Tuba-Euphonium Blog
http://www.dwerden.com/blog3/
Euphonium and Tuba, General Music, DWerden.com, TubaEuph.comen-usFri, 30 Jul 2010 17:58:19 GMTSun, 25 Jul 2010 00:12:04 GMTCF Blogger by DayDream Inchttp://blogs.law.harvard.edu/tech/rssinfo@dwerden.cominfo@dwerden.comCorrectly Using an Electronic Tuner
http://www.dwerden.com/blog3/display_blog.cfm?bid=06F1339C-D63D-48D9-5940D38F0223AC31
The electronic tuner is a practice tool, like buzzing devices, a metronome, and even a mirror. It can have great value if used appropriately. As mentioned before in this thread, it is helpful learning the tendencies of the instrument(s) you play. If you know a particular note is generally flat, for example, you can at least start heading the most likely direction as you seek to tune to the harmonies around you when playing with others. You ear can tell you that your horn has some problem notes, but you can easily be mislead by the timbre of the horn and by our human tendency to get used to the problem notes sounding the way they do. On the older Besson euphoniums I played, for example, the 6th partial was very sharp. The more I tried to pull it down, the more off-center it sounded compared to what the horn would have preferred. The timbre made it sound flat when I bent it down, even though I may not have moved it all the way down to where it should have been. A tuner doesn't care about timbre; it will give you consistent information.Some players like to use a tuner on their stand during rehearsal, which can also be useful if used with judgment. I have used it off and on. Sometimes you learn more quickly what your tendencies are when playing in different contexts (and at different volumes than you may normally practice). But I found just as much value in knowing what is going on around me. It is useful to know if the trumpets are playing sharp in a passage, for instance. And when I was having trouble finding a comfortable pitch in a chord, I sometimes dropped out to see what else was happening. Often I could see, as the tuner sought to find something to lock onto, that the chord was not in tune regardless of my contribution.Note that it is important to train your ears in as many ways as possible. Playing along with "drone tones" is a valuable tool as well. (Drone pitches are long tones, usually produced electronically, that you use to learn to match pitch and to make intervals sound true.) Euphoniumist Tom Ball put together a set of drones and a helpful booklet, which I offer for free download on my site:Drone Tuning Tones and BookletWe did some experiments in the Coast Guard Band. Two of us would play a major third, each using a tuner and matching absolute pitch. The interval just didn't sound right. One had to stop being "dead right" in order to make the interval sound right.When you practice with a tuner, don't just play one long tone after another. Also include normal practice while letting the tuner run. Take a look at it now and then. You may find you are doing things to the pitch that you did not intend to do just because of the context. Especially try playing a various dynamics. Your control over a pitch, and even your perception of the pitch center, may change as you get louder or softer.A major advantage of a tuner is that it ignores your "habits of hearing" and tells you something based on an absolute standard. If you are used to hearing particular notes sharp or flat, that becomes your standard to some extent. But even without a tuner you can work to avoid that kind of perception. Play a familiar melody up a step, or down an octave. You may learn that intervals sound different because the melody now sits in the midst of different sharp/flat notes. It's a handy "reality check" for your ears.Either a tuner or a metronome can be a useful tool or can become a crutch. Common sense helps a lot, as does a good instructor. Just keep in mind that the goal is making fine music, not playing like a computer!Performance TipsSun, 25 Jul 2010 00:12:04 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=06F1339C-D63D-48D9-5940D38F0223AC31A Double-Duty Euphonium Lap Pillow
http://www.dwerden.com/blog3/display_blog.cfm?bid=AA67DD5A-B0E8-9EA1-70749A468F96A0A1
Many euphonium players use a pillow of some kind to help them hold up the horn when they are seated while playing. In a pinch one, I even made one from a bath towel, rolled up and tied with dental floss (it works so well I have used it for years while practicing).Then it dawned on me that I always carry an accessory bag in my case. It holds valve oil, slide grease, slide cream for the trigger slide, extra felts, etc. While at ITEC in Tucson I found a zippered bag that is a little larger than the one I was using. The new bag is large enough to serve as a lap pillow when properly stuffed. So now I keep all my accessories in that bag. I fold a polishing cloth first and put it in the bag so there is a nice center area where I can put the accessories. It makes a very nice sized pillow, and it's only one bulky item to carry in my case.The bag is made of a fabric that has a fake suede finish, so it stays in place without slipping around. And the zipper is nylon so it is not likely to scratch my horn.The bag is available from Hickey's Music, who was the vendor I purchased from at ITEC. The manufacturer is Chonkite, and the product name is the MKP, Accessory Kit Pouch, priced about $15. Just use the link below and search for 12148:http://www.hickeys.com/Empty Bag, Shown with Typical Contents:Packed Bag, Shown Open:Packed Bag, Closed:Bag In Playing Position:General Tuba-Euphonium BlogWed, 07 Jul 2010 00:57:00 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=AA67DD5A-B0E8-9EA1-70749A468F96A0A1New Way to Clean Your Horn
