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Tuesday, 9 March 2010
For Advanced Brass Instruction... Sing a Hymn
 Sometimes I quiz a group of players in a master class or studio and ask them why they are "here" (at the university, event, whatever). Typically the first answers have to do with learning to play euphonium or tuba better. Then I try to lead them to my preferred answer - we want to learn how to play music better.
My own teaching style sometimes relies on having students listen to other instruments or vocalists. This is critical to improving our skills. Euphonium artists, even the best of the best, don't have all the answers about making music. We will benefit from broader listening. In a discussion with Brian Bowman many years ago, he said, "It's a funny thing - a euphonium sounds really nice at middle volumes, but it is quite difficult to play very softly and quite difficult to play very loudly." That nicely sums up one of the barriers to making fine music on the euphonium. We have to work and work to widen our dynamic range so we can respond to the needs of the music we wish to play. But there are other barriers. The non-directional characteristic of the euphonium can make clarity difficult, for example. In my opinion, the largest barrier we have to making the best music we can is that we limit our concept of music if we listen carefully to only euphonium or even to only brass instruments. So I have my students listen to string players and vocalists. String players have a very long tradition of technical prowess and musical beauty. A violin is much more facile than a brass instrument and is capable of a few other expressive "techniques" that are not convenient on brass. In addition, string players just plain think differently than most brass players. When they start to learn a piece, they play will full musical expression right from the start and gradually work out tough passages. When most brass players start to learn a piece, they do a cursory run-through and then begin to woodshed the tough passages. For brass players, the musical expression comes along more gradually. (These are general observations - you mileage may vary!) An even more interesting lesson can be learned when listening to vocalists. In addition to not having the constraints of a more-or-less fixed 12-tone chromatic scale, they also have a natural focus on making the lyrics work. Some of their expression comes not from the shape of the notes, but rather from the "needs" of the words. They emphasize certain syllables or change the tempo subtly in order to let a syllable fully sound. We don't have the same reason to do that on brass instruments... or do we? We often play vocal music, although this sense that some notes need more emphasis is not limited to vocal music. First, consider the case where you are playing a song that is well-known, such as Danny Boy. Chances are most of the audience will know the words and will be thinking them as you play. Wouldn't you want to play in a that makes the "mental-singing" experience of your audience more natural and enjoyable? Even when performing a vocal work that the audience doesn't know, you may find that following the words (and meaning!) in your mind will enhance your playing. And there is a good chance that the composer integrated the words and the flow of the line as one entity. Recently I have realized that I was not singing the hymns at church with much value. I was mostly focused on the notes (especially when trying to sing the bass line) and making sure my pitches were correct. But then I started trying to actually sound good! I pronounced the words in the same way I would try to say them if I were reading scripture that day, with the proper emphasis and care of syllables, and with the proper shape of the words, not just the notes. It did amazing things for my awareness and has carried over to some extent into the rest of my playing. (And it helps me appreciate some of the great words and meaning in some of these hymns!) Ah, but the lesson does not stop at just musical expression. I learned there is a parallel between singing and euphonium construction. That's an odd statement, isn't it? Many of us have heard choir