ITEA Journal Volume 49 Number 2 (Winter 2022)
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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
tonguings.
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 tonguings. 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
Animal Ditties IX. Tuba, narrator, and piano. Anthony Plog. Editions Bim. www.editions-bim.com. TU215. 2021.
Cameos . Tuba and piano. Richard Lambert. Forton Music. www.fortonmusic.co.uk. 2021.
Monsters . Tuba and piano. Corrado Maria Saglietti. Editions Bim. www.editions-bim.com. TU208. 2019.
Pearls III . Tuba solo, flute, and string quintet. Roland Szentpali. Editions Bim. www.editions-bim.com. CH1674. 2020.
Sonata for Tuba and Piano "Darkplace." Tuba and piano. Quinn Mason. Masonian Publications. www.masonianmusic.com. 2019.
Euphonium
3 Fantasias for Solo Euphonium. 3 Fantasias for Solo Tuba. Unaccompanied solo. Georg Philipp Telemann. Adapted by Roland Szentpali. The Brass Press, a division of Editions BIM. www.editions-bim.com. TU212 (tuba edition); TU213 (euphonium edition). 2020.
Sonatina for Euphonium and Piano. Euphonium and piano. Etienne Crausaz. Editions Bim. www.editions-bim.com. TU214. 2020.
Sonatine. Euphonium and piano. Hidenori Arai. Cimarron Music Press. www.cimarronmusic.com. CM4308. 2020.
Chamber Music
Eight Duets . Two tubas. Georg Frideric Händel. Arranged by Robert Coulter. Cherry Classics Music. www.cherryclassics.com. 2021.
The Severn Suite . Brass quintet. Edward Elgar. Arranged by M.J. LaFratta. Cherry Classics Music. www.CherryClassics.com. CC 3534. 2021.
To Valhalla . Tuba-euphonium ensemble. Allen Parrish. Cimarron Music Press. www.cimarronmusic.com. CM4127. 2019.
Audio
Alene (Alone). Bente Illevold, euphonium. At-Recordings. www.at-recordings.com. 2021.
Harbour. Daniel Herskedal. Edition Records. www.editionrecords.com. EDN1181. 2021.
Heavy Metal Concerto. Evan Zegiel. Self-released. www.evanzegiel.bandcamp.com. 2021.
water_wind. Tom Curry. Self-released. www.tomcurrymusic.bandcamp.com. 2021.
Methods
Into the Depths: Low Range Fundamentals for Tuba. Simultaneously published with Low Range Fundamentals for Euphonium. Jesse Orth. Encore Music Publishers. www.encoremupub.com. 2020.
Text
Tubas y yo vengo… . Harold Hernández Lozano. Editorial Voces de Hoy. 2021. 143 pp.
REVIEWS
Tuba
Animal Ditties IX. Tuba, narrator, and piano. Anthony Plog. Editions Bim. www.editions-bim.com. TU215. 2021.
Range: GG - d1
Difficulty Level: IV
Piano Difficulty: Difficult
Animal Ditties IX for tuba, narrator, and piano is a worthy addition to the tuba repertoire by American composer Anthony Plog and dedicated to tubist Gene Pokorny. The work is seven movements, each evocatively named after an animal. Additionally, each movement is a transcription of some of his previously written Animal Ditties. This composition is roughly eight minutes in length, and the part writing is fairly accessible for the performer.
The first four movements are transcriptions of movements with the same titles from collections for trumpet, narrator, and piano. Movement one ("The Turtle"), ironically, is moderately fast (quarter = 116) with syncopations and occasional chromaticism. It covers a relatively narrow range, and it can comfortably be played on any keyed tuba.
The second movement, "The Python," has an opening reminiscent of a python slithering, with weaving legato eighth-note lines in the piano. The solo tuba often moves in unison rhythm with the piano, and the second section has considerable jazz influence-not only because of the "Funky jazz style" marking in the score, but also because of a nine chord at the end.
"The Hyena" is the third movement, and it is a fast movement (half-note = 92-100) with syncopated figures in the piano that complement the muted tuba part. These figures almost sound like a hyena's laughter, and they frequently feature a whole step dissonance until the very end when the movement finally resolves.
Movement four, "The Hog," begins with a repetitive and catchy piano figure. The tuba enters with a theme in F minor, but when the narrator enters, the tuba states the opening piano ostinato. The ending dissipates with a sinking chromatic descent into F major.
The final three movements are transcriptions from similar collections for brass quintet. In the original quintet, the fifth movement, "The Mule," features a substantial muted trumpet solo. It is that part that was transcribed for tuba, although the tuba part here is not muted. It is notated with a "swing" marking, and it is quite fast, at quarter = 152. The texture is quite thin as well, featuring a virtuosic tuba line with just finger snaps on the backbeat in the piano part.
Movement six, "The Dog," features the solo tuba part taken from the solo in the French horn in the quintet version. It is expressive and lyrical, perhaps to show the loving qualities of the dog (this is also clear with the text in the narrator: "the dog is full of love"). The movement features several c1's above the staff; so if a higher-pitched tuba is available, that might be a better option for this movement.
What better way to end the work than with "The Rhinoceros?" Particularly fitting for the tuba, the movement is an extremely slow and pesante movement with the tuba and piano moving with staccato eighth notes in unison, as if plodding like a rhino. The ending incorporates some silences between these eighth notes with a decrescendo to pianissimo. Then, there is a full measure of rest, which feels like an eternity as a performer, followed by a unison D at fortissimo. One could speculate that the rests represent the rhino slowing down, then the final note at a louder volume is when the rhino finally sits down. It is a wonderfully comedic moment that concludes a wonderfully comedic piece!
