ITEA Journal Volume 49 Number 1 (Fall 2021)
| back to contents
Increase or decrease font size: | |
New Materials
Tom Curry, Associate Editor
The ITEA Journal encourages submissions of materials for review.
Guidelines:
Euphonium and Tuba Difficulty Ratings for ITEA Journal Reviews
Ranges correspond to the ITEA Journal pitch notation guide
EUPHONIUM AND TUBA LEVELS
I Beginner (up to one year)
II Intermediate (two to three years)
III High School
IV University
V Professional
Level I (Beginner)
Euphonium range, approximately one octave: Bb-b-flat.
Tuba range, approximately one octave: Bb-B(d).
One year of instruction. Limited rhythmic/technical requirements. No note values greater than eighth notes, no syncopated rhythms. Music of a tonal nature.
Level II (Intermediate)
Euphonium range approximately F-f1.
Tuba range approximately AA-e.
Two/three years of instruction. Rhythmic/technical requirements involve simple sixteenth note patterns. Simple, limited syncopated patterns.
Level III (High School, Secondary School, Pre-college)
Euphonium range approximately F-b1.
Tuba range approximately FF-b.
Moderate tessitura. More rhythmic complexity. Extended syncopations, sixteenth note patterns, triplets, and so on. Moderate amount of multiple tonguing.
Level IV (University/College)
Euphonium range approximately Bb-c2.
Tuba range approximately (BBB) CC-f1.
Higher advanced tessitura. Increased rhythmic complexity/multimetric. Angular melodic lines. Dissonant harmonies/contemporary harmonies. Endurance factors. Introduction to avant-garde techniques (flutter tongue, multiphonics, etc.). Multiple tonguing. Dynamic control and extremes.
Level V (Professional)
Euphonium range: CC-f 2.
Tuba range: (CCC) DDD-b1 (c2+).
Extended high tessitura. Rhythmic/technical complexity of highest order. Angular lines/large skips in melody. Advanced twentieth- century techniques. Extreme dynamic contrasts.
REVIEWED IN THIS ISSUE
Tuba
Concerto for Tuba. Tuba and Piano. Benjamin McMillan. Cimarron Music Press. www.cimmaronmusic.com. CM 4102. 2019.
Concerto Grosso in La minore. Tuba, Strings and Basso Continuo (also available with piano reduction). Dominique Roggen. Editions BIM. www.editions-bim.com. TU211a,b,c. 2020.
Postcards V. Solo Tuba. Anthony Plog. Editions Bim. www.editions-bim.com. TU210. 2019.
Sospiri (Sighs) op. 70. Tuba, Euphonium or Bass Trombone and Piano. Edward Elgar. Arranged by Ralph Sauer. Cherry Classics Music. www.cherryclassics.com. 2021.
Euphonium
NCore. Euphonium and Piano. Roland Szentpali. Editions Bim. www.editions-bim.com. TU217. 2019.
Pensiero and Allegro Appassionato. Solo Euphonium and Piano. Frank Bridge. Arranged by Ralph Sauer. Cherry Classics Music. www.cherryclassics.com. 2021.
Three Ballads, Op. 63b. Euphonium and Piano. Richard Lambert. Forton Music. www.fortonmusic.co.uk. 2021.
Chamber Music
Canzona in D minor. Brass Quintet. Johann Sebastian Bach. Arranged by Robert Coulter. Cherry Classics Music. www.cherryclassics.com. 2021.
The Colloquists for Brass Quintet. Brass Quintet. Laurie Altman. Editions Bim. www.editions-bim.com. ENS234. 2019.
In Suspension. Euphonium Quartet. Wan-Yun Liang. Cimarron Music Press. www.cimarronmusic.com. CM 3384. 2018.
The Magic Tuba: 9 Advanced Duets from “The Magic Horn” for 2 Tubas. Two Tubas. Corrado Maria Saglietti. Editions Bim. www.editions-bim.com. TU216. 2020.
This is Not a Test. Tuba-Euphonium Octet. Ian Lester. Cimarron Music Press. www.cimarronmusic.com. CM 4161. 2019.
Virga Jesse. Euphonium Quartet. Anton Bruckner. Arranged by Justin Weis. Justin Weis Music. www.justinweismusic.com. 2020.
Audio
Flying Circus: Music for Brass Quintet. Jim Self, composer. Crown City Brass Quintet and the Modern Brass Quintet. Potenza Music. www.potenzamusic.com. PM1056. 2020.
Scenes. Albert Miller, euphonium and Yoon-Wha Roh, piano. Washington State University Recordings. www.wsurecordings.com. 2021.
Method Books
Beyond the Scale for Tuba. Jacob Taitel. Encore Music Publishers. www.encoremupub.com. 2021. 35 pp.
Lip Slurs for Euphonium. Deanna Swoboda and Danielle VanTuinen. Meredith Music. www.meredithmusic.com. 2020. 40 pp.
Working Zone: Scale and Interval Exercises for Tuba and Other Bass Clef Instruments. Nicolas Indermühle and Lauri Huotarinen. Fennica Gehrman. www.fennicagehrman.fi. 2020. 137 pp.
REVIEWS
Tuba
Concerto for Tuba. Tuba and Piano. Benjamin McMillan. Cimarron Music Press. www.cimmaronmusic.com. CM 4102. 2019.