directors scold their singers to keep their mouths open wider. This creates a larger chamber for the sound to resonate (for better tone) and lets the sound project better. So I am trying to do that. Much to my surprise and dismay, I learned that controlling the pitch is more difficult when I open my mouth wider. Or maybe it's not more difficult, but just needs a different approach. I need to support the tone enabled by my open mouth and "feel" the tone. Then I let the pitch ride within that tone, which seems to do the trick. In any case, I have to focus on pitch more carefully. I think many brass players run across a similar thing when switching to a larger-bore instrument. If they don't properly support the larger horn with more air, they will have more trouble controlling the pitch. Playing a smaller horn is just easier, even though it is harder to really project with a quality tone. Similarly, singing with my mouth less open is easier, as long as I don't care greatly about good tone and projection. So the next time you sing in church or other worship service, or even when you sing in the shower or car, treat the words the same way a good singer would. Go for a quality tone. Get some resonance and projection. You may be surprised at some of the side benefits! Read more | 2 comments
Posted By Dave Werden at 8:57 AM in Category:Performance Tips
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Saturday, 27 February 2010
Robert Isele, In Memoriam
I have just learned that former U.S. Marine Band trombone soloist Robert Isele died on December 8, 2009. The following is from the Marine Band's newsletter, "Notes" (Mar. 2010):
Master Gunnery Sergeant Robert Isele, USMC (Ret.), of Harrisburg, Pa, passed away on Dec. 8, 2009. Master Gunnery Sgt. Isele joined the Marine Band in 1937 and quickly became principal trombone. He was one of the most frequently featured soloists in the band's history. After retiring from "The President's Own" in 1961, he went on to have a successful career in the National Symphony Orchestra. Isele was almost legendary for his technical and musical abilities. Enjoy this free 1959 recording of Robert's playing with the Marine Band: Robert Isele Playing Piece Concertante, by Samuel Rousseau Read more | 0 comments
Posted By Dave Werden at 5:27 PM in Category:Free Downloads - Recordings and Music
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Friday, 26 February 2010
International Euphonium Institute 2010
It's almost that time again. The International Euphonium Institute (IEI) will take place in June, from June 20 to June 27. Artists/Staff include:
Euphonium David Childs (U.K.) Adam Frey (USA) Manfred Heidler (Germany) Roger Behrend (USA) Jamie Lipton (USA) Martin Cochran (USA) Tuba Patricio Cosentino (Argentina) Bernard H. Flythe (USA) Cello (!) Charae Kruger (USA) Trombone Tom Gibson (USA) Piano Caryl Worthington Conger (USA) Magdalena Shumanova (Bulgaria) "Cello?" you might ask. Why? Many of us are familiar with the nickname "Cello of the band" reffering to euphonium. (Or is the cello called the "Euphonium of the orchestra"? - I can never remember.) String players typically have a different approach to musicianship than brass players. During one semester of my Masters program I studied with the cello professor, and it was one of the most valuable learning experiences ever. If you have a chance to study with Ms. Kruger, don't pass it up. Participants of the IEI have a LOT of face time with the artists and staff. You have private lessons, play in and hear recitals, attend valuable master classes and discussions, and enjoy some great social time. This is a very unique experience. Sponsors this year include Miraphone, Yahama, Sterling, Willson, and Woodwind/Brasswind. Read more at the link below: http://www.euphonium.com/ieifestival.html Read more | 0 comments
Posted By Dave Werden at 6:25 PM in Category:General Tuba-Euphonium Blog
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Thursday, 18 February 2010
Three Sacred Palestrina Pieces - Euph/Tuba Quartet
I have recently finished a new arrangement for euphonium-tuba quartet. This one is called Three Sacred Palestrina Pieces, originally composed by Giovanni Pierluigi da Palestrina.