Dr. Evan Kelsick, Eastern Illinois University
Cameos . Tuba and piano. Richard Lambert. Forton Music. www.fortonmusic.co.uk. 2021.
Range: C - e1
Difficulty Level: V
Piano Difficulty: Medium
This lengthy piece is actually a compilation of three separate compositions of Mr. Lambert's that he has transcribed for tuba and piano from the original instrumentations. These pieces are fun to play and very accessible. While they are more idiomatic to the bass tuba, they can be performed effectively on the contrabass tuba by an advanced performer.
Abigail's Jig, op. 10 no. 2g is a lively piece for tuba and piano that was composed in 1980, originally for flute and piano, to celebrate the birth of Abby, the composer's daughter. The piece attempts to capture the atmosphere of an Irish jig as played by a piper, with a harmonically straightforward piano part which uses a mixture of "vamping" and melodic imitation of the solo part. The introduction is intended to be humorous and rather musically misleading, openly parodying the "cowboy" music of Aaron Copland. Modal harmony helps to create the mood of pseudo-folk music.
Cantilena, Op. 11j tries to capture a popular flavor, borrowing freely from pop and jazz styles. A pseudo-rock style is twice used in the climax section, which acts as a song-like chorus. Cantilena is in the key of D-flat major overall, but even the introduction uses "wrong note" harmony (notably flattened sevenths) to produce ambiguous tonality. The piece demonstrates a range of tone color for the tuba across a wide melodic range.
Five Short Pieces, Op. 9h are elaborate transcriptions of To One (1985), five songs to poems by Christina Rees, which convey the countless moods associated with a relationship.
Jesse Orth, Texas A&M - Kingsville
Monsters . Tuba and piano. Corrado Maria Saglietti. Editions Bim. www.editions-bim.com. TU208. 2019.
Range: EE - f1
Difficulty Level: V
Piano difficulty: Difficult
Monsters for tuba and piano by Corrado Maria Saglietti was commissioned by and dedicated to the 31st International Competition "Città di Porcia" 2020. This competition is a brass-only competition held annually in Italy. Programmatic works for tuba have frequently portrayed the instrument as a monster or a beast. Saglietti's Monsters is no different in that regard. Each of the five movements of this piece is framed around a different monster: "I: Monster of the Abyss," "II: Monster of the Earth," "III: Monster of the Fire," "IV: Monsters of the Air," and "V: Monsters of the Mind." Saglietti provides short program notes for each movement that explain the monster depicted in the music.
Movement I, "Monster of the Abyss," focuses on a monster in the oceanic abyss. Saglietti adds sound effects in this movement with knocks on the piano and mouthpiece hits with the palm of the hand to imitate a heartbeat. The melody line begins low and slow before picking up in speed, volume, and range. After reaching the pitch high point, the "monster" descends back into the depths with the return of the knocking heartbeat. The accompaniment during the "monster's" rising action is very active, reminiscent of water motives found in countless other pieces.
Movement II, "Monster of the Earth," is a "powerful, devastating dance" that features vocal "roars" through the mouthpiece intended to be gorilla sounds. The tuba moves along in starts and fits with plenty of upward leaps and ascending and descending chromatic crawls. It is easy to envision the "monster" of this movement climbing through the trees in this wild dance. The movement ends with a final grunt through the mouthpiece and a foot stamp.
Movement III, "Monster of the Fire," presents a dragon as the monster. The movement begins with a dragon chant, an extended multiphonic section in a slow tempo. The chant leads into a challenging dance in changing meters with a chance for visual acting from the accompanist after a burst of fire. The accompanist is directed to remain frozen in position with their mouth open before slowly returning to normal. The movement concludes with a final flourish and burst of flame from the piano.
Movement IV, "Monsters of the Air," is a particularly menacing musical depiction of a locust swarm. The swarm begins pianissimo with individual locusts arriving through the piano and tuba parts. The tuba uses a mute during portions of these quiet sections of music. The music builds in volume, speed, and thickness of the accompaniment while the tuba performs a quick chromatic melody that builds more and more tension. In the loudest section of music, the pianist is directed to play with their forearms with their right arm playing white keys and left arm playing black keys. Then, as quickly as it started, the swarm moves on, leaving the listener in the same silence and space from the beginning of the movement.
Finally, we arrive at Movement V, "Monsters of the Mind." They are described by the composer as "the closest, the strangest, and most hysterical, sometimes more real than not…Are these the most troublesome?" The tempo marking is "Allegro bizzarro," which is an apt description of this movement. These mental "monsters" are erratic, with abrupt tempo changes and plenty of chromatic movement. While this music would not be characterized as atonal, it never has a chance to settle into a stable key center. The movement ends with a direction for the soloist to perform a "theatrical act" of an "ironic laugh" before the last notes are played.
Overall, this piece is a well-thought-out programmatic work that is accessible for a wide range of audiences. The seed of inspiration for each movement can give the performers and audience members a lens to interpret the piece that is more helpful than a generic tempo or style marking. The difficulty level of this piece for the soloist, as well as the amount of back-and-forth between tuba and piano, makes this piece most well-suited for professional level performers. This piece is a welcome addition to the collection of pieces that utilize the "tuba as monster" trope.
Daniel Brown
Pearls III . Tuba solo, flute, and string quintet. Roland Szentpali. Editions Bim. www.editions-bim.com. CH1674. 2020.
Range: BB-flat - d2
Difficulty Level: V
Roland Szentpali's new arrangement of his original composition, Pearls III, introduces an innovative and refreshing instrumentation of this unique work. This new rendition features tuba, flute, and string quintet, while the original version was composed for solo tuba, piano, and three optional tuba parts. The arrangement includes the three original movements: "Very Good Morning," "Since You Left," and "Serenade." It was commissioned by the European Union Youth Orchestra and first performed on August 22, 2020 at the Sibelius Academy in Helsinki, Finland.