Range: GG - f1
Difficulty Level: IV-V
Piano Difficulty: Difficult
A student of Robert Jager and Greg Danner, two of the most popular and dynamic composer-friends to the tuba-euphonium community, Benjamin McMillan has successfully followed in their footsteps, composing many substantial works for tuba and euphonium in solo and chamber roles. A graduate of Tennessee Technological State University, McMillan has frequently collaborated with his former teacher R. Winston Morris as well as many graduates of that program. Recent collaborations include Mandelbrot’s Dream for euphonium and fixed media for Demondrae Thurman, Dualities for tuba, euphonium and piano for Preston Light and Steven Darling, and Goldberg’s Machine for the North Texas Euphonium Quartet. McMillan’s works have been recorded by numerous tuba-euphonium ensembles, international solo artist Steven Mead, the North Texas Euphonium Quartet, the Eufonix Quartet, Doug Yeo, Jorijn van Hese, and Deanna Swoboda. Concerto for Tuba was written for and premiered by Timothy Northcut and the United States Army Band at the United States Army Band Tuba-Euphonium Workshop.
Comprised of three distinct movements, said movements pay homage to Mr. Morris, his wife Bobbie, and Cookeville, Tennessee. The first movement, titled “RVM” is meant to depict the early stages of Mr. Morris’ time at Tennessee Tech. Rhythmic and melodic motives derived from Mr. Morris’ name offer ample opportunity for the soloist to showcase technical and musical prowess. The second movement, in memory of Barbara “Bobbie” Morris and titled “Sweet Steel,” expresses the stages of grief, eventually giving way to an uplifting and hopeful climax. The third and final movement, with the tongue-in-cheek title “Cookvegas,” an inside joke and reference of Cookeville by generations of Tennessee Tech graduates, offers numerous technically demanding challenges. Self-referential, the “RVM” theme is reimagined in a jazz idiom, a reference to Mr. Morris’ affinity for jazz and third stream.
Masterfully and tastefully written, McMillan’s intimate idiomatic knowledge of the tuba shines throughout this work. For preparation and reference, the premiere performance of this work is available on YouTube on the official channel of the TUSAB Tuba-Euphonium Workshop. Ever the savvy composer, McMillan has created concert band, piano, and fixed media versions of the accompaniment.
Steven Darling, University of Tennessee at Martin
Concerto Grosso in La minore. Tuba, Strings and Basso Continuo (also available with piano reduction). Dominique Roggen. Editions BIM. www.editions-bim.com. TU211a,b,c. 2020.
Range: EEE - f1
Difficulty Level: IV-V
Piano Difficulty: Medium
Dominique Roggen’s Concerto Grosso is a new entry in his concerti anachronistici, a collection of works specifically written in the Baroque style for instruments invented long after the end of the Baroque era. Concerto Grosso follows the familiar form of other concerti written in the 17th century. The first movement is a brisk allegro that features Baroque ornamentation and long flowing lines of rapid scalar patterns. Roggen is very helpful and specific in his articulation markings to aid the performer in executing a traditional Baroque style, and the tessitura of the solo lines is in a range where the tubist should be able to play with the lightness and transparency that this style would require. Thus, this probably isn’t a piece for young high school or college students who are still developing their high range skills, as the solo lines frequently reach well above the bass clef and stay there for quite a bit of time.
The second movement follows the traditional concerto form and is much slower and more lyrical. It features a lovely, long, and beautifully ornamented solo line accompanied by simple homophonic writing in the accompaniment to maintain transparency. This movement will absolutely give the performer the opportunity to explore and demonstrate the capabilities of the tuba in a Baroque setting. The adagio moves attacca into the third and final movement, a rousing fugue based on a very familiar folk song “Vo Lazarn gage Weggiz zue.” Roggen has used this same technique in other concerti in this series, pairing instruments and melodies which did not exist during the Baroque in a neo-Baroque style. The result is challenging, charming, and undoubtedly fun to play. It is easy to recommend this piece to tubists who are interested in exploring unfamiliar styles in a much more idiomatic way rather than rewriting or arranging works for other instruments. For an excellent recording of this work, be sure to seek out Daniel Schädeli’s album Solissimo.
Josh Biere, Madison Symphony Orchestra
Postcards V. Solo Tuba. Anthony Plog. Editions Bim. www.editions-bim.com. TU210. 2019.
Range: FF - e-flat1
Difficulty Level: IV
Anthony Plog has composed several works for tuba that are part of the standard repertoire. Plog’s Postcards V was commissioned by Brendan Ige for a student recital where the contrabass tuba was featured as a solo instrument. Though this piece is approachable on tubas of any key, the high tessitura, large intervallic leaps, and technical passages may favor the use of the bass tuba.
Postcards V consists of five brief, independent movements. The first movement, “Presto,” begins on a forte C that is followed by rests. This is juxtaposed with a driving rhythmic motive of atonal eighth notes in the upper tessitura at a piano dynamic. The pedal point C serves as an anchor while the higher motive develops and is extended through the movement. The second movement, “Presto,” consists of quarter- and eighth-note passages in mixed meter, primarily between 5/8, 2/8, 3/4, and 2/4 time. Melodically, the music is atonal, though it contains elements of octatonic scales. The middle of the second movement contains a section with a forte dynamic in the lower register that will test the performer’s ability to phrase and breathe while maintaining rhythmic energy.