http://www.dwerden.com/blog3/display_blog.cfm?bid=4E0C515D-D560-F602-6C796D2C2F871E72
While I was at the ITEC exhibits I had the chance to meet a genuine entrepreneur, Mr. Bill Ricker. Or maybe "inventor" is a better word. He did what clever folks have done all through history: he saw a need and developed a solution to addresses it.Most of you reading this have probably tried to clean a horn out at some time or other. And some of you have probably wanted to do some horn cleaning while you were traveling. I have cleaned my euphonium at home by putting a garden hose down the bell, "sealing" it with a cloth wrapped around it, and turning on the water. This produces a nice flow through the horn, but it's only practical in warm weather. Winter in Minnesota is no time to use that particular technique. On band tours or run-outs for conferences I have sometimes wanted to clean my horn in a hotel room, but could find no way to do a full rinse. I had to settle for swabbing out the tubes. That works well, but can be time consuming and can dislodge "chunks" that I would like to be able to rinse out. A combination of a swab and a rinse would be ideal.Along came Mr. Ricker with answer! He has a product to enable easy rinsing for large horns (trombones, euphoniums, tubas) and one for smaller horns (French horn, cornet/trumpet). There are two types in each size. One is made to hook up to a standard hose fitting, such as a garden hose faucet or a utility room faucet with a threaded end. It is shown to the left, and is fitted with a short hose, because in most cases you will be fitting it to the end of a garden hose. The other model (shown below) is made to fit over a tub faucet (or maybe a large sink faucet. The latter version has a much longer hose for manipulating the logistics of a bathroom.The idea is simple enough, but works like a charm. I tried the short hose with the threaded end at my outside hose faucet. It produced a powerful rinsing flow in the bore of the horn. And I briefly tried the longer bathtub version on my own tub faucet. It fit really nicely, but my faucet has a shower diverter that can't handle the back pressure. It should work in many hotel tubs, though.Here is a spout shape similar to mine. Despite the nearly square profile, the hose fit on and stayed nicely. The problem in this case was the pull up diverter. It is not well sealed internally, so water will spray out around the hole, as indicated in the picture.In the included instructions, Mr. Ricker describes a thorough cleaning process using his product(s). However, I think it's almost more valuable as a quick between-full-cleaning rinse out. If you rinse the horn regularly it would keep it much cleaner on an ongoing basis. I have sometimes played in dusty conditions and wished I could easily rinse the horn out afterward. This would have done the trick. I would have taken out the main tuning slide (the tubes after that point don't collect much grime), put the hose on the tub faucet, put the fitting in the leadpipe, and run the water for a few seconds. Then I would have blown out the water, dried the horn, and put it to bed. Five or Ten minutes would be enough.He sells them individually, or as both types in one kit. Learn more on the website:QuickHornRinse.comGeneral Tuba-Euphonium BlogSat, 19 Jun 2010 02:31:57 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=4E0C515D-D560-F602-6C796D2C2F871E72Finally! Some Help to Avoid Dry Mouth
http://www.dwerden.com/blog3/display_blog.cfm?bid=3D750D4A-FE7F-FF14-EA4C43C386C71E5E
I recently returned from a performance at ITEC 2010 in Tucson, Arizona. There were a few logistical problems, not the least of which was that Delta managed to damage my horn's tuning slide. But I borrowed a loaner from Custom Music's display. It's a little like running a foot race in new shoes, but it wasn't too uncomfortable.However, I really didn't welcome the extra mental stress of performing with a brand-new instrument. A thing like that can make a person nervous! And I still remember a recital I played in Arizona in (I think) 1996. My mouth dried out worse than it ever has and I had trouble getting notes out of the horn. (In case you haven't experienced it, the air in Arizona is pretty dry!) Fortunately, for this trip I tried to plan ahead. I had found some mouth spray that claims to help fight dry mouth, so I figured this was the perfect chance to test it. I used some shortly before my performance and had no trouble whatsoever. But I was only playing in one piece, and had plenty of rest at that, so maybe I would have been OK regardless.Two other performers, James Gourley and Matthew Van Emmerik, were having a bit of discomfort with the dry air. Both of them tried the spray and report that it worked as advertised.Over the years I have spoken to many, many players who experience this trouble. My advice (which is still good, regardless of the spray) is to stay very well hydrated for at least the 24 hours ahead of the performance, get a good rest, and avoid caffeine (which tends to dry one out). In my 1996 performance I tried to do those things, but it was hard to manage all those precautions around the schedule of the event. I'm reasonably confident that this spray would have helped.You might find it at your local drug store. If not, here is a link to get it from Amazon:Performance TipsTue, 15 Jun 2010 21:12:48 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=3D750D4A-FE7F-FF14-EA4C43C386C71E5EITEC 2010 - Let's Go Shopping!
