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  1. Audition Advice - Part 2

    In previous posts I have covered some of the fundamentals of preparing for an audition. Now let's look in more depth at some of the other considerations of preparation and also consider some of the actual "performance" considerations of auditioning. In many ways, auditions are like performances. Both require careful practice and preparation. Both can involve stress, and with stress can come an "oops!" moment or two. Most importantly, your mental attitude and its effect on your appearance matter! ...
  2. CD Review - SymbiosisDuo, Euphonium and Tuba

    I have a confession to make. I don't generally listen to euphonium and tuba recordings for relaxation/fun/etc. Because I play both instruments, I can't easily get out of an "analytical" mode so I can just listen to the music and performance. The same was true of orchestra and band music when I was still in the Coast Guard Band. Every time I heard a band I would be analyzing the sound, performance, programming and other factors. When listening to orchestras it was a similar experience. It took being ...
  3. ITEC 2010 - Let's Go Shopping!

    Why does one spend the money and take the time to attend an International Tuba-Euphonium Conference? Certainly to hear some wonderful performances and to meet old friends and make new ones. That is reason enough to go for many. But consider the shopping/research opportunities! There are many posts on my forum about things like:

    • Is the ___ euphonium better than the ____ euphonium?
    • What difference is there between the bells on the Sterling?
    • How different are the Yamaha 842
  4. False Tones in the Low Register

    We all know how brass instruments work, right? Without using any valves, our instruments are like a Boy Scout bugle - there are a bunch of relatively fixed notes available over the range of the horn (the partial series). We can bend each one a little flatter or sharper to match pitch with other players on the same note, but most of us can't bend as much as a half step dependably.

    While I was in high school I discovered an exception to that limitation. I learned that I could start on ...
  5. We Just Added a What's New Section for the Blog and the Forum

    If you want to see the latest activity on the blog or the forum, you can do so on one page. There is a new link in the menu bar above, called "What's New?". This will take you to a quick overview of the latest activities in both the blog and the forum.

    When viewing the blog, you should see your profile in the right column. There is a "Subscribe to this Blog" link, where you can specify whether you only want notifications when you log in, or if you would like an instant email when something ...
  6. Oral History Interviews with Famous Low-Brass Players

    Many of the visitors to my site are members of the International Tuba-Euphonium Association (ITEA), and many are not. Either group of people may be unaware of a terrific resource available to ITEA members.

    ITEA members can go to and click the History link, after which you see a link to the Oral History section of their website. In this section you find transcripts of interviews with tuba and euphonium players who are well-know in our community. This is a great way to ...
  7. Minnesota All-State Audition - Example and Tips - Video

    I've been asked to do a new project this year. Brian C. Wilson of is working to obtain recorded examples of the all-state audition pieces for all 50 U.S. states. I am doing the example for Minnesota.

    In this state a composer writes a special etude each year, which is one way to make sure there is an even playing field (i.e. the chosen piece is not one that anyone happened to have played in a lesson last year or something). Composer Timothy Mahr includes quite a lot ...
  8. Euphoniumists of the Past, reprinted from Euphonia

    NOTE: this article is reprinted from Euphonia magazine, April, 1980, with permission of the publisher, Glenn Call.


    This piece is primarily about the fine Euphonium players of the past, however, some were only known as baritone players. Many of the names mentioned here are unknown to this generation of musicians, although some may be familiar because of their compositions written for the Euphonium. ...
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