"Very Good Morning" is a lighthearted movement that employs constant rhythmic activity and highly acrobatic melodies. This arrangement utilizes the duality of the flute and tuba voices through the sharing and trading of melodic content. RTB Crew's original recording of Pearls III includes beatboxing and vocals, which is a stark contrast in instrumentation to this new arrangement. The music software sound samples on the Editions Bim website confirm this, as the string quintet accompaniment portrays a more serious overall sound than that of the original.
"Since You Left" is a ballad that presents the most protracted range demands of the three movements, with the solo part remaining above the staff for significant periods of the movement. The melody is rhythmically complex, being mostly comprised of sixteenth and thirty-second notes. The rhythmic complexity is compounded by the use of grace notes in the midst of this syncopation. This movement is much less dynamically active in the flute and quintet parts, providing a lot of interpretive freedom to the soloist.
"Serenade" is a gentle melody featuring highly syncopated segments and contains the single highest range demand of the entire arrangement, which is a d2 found in measure 110. There are two areas in the movement that present significant technical challenges to the tubist: a thirty-second note passage found in measure 104 and a sextuplet passage in measures 131 and 132.
This arrangement of Pearls III is an imaginative take on a unique composition that will continue to challenge the most advanced players.
Brandon Smith, Valdosta State University
Sonata for Tuba and Piano "Darkplace." Tuba and piano. Quinn Mason. Masonian Publications. www.masonianmusic.com. 2019.
Range: optional BBB-flat - g1
Difficult Level: IV
Hauntingly expressive, powerful, emotive, and serene are all words that summarize the many contrasting styles and moods of Quinn Mason's Sonata for Tuba and Piano "Darkplace." Quinn Mason (b. 1996) is a Dallas-based composer and conductor who has written solo and chamber music as well as music for large ensembles spanning multiple genres. Theater Jones said Mason is "a brilliant composer just barely in his 20s who seems to make waves wherever he goes." His tuba sonata was composed between November and December 2019 and is dedicated to Evan Zegiel. About the work, Mason writes:
This tuba sonata was a unique and interesting challenge, both from a compositional and philosophical standpoint. The piece was born out of an unusually introspective time in my life, one where I was reflecting on my life and career so far in a not so positive way. It also so happens that a member of my high school band had passed away very suddenly around this time; he was a tubist and it struck me in particular because he was younger than me with his life ahead of him, but just like that...he was gone. Thus, the subtitle, "Darkplace." I knew I wanted to write a piece of music that encapsulated these feelings perfectly and I wanted to use an unusual instrument to convey these thoughts. Compositionally, I've never written for the tuba in a solo context like this, so here was a chance to explore the different colors and capabilities of this expressive instrument. I was really pleased when I received this commission from Evan Zegiel, a good friend of mine and an enthusiastic champion of my music since we were both at the Brevard Music Center in 2018. This sonata is dedicated to Evan with the utmost respect and admiration.
The first movement, marked "brooding, yet reflective," features syncopations and sustained notes in the piano against a lyrical, conjunct melody in the tuba. The frequent, subtle shifts in both tempo and dynamics propel this music forward with ease and fluidity. The tuba's melody morphs into a more disjunct yet still song-like tune that complements the imitative piano lines. A reprise of the reflective opening gestures brings the movement to a satisfying and soft-spoken conclusion. The tubist can really demonstrate their flexibility and interpretive skills in the second movement marked "with tranquil movement." The tuba melody rests mainly in the staff and is offset by a sense of continuous motion via the piano's slow, steady eighth-note motor. The movement gradually gets faster and faster while changing tonal centers. In one passage, the tuba plays a declamatory, fanfare-like figure that ascends to a g1. After this bold passage, the music gently unravels and brings back the tranquil opening figures heard at the beginning of the movement. Near the end, the tuba must sustain rather soft sustained tones at the top of and just above the staff while the piano finishes the movement. The third movement, labeled "dreaming," employs rubato while the two instruments engage in a lyrical conversation. This conversation mixes simple meter and borrowed divisions in 4/4 time but is soon replaced with a brief passage marked "a little lively." Here, the tuba and piano exchange triplet figures and syncopated lines. After pulling the tempo back to a sobering quarter note = 60, the music arrives at the climax, which is labeled "tragic." The bombastic piano part presents accented augmented triads while the tuba oscillates between pedal EE-flat and E-flat. The tuba can play an optional BBB-flat before the conclusion of the work. Near the end, the tuba plays short melodic ideas while muted before the piano brings the sonata to a poignant, gratifying finish.
Dr. Chris Dickey, Washington State University
Euphonium
3 Fantasias for Solo Euphonium and 3 Fantasias for Solo Tuba. Unaccompanied solo. Georg Philipp Telemann. Adapted by Roland Szentpali. The Brass Press, a division of Editions BIM. www.editions-bim.com. TU212 (tuba edition); TU213 (euphonium edition). 2020.