The third movement, “Andante,” is scored to allow musical freedom and individual interpretation. This movement is melodically reminiscent of Plog’s Nocturne for tuba and piano. Each motive in this movement begins on an upbeat, which is a compositionally unique feature that encourages musical flow. The middle section of this movement contains triplet runs with ties that obscure the downbeat. The ending section superimposes the themes of both sections in the same melodic statement. The fourth movement, “Allegro,” has a melodic motive similar to the first movement, though instead of playing a pedal point, the performer sings a written pitch through the instrument, creating a unique aural effect. The fifth movement, “Presto,” is melodically similar to the other movements, though it includes intervallic leaps of augmented twelfths and major fourteenths in successive eighth notes. The final part of the work features sixteenth-note runs outlining octatonic scales as well as a large dynamic range. The piece ends with an energetic display of the tuba’s technical abilities.
Postcards V is an audience friendly unaccompanied work that showcases the solo abilities of the tuba and Plog’s unique writing. The brevity of the movements allows them to be performed independently or studied as preparatory assignments for the composer’s other works.
Dr. James M. Green, Ohio Christian University and Ohio Northern University
Sospiri (Sighs) op. 70. Tuba, Euphonium or Bass Trombone and Piano. Edward Elgar. Arranged by Ralph Sauer. Cherry Classics Music. www.cherryclassics.com. 2021.
Range:
Tuba/Bass Trombone version: E - e♭1
Euphonium version: A - c2
Difficulty Level: II-III
Piano Difficulty: Easy
Sospiri is a wonderful new transcription of Elgar’s familiar score for low brass by Ralph Sauer. Elgar’s work was intended to be a companion piece for his equally popular Salut d’Amour. In the process of writing, however, Elgar realized the composition was much more intense and named the piece Sospiri, translated as “sigh.” The original work is a soulful, intense, melancholic, and lyrical piece for strings, harp, and organ. It features a single sad melody that develops into an intense musical line with soaring and dramatic leaps at its peak. After a brief recap, the original mournful tune finally resolves and settles into a peaceful and serene F major.
Sauer’s arrangement keeps much of the original material’s framework, including the key and tempo selection. His arrangement comes in two separate versions, one for tuba or bass trombone and the other for euphonium, both accompanied by piano. While they lack some of the intensity of the sustained harmony in the original due to the instrumentation, there is ample opportunity for the soloist to bask in Elgar’s lovely melody and explore some truly intense phrases. The two arrangements are nearly identical save a few octave displacements and the choice of final note. I would consider the euphonium version a bit more difficult because of the high and soft opening, but, other than that, almost all of the piece’s challenges will lie in interpretation, musicality, and control of sound at extremely soft dynamics and slow tempos. The work is quite short, and the length of a performance will vary widely depending on tempo selection. In a collegiate or professional setting, it would pair wonderfully and provide an interesting contrast with another brisk, lively Elgar chanson. In a high school setting, it would be a wonderful piece to help a young student develop phrase building skills.
Josh Biere, Madison Symphony Orchestra
Euphonium
NCore. Euphonium and Piano. Roland Szentpali. Editions Bim. www.editions-bim.com. TU217. 2019.
Range: BB-flat - c2
Difficulty Level: V
Piano Difficulty: Medium
NCore is the latest piece written by Hungarian composer Roland Szentpali. It was commissioned and recorded by Swiss euphoniumist Fabian Bloch in 2019 and may be heard on his album, Spot On.
This quick, light, and playful composition could best be described as having a Latin feel. The predominant rhythm is sixteenth notes at quarter note equals 120 beats per minute. The ensemble for NCore consists of solo euphonium, piano, and ad libitum conga drum. The approximate duration is five minutes. Mr. Szentpali has said that it would make a fitting encore piece (hence the title).
NCore begins with a brief introduction of mouthpiece pops and percussive tapping on the piano. This is followed by a transitional section in which the euphonium plays through a prolonged glissando with trills in to slap-tonguing on a pedal BB-flat. The piece wanders fluidly through several implied keys and modes before the solo euphonium surrenders to play a fleeting accompanimental role during the middle of the work in favor of a soloistic piano interlude. The euphonium then resumes the lead role prior to a reduction in tempo and a subsequent lengthy accelerando towards a final dramatic section marked “adagio, libero” to conclude the piece.
The euphonium difficulty is Level V for extended passages well into the high register, avant-garde techniques, and rhythmic complexity. The majority of the notes written for the euphonium part are well above the staff, so range and endurance should be a consideration when choosing the work for performance. In terms of rhythmic complexity, the performer will need to be comfortable playing off of the beat. As with much Latin-based music, a quasi-samba rhythm is prominently featured in the euphonium and piano parts. In this case, the rhythm is extended across barlines via ties and intricate dotted figures. NCore also makes use of several long glissandi, slap-tongue, and hitting the mouthpiece with the hand. Piano difficulty is medium.
Included with the review copy were a piano score, conga drum part, and parts for solo euphonium in C and B-flat. Each are clearly printed and legible.
Jeremy Lewis, West Texas A&M University
Pensiero and Allegro Appassionato. Solo Euphonium and Piano. Frank Bridge. Arranged by Ralph Sauer. Cherry Classics Music. www.cherryclassics.com. 2021.