http://www.dwerden.com/blog3/display_blog.cfm?bid=0B22EE63-E823-150D-47D689A2CDF768F6
Why does one spend the money and take the time to attend an International Tuba-Euphonium Conference? Certainly to hear some wonderful performances and to meet old friends and make new ones. That is reason enough to go for many. But consider the shopping/research opportunities! There are many posts on my forum about things like: Is the ___ euphonium better than the ____ euphonium? What difference is there between the bells on the Sterling? How different are the Yamaha 842 and 642, or the Besson Sovereign and Prestige? How does that new model of the ____ tuba play? Where can I find sheet music for ____? Who carries the CD's by ____? Is there a place I can compare the GW mouthpieces with the Wick Heritage? ... and so on If you have never attended one of these events, you may have no idea of the opportunities to compare/find/try various items. It is something that is nearly impossible to match any other way. Below is a little tour of the displays. I probably missed a few, but most are represented. Consider the expense the vendors took to get there. Try to estimate how many dollars-worth of instruments and accessories were available to attendees. It is a staggering number, I'm sure. As an aside, when I thought back over about 3 decades of going to these events in the USA, it seems like the most consistent participants (for vendors) have been Custom Music and Miraphone. For those who pay attention, a certain amount of appreciation of those two companies would seem natural. So thanks, folks! === The following vendors were each in their own room for the most part === CUSTOM MUSIC INTERNATIONAL: Custom had about 15 tubas and 6 euphoniums. There were 4 Sterlings in a variety of configurations, plus a B&S and a Hirsbrunner. I enjoyed another chance to play the various models one after another. I once again was convinced that for full-time band playing I might prefer the heavy red bell in the larger size. They had one that was about 11-3/4", which I liked very much. But for recital and chamber playing, the 300mm bell still seems like the best bet. Sterling is constantly working on improvements and innovations. This time I saw a new trigger mechanism on one of the horns. It is simpler, with an extremely easy base tuning adjustment. It locks the main slide to its tuned position with a thumb lock. Turn a quarter turn, move slide where you want to tune your Bb, and turn back a quarter tune. Takes maybe 2 seconds. They are also using a lighter spring on the trigger paddle. They are still using the same clever slide guard, which I see has shown up on some Besson players' horns as well. Another Sterling was using a different valve set. Seemed as smooth and had slightly narrower finger spacing, as well as a simpler valve guide system. I'm not sure if that will be carried into future production or not, but I am going to be testing one at home for a while. I'll keep you posted. For fun I also tried the PT22 Eb tuba, and it was a honey! Blows very evenly in all ranges and had good intonation everywhere. Nice piston valve action, plus a rotor to handle pitch issues (no compensating system, so this rotor takes care of the intonation issues that would otherwise be troublesome). MEINL: I didn't spend much time here, partly because I didn't find their little corner of the world until late in the conference (they were at the end of a hallway). They had several horns on display, pretty much like what I saw at ITEC 2 years ago in Ohio. They also had that cute little "travel tuba", which you can see in the hands of the player on the right side of the photo. BESSON: They had the usual line-up there, including baritones, euphoniums, and tubas. I went in to give more of a blow to the Prestige euphonium, but they one I tried had pretty sluggish valves (not uncommon in horns for conference displays). The displayed horns seemed to be made well and consistently. YAMAHA: They had a few tubas, euphoniums, and baritones, and even an alto horn. No new models or features in the euphonium realm. I didn't have a chance to play these on my trip, but I don't believe they would be different from ones I have played before. BRASSWIND: They had some Bessons and Yamahas on display, if I recall correctly, and they had the only York on display (for obvious reasons). I had a chance to talk to the salesperson, and he was very helpful in my questions about a case. (I was very interested because of the damage Delta managed to inflict on my horn, which has flown and otherwise traveled in the same case with no problems for 15 years.) === The following were all in one large theater room (along with many accessory vendors) === Shown with a narrow gap above.Shown with a wider gap above. ADAMS: Given their limited line for a tuba-euphonium show, Adams were there in force, with about half a dozen euphoniums, all different. The differences were in materials and finish. Quite a diverse selection, given that there are no other options as far as I could tell (no trigger, no trim options, no Amado keys, and they don't even use a trigger lock). I welcomed the chance to play this new brand. My impression was that the tone was light, as others have stated in my forum. However, I'm not 100% sure of that. As the room cleared out a bit and I could hear a little of the room echo, it seemed like there was good projection into the hall. It surely had very nice response.They also have a "gap adjustment" on the leadpipe. It is a mechanism that moves the mouthpiece a little inward or outward, to vary the gap between the end of the shank and the start of the inner leadpipe (hidden inside the receiver). Photos are to the left. Sorry about the blur, but you can see the mechanism in two positions. I added red blocks to show the changes. (It is the inner barrel that moves, not the outer piece with the thumbscrew.) I could feel and hear the difference as I tried moving this piece. Interesting. Despite all the years brass instruments have been around, people keep coming up with ideas. DF MUSIC: He was here with a nice assortment of Wick mouthpieces and mutes. Also some interesting accessories (like the embouchure massager, which I will cover in a later post). Shown were the Wick standard, Heritage, and Ultra. KING/CONN: It looked like all they actually displayed for the side-valve euphoniums were two Kings, but that's OK, because they are the better choice of the two brands. Played one for a minute and it seemed as good as ever. I think it's still my favorite among the mid-level non-comp brands. JUPITER: They were there with their new compensating euphonium. It played pretty well, but still needs some work. The horn had a couple notes that were pretty