Range: D - b-flat1 (euphonium), AA - f1 (tuba)
Difficulty Level: IV-V
Tuba virtuoso and composer/arranger Roland Szentpali has been well-known to the tuba and euphonium world for many years. In this new publication, he adapts Telemann's solo violin fantasias seven, eight and nine from the twelve fantasias for solo violin. The tuba version is scored down a perfect fourth from the euphonium version, suggesting it is well-suited for F tuba, but it could certainly be performed on E-flat and even on contrabass tuba for those possessing the required range. Originally published for violin in 1735, it naturally does not contain contemporary challenges associated with newly composed repertoire, however it does present formidable technical, interpretive and endurance challenges, so it is rated as a IV-V. Performers without familiarity with the ornamentation of this time period may find this aspect challenging as well. The arrangements do lay well within the tessitura of the bass tuba and euphonium, however, and are quite achievable in that regard. As one expects in Telemann slow movements, notation contains a lot of fast note values such as thirty-second notes, as they are generally interpreted in an eighth-note pulse. Low brass players (euphonium and trombone in particular) may be familiar with the Telemann unaccompanied flute fantasies transcribed by Alan Raph. Szentpali's adaptations here contain some similar gestures and elements but provide a new source of material from the Baroque era for performers to use. Any of these could serve very well as an unaccompanied piece on a solo recital or recording. Treble-clef euphonium version also included.
Matt Tropman, University of Arizona
Sonatina for Euphonium and Piano. Euphonium and piano. Etienne Crausaz. Editions Bim. www.editions-bim.com. TU214. 2020.
Range: G# - b-flat1
Difficulty Level: IV
Piano Difficulty: Difficult
Sonatina for Euphonium and Piano is, as the title suggests, a work for euphonium and piano by Swiss composer Etienne Crausaz, and it is dedicated to Swiss educator and performer Julien Roh. This worthy addition to the undergraduate euphonium repertoire contains several traditional and non-traditional elements. The piece is divided into three traditionally titled movements: "Moderato deciso," "Largo e misterioso," and "Allegro con fuoco." This composition is roughly ten minutes and thirty seconds in length, and the part writing is challenging but not insurmountable for an undergraduate performer.
This sonatina is heavily influenced by 20th-century elements including French impressionism and jazz. The first movement conforms to a modified sonata form (as is tradition in a sonatina), and it features two themes that develop throughout: one technical and one lyrical. The thematic material frequently features technical passages with octatonic and pentatonic motions.
The second movement is somewhat mysterious and ominous, with its parallel harmonies (reminiscent of French impressionism) and repetitive figures in the piano at the onset. The movement is also expressive as is evidenced by the extensive cadenza in the euphonium solo. The intricate jazz harmonies created with the piano accompaniment also point to the 20th -century jazz influence.
A rapid triple-metered dance is featured in the third and final movement. Similar to movement one, there are many fast motives that are in octatonic or pentatonic modes, once again pointing to the influence of French impressionism.
The piece presents a number of challenges as a performer. Although the piece features a b-flat1 as its highest note, it spends a great deal of time in the middle-to-upper register, making it an endurance challenge. There are also a number of challenging intervals at a rapid tempo, despite the piece's firm grip on tonality. The augmented seconds/minor thirds seen in the pentatonic sections, as well as the somewhat alternating half steps and whole step patterns, will be somewhat unfamiliar to many performers.
There are rhythmic challenges as well, with dectuplets (group of ten) and undecuplets (group of eleven).
These elements, though challenging at first, help create a more well-rounded musical approach to an undergraduate education, and for lack of a better term, sound neat in contrast to other major works in the repertoire. Overall, it is a worthy addition to the solo euphonium canon.
Dr. Evan Kelsick, Eastern Illinois University
Sonatine. Euphonium and piano. Hidenori Arai. Cimarron Music Press. www.cimarronmusic.com. CM4308. 2020.
Range: E - a¹
Difficulty Level: III
Piano Difficulty: Easy
No stranger to composing or euphonium, Hidenori Arai is a particularly industrious musician, having recorded two solo euphonium albums each containing a handful of his own compositions. More recordings of Arai's compositional output can be found on Steven and Misa Mead's duet album Love's Joy and the Japanese tuba-euphonium quartet Funkaru!'s self-titled album, of which Arai is a member.
Sonatine is a polite, three movement work that presents many pedagogical moments for high school or early undergraduate students. It is structured in the traditional three-movement plan of Classical sonatas: moderate/fast, slow, faster. Equally traditional, the first movement is the most complex (compositionally speaking) and the longest by a significant margin, exhibiting over half of the complete work's runtime. In the first movement, the euphoniumist is asked to shift styles, first playing a lyrical moderato melody juxtaposed with bouncing staccato phrases and the occasional sixteenth-note flourish. The second movement, a pleasant 3/4 andante, gives the euphoniumist the opportunity to play warm, lyrical lines. Despite a reduced thirty-two bar length, each eight-bar phrase contains new material, keeping the listener and euphoniumist engaged. The Sonatine closes with a dance-like 2/4 vivace that requires the most technique with driving sixteenth-note passages, several containing chromaticism. Arai kindly gives ossia divisi for passages that might stretch too high or too low for younger players, bringing the work to an upbeat and satisfying finish.
Arai's knowledge of the euphonium is demonstrated in his idiomatic writing. Both the harmonic language and the themes are firmly housed in the refinement common of Classical era composers, giving the young euphoniumist a Classical era-esque sonatina to study and perform that will challenge but not overwhelm. This piece is a nice addition to the repertoire that would be welcome on a student recital.
Brett Keating, Western Colorado University
Chamber Music
Eight Duets . Two tubas. Georg Frideric Händel. Arranged by Robert Coulter. Cherry Classics Music. www.cherryclassics.com. 2021.
