ITEA Journal Volume 48 Number 3 (Spring 2021)
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Experts' Excerpts for Tuba:
by Mark Thiele
La Forza del Destino by Giuseppe Verdi, arr. by Mayhew Lake
In the canon of wind band repertoire, there exist many significant excerpts that tuba players need to know. Due to the abundance of new music being written specifically for band, there surely will be a new batch of pieces that will begin to appear on future military band auditions. However, transcriptions of orchestral masterworks are an important part of concert band repertoire, and are essential passages for those preparing to audition or perform with a band.
The overture to La Forza del Destino, or The Force of Destiny, by Guiseppe Verdi (arranged by Mayhew Lake) is an extremely popular transcription and contains two notable (and substantial!) tuba excerpts. These excerpts have appeared on many military band auditions, including the U.S. Navy Band and "The President's Own" U.S. Marine Band, both in 2019. It is important to note that there are other transcriptions of this great overture, but the Mayhew Lake version was used for these auditions and is standard in the repertoire. The opera was originally composed by Verdi 1862. Mayhew Lake transcribed the overture in 1946.
In preparing for any audition, it is important to understand what the committee is listening for when they ask to hear a particular excerpt. In general, the player must be well prepared in their time, rhythm, intonation, sound, style, dynamics, and articulation. There are more specific details within La Forza that I will explain throughout this article.
The first excerpt in the overture begins three measures before rehearsal number four. It is a section that is easily played incorrectly if the rhythms are not carefully understood. Each beat in this section is divided into eighth-note triplets, and it is important to subdivide accordingly. The first entrance begins on the fourth sixteenth-note of the triplet on beat three. I believe a common mistake is interpreting the rhythm as two eighth-notes and a sixteenth-note triplet. That is not what is written there. Evenly space the sixteenths so that they are not compressed into what sounds like a triplet. When you begin to learn this section, set a metronome to triplets (if your metronome can do that), and mark in where the big beats are in the music. I also recommend marking in where the eighth-note triplets occur.
The dynamics are to be strictly followed in this section as well. The committee will want to hear distinct dynamic changes and your ability to control them. This should almost sound like waves in the ocean that are rolling forward. Although it is not marked in this way, there is an implied crescendo through this phrase (it is written in the original orchestra score). Treat it like a longer musical phrase. As the notes go up, have the volume go up a bit with it.
In this section of the transcription, the articulation markings are a bit confusing. It looks like each figure is slurred, but there is another slur within that slur. In the orchestra version, this is in the cimbasso part, and the lowest notes in each figure are re-articulated. In my opinion, you can re-articulate the lower notes and slur the rest of each figure. Breathing is another issue here. If playing in a band, the section would stagger breathe. In an audition, if you cannot make it through the whole line on one breath, try and find one place to breathe. A suggestion is between one of the quarter-notes and the following eighth-note.
At number four, the tempo suddenly changes, and the committee will want to hear how the player transitions into this new tempo without a conductor to help. In some recordings, there is a ritardando in the measure before four. In an audition, do exactly what the part says, so do not add that. The 3/8 is felt in one, and you can almost make the eighth-note equal to, or slightly faster than, the previous eighth-note triplets in the previous section. Be sure to count the rests, and count them exactly. This will show that you have paid attention to every detail, and details make an enormous difference.
For the first eleven measures of this section, it is still one player on the part. In the original, this part is played by bassoons, clarinets, celli, and basses. The trombones and cimbasso enter where it says a2. Play the first eleven measures more like a string bass, and then change to a pronounced orchestral tuba sound at a2. Again, details are important here. Before the a2 section, emphasize the accented notes, almost coming away from the eighth notes after them. At the a2 section, try not to overdo the accents. A blatty sound will offend the committee members and is not the appropriate sound here. I strongly recommend slow practice (as I do for just about everything), working on smooth note transitions and hearing every sixteenth. Do not discount the section at number five. Practice playing this section with perfect time and precision. Auditionees get into trouble when they don't count rests well or ignore tiny details.
