Helpful Information for North Allegheny High School Tubas

Helpful Information for North Allegheny High School Tubas

High School and University Audition Repertoire

Methods and Studies

Level 3

Adler, Tubetudes, Southern

Arbans, Complete Conservatory Method for Trombone and Euphonium, Fischer

Arbans, The Arban-Bell Tuba Method, Colin

Arban-Prescott, Arban-Prescott First and Second Year, Fischer

Beeler, Method for BB-flat Tuba, Book II, Remlock

Bell, Foundation to Tuba and Sousaphone Playing, Fischer

Bell, Tuba Warm-ups, Colin

Cimera, 73 Advanced Tuba Studies, Belwin

Fink, Studies in Legato for Bass Trombone and Tuba, Fischer

Getchell, Practical Studies, Books 1 & 2, Belwin

Knaub, Progrssive Techniques for Tuba, M.C.A.

Kuehn, 60 Musical Studies for Tuba, Book 1, Southern

Kuehn, 60 Musical Studies for Tuba, Book 2, Southern

Lass, Studies and Melodious Etudes, Book I-III, Belwin-Mills

Little, Embouchure Builder for BBb Bass (tuba), Pro Arte

Little, Practical Hints on Playing the Tuba, Belwin-Mills

Ostrander, Shifting Meter Studies, King

Pares, Pares Scales, Rubank

Tyrell, Advanced Studies for BB-flat Bass (tuba), Boosey & Hawkes

Vanders Cook, Vanders Cook Etudes for Tuba, Rubank

Vasieliev, 24 Melodious Etudes for Tuba, King

Level 4

Adler, Tubetudes, Southern

Arbans, Complete Conservatory Method for Trombone and Euphonium, Fischer

Arbans, The Arban-Bell Tuba Method, Colin

Bell, Tuba Warm-ups, Colin

Cimera, 73 Advanced Tuba Studies, Belwin

Clarke, Technical Studies, Fischer

Fink, Studies in Legato for Bass Trombone and Tuba, Fischer

Knaub, Progrssive Techniques for Tuba, M.C.A.

Kopprasch, 60 Selected Studies, King

Kuehn, 60 Musical Studies for Tuba, Book 2, Southern

Little, Practical Hints on Playing the Tuba, Belwin-Mills

Ostrander, Shifting Meter Studies, King

Roberts, 43 Bel Canto Studies for Tuba, King

Sear, Etudes for Tuba, Cor

Tyrell, Advanced Studies for BB-flat Bass (tuba), Boosey & Hawkes

Vasieliev, 24 Melodious Etudes for Tuba, King

Level 5

Arbans, Complete Conservatory Method for Trombone and Euphonium, Fischer

Clarke, Technical Studies, Fischer

Knaub, Progrssive Techniques for Tuba, M.C.A.