far out of tune, and not the ones you usually encounter. If they can address those issues, it might be very competitive in the mid-price region. I think they said the price will likely be in the $3k's. ARMY RECRUITING AND GW MOUTHPIECES: No, these two were not in partnership, but it made a convenient 2-in-1 shot. Nice assortment of mouthpieces, and the Army had a few trinkets (I came home with a camouflage lanyard). No photo of this booth. Not sure how I forgot! NIRSCHL: I noticed they had a compensator, so I played it. I didn't think it was quite ready for prime time yet. It was stuffy on the 4th valve and not as centered as it should be elsewhere. As I discussed this with the reps, they handed me another one to play. It was also a compensator, but its design ran the compensating loop through the lower part of the valves. That gave it a very different look, and it actually responded better than the other one. It was interesting, but I didn't have time for more testing. JUST FOR BRASS: Pat Stuckmeyer's company was there with tons of sheet music and accessories. They showed a brand new gadget to help clean out your horn (review coming later on this blog). The photo below shows one side of their CD rack. They also had cases, mutes, etc. WILLSON: They had the usual lines, 2900, 2975, 2960, and 2950. The 2960 on display had a trigger, which was a surprise. I didn't have a chance to ask if it was standard, optional, or experimental. It's a good idea, though. I didn't notice any playing differences compared to the Willsons I played in previous years in the brief tests I gave them. I took a couple extra photos of the 2975. This is the model with four inline front valves, but it is still compensating. KANSTUL: They seem quite serious about the low brass market. They have a new York-based tuba that was getting a lot of attention, and they seem to have done some work on their compensating euphonium. It plays better than the last one I tried. They had the some lovely-looking model as I saw at a previous TUSAB conference, with a silver body and bronze bell. However, I wonder if the removable bell hampers response, because I didn't seem to be able to get the horn "going" in any satisfying way. There was no standard compensating model to try (although it was late in the show - maybe they had one and sold it). They have the only American-made compensator I can think of (ever). MIRAPHONE: Lots of horns. I spent quite a while play-testing the 5050 back and forth with my Sterling 300mm heavy red bell. The 5050 has a somewhat bigger sound, but there is less of a singing quality inherent in it. It's very dark and smooth, and is quite easy to play, especially given the volume it puts out. When I played a powerful piece, like Barat's Introduction and Dance, the Miraphone was well suited to the task. But when I played a more playful piece, like Mendez's Chiapanecas, my horn won clearly. The Miraphone just couldn't dance as well in that context. On other things, like Broadway songs, Grainger's "Brisk Young Sailor" from Lincolnshire Posy, the Holst 2nd Suite solo, or Carnival of Venice, I preferred my own, but that is probably a matter of personal taste. === The following were all in the conference sign-in room. === EUPHONIUM.COM: Adam Frey's company was there with lots of intersting sheet music. Good place to find new and hard-to-get music. HICKEY'S MUSIC: Also there with a great selection of sheet music, CD's, and some accessories. (I even bought a neat little accessory bag.) MOUNTAIN PEAK MUSIC / SUMMIT RECORDS: Two vendors are shown here for convenience. Both well-known to ITEA members because of their presense in the Journal. TUBA-EUPHONIUM PRESS: And not surprisingly we had a booth for the Tuba-Euphonium Press. This is a publishing company that carries many of our historic titles as well as some music that has too little sales potential for a standard publisher but can be the perfect fit for a euphonium recital. Tending the booth at this time we see Adam Frey and James Gourlay. ARTISTS' CD'S: This table was there for the convenience of the performing artists at the conference as well as their fans. It was an easy place to find a CD by one of the performers. === And on the bulletin board... === It's not just the booths that have opportunites. Three, count 'em three double-bell euphoniums were offered for sale by private parties. Here are the flyers I saw. General Tuba-Euphonium BlogSun, 06 Jun 2010 02:42:05 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=0B22EE63-E823-150D-47D689A2CDF768F6Music Should Be Fun - And So Should Arranging
http://www.dwerden.com/blog3/display_blog.cfm?bid=ADF14337-D846-D17C-CB9227B67BDEF227
If you are reading this blog, you are probably a musician. And if you are a musician, you probably stay with music (either as a hobby or profession) because you enjoy it, right? It's certainly true for me.I'm mentally composing an article for a later time about enjoying playing AND practicing music. But for today's post I'd like to focus on the fun of writing/arranging music.I've been writing arrangements since I was in college. And sometime several years after that, my arrangements actually started sounding good. Truth be told, I ALWAYS enjoy arranging. It's a little like doing a puzzle - how do you make a piece for full orchestra sound right when played by a euphonium-tuba quartet? How can I keep the harmonies sounding clear without putting the top parts in the stratosphere? How can I work it out so that every player in the ensemble has an interesting part? And so on.But this past year I have had an especially fine time! For one thing I got back to pencil and paper to do the drafts. It seems less efficient, doesn't it? If I could only draft it using Finale, then I can just tweak it right there. Otherwise I write the whole thing out in pencil (well, "scribble" might be a better word) and then I still have to enter it into Finale. But I find that I think more freely using pencil and paper. I'm not thinking about layouts, formats, etc. - just the notes. It was a nice reminder about how well "old technology" can work.This Fall I set out to do a few arrangements that were even more fun than usual. I chose some "novelty" songs that were written around the turn of the century (the previous one, not the one from just 10 years ago). They were great fun to arrange, and have the potential to be great fun to play, too.First was "Daddy Wouldn't Buy Me a Bow-Wow" by Tabrar. The original song was a tale of a young child who wanted a dog, but whose father would not buy one (maybe you figured that out already). The composer made the melodies fit the lyrics, which are at the end of this post. As with the other songs discussed here, arranging a novelty song