Ranges:
Tuba I: D - f1
Tuba II: EE - c1
Difficulty Level: III
This collection of Eight Duets by Georg Frideric Händel arranged by Robert Coulter has many positive elements. First, while the parts are labeled as a tuba duo, it could work well with euphonium or trombone on the top part. The bottom part does drift into a low range that, while not impossible on euphonium or trombone, would make certain passages problematic for a non-tuba instrument. Next, the material does have challenging segments, but it is more accessible to a wider set of performer ability levels, allowing it to have applications in both recital and lesson settings. Finally, if used in a recital setting, the whole set could be performed, or a small selection could be programmed to give stylistic variety for a concert. I know I am always on the lookout for quality music from a range of musical styles and time periods to create the best experience for audiences. This set of duets provides a good option in that regard. The faster duets have a rhythmic drive that has an immense amount of forward motion and energy. The slower duets (the "Sarabande" and "Largo" movements) give an opportunity for more expressive playing and decision making. Exploring these different musical avenues in recital or lesson settings is valuable. The only negative that I can see is in some of the formatting. It is clear they aimed to have every duet fit onto one or two pages, but this resulted in some of the stanzas pushed close together. The ease of reading in a few movements is impacted by this decision. However, outside of this formatting concern, these duets make an excellent addition to the tuba/euphonium duo library.
Daniel Brown
The Severn Suite . Brass quintet. Edward Elgar. Arranged by M.J. LaFratta. Cherry Classics Music. www.CherryClassics.com. CC 3534. 2021.
Ranges:
Cornet I: b-flat - b-flat2
Cornet II: a - a-flat2
Horn: c - b-flat1
Trombone/Euphonium: A-flat - g1
Tuba: AA - b-flat
Difficulty Level: IV
Edward Elgar's The Severn Suite was initially composed for brass ensemble in 1930 and later arranged for orchestra by Elgar himself. The Severn Suite's original instrumentation makes LaFratta's arrangement for brass quintet a fitting adaptation. The work is comprised of five movements: "Introduction: Worcester Castle," "Toccata: Tournament Grounds," "Fugue: The Cathedral," "Minuet: The Commandery," and "Coda." Each of these movement titles refers to a historic place in Worcester, the city where Elgar spent the later period of his life. The movements are performed without breaks, contributing to the brisk sense of pace between images.
The opening of "Worchester Castle" is marked "pomposo" and exhibits a celebratory style that is perfectly suited for brass instruments. Contrasting this celebratory style is a tender melody that reappears throughout the remaining movements. LaFratta includes numerous markings that are helpful in guiding the quintet through these stylistic transitions.
"Toccata" is a lively movement written in cut time that requires technicality and finesse from the brass quintet. This is especially true for the tuba part, which is more technically difficult in this arrangement than in the original version. The faster rhythmic sections are divided by " Grandioso" sections which recall the style of the first movement. The end of the movement reverts to 3/4 time and brings the return of the beautiful melody from "Worchester Castle."
"Fugue" is a solemn movement that captures the grandeur of the old Worchester Cathedral. The dense textures and wide dynamic range give the quintet an organ-like quality of sound. The slow tempo, soft dynamic markings, and key of B-flat minor provide a plethora of musical challenges to the brass quintet.
The "Minuet" is based on Worcester's Commandery, a building that served many purposes through the town's history. The music represents this shifting nature, quickly transitioning between stylistic sections. These sections change suddenly and require a strong sense of communication between quintet members to be effective.
"Coda" quickly revives the theme and the softer melody from "Worcester Castle." The final section is marked "Grandioso" and again presents rapidly changing stylistic sections.
LaFratta's arrangement of The Severn Suite is a challenging and rewarding project for brass quintet. The highly detailed nature of the arrangement creates a musical product that is as image-driven and compelling as the original.
Brandon Smith, Valdosta State University
To Valhalla . Tuba-euphonium ensemble. Allen Parrish. Cimarron Music Press. www.cimarronmusic.com. CM 4127. 2019.
Ranges:
Euphonium I: g - ab1
Euphonium II: c - f1
Euphonium III: G - f1
Tuba I: c - bb
Tuba II: C - g
Tuba III: FF - B-flat
Difficulty Level: III
To Valhalla is a programmatic work for tuba-euphonium ensemble (EEETTT) that depicts a procession to Valhalla, the great hall in Asgard, home of Norse god Odin. This work is suited for high school or early college ensembles and can be flexible with instrumentation if necessary (the Tuba I part would be well suited on euphonium). The prominence of the Marvel Cinematic Universe in modern pop culture is likely to make the image of Valhalla (a setting in several MCU films) one that will resonate with young performers and an audience.
This work is six minutes long and remains in C minor through the duration of the piece. This piece is written well for high school and young college students. The technical, range, and rhythmic requirements are attainable for young tuba and euphonium players. The limited range does create a dense orchestration that will make clarity of pitch, rhythm, and melody challenging for a young ensemble.
To achieve the effect of a procession, Parrish's main tactics are to increase the level of rhythmic activity, syncopation, and frequency of hocketing. The hocketing only seems to impact the development of the rhythmic motives, which are developed well as the piece carries on. The persistent hocketing of the melodic line does limit the coherence and development of melodic motives. Another notable tactic is Parrish's use of dissonance. The most striking example is his sparse use of polytonality with clashing fifths (Db/ Ab and C/ G), which create tension that propels the piece forward.
Of note is the dense orchestration of this work that will make clarity of pitch and balance difficult. The ensemble is also tasked with scaling dynamics and creating distinct textures among different sections to evoke the sense of growth that compliments the teleological goals inherent in a procession. These will be challenges for a young ensemble.
Dr. Nick Beltchev, Dallas Winds
Audio
Alene (Alone). Bente Illevold, euphonium. At-Recordings. www.at-recordings.com. 2021.
Pandemic times pushed us to hear our own voices and ourselves as human beings and musicians, and that is what Bente Illevold communicates through Alene, meaning "alone" in Norwegian.