Now and then I try to come up with something that is clearly simple enough for an average high school group, yet has enough musical substance to be a good choice for an advanced group. This is one such piece. The music was originally for voices and there are no flashy technical passages. However, the lines and harmonies Palestrina used are beautiful, and that translates very well for euphonium/tuba quartet. Cimarron Music has this piece on hand right now. Here is the page: Three Sacred Palestrina Pieces - Euphonium/Tuba Quartet And here is a brief sample of the score. As you can see, the piece is very playable: Three Sacred Palestrina Pieces - Score PDF My original inspiration for writing pieces that were accessible for younger players came from a session I heard Harvey Phillips give when we were performing at Tennessee Tech many years ago. He was discussing euphonium-tuba ensemble pieces, and he said there were a lot of easy pieces, but the musical quality was low. And there were many really good pieces, but they were very difficult. Harvey said that we need more pieces written that are good musically but are playable by younger groups. I hope you agree that this one satisfies those specifications. Read more | 0 comments
Posted By Dave Werden at 8:22 AM in Category:General Tuba-Euphonium Blog
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Wednesday, 10 February 2010
IWBC International Solo Brass Competition
The International Women's Brass Conference (IWBC) is an event that helps to enhance awareness of the many outstanding female brass instrument performers. But wait, men... it's not just for women! First of all, men also attend the conference. But a more timely point is that the IWBC features a solo competition for brass, including euphonium and tuba, and the deadline for application is approaching. Here is the announcement:
The International Women's Brass Conference (IWBC) is pleased to announce the 2010 Susan Slaughter International Solo Brass Competition for trumpet, horn, tenor horn, trombone, euphonium and tuba to be held prior to the 6th International Women's Brass Conference in Toronto, Canada in June. This is a rare opportunity for all brass players: women and men, students, amateurs and professionals of all ages to compete for over US$37,000 in prizes. The deadline to register for the competition is March 31, 2010. For information on the required repertoire, prizes, age categories, contest rules, and registration, please visit iwbctoronto2010.com The IWBC conference opens on June 16 and will include international guest artists, concerts and workshops. An early bird discount applies to conference registration prior to March 31, 2010. Please spread the word to your brass colleagues and students! Euphonium artists include:
Tuba artists include:
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Posted By Dave Werden at 12:27 PM in Category:General Tuba-Euphonium Blog
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Wednesday, 3 February 2010
CD Review - SymbiosisDuo, Euphonium and Tuba
Below are the liner notes: SYMBIOSISDUO formed in 2007 to increase awareness of the tuba/euphonium duo as a performance medium and to promote and disseminate new works for this unique combination of instruments. The duo chose the name "SYMBIOSISDUO" from the concert duet written for them by composer, Chris Sharp. In the program notes for the work he writes: "Symbiosis is defined as, 'A relationship of mutual benefit or dependence'... The technical and range-requirements for each solo instrument are comparable, suggesting a 'separate but equal' relationship." This is an innovative and challenging approach to duet writing for tuba and euphonium producing "the symbiosis effect" as the tuba is not relegated to an accompanying role, but is equal in all aspects of music with the other voice in the duo, the euphonium. All of the works on this compact disc were composed, arranged or transcribed especially for SYMBIOSISDUO, with the exception of Three Florida Orchids, which was written for and premiered by Gail Robertson and Jay Hunsberger. For more information about SYMBIOSISDUO, visit us at our website: symbiosisduo.com Three Florida Orchids by T.O. Sterrett (b. 1953) I. Wild Coco orchid: Eulophia alta II. Night Fragrance orchid: Epidendrum nocturnum III. Water Spider orchid: Habenaria repens "Three Florida Orchids presents a variety of musical moods: raucous rhythm & blues; pensive tranquility; and playful mischief. These match more the names than the appearances of the orchids in question. In the first movement -- Wild Coco -- the euphonium and tuba are hot-dogging for pure fun. The second movement -- Night