like this means one can be a bit more "cute" in the shaping of lines, articulations, etc. I have no doubt, given the imagination of many groups, that some might have a little more "programmatic" fun during performances.Then I wanted to do "Learning McFadden to Waltz" by Carey. Here we have the story of a man who wanted to learn to dance, but who was "blessed" with feet too large to seem dance-able. Look at the lyrics below to get an idea. I decided to guild the lily and write a little more graphic "learning curve" into the arrangement. The first time through the chorus, I wrote the solo tuba waaaaay off the 3/4 beat. But by the final chorus, the tuba solo waltzes easily along with rest of the ensemble. Here is an audio file, which was thrown together quickly but might give you an idea of the piece: Learning McFadden to WaltzLast on this list was "Mosquitoes' Parade" by Whitney. This one has no lyrics, but a very clever melody that works well when set in a ponderous mode. So I renamed it to "Parade of the Giant Mosquitoes" to fit the low brass medium. It is basically a march in 6/8 time with engaging harmonies that help move the verses along.What's next? Stay tuned, because soon I'll have a new arrangement that will be just as much fun, but will be a little more traditional musically. And probably later this summer I'll have a nice new solo/piano piece ready.Below are links to the pieces and the promised lyrics. I hope groups enjoy playing them as much as I enjoyed writing them!Daddy Wouldn't Buy Me a Bow-WowParade of the Giant MosquitoesLearning McFadden to WaltzDaddy Wouldn't Buy Me a Bow-BowI love my little cat, I doWith soft black silky hairIt comes with me each day to schoolAnd sits upon the chairWhen teacher says "why do you bringThat little pet of yours?"I tell her that I bring my catAlong with me becauseDaddy wouldn't buy me a bow-wow! bow wow!Daddy wouldn't buy me a bow-wow! bow wow!I've got a little catAnd I'm very fond of thatBut I'd rather have a bow-wowWow, wow, wow, wowWe used to have two tiny dogsSuch pretty little dearsBut daddy sold 'em 'cause they usedTo bite each other's earsI cried all day, at eight each nightPapa sent me to bedWhen Ma came home and wiped my eyesI cried again and saidDaddy wouldn't buy me a bow-wow! bow wow!Daddy wouldn't buy me a bow-wow! bow wow!I've got a little catAnd I'm very fond of thatBut I'd rather have a bow-wowWow, wow, wow, wowI'll be so glad when I get oldTo do just as I "likes"I'll keep a parrot and at leastA half a dozen tykesAnd when I've got a tiny petI'll kiss the little thingThen put it in its little cotAnd on to it I'll singDaddy wouldn't buy me a bow-wow! bow wow!Daddy wouldn't buy me a bow-wow! bow wow!I've got a little catAnd I'm very fond of thatBut I'd rather have a bow-wowWow, wow, wow, wowLearning McFadden to WaltzNow Terrence McFadden he wanted to waltzBut his feet were not gauged that waySo he saw a professor and stated his caseSaid he "Sure I'm willing to pay"The professor looked down in alarm at his feetAnd he viewed their enormous expanseThen he tacked on a five to his regular priceFor teaching McFadden to danceChorus:Oh, one, two, three, balance like meYou're quite a dancer but you have your faultsYour left foot is lazy, your right foot is crazyBut don't be uneasy I'll teach you to waltzHe took out McFadden before the whole classAnd he showed him the steps once or twiceBut McFadden's big feet got tied up in a knotSure, he thought he was standing on iceAt last he broke loose and struck out with a willNever looking behind or beforeBut his head got so dizzy he fell on his faceAnd chewed half the wax off the floorChorusWhen Terrence had practiced the steps once or twiceSure he thought he had put them down fineHe went to a girl and he asked her to danceAnd wheeled her out into the lineHe walked on her feet and he fractured her toesAnd said that her movements were falseSure the poor girl went 'round for two weeks on a crutchFor learning McFadden to waltzChorusGeneral Tuba-Euphonium BlogWed, 19 May 2010 00:23:09 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=ADF14337-D846-D17C-CB9227B67BDEF227New Jobs Topic on Euphonium-Tuba Forum
http://www.dwerden.com/blog3/display_blog.cfm?bid=7423927C-D400-F1DF-A300E6466304C505
I have just added a new Category to the Euphonium-Tuba Forum, and the name is "Paying Jobs." The purpose is not to advertise vacancies as they arise, but rather to start creating a list of possible places to look for future employment. So I intend to list information about service band opportunities (full-time positions), bands like River City Brass (which is a pay position, though not a full-time living), etc. I suspect the list will eventually contain many venues that would be, at best, a supplemental income, but it will still be more than just a pick-up gig list.The first entry, for example, is the general information for auditions at Busch Gardens. This particular venue uses brass groups in various forms, mostly for seasonal employment.I welcome information about the gigs that fit this category. It is open for new threads if you are a member of the forum (which is free). Just go here to read or to let others know about positions:Paying JobsTuba-Euphonium Site NewsFri, 07 May 2010 19:00:07 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=7423927C-D400-F1DF-A300E6466304C505Learn by Listening
http://www.dwerden.com/blog3/display_blog.cfm?bid=326C8A7E-EF7C-4B76-2089A797C990E341
My students already know what I'm going to say in this paragraph, so they can skip to the next. While it may be hard to hear, in the world of brass players, euphoniumists are not the "state of the art." There are some great players who specialize in euphonium, but the top of the heap are still found among trumpet players. They have had the longest tradition of "hot seat" playing; and they have the really great cornet soloists who started our band tradition and wrote method books still in use today. When we wish to listen to the best brass players so we can learn from them, trumpet players have to be on your list!On my Trumpet Videos page I have recently added some great new videos. I would especially suggest you listen to Sergei Nakariakov playing his flugelhorn on Haydn's Cello Concerto. This is an outstanding example of performing a piece written outside the normal envelope of brass technique, but doing so with apparent ease and obvious musicality. Start with the link below for the first movement, then go on to the next two movements you will find on that page.Sergei Nakariakov, Haydn Cello Concerto, Movement 1Performance TipsSun, 25 Apr 2010 00:44:53 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=326C8A7E-EF7C-4B76-2089A797C990E341New Video Browse Tool - 685 Brass Music Videos!