The second major excerpt in the overture begins at number seven. It usually ends at number nine, but don't be surprised if a committee asks to hear through number ten. The tempo at number seven is around 132 beats per minute, but could also go slightly faster. The audition committee is looking for clarity of articulation, exact time, and the ability to create a musical line and shape. In the orchestral score, this part is played only by the strings, so it should sound light and crisp all the way to number eight. A common problem is keeping the time, especially after the ties. You must imagine that someone is behind the curtain with a metronome, checking to see if you are coming off the ties on time. Practice (slowly!) sub-dividing the quarter-notes into sixteenths, and using a metronome set at sixteenth-notes. In creating the musical line, imagine the time in two instead of four. Try and build some intensity and drive towards the last quarter note in each phrase. This will avoid the tendency to vertically chop up the line into four sections. The committee wants to hear you play musically, not just technically.
In the original score, the trombones and cimbasso enter at number eight. The character needs to change here immediately. You are a member of the bass section for a time, then suddenly a member of the low brass section. Show the committee that you know the difference between the two sounds and styles. In the same manner as number seven, make sure to count carefully and play the tied notes in exact time. This can't be stressed enough! This can make the difference between winning the audition and going home before the finals.
There are many small details between rehearsal eight and nine. Accents, staccato, marcato, dynamic shifts, and articulations should be followed exactly. Make a difference between the accented eighth-notes and the staccato eight-notes. There is also a misprint in the tuba part. In the fourth measure after eight, there should be a slur between the half-note C and the following eighth-note D-flat. Six measures after 8, you are now required play a combination of the original cimbasso part and the cello and bass parts. The sixteenths and eighths are from the strings and the half notes are from the cimbasso. Try and imitate these instruments as you navigate this section. The trickiest part of this is the sixteenth-notes followed by the big downward leap of an octave and a minor third. You can practice playing the low note up one octave at first, just to get the sound of the interval in your head. Another practice tip is to try and play the figure backwards. Start with the low note and go in reverse. Here is where your chromatic and interval training reap great rewards!
La Forza del Destino is an excerpt that will display many aspects of your playing in a short amount of time. In addition to what has already been mentioned, knowledge of what else is happening around your part is essential. Make sure to study the score and listen to many recordings, both for band and orchestra. Make a habit of "hearing" the other parts while you are playing. Remember that this is 19th century opera music, not 20th century band music or heavy orchestral music. Good luck!
Dr. Mark Thiele is Assistant Professor of Tuba/Euphonium and the Director of Bands at the University of Idaho. In addition to teaching the tuba and euphonium studio, he directs the Wind Ensemble, teaches conducting, and performs with the Idaho Brass Quintet. He joined the faculty in August of 2019.
Prior to his current position, Mark spent 21 years as a tuba player with "The President's Own" United States Marine Band in Washington D.C., where he performed with the concert band, chamber orchestra, brass quintet, tuba/euphonium quartet and numerous chamber ensembles. As a member of the band, Mark performed all across the country, as well as at the Mid-West Band & Orchestra Clinic, the American Bandmasters Convention, the Texas Bandmasters Convention and the Japan Band Clinic. He was also a featured soloist with the band and served as Assistant Section Leader for the tuba section. During this time, Mark was a featured soloist and clinician at the U.S. Army Band Tuba/Euphonium Workshop, the Northeast Regional Tuba/Euphonium Conference, the Leonard Falcone International Tuba/Euphonium Festival and the International Tuba/Euphonium Conference.
As a conductor, Mark participated in the Marine Band Conductor Training Program, where he had the opportunity to conduct the Marine Band in concert and work closely with the directors in master class settings. Mark also conducted the Wind Symphony and Tuba/Euphonium Ensemble at George Mason University while pursuing his D.M.A. in conducting. He also holds degrees from James Madison University (B.M., music education) and the University of Michigan (M.M., tuba performance). His teachers include Kevin Stees (tuba), Fritz Kaenzig (tuba), Mark Jenkins (euphonium), Mark Camphouse (conducting), Dennis Layendecker (conducting) and Anthony Maiello (conducting).
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