The musical contrasts found on the whole album are a highlight. If it was a phonograph record with two sides, one could classify the "A-side" as the one with famous pieces by pre-20th-century masters such as Bach, Telemann, and Paganini. These works were not originally written for euphonium, of course, but are very suitable to the instrument. Illevold shares her rendition of the complete Cello Suite No. 2 with an inspirational and natural interpretation of Bach's music. This suite is followed by one of Telemann's flute fantasias (originally in B minor) and the Caprice no. 24 by Niccolò Paganini, in which Illevold displays a very fluid and moving performance, exhibiting great virtuosity and a beautiful range of intervals as well as an energetic timbre.
On the "B-side," Illevold includes a work by South African composer and euphoniumist Andrea Hobson in addition to three pieces by Norwegian composers. After connecting the listeners to the euphonium through known music, Illevold surprises us now, displaying the tremendous capabilities of the euphonium and contrasting textures through brand new music. Keith Elliot Robson, a former music teacher of Illevold, collaborates with his Dance Suite for Solo Euphonium, bringing his views on the genres of tarantella, valsa, czardas, and tango. In her Inspired by Blue, Andrea Hobson composes an ABA structured piece, where we are able to contemplate the timelessness of playing the euphonium as well as the driving and moving qualities of our instrument. Acting also as a composer, Illevold presents her very first composition for euphonium, written in 2021, called Arv (heritage). The work is full of the inner expression of Illevold as a child in her home village Rendalen, recalling the minor key folksongs that were "the very first music I heard in my life," as described by Illevold in the liner notes. I believe that this piece has the power to unify the entire project, giving the listener deep insight into the creator-interpreter of this music. The album ends tenderly and reflectively with Notturno (Lockdown Lullaby) by Marcus Paus, an emerging Scandinavian composer. In this closing piece, Illevold brings us a very comfortable place to stay and a delicate interpretation to delight our minds with this very suggestive work.
For this project, Illevold recorded in natural acoustics without digital alteration of ambience. The results are closer to a real performance and are, in part, a credit to the artist's partnership with AT-Recordings, whose slogan is "authentic sound." This is a very nice point of view for recording music played by solo acoustic instruments, considering the complexity of recording the euphonium and its "true" live qualities. Also, the three different venues where the project was recorded were all churches, resulting in a consistency of sound across the album.
Dr. Fernando Deddos, Federal University of Rio Grande do Norte - Brazil
Harbour. Daniel Herskedal. Edition Records. www.editionrecords.com. EDN1181. 2021.
Daniel Herskedal's music is often inspired by landscapes and nature, not just of his native Norway, but also attempts encapsulating a wider global perspective. This album is no exception, and in broad strokes intends to evoke the warmth one feels when seeking refuge while neighboring a storming sea. Herskedal's 2021 release Harbour is a collaboration with pianist Eyolf Dale and percussionist Andreas Helge Norbakken, both of whom can be found on earlier releases from Herskedal. This jazz trio presents ten tracks this time around, all composed by Herskedal, each sharing enough musical DNA to clearly link them together while offering a considerable amount of sonic exploration to maintain the audience's interest throughout. Thanks to Herskedal's clever orchestrations, including use of subtle multi-tracking and various audio effects processing, Harbour provides immense range of ensemble color and texture. This allows the group to sound at times like an intimate trio and, in other moments, like a large ensemble three times their actual size.
The history these three musicians share is on full display. Herskedal's tuba playing is communicative and propelled by line. His playing is shapely and curious as he winds the audience through on his modal melodies and improvisations. The evocative melodic tone Herskedal realizes on tuba is at times other-worldly or perhaps even ancestral, adding a firm complexity to the ensemble sound. Dale notably contributes an elegant touch, balanced voicings, nuanced counter lines, and sensational interludes on piano. Norbakken's committed sounds on percussion frame each tune with rhythmic energy and aesthetic nuances, allowing the group to operate with seemingly effortless vigor. In addition to the outstanding playing on this album, one must note the decidedly excellent production. Herskadal's compositions are well balanced and the exceptional postproduction work on this album fine-tunes many details, delivering a deeper and more convincing musical experience for the audience. The difficult task of carving out space in the frequency spectrum to allow piano, multi-tracked percussion, and multi-tracked tuba to contribute while also providing each enough space to breathe is a big ask, and one that producers Herskedal and Wanngren delivered in spades.
Harbour is an album that mixes contemporary jazz, post-modern minimalism, traditional world music, and even funk, to name a few influences utilized by this genre-bending ensemble. Herskedal generated an album that achieves what he set out to do-transport the listener to a sonic shelter while providing space and stimulus that opens the audience up to extra-musical offerings. This album is an artistic achievement and deserves a listen from all music enthusiasts, and certainly anyone who holds a tuba regularly.
Brett Keating, Western Colorado University
Heavy Metal Concerto. Evan Zegiel. Self-released. www.evanzegiel.bandcamp.com. 2021.
This is the tuba concerto that I have been waiting my whole life to play. Fans of rock and heavy metal will love what Zegiel has done with this piece of music. Utilizing his own heavy metal background, Zegiel has written and performed a spectacular and innovative new piece for tuba and fixed media. His performance is incredibly in-tune, showing technical and stylistic mastery of the instrument as well as effective expressiveness, and his sound blends with heavy metal instruments incredibly well (major congratulations here to both Zegiel and recording mixer, Nelson Gast). Most importantly, this piece just totally rocks. To my knowledge, nothing this ambitious, visionary, and accessible has been attempted with tuba and heavy metal music. This piece and this performance are a true treasure and an important step toward a style of composition and tuba performance that will appeal to a much larger audience than our typical classical repertoire.