http://www.dwerden.com/blog3/display_blog.cfm?bid=C5CDBE08-C4F3-8323-3CB44B7995382A03
There are some exciting new changes in the Brass Music Videos section of this site! In order to make it easier to find the video or want, or to discover a video you hadn't considered, I have gone away from the YouTube player and have now given you a data-driven search or browse feature.Videos are categorized by instrument or ensemble. Choices include Brass Ensemble / Brass Band, Euphonium and Baritone Horn, French Horn, Trumpet and Flugelhorn, Trombone, and Tuba. Those links will let you browse through all selections within the category, organized by performer and title. Or you can use a Universal Search Tool, which lets you drill down through instrument, artist, and title.I think you will find the new method much easier to use. Enjoy!Brass Music VideosVideosSat, 03 Apr 2010 22:32:27 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=C5CDBE08-C4F3-8323-3CB44B7995382A03Becoming a Famous Player/Teacher
http://www.dwerden.com/blog3/display_blog.cfm?bid=903FFFB7-B246-B8D6-4AA7E3CC2EFC1DC9
So you would like to be the next wonder of the euphonium or tuba world, you say? You would like to have lots of playing opportunities and a chance to teach the next generation of euphonium players? Perhaps you are curious how to go about this. The good news is there are no secret techniques required.And don't think you will get there solely by being lucky. A friend of mine was proud of the little garden he had in his back yard. One day a neighbor said, "Oh, aren't you lucky to have such a nice garden!" He thought (although did not express) that it was not luck - it was consistent hard work! The most well-known artists in our world today did not get there without hard work. They probably had some good luck along the way; but they may have had to overcome some bad luck, too.So how do you get there? First, you need to have talent. But I assume if you are thinking of becoming a famous player you already believe you have some talent. More good news here: you don't necessarily need to have quite as much talent as someone else who has achieved this goal. But there could be bad news: you may need to have more talent than someone else to achieve the same goal.That is because the other factor involved is the amount of consistent hard work you are willing to apply to your goal. When you look at some of the most famous euphonium players, for example, you see people who not only had enough talent to serve them well, but also put in long, hard hours to get where they are and to sustain their position.You need to spend an enormous amount of time practicing. Learn the Arban book inside and out; that would be a good start. Develop an extended range. Build fast and clear tonguing technique in single, double, and triple tonguing. Work on clean lip slurs. Use a metronome and electronic tuner to help you learn the mechanical perfection that will enhance the freedom of expression a good musician will apply to the music. And listen, listen, listen! Listen to fine artists of all types, instrumentalists and vocalists. Their expression and musicality will gradually sink in.All along the way, look for performance opportunities. Churches are always looking for musicians. Play in local bands. Form a chamber ensemble (brass quartet/quintet, euphonium-tuba quartet) and find places to play. You won't become a great artist if you don't get out of the practice room fairly often. You need to play in front of other people.Always have a few solos you could perform on very short notice. You never know when a chance will show up, and it's good practice to have some solos at performance level at all times. And do you darnedest to accept any gig offered to you. Is it a bad gig? Maybe it's outside in cold weather. Fine - do it. You will develop some inner strength and may even learn how to do things when your chops aren't at their best.But the most important thing to remember is that your work doesn't end when you reach the top. You will need to make compromises in your personal and family life to get to the top and to stay there. One of the skills you need is to be able to balance all that. And while you are balancing everything, you still need to stay healthy, so you have to work at a pace that is compatible with your body's needs.I had a couple conversations with Brian Bowman back in his Air Force Band days. By then he was pretty well known in the euphonium world. To get there, he had volunteered to be the soloist for the U.S. Bicentennial Band, which toured a month on and a month off throughout the nation's bicentennial celebration (about 18 months). It was a great way to get experience and to get exposure, but a lot of work. Even after that was through, he would tell of lots of red-eye flights in order to do a gig and get back in time for an AF Band rehearsal the next morning. He's always been a hard worker.Or consider Steven Mead. He also paid dues along the way and did a wide variety of different things to get where he is. Do you think he can just coast now? Not so much. A letter from someone who had just met Steven described what Steven related about his basic schedule. Obviously he travels a great deal and performs in time zones around the clock. Even when home, some of his days are longer than I would like to try to maintain. He may travel to Manchester (2 hours) to teach 12 hours with no breaks, then drive home again. That's 16 hours straight. Assuming a little "home time" after that, there is no room for 8 hours of sleep.So if getting to the top is something you have the drive to do, go for it! Just be aware of the requirements first so you are prepared mentally.And if that is not your goal, then I hope this little article gives some perspective on what it has taken for the soloist you might hear some day to be there for you and the rest of the audience. Music is one of the most fun professions I can think of. But it is also demanding. General Tuba-Euphonium BlogWed, 24 Mar 2010 12:57:45 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=903FFFB7-B246-B8D6-4AA7E3CC2EFC1DC9Video - Dave Werden, Beethoven Theme & Variations