Kopprasch, 60 Selected Studies, King

Lachmann, Funfundzwanzig Etuden fur Bass Tuba (25 etudes), Hofmeister

Sear, Etudes for Tuba, Cor

Solos

Levels 3-4

Bach, Air and Bourree, Fischer

Bach, Patron of the Wind, Edition Musicus

Bach, Siciliano (Sonata #2), Brodt

Bach-Bell, Air and Bourree, Fischer

Barat, Introduction and Dance, Southern

Barnet, Four Segments, Fema Music

Beach, Lamento, Southern

Beethoven, Variations on a Theme by Handel (Judas Maccabaeus), Fischer

Bencriscutto, Concertino, Shawnee

Bernstein, Waltz for Mippy II, Schirmer

Becersdorf, Sonata for Bass Tuba, Southern

Boda, Sonatina, Kjos

Capuzzi, Andante and Rondo, Hinrichsen

Catozzi, Beelzebub, Fischer

Childs, Seaview, Cole

Dedrick, Touch of Tuba, Kendor

Frackenpohl, Concertion, King

Frackenpohl, Variations for Tuba, Shawnee

Frackenpohl, Variations (The Cobbler’s Bench), Shawnee

Golterman-Bell, Concerto No. 4, Fischer

Haddad, Suite, Shawnee

Handel, Allegro from “Concerto in F” Ludwig

Handel, Honor and Arms from Samson, Schirmer

Handel, Larghetto and Allegro, Belwin Mills

Handel, Sarabande from Concerto in F Minor, Ludwig

Handel, Thrice Happy the Monarch, Ludwig

Handel-Bell, Variations on a Theme of “Judas Maccabaeus,” Fischer

Hartley, Aria, Elkin-Vogel

Hayes, Solo Pomposo (H. Filmore), Fischer

Holmes, Lento, Shawnee

Lebedev, Concerto in One Movement, Edition Musicus

Ledbedjev, Konzert, Hofmeister

Marcello, Sonata No. 1, Southern

McKay, Suite for Bass Clef Instruments, University Music Press

Mozart, O Isis and Osiris, Brass Press

Mozart, Serenade, Shawnee

Nehlybel, Concert Piece, Kerby

Ostrander, Concert Piece in Fugal Style, Edition Musicus

Presser, Concertino, Presser

Presser, Sonatina, Presser

Presser, Second Sonatina, Presser

Purcell, Arise Ye Subterranean Winds, Edition Musicus

Reed, Fantasia A Due, Belwin Mills

Schmidt, Serenade, WIM

Schroen-Spencer, Fantasie, Fischer

Schumann-Bell, Jolly Farmer, Fischer

Sear, Sonatina, Cor

Sowerby, Chaconne, Fischer

Tcherpine, Andante, King

Tcherepnine, Andante, Belaieff

Telemann, Adagio and Allegro (from trumpet concerto), Southern

Telemann, Prelude and Allegro, Southern

Tomasi, Etre Ou Ne Pas Etre (3 trb. acc. av.), Leduc

Uber, A Delaware Rhapsody, Kendor

Uber, Summer Nocturne, Southern

Vaughan, Concertpiece No. 1, Fema Music

Vaughn-Williams, Six Studies in English Folk Song, Stainer and Bell

Vivaldi, Concerto in A Minor, Edition Musicus

Vivaldi, Sonata No. 3 in A Minor, Shawnee

Walters, Blow the Man Down, Rubank

Wekselblatt, First Solos for the Tuba Player, Schirmer

Levels 5-6

Bach-Bell, Air and Bourree, Fischer

Barat, Introduction and Dance, Southern

Benson, Helix, Fischer

Bernstein, Waltz for Mippy III, Boosey & Hawkes

Beveridge, Sonata, Southern

Beversdorf, Sonata, Southern

Bozza, Concertino, Leduc

Frackenpohl, Concertino, King

Frackenpohl, Sonata for Tuba and Piano, Kendor

George, Sonata for Tuba and Piano, Manuscript

Gregson, Concerto, Novello

Hartley, Double Concerto (Tuba and Alto Sax), Presser

Hindemith, Sonata for Bass Tuba and Piano, Schott

Jacob, Tuba Suite, Boosey & Hawkes

Jacob, Bagatelles, Emerson

Presser, Capriccio, Presser

Russell, Suite Concertante, Accura Music

Schmidt, Serenade, Western International

Spillman, Concerto, Edition Musicus

Spillman, Two Songs, Edition Musicus

Stevens, Sonatina, Southern

Swann, Two Moods, Chamber Music Library

Vaughan-Williams, Concerto for Bass Tuba, Oxford University Press

Vaughan-Williams, Six Studies in English Folksong, Galaxy

Wekselblatt, Solos for the Tuba Player, Schirmer

White, Sonata, Ludwig

Wilder, Elegy for the Whale, Margun

Wilder, Sonata, Mentor

Wilder, Suite No. 1 (Effie Suite), Margun Music

Wilder, Suite No.4 (Thomas Suite), Margun Music

Selecting a Mouthpiece

1. Rim: Narrow rim greater flexibility, less endurance

Wide rim greater endurance, less flexibility. Players with soft fleshy lips find this useful.