Range: E-flat - e-flat2
Difficulty Level: V
Piano Difficulty: Medium
British composer Frank Bridge (1879-1941) was a contemporary of Ralph Vaughan Williams and mentor to Benjamin Britten. His background on the violin and viola perhaps served as a foundation to his compositions Pensiero and Allegro Appassionato for solo viola and piano. Ralph Sauer’s transcription of these pieces for solo euphonium remain true to the original with the exception of brief additional rests. It provides a worthy challenge for both the soloist and pianist while displaying the rich melodic timbre of the euphonium.
A defining characteristic of Pensiero and Allegro Appassionato for solo euphonium and piano is its fluid melodic phrases. While this may create a perception that it sounds easy to perform, that is most certainly not the case. A low brass musician must have advanced control and endurance across all ranges of the instrument to emulate the flowing dexterity of a string instrument. The range is expansive and often approaches the upper register by leap. The rubato utilized in Pensiero along with syncopation in Allegro Appassionato creates an ensemble challenge for the duo. In that respect, the piano could very well be classified as “Difficult.”
George Palton, DePauw University
Three Ballads, Op. 63b. Euphonium and Piano. Richard Lambert. Forton Music. www.fortonmusic.co.uk. 2021.
Range: B-flat - a-flat1
Difficulty Level: II
Piano Difficulty: Easy
Richard Lambert has enjoyed an extensive career as an award-winning composer, organist, conductor, educator, and administrator. His works are regularly premiered and performed throughout the world in the United Kingdom, mainland Europe, North and South America, Africa, and Southeast Asia. Recent premieres include his Bassoon Sonata in Cyprus and his opera The Yellow Dress by the Los Angeles Philharmonic in the United States. In 2011, Lambert was elected as a Fellow of the Royal Society of Arts and in 2015 was awarded a Fellowship from the London College of Music in composition.
Lambert’s Three Ballads initially existed as discarded melodies and drafts from his early opera Yellow Earth Ridge and reworkings of his song “…too bitter sweet.” However, Lambert held onto and repurposed these excerpts, expanding them into three beautiful, well-crafted movements: “Beneath a red sun,” “Rains in the Third Month,” and “(Echo)….in the silence of the night.” Each movement traverses an individualistic and harmonically rich landscape, offering the soloist ample opportunities for highly diverse moments of expressivity and tenderness.
Though rhythmically straightforward, melodies rise and fall whilst continuously transforming, demanding great emotional and intellectual engagement from both performers. Harmonically tonal and tuneful, these ballads would serve any professional or amateur euphoniumist well. As such, I recommend the performance of each movement either together or individually, as each ballad presents a strong musical product.
Steven Darling, University of Tennessee at Martin
Chamber Music
Canzona in D minor. Brass quintet. Johann Sebastian Bach. Arranged by Robert Coulter. Cherry Classics Music. www.cherryclassics.com. 2021.
Ranges:
Trumpet I in E-flat: b-sharp - a2
Trumpet I in D: c-sharp - b-flat2
Trumpet II: a - g2
Horn: g-sharp - g2 (opt. c3)
Trombone: G - f1
Tuba: GG - c1
Difficulty Level: IV
Canzona in D minor was originally composed for organ by Johann Sebastian Bach sometime before 1714. This version was transcribed and arranged for brass quintet by tubist Robert Coulter in 2021. In the piece, Bach makes use of two contrasting fugal sections. The first begins with the theme in the trombone and is a slow, austere cut-time that lasts for the first half of the piece. The second section moves to a faster 3/2 that is introduced by the horn.
The arrangement is for a traditional brass quintet with the following parts and range designations: Trumpet I in E-flat: b-sharp - a2, or Trumpet I in D: c-sharp - b-flat2, Trumpet II: a - g2, Horn: g-sharp - g2 (opt. c3), Trombone: G - f1, and Tuba: GG - c1. The total duration of the piece is approximately five and a half minutes. The difficulty for Canzona in D minor is level IV mostly for the challenges associated with interpreting Bach and ensemble issues of performing fugal music such as mid-theme entrances. The arrangement lies very well for each part and is a fantastic addition to the quintet repertoire.
Jeremy Lewis, West Texas A&M University
The Colloquists for Brass Quintet. Brass Quintet. Laurie Altman. Editions Bim. www.editions-bim.com. ENS234. 2019.
Ranges:
Trumpet I: b1 - c3
Trumpet II: g-sharp - b2
Horn in F: g - a-flat2
Trombone: B-flat - a1
Bass Trombone/Tuba: BB-flat - g1
Difficulty Level: V
Laurie Altman’s The Colloquists for Brass Quintet is a short, multi-metric, and contemporary four-movement work for brass quintet. The orchestration of this composition favors the use of bass trombone over tuba, although this piece could be adapted for performance for either of the two instruments.
The first movement is titled “Colloquy” and opens with a somber, muted solo in the first trumpet. This slowly-paced opening gives way to a multi-metric passage that resembles the namesake of this movement–a conversation between each of the players. Each instrument passes musical roles back and forth in this piece through a dissonant melody that features many wide leaps.
The second movement opens with an active and angular flourish and moves forward with a jocular, syncopated feel that reflects this composition’s title, “Carousing.” This movement continues the use of various compound and asymmetric meters found in the first movement, but at a bright and driving tempo. The movement maintains a frenetic energy until an abrupt ending with an indicator from the composer to have only a brief pause before preceding into the third movement.
