Has anyone put the 120 Rochut/Bordogni etude ACCOMPANIMENTS into Finale (select tempo, click, play) ?
Posted: Wed Sep 18, 2024 3:47 pm
C'mon bloke. Finale is dead. Moribund. Big dirt nap. Assumed room temperature. Shuffled off this mortal coil.
Re: Has anyone put the 120 Rochut/Bordogni etude ACCOMPANIMENTS into Finale (select tempo, click, play) ?
Posted: Wed Sep 18, 2024 4:05 pm
Re: Has anyone put the 120 Rochut/Bordogni etude ACCOMPANIMENTS into Finale (select tempo, click, play) ?
Posted: Sat Sep 21, 2024 4:19 am
https://search.makemusic.com/search?que ... search_bar
The first 24 are uploaded into the "make music" platform online. I thought some were in Smart Music, but admittedly I'm haven't looked into that platform in several years.
The first 24 are uploaded into the "make music" platform online. I thought some were in Smart Music, but admittedly I'm haven't looked into that platform in several years.
Re: Has anyone put the 120 Rochut/Bordogni etude ACCOMPANIMENTS into Finale (select tempo, click, play) ?
Posted: Sat Sep 21, 2024 7:31 am
Thank you. I've been able to find low numbered accompaniments before, including even YouTube play-alongs with actual human accompanists, but I've become a little bit more interested in some of those in the sixty which include books two and three.
When I was in my early twenties, I remember that a former trombone player - who was a music theory and composition teacher - had all the Bordogni accompaniments as sheet music collection. I imagine someone has republished those by now, but at that time they were out of print. I haven't checked the Sibley/Eastman Library, but they tend to have everything, and interlibrary loan is a thing. I couldn't imagine these not being in the public domain, so I guess I would just scan the entire thing.
I don't claim to be any sort of musical interpretive and phrasing genius. After all, I'm just a tuba player, but - even if I never was able to play these with it either a human, recorded, or computerized accompaniment - it would be nice to look at some of the things that are happening structurally in the harmonies, as those things have a pretty strong influence on melodic phrasing (as - at this point in my life - any improvements in my playing are due to self teaching, as I really can't swing for a $400 an hour of Metropolitan Opera vocal coach to help me study these vocalises).
It's not uncommon to discover that the original vocalises were not in the same keys as Rochut, though he was certainly not one who would move things from sharps to flats - simply to make it easy for his students. I'm sure that I'm not the only one who's sort of fond of number 61, and - back when I was a little 22-year-old boy - I'm reminded by some writing in my ancient book that I played number 76 in front of a jury at the end of a semester before leaving school for good. I honestly can't remember whether I played that on my tuba or on my 321 euphonium. I didn't even own an F tuba back then as most people did not. If it was the tuba, it would have been my (typically dubious tuning characteristics) 184.
When I was in my early twenties, I remember that a former trombone player - who was a music theory and composition teacher - had all the Bordogni accompaniments as sheet music collection. I imagine someone has republished those by now, but at that time they were out of print. I haven't checked the Sibley/Eastman Library, but they tend to have everything, and interlibrary loan is a thing. I couldn't imagine these not being in the public domain, so I guess I would just scan the entire thing.
I don't claim to be any sort of musical interpretive and phrasing genius. After all, I'm just a tuba player, but - even if I never was able to play these with it either a human, recorded, or computerized accompaniment - it would be nice to look at some of the things that are happening structurally in the harmonies, as those things have a pretty strong influence on melodic phrasing (as - at this point in my life - any improvements in my playing are due to self teaching, as I really can't swing for a $400 an hour of Metropolitan Opera vocal coach to help me study these vocalises).
It's not uncommon to discover that the original vocalises were not in the same keys as Rochut, though he was certainly not one who would move things from sharps to flats - simply to make it easy for his students. I'm sure that I'm not the only one who's sort of fond of number 61, and - back when I was a little 22-year-old boy - I'm reminded by some writing in my ancient book that I played number 76 in front of a jury at the end of a semester before leaving school for good. I honestly can't remember whether I played that on my tuba or on my 321 euphonium. I didn't even own an F tuba back then as most people did not. If it was the tuba, it would have been my (typically dubious tuning characteristics) 184.