Fragrance -- gives them a chance to show off melodic beauty, and the last movement - Water Spider -- is an opportunity to romp and play. Three Florida Orchids was commissioned by DEG Music Products/Willson USA." -- T.O. Sterrett Ave Maria, Op. 52, No. 6 by Franz Schubert (1797-1828)/arr. Susan Slaughter This beautiful arrangement by Susan Slaughter evolved through the annual Holiday Brass Concerts at the Cathedral Basilica of St. Louis, MO. Ms. Slaughter organized these concerts to raise scholarship money for the International Women's Brass Conference (IWBC), an organization she founded in 1990. She writes: "I began adding Ave Maria to the performance as a solo for the trumpet. After a couple of years, when Jennifer Montone arrived on the scene, I began to think about how to make an arrangement of Ave Maria for trumpet and horn (although it can be used with various combinations of instruments as Symbiosis has shown). Jennifer and I recorded it on the Holiday Brass CD in 2005." MSM-20-940 AVE MARIA arranged by Susan Slaughter and John Romeri Copyright © 2009 Birnamwood Publications (ASCAP), a division of MorningStar Music Publishers, Inc. Symbiosis by Chris Sharp (b. 1959) "Symbiosis is defined as, 'A relationship of mutual benefit or dependence.' In this composition, the symbiotic entities are the euphonium and tuba, with the piano providing the harmonic 'environment.' The dependence of the entities is reflected in the identical rhythmic movements that often occur. The distinction between the entities is established through a variety of devices including parallel motion, inverted intervals and periods of question-and-answer dialogue. Though a tonal center of 'F' is employed, the vertical chordal structures (which often employ jazz harmonies) are used texturally, rather than in conventional harmonic progressions. The technical and range requirements for each solo instrument are comparable, suggesting a 'separate but equal' relationship." -- Chris Sharp "Let these among themselves contest" -- Ode for St. Cecilia's Day (1692) by Henry Purcell (1659-1695)/trans. Joe Kreines "Transcriptions of vocal duets from opera and oratorio are especially appropriate for performance by related brass instruments such as the tuba and euphonium. Vocal music in general is an ideal vehicle for all wind instruments, and the duet repertoire provides a rich source of outstanding works by many composers. The duets included on this recording cover a wide range of styles and moods. Henry Purcell stands out as one of England's greatest composers, producing a remarkable number of works during his short 36-year life. An ode is a celebratory work, much like an oratorio, with a mixture of solos, duets, and choruses with orchestra. This ode honors St. Cecilia, the patron saint of music. The bass duet, 'Let these among themselves contest,' is indeed a contest between the two voices, expressed in imitative counterpoint." -- Joe Kreines Pavane, Op. 50/Whisper of Angels by Gabriel Fauré (1845 -- 1924)/Amy Sky/arr. Gail Robertson/Alex Thio (piano) "A recording by the vocal quartet, Amici Forever, provided the inspiration for this arrangement. Deb Eastwood adds her wonderful flugelhorn sound to the piece allowing some of the lines to rise seamlessly from the tuba, passing through the euphonium, and finishing in the flugelhorn. To create the 'symbiosis effect' the tuba is given a few of the counter-lines that would typically be played by the euphonium." -- Gail Robertson I Got Your Bach by Johann Sebastian Bach (1685-1750) arr. Chris Sharp "I Got Your Bach is an adaptation of J.S. Bach's Two-Part Invention, No. 4, originally intended for the keyboard. Over the years instrumentalists have since discovered that these exercises make delightful duets for pairs of like or unlike instruments. This version goes a step farther, taking the piece temporarily into the realm of jazz, adding a swing interpretation with improvisation-like passages accompanied by quarter note 'walking' bass lines that are shared by both players. This allows the musicians the opportunity to display their command of the two diversely opposed styles. After the jazz flirtations in the middle of the number, the stoic dignity of the original composition returns to close the piece." -- Chris Sharp Cats in the Kitchen by Phillip Bimstein (b. 1947) 1. Eggs and Toast 2. O Sole Meow 3. Where's Your Mouse, McGee? "I was first inspired by the music of alternative classical composer, Phillip Bimstein, when I heard his piece, Casino, for wind quintet and tape. After hearing his Half Moon at Checkerboard Mesa for solo instrument and tape, I asked him to arrange it for tuba. In 2007, I spoke with