“In Buddha’s Name” is the evocative title of the third movement which opens with a slow and thematically driven solo in the bass trombone. The trumpets and trombone join in later with mutes to create an ethereal texture with the melodic material continuing primarily in the lowest voice. The middle and ending of this movement feature complex and active subdivisions throughout and an intricate dialogue between the five musicians.
After another brief pause, this brass quintet closes with a movement titled “Chatter.” This active and metrically complicated movement showcases the upper and lower register of each of the players in this ensemble. This fast-paced and articulate writing continues until just before the conclusion of this work but is interrupted by a muted solo in the first trumpet which calls back to the first movement’s thematic material. The piece closes acrobatically with several syncopated flourishes.
The four movements of this quintet are approximately fourteen minutes in total length and demonstrate the musical versatility, extreme registers, and metric strength of each performer.
David Earll, Ithaca College
In Suspension. Euphonium Quartet. Wan-Yun Liang. Cimarron Music Press. www.cimarronmusic.com. CM 3384. 2018.
Range: CC - d2
Difficulty Level: IV-V
Taiwanese composer Wan-Yun Liang has quickly gained popularity and success in the tuba-euphonium community, writing technically demanding and musically satisfying works for both instruments in solo and chamber roles. Recent compositions include her Concerto for Euphonium and Once in a Blue Moon, the latter of which served as the required work of the recorded preliminary round of the student division of the Falcone Festival International Euphonium Competition. Liang’s other works for tuba/euphonium include Beautiful Journey for tuba-euphonium sextet, The Old Story About Her and Flying Blossom in Spring for euphonium and piano, Espérer and The Battle at Daylight for tuba-euphonium ensemble, and Four Psalms for tuba and piano. Liang’s works are frequently premiered and performed at international competitions and festivals.
Liang writes of this work, “For four euphoniums, the music begins with an Andante con misterioso. The first theme is played by the second euphonium, and the third euphonium plays the accompaniment with a wave-like undulating figure. The second section is marked Allegro in 12/8, and the fast-sounding groups alternate with each other with more wave-like undulations. The third part is marked Adagio and allows the euphoniums to express themselves with a lyrical melody which gradually adds counterpoint and rhythmic figures. This enrichment of the music texture then leads the performers back to the second theme (Allegro) and the exciting conclusion to In Suspension!”
Minimalistic and cinematic in nature, harmonies and melodies are reminiscent of Philip Glass, John Williams, and Hans Zimmer. Each performer is given ample supportive and melodic opportunities, making Liang’s work satisfying and engaging for all performers. The Euphonium IV part, which remains in and/or below the bass clef staff for the entirety of the piece, could easily be performed on a bass or contrabass tuba. Euphonium III could also be performed by a collegiate tubist who is comfortable on a bass tuba. However, written for euphonium quartet, In Suspension can also be performed by euphonium ensemble, by doubling and/or tripling the parts. A masterful addition to the chamber literature, this work would serve any collegiate or professional ensemble well.
Steven Darling, University of Tennessee at Martin
The Magic Tuba: 9 Advanced Duets from “The Magic Horn” for 2 Tubas. Two Tubas. Corrado Maria Saglietti. Editions Bim. www.editions-bim.com. TU216. 2020.
Ranges:
Tuba I: C - f1
Tuba II: BBB-flat - c1
Difficulty Level: IV
The Magic Tuba: 9 Advanced Duets for 2 Tubas by Italian hornist and composer Corrado Maria Saglietti is an adaptation of his nine advanced duets for two horns. This collection of exciting duets encompasses a wide range of styles and explores the vast available tessitura between two tubists. The individual duets range in length from roughly two to five minutes, and the entire collection is approximately twenty-eight minutes in total length.
This suite of duets opens with a lively tango in c minor which passes melodic and accompanying roles between both instruments. The second duet is an embellished and active arioso in E-flat major with intricate subdivisions in a slower tempo. Next is a stately waltz in B-flat major with frequent tempo alterations reminiscent of Viennese waltzes. The fourth work in this suite is titled “Calls” and implements a series of call and response patterns that move quickly through several key centers. Fifth in this set is a syncopated and quick-paced composition titled “Take It Easy.” The sixth duet is a slower appassionato which showcases the lyrical capacities of both players. “Odds and Evens” comes seventh in this collection and moves rapidly between meters at a brisk tempo. The eighth composition in this collection is a 12/8 march with acrobatic melodic lines that pass rapidly between both players. The final composition in this collection is titled “Galop” and features a brisk and comical melody with hocketing throughout.
This collection of duets for two tubas showcases a great variety of new works that could be used in a connected suite or as standalone compositions. I am very pleased to add these new-to-tuba duets to my library and will be using them with my students in the future!
David Earll, Ithaca College
This is Not a Test. Tuba-Euphonium Octet. Ian Lester. Cimarron Music Press. www.cimarronmusic.com. CM 4161. 2019.
Ranges:
Euphonium I: e-flat - c2
Euphonium II: A-flat - a-flat1
Euphonium III: D-flat - a-flat1
Euphonium IV: F - f1
Tuba I: F - c
Tuba II: C-sharp - f
Tuba III: FF - f
Tuba IV: EE-flat - e
Difficulty Level: IV
Ian Lester is currently pursuing doctoral studies in euphonium performance along with graduate studies in music composition at the University of Missouri-Kansas City Conservatory. According to his personal website, Lester’s compositions draw inspiration from film music and the Romantic period. These influences are apparent in his composition This is Not a Test for Tuba-Euphonium Octet. This creative and high-energy piece is about seven minutes in length and is comprised of sections “It’s Just a Test,” “It’s Not a Test,” “The Drop,” “America the Beautiful?,” and “The Will to Live.” The punctuation in “America the Beautiful” hints at its quotation which is reminiscent of Charles Ives.