Flat rim comfortable, but holds the lips keeping them immobile

Medium-wide rim greatest compromise between flexibility and endurance

2. Bite: Sharp bite greater accuracy, less flexibility, but less endurance

Round bite greater flexibility, greater endurance, but less accuracy

3. Cup Diameter: Wide cup low register easier and upper register more difficult

Narrow cup upper register easier and lower register more difficult

4. Cup Depth: Deep cup darker sound, lower register more responsive, upper register flatter, and more difficult

Shallow cup brighter sound, upper register more responsive, and lower register less responsive

Recommended Mouthpieces

The following is a complied list of recommended mouthpieces for the beginning to the advanced brass player. It is VERY important to remember that a mouthpiece is a very personal choice and the student should try a variety of mouthpieces out before purchasing one. As the student progresses there will be the need for the student to purchase a different mouthpiece. For example a junior or senior in high school that has been playing since fifth grade should NOT be playing on a beginner mouthpiece as this will affect the student’s tone, intonation, and air usage. This is only a partial list.

Tuba

Vincent Bach 32 (small), beginning

Vincent Bach 18

Conn 18

Yamaha 18

Conn-Hielberg 120S

Vincent Bach 24

Most Frequently Used Mutes

The standard tuba mute resembles a straight mute. It is the only standard mute for the tuba and is used in solo, ensembles, and band when muted sections are designated. When the mute is inserted, the pitch ascends fourteen to twenty-five cents, depending on the thickness of the corks. With thin corks, the mute goes in further and causes the pitch to go even sharper. It is recommended that the euphonium player adjust the tuning slide outward upon installation of the mute.

Private Lessons and Practice Suggestions

What can my lesson be?

A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.
A chance to correct basic technical problems and to learn new an better ways to solve challenges that the instruments and music present.
A chance to learn new repertoire and to learn about repertoire yet to be studied.
A chance to be a part of a community of players on your instruments; to learn and grow with them. Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.
Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond. As your performing ability improves, so does your satisfaction with music making.

Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems. You cannot “cram” for a lesson or performance; it does not work. Put in the time each and everyday. It shows when you get on stage. There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time. Most stage fright and tension problems are a result of poor/irregular preparation. Here is a basic list of practice goals:

a. Determine your semester goals. Then determine your weekly goals.

b. Decide what you must do today (today’s goals) to realize the weekly goal. Be very specific.

c. Warm-up. This can and should consist of a wide variety of techniques and styles. Feel free to vary you warm-up from day to day.

d. Practice individual patterns or sections of the music that need the most attention.

e. Take a brief rest. Walk away from the instrument to get something to drink and to refresh your mind. This should be brief so as to not lose your focus.

f. Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.

g. Review problem spots from the run-through.

h. Review previous etudes or repertoire.

i. Do some sight-reading. The best way to learn to read is with another player. This can be either duets or playing the same thing together. Sight-reading alone is not nearly as beneficial.

j. Decide on tomorrow’s goals.

k. Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through. If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.

l. Think about the following quotes everyday:

o Nothing happens but unless first a dream

o Go for it! Life is not a dress rehearsal

o All gave some, but some give all. Which am I?

Duets – Find another musician to play with. You can also play solos and etudes together.

This is one of the best ways to improve sight-reading, and it’s a good time.

Listening – Find recordings of professionals that play your instrument and other Instruments. Go and hear as many live performances as you can!

Join Your Professional Association – Make an effort to purchase a membership to your applied professional association, The International Tuba and Euphonium Association at www.iteaonline.org. They will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.

Buying Your Own Music – You should buy and own as much music for your instrument as you can afford. Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.