him about writing a piece for Symbiosis and found that he had recently written the duet, Cats in the Kitchen, for oboe and flute with CD. He graciously agreed to score it for euphonium and tuba." -- Stacy Baker "Cats in the Kitchen is scored for euphonium, tuba, meows, purrs, cracked eggs, sliced onions, buttered toast, sizzling skillets, spoons, knives, pepper grinder, toaster oven, pots, pans, draining dishwater, and pretty much everything else in the kitchen 'sync.' The sound score also features feline duets and trios, cat food crunches, waterdrums, and the composer's partner Charlotte Bell speaking to her beloved cat, Fiona McGee, who sadly passed on shortly after this piece was composed. Cats in the Kitchen was originally commissioned for oboist Michele Fiala and flutist Heidi Pintner." -- Phillip Bimstein "Dio che nell'alma infondere" from Don Carlo by Giuseppe Verdi (1813-1901) trans. by Joe Krienes "In this famous duet, Don Carlo (tenor) and Rodrigo (baritone) express their eternal friendship in passionately heroic style." -- Joe Kreines "Viens, Mallika, les lianes en fleurs" -- Flower Duet from Lakmé by Léo Delibes (1836-1891) arr. Gail Robertson "In Delibes' opera, Lakmé and her servant Mallika sing this duet while gathering flowers at the river's edge. Several years ago, I arranged this famous duet for the tuba/euphonium quartet, JUNCTION. I secretly longed to someday play the euphonium part I created for Angie Hunter, which led to my writing this arrangement for Symbiosis. To remain true to the vocal parts and produce 'the symbiosis effect,' I preserved the original key, featuring the upper-register of the tuba. Like Lakmé and Mallika our duo likes to find time to relax at the water's edge -- fishing!" -- Gail Robertson Orlando Lakes by Christopher Marshall (b. 1956) 1. Eola Stroll 2. Lotus Trail "On arrival in Orlando in 2006, one of the first things that struck me was the great number of lakes and the huge variation in their size and character. It would be hard to find a more contrasting pair than Eola and Lotus. Lake Eola, in the heart of downtown Orlando, boasts a large illuminated fountain. Yet it also features an extraordinary richness of bird and other animal life -- a thriving natural world unperturbed by the constant procession of humanity -- joggers, picnickers, office workers and buskers -- in such close proximity. Lake Lotus is named for the native plant whose leaves cover much of the water's surface. Here nature seems wary of human intrusion. Forest creatures appear furtively and disappear in a flash. Large alligators briefly break the water's surface before sinking back into the green depths. The bird life keeps its distance also. Nature reveals its untamed beauty. The musical themes of Orlando Lakes actually came to mind while visiting Lake Eola and Lake Lotus respectively and so they are a record of my feelings towards these two unique locations. In 2008, Gail Robertson and Stacy Baker commissioned me to write a work for euphonium-tuba duet. It is my pleasure to dedicate Orlando Lakes to them." -- Christopher Marshall The Prayer by Carole Bayer Sager (b. 1947)/David Foster (b. 1949) arr. Gail Robertson/Alex Thio (piano) "The Prayer first gained popularity in the recording by Céline Dion and Andrea Bocelli. It has been recorded by other artists and arranged for various instrumental combinations. In this version, the tuba and euphonium share the role of the leading voice in the upper-range. Of course, Alex Thio's expression on the piano is the true highlight of this work." -- Gail Robertson Intrada by Brian Balmages (b. 1975)" Intrada is a short fanfare-style work that is based mostly on rhythmic pulse and a type of 'minimalist interplay' between the euphonium and tuba. Despite its short length, it follows a very specific form, which includes six sections: theme, development, transitional material, recapitulation, transitional material (variation on previous transitional material), and coda. Brief episodes in the transitions hint at minimalism, but the overall form prevents them from being overly developed." -- Brian Balmages "Au fond du temple saint" -- Temple Duet from The Pearl Fishers by Georges Bizet (1838-1875) arr. Gail Robertson "My mentor and hero, euphoniumist William Gordon Wells, once gave me a recording of this wonderful melody. In this duet, fishermen Zurga and Nadir swear to forever remain friends. This is another work that pushes the tuba in the upper-register, even beginning in unison with the euphonium in several places. Deb Eastwood provides an underlying melody on the cornet, later adds depth and color playing in octaves with the euphonium, and serves in an independent