This is Not a Test is both an idiomatic and an innovative piece composed for four euphoniums and four tubas. Tuba I and II are best suited for the bass tuba, though the parts can be performed on a contrabass tuba if needed. There is some extended range in the upper parts, however the tessitura is manageable. The composition features some rhythmic complexity, which is often a source of its drive and energy. Additionally, it utilizes some extended performing techniques including rapid dynamic shifts, half valve glissandos, and screaming through the horn.
George Palton, DePauw University
Virga Jesse. Euphonium Quartet. Anton Bruckner. Arranged by Justin Weis. Justin Weis Music. www.justinweismusic.com. 2020.
Ranges:
Euphonium I: e - a-flat1
Euphonium II: G-sharp - c-sharp1
Euphonium III: e - g-sharp1
Euphonium IV: G-flat - c1
Difficulty Level: II
Virga Jesse is a motet which was originally written for mixed choir in 1885 by Austrian composer, Anton Bruckner. It is part of the Feast of the Blessed Virgin Mary and is regarded by many of his biographers as one of Bruckner’s finest motets. Virga Jesse was transcribed for euphonium quartet by euphoniumist Justin Weis in 2020.
As with much of Bruckner’s liturgical music, Virga Jesse is strikingly beautiful. There are two major sections, the first of which uses expansive romantic harmonies and the second of which is more imitative. The motet concludes with an alleluia which is inspired by the “Halleluiah” from Handel’s Messiah. Tempo for the piece is “alle breve,” a slow cut-time. The overall difficulty of Virga Jesse is Level II for simple and straightforward rhythmic features, relatively limited range, and endurance considerations. However, limited high tessitura in the first euphonium part will be a consideration for younger performers. The transcription makes effective use of sprawling dynamic contrasts from pianissimo through fortississimo.
Range for each part is as follows: Euphonium I: e - a-flat1, Euphonium II: G-sharp - c-sharp1, Euphonium III: e - g-sharp1, and Euphonium IV: G-flat - c1. Total duration for the piece is approximately four minutes. Virga Jesse is available on www.justinweismusic.com for $10 (physical or digital copy).
Jeremy Lewis, West Texas A&M University
Audio
Flying Circus: Music for Brass Quintet. Jim Self, composer. Crown City Brass Quintet and the Modern Brass Quintet. Potenza Music. www.potenzamusic.com. PM1056. 2020.
Jim Self has composed numerous brass quintets throughout his career, many of which were composed for and premiered by his quintets at the University of Southern California. Upon taking inventory of all his quintet music, Self decided to dedicate time and energy to organizing a recording project, resulting in Flying Circus. Featured on this recording are two renowned Los Angeles-based quintets, the Crown City Brass Quintet and the Modern Brass Quintet. Additionally, brass players from the Pacific Symphony and “The Five” Brass Quintet have contributed their talents to this album.
This recording begins with Polarities (Pacific Symphony Brass), a fanfare-like double quintet in the style of Gabrieli. After hearing the work’s three contrasting sections, one cannot help but be struck by the clever writing combined with the crystal-clean performance. What immediately follows is the tongue-in-cheek Polka.com (track two with the Crown City Brass Quintet). Self describes this piece as “Frankie Yankovic meets Donna Summer meets Scott Joplin.” The quintet renders this music with style, panache, and stellar intonation across the ensemble.
Bottoms Up (track three) has a noteworthy history. Originally written for alto, tenor, bass, and contrabass trombones with tuba, the piece was later revised for five tubas. The final version recorded here is for brass quintet. The players navigate all the varied sections—technical, lyrical, waltz-like tunes, and even some allusions to Mariachi music—with precision and an impressive display of ensemble unity. HoopLA (track four) boasts intricate grooves, soaring melodies in the horn, and frequent use of imitation. Here the players demonstrate a mastery of metric precision while displaying a command of balance, blend, and tone. Peacockery (track five) highlights piccolo trumpet and drum set. Throughout the recording, one will enjoy the different timbre that comes with including piccolo trumpet in the quintet setting. A lighthearted march pervades the track, as well as cleverly written musical dialogue among the instruments. Tracks three through five feature the Modern Brass Quintet.
Cast in three movements with the conventional fast-slow-fast format, Mo’Ments (tracks six through eight with the Crown City Brass Quintet) combines brass quintet with percussion, most prominently the marimba. The first movement, “‘N Trap Ments,” starts with an attention-grabbing fanfare but transitions into a strategically dissonant march. The marimba easily weaves in and out of the varying instrumental combinations within the quintet. Next, “‘N Tice Ments” showcases the timbre of a low brass trio. The trio blends beautifully and is a pleasant reminder of the richness associated with the low brass trio combination. The final movement, “‘N Tangle Ments,” again presents groove-driven rhythmic complexities expertly performed by the ensemble with energy and attention to detail.