The Heavy Metal Concerto has been released on all major streaming services. This piece is scored for solo tuba, electric guitars, bass guitar, and drums and takes inspiration from many modern heavy metal acts. The formal structures of the movements are based on those used by Classical era composers such as Mozart and Beethoven, with solo material inspired both by some of the great guitar shredders of the 1980s and by John Williams' Concerto for Tuba and Orchestra.
The first movement, "Fire in the Sky," references the wildfires that have continued to rage year after year in the northwest region of North America, altering weather patterns across the continent and emitting tons of pollutants into the atmosphere. The form of that movement is based on the standard first-movement structure of a Classical concerto, with alternating ritornello sections and solo features, but it breaks many rules of key area progressions in order for it to fit more comfortably into the form of metal songs, which do not often modulate. Many of the 7-string, drop-tuned guitar riffs and styles of playing (heavy, chugging power chords and sparkly clean tones) are styled after modern progressive metal blended with hardcore, imitating bands like Periphery and Knocked Loose. The tuba solo part in this movement is heavily inspired by John Williams' famous concerto for tuba.
The second movement, "The Story of More," takes its title from the book of the same name by Hope Jahren. The book traces the history of human overproduction and overconsumption, activities which have led to our current state of affairs regarding climate change. This movement is freely structured and makes use of various electronic samples in the recorded version. Played in drop D tuning (with a capo used to bring it up to E-flat for the first half of the movement) on 6-string guitars, the styles of riffs closely imitate that of the progressive metal band Tool. Many of the drum grooves are infectious and complex, and the guitar riffs carry a dark and foreboding quality while remaining intense and active. The tuba solo part for this movement mirrors these qualities and contains the most expressive and soft moments of the entire piece.
The third movement, "Sentient Dissolution," explores the possibility of human life fading from this planet. Some hypothesize that we will become a spacefaring species in the near future, beginning with colonies on the moon and on Mars. Some think we will cause our own extinction through our acceleration of planetary warming. Returning to the 7-string guitar, this movement most closely resembles the music of groove-metal and metalcore bands like Unearth and Lamb of God. Its form is based on the Concerto Rondo form often employed by Mozart for third movements of concerti, though, again, the key areas do not strictly follow this form. The tuba part presents some of the more virtuosic challenges of the piece and is again influenced heavily by the John Williams concerto. However, the end of the movement fades into obscurity instead of strictly repeating the "A" section of the form again, symbolizing either the extinction of humanity or our escape to the stars.
Commentary and analysis of each movement was provided by the composer.
Jesse Orth, Texas A&M - Kingsville
water_wind. Tom Curry. Self-released. www.tomcurrymusic.bandcamp.com. 2021.
water_wind is a new EP by Tom Curry, professor of tuba and euphonium at the University of Wisconsin-Madison. The EP consists of two tracks, both new works: ☞□❒ ❄□❍ 👍◆❒❒⍓ for microtonal tuba by Ben Davis and water_wind by Tom Curry.
On the first track, ☞□❒ ❄□❍ 👍◆❒❒⍓ by Ben Davis, the composer offers a modest note: "disorientation is essential." The multi-track tuba part rotates through rapid, ascending, chromatic/quarter-tone ostinatos that are layered on top of each other. Each ostinato spins toward pitch centers. Just before these pitch centers are realized, the ostinato starts again. With each ostinato, the dissonance between the tracks is deepened and is never resolved. Even at the end of the work, there is never a moment of arrival or catharsis. This work spins incessantly towards an unknown, with feelings of anxiety and agitation intensified until the track ends. This is an effective work that fulfills the promise of the composer outlined in the description. Curry's consistency of timbre and control of intonation, elements that are imperative to a successful performance of any work but more so in this case, are masterful.
The title track, water_wind, is set for tuba, nondescript sounds recorded on Curry's iPhone in Iceland, and out of tune piano. It is set in a pseudo rondo form that is distinguished by emotional energy (passive and agitated). The recorded sounds could be interpreted as wind, while the solo tuba line resembles the fluid movements of water, as well as its susceptibility to outside forces. The interaction between the recorded sounds and solo tuba track is the driving force for the development of melodic motives and a catalyst for tension (escalating and de-escalating). Another notable feature of this work is the use of vibrato to underscore the emotional tension (slow/wide vibrato in the docile sections and faster/shallower vibrato in agitated sections). These interactions evoke the relationships between water and wind in nature. Curry again boasts a virtuosic control of timbre while also gliding through dynamic extremes with ease.
In general, Curry's command of vibrato, timbre, intonation, and resonance in both of these tracks can best be described as aspirational. The engineers, Mike Zirkel (mixing engineer) and Justin Perkins (mastering engineer), are also deserving of high praise. In ☞□❒ ❄□❍ 👍◆❒❒⍓, they effectively layer the many tuba tracks while avoiding a dense sonic texture. In water_wind, they achieve an effective balance between the solo tuba line and the prerecorded sounds.
New music is often intimidating for performers, students, and audience members. There exists a common misunderstanding that avant garde music is esoteric and an appreciation can only come from profound insight and intellect. The composers of the tracks in this EP seem to have intentionally avoided providing any context or background information for this music. This EP relinquishes the audience from the burden of understanding and gives them agency in creating their own associations within the music.
Dr. Nick Beltchev, Dallas Winds
Methods
Into the Depths: Low Range Fundamentals for Tuba. Simultaneously published with Low Range Fundamentals for Euphonium. Jesse Orth. Encore Music Publishers. www.encoremupub.com. 2020.
