Bel canto proponent Marco Bordogni was an accomplished singer who became the leading tenor at the Theatre Italian in Paris in 1819. A few years later, he was appointed professor of singing at the Paris Conservatory of Music, and produced some of the great singers of the period among his pupils. His etudes -- called "vocalises" -- appeared in leading music schools throughout the world, and were originally sung with a broad and open sound on the Italian vowel "a," as pronounced in the word "father."
By the early 20th century, little published material specialized in the legato style for brass instrument performers. Most existing methods concentrated on technical development, neglecting the lyrical side. Trombonist Emory Remington, who served on the faculty of the Eastman School of Music in Rochester, New York, for nearly 50 years, bemoaned this dearth of material, observing that he had "always treated the instrument as just another voice."
Johannes Rochut, a trombonist who played in the Boston Symphony from 1925 to 1930, transcribed and progressively arranged 120 Bordogni vocalises in three books. Trombone instructors worldwide adopted "Rochut" for their students to study. In time, teachers of other instruments began to transcribe Bordogni vocalizes as well as other bel canto composers.
Jay Friedman, principal trombonist with the Chicago Symphony Orchestra, produced a CD on which he performed a representative number of Bordogni vocalises. As a world-class trombonist, he provided an outstanding model of vocalise interpretation. "One of the most important aspects of singing is the concept of legato, which goes back to the bel canto school of singing what was at its zenith when the Bordogni etudes were written," Friedman wrote in his book, "The Singing Trombone."
Vocalises demand perfection through repeated practice. They promote a relaxed approach, place emphasis on the breathing process, focus on musical phrasing and increase technique. Use of the bel canto style continues to contribute greatly in shaping the sounds of modern instrument performance.