http://www.dwerden.com/blog3/display_blog.cfm?bid=83607D96-BED7-AA38-390EAB712581D3F6
I posted a video on YouTube of the Seven Variations in Eb Major (based on Mozart's Opera "The Magic Flute") by Beethoven. It comes from a recital I took part in at the University of Connecticut during my graduate studies. This is during the semester I studied with cello instructor Mary Lou Rylands. The piece was originally for cello and piano. I am playing from the cello part, not from an arranged version.So euphonium players looking for new material could simply get this or some of the other Beethoven works for cello and piano. There is a book with the three available works collected. It includes:12 Variations on a theme from Handel's Oratorio Judas Maccabaus, G major, WoO 4512 Variations on Ein Madchen oder Weibchen from Mozart's Zauberflote, F major, op. 667 Variations on Bei Mannern, welche Liebe fuhlen from Mozart's Zauberflote, E flat major, WoO 46Here is a link to purchase the set:Variations for Piano and Violoncello by Ludwig van BeethovenVideosMon, 22 Mar 2010 00:58:11 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=83607D96-BED7-AA38-390EAB712581D3F6For Advanced Brass Instruction... Sing a Hymn
http://www.dwerden.com/blog3/display_blog.cfm?bid=4336E703-C147-8624-C7D9738AD5A9513B
Sometimes I quiz a group of players in a master class or studio and ask them why they are "here" (at the university, event, whatever). Typically the first answers have to do with learning to play euphonium or tuba better. Then I try to lead them to my preferred answer - we want to learn how to play music better.My own teaching style sometimes relies on having students listen to other instruments or vocalists. This is critical to improving our skills. Euphonium artists, even the best of the best, don't have all the answers about making music. We will benefit from broader listening.In a discussion with Brian Bowman many years ago, he said, "It's a funny thing - a euphonium sounds really nice at middle volumes, but it is quite difficult to play very softly and quite difficult to play very loudly." That nicely sums up one of the barriers to making fine music on the euphonium. We have to work and work to widen our dynamic range so we can respond to the needs of the music we wish to play. But there are other barriers. The non-directional characteristic of the euphonium can make clarity difficult, for example.In my opinion, the largest barrier we have to making the best music we can is that we limit our concept of music if we listen carefully to only euphonium or even to only brass instruments. So I have my students listen to string players and vocalists. String players have a very long tradition of technical prowess and musical beauty. A violin is much more facile than a brass instrument and is capable of a few other expressive "techniques" that are not convenient on brass. In addition, string players just plain think differently than most brass players. When they start to learn a piece, they play will full musical expression right from the start and gradually work out tough passages. When most brass players start to learn a piece, they do a cursory run-through and then begin to woodshed the tough passages. For brass players, the musical expression comes along more gradually. (These are general observations - you mileage may vary!)An even more interesting lesson can be learned when listening to vocalists. In addition to not having the constraints of a more-or-less fixed 12-tone chromatic scale, they also have a natural focus on making the lyrics work. Some of their expression comes not from the shape of the notes, but rather from the "needs" of the words. They emphasize certain syllables or change the tempo subtly in order to let a syllable fully sound. We don't have the same reason to do that on brass instruments... or do we? We often play vocal music, although this sense that some notes need more emphasis is not limited to vocal music.First, consider the case where you are playing a song that is well-known, such as Danny Boy. Chances are most of the audience will know the words and will be thinking them as you play. Wouldn't you want to play in a that makes the "mental-singing" experience of your audience more natural and enjoyable? Even when performing a vocal work that the audience doesn't know, you may find that following the words (and meaning!) in your mind will enhance your playing. And there is a good chance that the composer integrated the words and the flow of the line as one entity.Recently I have realized that I was not singing the hymns at church with much value. I was mostly focused on the notes (especially when trying to sing the bass line) and making sure my pitches were correct. But then I started trying to actually sound good! I pronounced the words in the same way I would try to say them if I were reading scripture that day, with the proper emphasis and care of syllables, and with the proper shape of the words, not just the notes. It did amazing things for my awareness and has carried over to some extent into the rest of my playing. (And it helps me appreciate some of the great words and meaning in some of these hymns!)Ah, but the lesson does not stop at just musical expression. I learned there is a parallel between singing and euphonium construction. That's an odd