Bordogni-Rochut

Today we'll discuss the most important book in your journey to become a better brass player, the Vocalise etudes (euphonium/trombone and tuba) of Marco Bordogni.
Happy practicing!
There are many reasons to use the Bordogni book; it's an excellent resource when you're learning to play expressively. Since all of the etudes are written with slurs pretty much the whole way it's also great for working on playing with smooth legato. Since smooth legato requires smooth air stream, it's also a superb study in breath control. Finally, It's a versatile wealth of music that can be adapted and adjusted to suit your needs as a player.
The one time in my career where I think I've made the most progress as a tuba player was when I was playing Bordogni etudes for roughly an hour every day. I'd work through my daily routine, then move on to Bordogni, then practice other repertoire for the rest of the day. Wow, those were the days! No responsibilities except to make myself a better player. I digress...
I wasn't just mindlessly playing though the etudes. I had a purpose to everything I did. You can do anything you want with the etudes. You're limited only by your imagination. 
Below is a list of the things I would do regularly that I found most useful.
1) Sing each etude using solfege if possible
2) Buzz large portions of each etude with particular attention to large/awkward leaps
3) Play them at the written octave but change certain aspects such as:

• Play the whole etude as quietly as possible
  • How far can you get in a single breath?
  • Try to get further each time you play.

• Play the whole etude as loudly as possible, but with your best sound
  • Again how for can you go on a single breath?
  • Pay close attention to sound quality and make sure you don't let the sound taper as you're running low on air.
• Bop! Play everything staccato and focus on centering each note. Find the place on your horn where you can produce the best sound for every note.
  • Do this at soft and loud dynamic levels.

4) Play it all down an octave.

• This will work wonders for breath control.
• If you do this right you'll never need to do another breathing exercise. Always breathe freely and stay relaxed, but especially in the low register.
• Loud 
  • Written articulations (usually legato)
  • Bop 
• Soft 
  • Written articulations (usually legato)
  • Bop 
• Always play with at least your best sound (always striving for a better sound).

5) Play it all down two octaves

• Another excellent way to practice the breath. 
• Getting notes to sound basically at all can be an accomplishment. If you can do it, bravo!
• Always play with at least your best sound.

6) Play it all up an octave

• Loud 
  • Written articulations (usually legato)
  • Bop 
• Soft 
  • Written articulations (usually legato)
  • Bop 
• Always play with at least your best sound.

7) Register blending

• This is something I came across in Roger Bobo's book, Mastering the Tuba.
• Play the first phrase at the written octave.
• Play the second phrase an octave lower than written.
• Play the third phrase an octave higher than written.
• Repeat this sequence throughout the entire etude.
• Always play with at least your best sound.

8) Stop the dial 

• This was something I started to do when I desperately wanted to improve pitch.
• While looking at a tuner, play each note perfectly in tune before you move to the next.
• Do this in any octave.
• Always play with at least your best sound

Like I said before, these are very effective and useful tools to have in your box. You may need to work up to being able to do some of them. That's okay! The important thing is that you keep pushing your boundaries.
If you're familiar with the Bordogni etudes, what do you do that I didn't discuss here? Reply to this email if you'd like to talk about it.
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