Flying Circus (tracks nine through eleven with the Modern Brass Quintet) was commissioned by the Pacific Brass Ensemble. The first movement, titled “Brainstorming,” is an extroverted display of character and personality from all the performers. “Castles in the Sky,” the lyrical middle movement, illustrates warm, chorale-like writing offset by a contrapuntal waltz. “Wing Ding” brings this set to an attractive finish with its quick asymmetric meters concluding with jazz solos for the trombone and trumpet players.
Three 4 Five (tracks twelve through fourteen with “The Five” Brass Quintet) represents Self’s first brass quintet composition. “Capriccio,” the first movement, is a fanfare marked by harsh yet delightful dissonances. The horn is featured prominently here. A gorgeous “Cantilena” in the second movement features a lovely ballad with several lyrical lines for the tuba, performed here by Self. The bombastic finale, titled “Caccia,” begins with a blazing introduction that transitions into an asymmetric-meter waltz. Frenzy and technique are hallmarks of this movement, all of which are delivered impressively by members of the quintet. Three 4 Five brings the album to a rousing finish. First and foremost an example of fine brass playing, Flying Circus also sheds light on quintet literature most deserving of a place on future quintet programs.
Dr. Chris Dickey, Washington State University
Scenes. Albert Miller, euphonium and Yoon-Wha Roh, piano. Washington State University Recordings. www.wsurecordings.com. 2021.
Scenes is the debut album of euphoniumist Dr. Albert Miller, a member of the music faculty of Washington State University. The music presented in Scenes was originally prepared for events that were cancelled in response to the COVID-19 pandemic. Miller’s passion to share his music led to the creation of this album that was released in early 2021. Partnered with pianist Yoon-Wha Roo, Miller recorded Scenes while maintaining social distancing and employing all applicable safety protocols. At the time of this review, Scenes is available through most major streaming services and is released through Washington State University Recordings. Washington State University Records is a peer reviewed recording label.
The unifying theme of Scenes is the art of musical storytelling. The first track, Invocation Démonique, was composed in 2015 by Gabriel Philippot for solo euphonium with an accompanying ensemble of trombones and tubas. Philippot later created a piano reduction that is presented in this recording. The narrative of Invocation Démonique depicts a group of priests who summon an evil spirit through a ritualistic seance. The opening presents Miller’s lyrical playing, a large dynamic range, and a contrast between dark and bright tonal colors that is used to strengthen the narrative effect. In addition, Miller performs with great pronunciation and lyricism through technical sections of the opening. The middle section presents a dance-like feel. Miller plays this section with scrupulous attention to the precision of the dance style through effective use of lilt and a commanding display of technical clarity. The following section is more mournful and reflective in nature, further displaying Miller’s impeccable stylistic control and storytelling. The final section begins with aggressive technique in the euphonium with interjections of the “Dies Irae” chant in the piano, representing a duel with the evil spirit. The piece ends with a flair of virtuosic technique, making the listener want to continue listening.
Tracks two through six are a collection of five songs of Nadia Boulanger that were arranged for euphonium by Miller. Boulanger is best known for teaching several prominent composers including Aaron Copland, Walter Piston, and Philip Glass. The five songs are titled “Au Bord de la Route,” “Versailles,” “Chanson,” “Soir D’Hiver,” and “Cantique.” Miller briefly describes the narratives and texts of each piece in the liner notes. Each piece presents a different harmonic and melodic language, all of which are masterfully performed. Notably, Miller enhances the lyrical qualities by using subtle nuances including tonal inflections that follow the lyrics, air attacks, and varying speeds of vibrato.
Tracks seven through eleven are a euphonium arrangement of John Steinmetz’s Suite from an Imaginary Opera, which was originally composed for English horn and piano. Many operas begin optimistically and end in tragedy. However, Steinmetz reverses the trajectory of this work by starting pessimistically and progressing towards a happy ending. The first movement, “Aria,” begins song-like with harmonic dissonances between the euphonium and piano. As the motives change, Miller changes his tone color to add to the musical tension. The second movement, “Dance,” demonstrates Miller’s technical facility with large intervallic leaps that create a burst of energy. Several sections of this movement are in rhythmic unison with the piano. Miller’s rhythmic accuracy and his ability to start on notes in the upper tessituras after rests further add to the excitement. The third movement, “Recitative,” returns to a lyrical style and has several long tones held in the solo part that serve as a transition to each section of the movement. The fourth movement, also titled “Aria,” is lyrical, uplifting and energetic and further displays Miller’s “lyrical technique” and ease of playing. The final movement, “Apotheosis,” is a short epilogue that is cinematic and uplifting in nature. However, the movement ends with some dissonance and lack of resolution in the piano, giving the album a unique ending.
Scenes is a fantastic representation of Miller’s singing sound and technical virtuosity that takes the listener on a musical journey. To the reviewer, it sounds like minimal editing was done to the recording, evoking the spirit of a live performance that further conveys the narrative effect. This is an enjoyable album that features impressive euphonium artistry and unique repertoire that appeals to both musicians and general audiences alike.
Dr. James M. Green, Ohio Christian University and Ohio Northern University
Method Books
Beyond the Scale for Tuba. Jacob Taitel. Encore Music Publishers. www.encoremupub.com. 2021. 35 pp.
Jacob Taitel’s new text Beyond the Scale for Tuba aims to train fluidity and familiarity with scales/modes and takes a deep dive into this essential subset of our musical fundamentals. The author opens the text with a discussion of the goals to be explored throughout this method book and places a focus on the importance of internalizing scale degrees and position of pitches within a given scale as students work through the exercises.