statement, isn't it?Many of us have heard choir directors scold their singers to keep their mouths open wider. This creates a larger chamber for the sound to resonate (for better tone) and lets the sound project better. So I am trying to do that. Much to my surprise and dismay, I learned that controlling the pitch is more difficult when I open my mouth wider. Or maybe it's not more difficult, but just needs a different approach. I need to support the tone enabled by my open mouth and "feel" the tone. Then I let the pitch ride within that tone, which seems to do the trick. In any case, I have to focus on pitch more carefully. I think many brass players run across a similar thing when switching to a larger-bore instrument. If they don't properly support the larger horn with more air, they will have more trouble controlling the pitch. Playing a smaller horn is just easier, even though it is harder to really project with a quality tone. Similarly, singing with my mouth less open is easier, as long as I don't care greatly about good tone and projection.So the next time you sing in church or other worship service, or even when you sing in the shower or car, treat the words the same way a good singer would. Go for a quality tone. Get some resonance and projection. You may be surprised at some of the side benefits!Performance TipsTue, 09 Mar 2010 13:57:03 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=4336E703-C147-8624-C7D9738AD5A9513BRobert Isele, In Memoriam
http://www.dwerden.com/blog3/display_blog.cfm?bid=118A98DB-F166-324C-877A2F09300A5589
I have just learned that former U.S. Marine Band trombone soloist Robert Isele died on December 8, 2009. The following is from the Marine Band's newsletter, "Notes" (Mar. 2010):Master Gunnery Sergeant Robert Isele, USMC (Ret.), of Harrisburg, Pa, passed away on Dec. 8, 2009. Master Gunnery Sgt. Isele joined the Marine Band in 1937 and quickly became principal trombone. He was one of the most frequently featured soloists in the band's history. After retiring from "The President's Own" in 1961, he went on to have a successful career in the National Symphony Orchestra.Isele was almost legendary for his technical and musical abilities. Enjoy this free 1959 recording of Robert's playing with the Marine Band:Robert Isele Playing Piece Concertante, by Samuel RousseauFree Downloads - Recordings and MusicSat, 27 Feb 2010 22:27:28 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=118A98DB-F166-324C-877A2F09300A5589International Euphonium Institute 2010
http://www.dwerden.com/blog3/display_blog.cfm?bid=0C9901F8-AFFC-219E-D0F89F2863B87E06
It's almost that time again. The International Euphonium Institute (IEI) will take place in June, from June 20 to June 27. Artists/Staff include:EuphoniumDavid Childs (U.K.)Adam Frey (USA)Manfred Heidler (Germany)Roger Behrend (USA)Jamie Lipton (USA)Martin Cochran (USA)TubaPatricio Cosentino (Argentina)Bernard H. Flythe (USA)Cello (!)Charae Kruger (USA)TromboneTom Gibson (USA) PianoCaryl Worthington Conger (USA)Magdalena Shumanova (Bulgaria)"Cello?" you might ask. Why? Many of us are familiar with the nickname "Cello of the band" reffering to euphonium. (Or is the cello called the "Euphonium of the orchestra"? - I can never remember.) String players typically have a different approach to musicianship than brass players. During one semester of my Masters program I studied with the cello professor, and it was one of the most valuable learning experiences ever. If you have a chance to study with Ms. Kruger, don't pass it up.Participants of the IEI have a LOT of face time with the artists and staff. You have private lessons, play in and hear recitals, attend valuable master classes and discussions, and enjoy some great social time. This is a very unique experience.Sponsors this year include Miraphone, Yahama, Sterling, Willson, and Woodwind/Brasswind.Read more at the link below:http://www.euphonium.com/ieifestival.htmlGeneral Tuba-Euphonium BlogFri, 26 Feb 2010 23:25:06 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=0C9901F8-AFFC-219E-D0F89F2863B87E06Three Sacred Palestrina Pieces - Euph/Tuba Quartet
http://www.dwerden.com/blog3/display_blog.cfm?bid=E13E6D45-FE55-82ED-8D53F640019EC5EA
I have recently finished a new arrangement for euphonium-tuba quartet. This one is called Three Sacred Palestrina Pieces, originally composed by Giovanni Pierluigi da Palestrina.Now and then I try to come up with something that is clearly simple enough for an average high school group, yet has enough musical substance to be a good choice for an advanced group. This is one such piece. The music was originally for voices and there are no flashy technical passages. However, the lines and harmonies Palestrina used are beautiful, and that translates very well for euphonium/tuba quartet.Cimarron Music has this piece on hand right now. Here is the page:Three Sacred Palestrina Pieces - Euphonium/Tuba QuartetAnd here is a brief sample of the score. As you can see, the piece is very playable:Three Sacred Palestrina Pieces - Score PDFMy original inspiration for writing pieces that were accessible for younger players came from a session I heard Harvey Phillips give when we were performing at Tennessee Tech many years ago. He was discussing euphonium-tuba ensemble pieces, and he said there were a lot of easy pieces, but the musical quality was low. And there were many really good pieces, but they were very difficult. Harvey said that we need more pieces written that are good musically but are playable by younger groups. I hope you agree that this one satisfies those specifications.General Tuba-Euphonium BlogThu, 18 Feb 2010 13:22:29 GMThttp://www.dwerden.com/blog3/display_blog.cfm?bid=E13E6D45-FE55-82ED-8D53F640019EC5EA