Range: CCC - b-flat (tuba edition); EE-flat - b-flat 1 (euphonium edition)
Difficulty Level: II-IV
Dr. Jesse Orth currently serves as Assistant Professor of tuba and euphonium at Texas A&M University-Kingsville and has a number of national and international credits as both performer and pedagogue. As the title indicates, Into the Depths, which offers both tuba and euphonium versions, is designed to help players explore their lower (particularly pedal) register. A wide difficulty range of II-IV has been indicated for this book because, while it does not contain what most would identify as fast or especially difficult technique or rhythmic material, extending one's range "into the depths," as Dr. Orth asks the player to do in this book, is difficult especially for less experienced players. In his introduction, Dr. Orth describes his own development over a long period of time in the lower and pedal registers. This book is a result of his own practice over time and his work with his students. The exercises and etudes contained herein generally start in a more comfortable middle register and descend chromatically, which is a useful way for most players to begin exploring the very low register or to improve on skills already developed. While the exercises vary in difficulty and style, the book is not progressive in the sense that it does not get more and more difficult throughout. One may find simple, relaxing lip slur exercises in the middle, such as #15, as well as scalar patterns mixed throughout. In this way, it allows the player to focus on exercises that are the most helpful, while having a wide variety of different types of melodic and technical cells for users to explore. Dr. Orth offers his own perspectives and advice on each exercise throughout.
Matt Tropman, University of Arizona
Text
Tubas y yo vengo… . Harold Hernández Lozano. Editorial Voces de Hoy. 2021. 143 pp.
As a Mexican-American tubist, I have recently enjoyed learning about Hispanic professionals in the tuba industry. However, I have found that Spanish-language literature about the tuba is scarce. This book, authored by Harold Hernández Lozano, a Cuban-born tubist and professor at the Royal Music Conservatory in Madrid, Spain, is a compilation of historical and pedagogical research as well as opinion articles about the tuba originally published in the author's blog, InBBflat. The book is in two sections: "Investigando" ("Researching") and "Curioseando" ("Browsing Through"). The first is intended to offer a greater understanding of the tuba, its history, pedagogy and contemporary use around the world, and its repertoire-including an analysis of Vaughan Williams' Concerto for Bass Tuba and Lebedev's Concerto in One Movement as well as biographical information on these composers. The latter section contains articles encompassing curious facts about the tuba, the author's pedagogical opinions, and two interviews with the author conducted by former students of his. The author's illustrious international career as a professional tubist and teacher merits sincere consideration of his opinions.
Except for the more opinion-based content in the second half of the book, the information presented is not new to the academic tuba community, and this text does not dive as deep as the publications cited in each article. However, this compendium of scholarly material is a welcome and necessary addition to the Spanish literature on the tuba. In essence, the book is a concise summary of existing research about the tuba reiterated in the Spanish language. Language aside, this relatively short book is a great resource for quick reference on a wide variety of tuba topics.
Tubas y yo vengo… is a very easy and engaging read, with each topic introduced and discussed in a way that is not too simplistic for a tuba scholar yet does not implicitly require any prior knowledge before reading. This book contributes an important and necessary addition to the few scholarly resources written in the Spanish language for the tuba community, and I highly recommend it for any Spanish-speaking (or -reading) tuba teachers and students around the world. I am grateful to the author for his continued work in expanding the body of Spanish-written resources available to Spanish, Hispanic, and Latino tubists worldwide, and I look forward to reading more of his work in the future.
Como tubista mexicano-estadounidense, recientemente he disfrutado aprender sobre los profesionales hispanos en la industria de la tuba, pero he descubierto que la literatura en español sobre la tuba es escasa, aunque está creciendo en los últimos años con publicaciones como esta. Este libro, escrito por Harold Hernández Lozano, tubista nacido en Cuba y profesor por el Real Conservatorio Superior de Música de Madrid, España, es una recopilación de investigaciones históricas y pedagógicas y artículos de opinión sobre la tuba publicados originalmente en el blog del autor, InBBflat. El libro se divide en dos secciones tituladas: "Investigando" y "Curioseando." La primera tiene como objetivo ofrecer una mayor comprensión sobre la tuba, su historia, su pedagogía en diferentes países, su uso contemporáneo alrededor del mundo y su repertorio - incluyendo un análisis delConcerto for Bass Tuba de Vaughan Williams y del Concerto in One Movement de Lebedev, mas información biográfica sobre estos compositores. La segunda sección contiene artículos que abarcan datos curiosos sobre la tuba, algunas opiniones pedagógicas del autor y dos entrevistas con el autor realizadas por alumnos suyos. La ilustre carrera internacional del autor como tubista profesional y docente merece una consideración sincera de sus opinions.
Salvo por el contenido basado en opiniones dentro de la segunda mitad del libro, la informacion en este libro no es nueva dentro de la comunidad academica de tuba, ni es tan especifica como las publicaciones citadas en cada artículo; sin embargo, este compendio de material erudito es una adición bienvenida y necesaria a la literatura española sobre la tuba. En esencia, este libro es un resumen conciso de las investigaciones existentes sobre la tuba, pero reiteradas en el idioma español. Independientemente del idioma, este libro relativamente corto es un gran recurso para obtener referencias rápidas sobre una amplia variedad de temas sobre la tuba.
Tubas y yo vengo... es una lectura muy fácil y cautivadora, con cada tema presentado y discutido de una manera que no es demasiado simplista para un conocedor de la tuba, pero que no requiere implícitamente ningún conocimiento previo antes de leer. Este libro constituye una adición importante y necesaria a los pocos recursos académicos escritos en español para la comunidad de la tuba y lo recomiendo encarecidamente a todos los profesores y estudiantes de tuba que hablen (o lean) español en todo el mundo. Agradezco al autor por su trabajo continuo para ampliar el conjunto de recursos escritos en español disponibles para los tubistas españolas, hispanos, y latinos en todo el mundo y espero leer más de su trabajo en el futuro.
Ramón Garavito, Jr., Florida State University
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