Beyond the Scale has three major sections, divided into “Scales and Modes,” “Rhythmic Patterns,” and “Melodies.” The first section lays out the structure of major scales, explains several options for moving between scales in order to keep practice fresh and exciting (including the circle of fifths, circle of fourths, chromatic patterns, and more), covers the minor scales, and then explores traditional modes with several options for working through multiple modes of the same pitch center. Taitel indicates at the outset of this section that “Scales and Modes” represents the foundation of the entire method book. This section comprises the majority of the text and provides a depth of training which leads into the next two segments. The second section, “Rhythmic Patterns” is organized into four parts which include basic patterns, patterns with rests, patterns with articulations, and combined patterns. This section includes both rudimentary and advanced options for students to explore in their practice. “Melodies,” the final chapter of this method book, explores several diatonic melodies and calls back to the introduction of this text with an emphasis on utilizing scale degrees as a pedagogical anchor to assist in learning melodies by ear in multiple key centers.
This new method book will be a great teaching tool that would be most effectively paired with a student’s first forays in the study of music theory and aural skills. This text will not only help to reinforce those skills with their classroom experience but will also serve as a valuable bridge from the classroom directly to their instrument.
David Earll, Ithaca College
Lip Slurs for Euphonium. Deanna Swoboda and Danielle VanTuinen. Meredith Music. www.meredithmusic.com. 2020. 40 pp.
For many tuba and euphonium players, lip slurs are a staple of their daily routine. For those looking to develop this skill set and add variety to this portion of their routine, Lip Slurs for Euphonium by Deanna Swoboda and Danielle VanTuinen is a worthwhile resource. The euphonium edition bears many similarities to the tuba edition. As a result, the text can be used in a group setting. While the tuba text is written with the CC tuba in mind, the exercises can be aligned to play along with the euphonium. The tuba edition includes most of its patterns up to the two and four valve combination, while the euphonium extends into lower valve combinations. Each text includes advanced technique lip slurs that are unique to its instrument.
One way in which Lip Slurs for Euphonium is fairly unique compared to other lip slur methods is that it is written entirely in bass clef. Its difficulty varies from slurs that are basic developmental tools to advanced exercises with an expansive range. Of particular interest is the section on creating your own lip slur. This is very practical by allowing the musician to adapt the exercise to their current performing needs. Both the euphonium text and its tuba companion are published by Meredith Music and distributed by Hal Leonard.
George Palton, DePauw University
Working Zone: Scale and Interval Exercises for Tuba and Other Bass Clef Instruments. Nicolas Indermühle and Lauri Huotarinen. Fennica Gehrman. www.fennicagehrman.fi. 2020. 137 pp.
In my experience as a teacher and performer, perhaps the most important things that I can offer young players are the tools and resources to develop and tweak their own daily routine. In their new book Working Zone, Nicolas Indermühle and Lauri Huotarinen have created a toolbox full of exercises and material to help tubists do just that.
As the authors describe it, the “working zone” is “the area where you make personal progress . . . The things that you practice are not too difficult or too easy, but they are challenging enough.” Their book is an extensive collection of exercises and patterns to aid the tubist in finding this zone. The material itself allows flexibility to scale the difficulty up and down to find exactly where maximum growth can occur. The book is divided into six chapters in colorful and engaging print. The sections are well organized, and it is very easy to find and flip back and forth between the different sections of the book thanks to thoughtful tabs located on the sides of the pages.
Perhaps the most impressive section is the chapter on scale patterns. This section includes over sixty-five different scales from the standard major and minor scales to the “Diminished Blues flat 9 scale,” the “Petrushka Scale,” and a few Messiaen modes as well. Each scale pattern is written out clearly in quarter notes and in all twelve keys, so the pattern variation is not rhythmic, but rather the actual selection of pitches. The authors encourage modification and experimentation with rhythmic variations and include a recommended variation reference card that can be pulled out and set alongside of whichever scale pattern is on the stand.
There are other features of the book that are also well conceived and well executed. Sprinkled liberally throughout the book are QR codes that can be scanned to send the user to more content online which is updated by the authors. One of the chapters also includes some of the best constructed fingering charts that I have seen in print. The charts for F, E-flat, CC, and BB-flat tuba include an exhaustive list of alternate fingerings and tuning tendencies for each partial and extend from the fundamental all the way through partial sixteen. The book is exhaustive, flexible, thorough, and, above all, useful. I can easily see myself going back to this book for ideas on creating new and challenging routines for myself and my students. I highly recommend it as a tool for finding your own “working zone.”
Josh Biere, Madison Symphony Orchestra
Campaigning/Advertising Policy
ITEA's publications (ITEA Journal, ITEAOnline.org, and social networking such as ITEA's Facebook and Twitter) support the work, achievements, and overall communication among our community. However, for consistency and the avoidance of conflicting interests, these publications are not in any way intended to provide opportunities for user driven campaigning, commercial solicitation, and/or advertising for areas of financial support or profit.
Advertisers should visit www.iteaonline.org for information regarding advertising. Links can be submitted using the ITEA Links Directory located at www.iteaonline.org.
ITEA Staff reserves the right to remove any content that conflicts with this policy. If you have questions, please contact ITEA Publications Chair, Jason Smith, at editor@iteaonline.org.
Copyright 2021 International Tuba Euphonium Association.
.png)