role to end the work." -- Gail Robertson The Harmonious Blacksmiths by George Frederick Handel (1685-1759)/arr. Gail Robertson/Alex Thio (piano) "This arrangement is based on the last movement of Handel's Harpsichord Suite No.5 in E, HWV 430, 'Air and Variations,' also known as, 'The Harmonious Blacksmith.' It exploits the agility of the upper-range of the tuba with only occasional descents into the tuba's low-range. Melodic fragments (borrowed and original) are added like "secret ingredients" used in a special recipe. Alex Thio brings the same spirit of fun to the piano interludes by freely adding his own "secret ingredients." -- Gail Robertson Stacy Baker is Professor of Music - Tuba/Euphonium at Morehead State University in Morehead, Kentucky. Originally from Harsen's Island, MI, she received her M.M. and B.M. degrees from the University of Michigan. She holds a D.M.A. from the University of Illinois. Dr. Baker has toured and recorded throughout the United States and Europe as a founding member of the tuba/euphonium quartet JUNCTION, and with the Lexington Brass Band and Monarch Brass Ensemble. She is a member of the Athena Brass Band and the Horizon Brass Quintet. Dr. Baker serves on the International Women's Brass Conference Board of Directors. Her teachers include Jeff Funderburk, Wes Jacobs, Tommy Johnson, Fritz Kaenzig, and Mark Moore. Gail Robertson is Instructor of Euphonium and Tuba at The University of Central Florida. Originally from Pompano Beach, FL, she received her B.M. degree from the University of Central Florida and her M.M. degree with Performer's Certificate from Indiana University. Ms. Robertson was a founding member/leader/chief arranger of Walt Disney World's "Tubafours" tuba/euphonium quartet. She has toured and recorded in the U.S. and internationally with Keith Brion's "New Sousa Band," the Brass Band of Battle Creek, SYMPHONIA, Euphoniums Unlimited, and Monarch Brass. She is President of the International Women's Brass Conference. Ms. Robertson is a York Brass International Euphonium Artist performing on a York Eminence YO-EU4052 with a Warburton/Gail Robertson mouthpiece. Alex Thio is a collaborative pianist based in Cincinnati, OH. A native of Singapore, Mr. Thio received his B.S. degree from Grace College. He earned his M.M. degree at the University of Cincinnati College-Conservatory of Music and continues to pursue his D.M.A. degree at the conservatory. He serves as choral accompanist to the Sycamore Junior High and High School choirs in Blue Ash, OH, and is a private piano instructor offering piano and music theory instruction to students of all ages and performance levels. Deborah Eastwood is Instructor of Music at Morehead State University, Morehead, KY. Originally from Wytheville, VA, she earned her B.M. degree from James Madison University, M.M. degree from the Peabody Conservatory of Music-John Hopkins University, and D.M.A. degree from the University of Illinois. Dr. Eastwood has toured and recorded as a member of the Athena Brass Band, the Lexington Brass Band, and the Horizon Brass Quintet. Acknowledgements Thanks to Morehead State University for supporting this project through funding and the use of the university's facilities. Thanks also to the composers/arrangers for their creativity in writing for Symbiosisduo and their enthusiasm for this project. Special thanks to our friends and families for their love and support and to the members of First Christian Church -- Disciples of Christ in Morehead, KY for allowing us to fish in your private ponds. Many additional thanks to Alex Thio, Deb Eastwood, David Henderson, Grant Alden, Toni Hobbs, Tim Holbrook, Paul Weikle, Fred Tremper, L. Curtis Hammond, and Nancy Peterson. Alex Thio would like to thank Professors Verna M. Felts and Richard Morris, two very special mentors who invested in the success of his musical career enabling him to fully realize his dream of making music in America. Recorded: Duncan Recital Hall, Morehead State University, Morehead, KY, May 25/26, 2009 Executive Producer: Stacy Baker Associate Producer: Gail Robertson Recording Engineer, Mixing, and Mastering: David Henderson, Lexington, KY Graphic Design: Grant Alden, Toni Hobbs (photographs) Liner Photographs: Tim Holbrook Liner Notes: Stacy Baker Disc Manufacturing: Disc Makers, Pennsauken, NJ Ballpark Records, Box 433, Morehead, KY 40351 Web Page Design: Alex Thio © 2009 Ballpark Recording. All rights reserved. Unauthorized duplication is a violation of all applicable laws -- and unsporting. Read more | 0 comments
Posted By Dave Werden at 8:11 PM in Category:General Tuba-Euphonium Blog
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