Bordogni/ King Interpretation

[pierso20]

This is in reference to the following book.



My brother is going to audition the fourteenth etude in this book. I am tutoring him. We have the latest edition.

In this etude, there is only one triplet in the entire piece. The rest of it has a dotted rhythm that appears frequently. Was it a mistake to have the triplet? Should I have him play the dotted rhythm? Are there or could there be any tonal mistakes written? There's a G flat that throws me off.

I'm looking at etude number 14 and I don't see what you're saying...measure number? (if there's a Gb, it may just be enharmoic with the numerous F#'s I see.

[Ace]

I don't see any Gb's in No.14. However, there are several G#'s.

In measure 53 there are two triplets. In measure 58 there is one triplet. Others might disagree but, to me, the triplets make musical sense in those two contexts.

[Michael Grant]

I have the book/edition (purchased it in the late 70's or early 80's) in question and I find two triplets (bar 53) and no Gb's. I am doing a quick read through mentally seem to be the same as the Rochut (without digging out my Rochut etudes and comparing). As stated before, measure numbers would help us to help you. That way we can advise on what note should be noted where you show a Gb.

Good luck on the audition.

[pierso20]

Sorry, I didn't have the book with me. 14 is something I am working on. The etude in question is number 8. I might be incorrect again. I know the key is E flat major and the starting note is G.

You are correct, there is only one triplet in this etude. I would play the etude, it is towards the end of some phrasing and to the fermata (it is 4 measures after rehearsal measure 10). If you are referring to that Gb, I would play it as well. It make musical sense for where that particular line is going.


Sometime you will find errors in these books, so obviously be aware, however in this case just play what is written. Keep in mind that there is not a lot of repetition of exact musical motives in this etude. If there were repetition, it would be easier to spot these kind of mistakes. If my memory serves me, this point in the etude just has a weird harmonic/melodic sound to it anyway. PLUS, there are some F#'s that occur and other Gb's later in the etude,

[David Schwartz]

Chuckie,

As you tutor your brother in the Bordogni/King #8, you may want to consider some of Bordogni's original markings for his vocal students, such as pianissimo and dolce at the start. Bordogni also suggested a tempo of quarter note mm=84 rather than 100. If 84 is too slow for your brother to make the phrases, try 92 which is the current recommendation of Chester Roberts, Mr. King's editor in the 1972 edition.

You could also write in Bordogni's dolce markings at measures 17 and 45, dolce et rallentando at measure 83, and you could change the dynamic at measure 68 to piano which will make it easier to make Bordogni's long phrases musical. If your brother has lots of wind, consider also extending the last note to Bordogni's full seven beats.

The loudest dynamic in this study is forte. Keep the song moderate, calm, smooth, and demure.

David

[pierso20]

I just want to know about the triplet. It seems very out-of-place. Should it be a dotted rhythm?

I happen to think it is not out of place. For me, it seems to musically make sense.

Either way, if you play the triplet in a convincing way, then any "judge" won't notice, especially if they have a copy to look at.