Search results for: 'tuba-euphonium quartet'

Performing these etudes requires the basics of technique such as flexibility, articulation, cantabile, intonation, slurring, intervals, tonguing, rhythm, scales and developed tessitura. Among the twenty etudes, at least one etude has been composed in each of the twelve tonal centers. Many of these etudes also contain exercises for the contemporary tubist in dimensions such as expanded tonality, ametrical rhythms, non vocal intervalic melody, metric-modulation, finger dexterity, abrupt dynamic contrasts and synthetic scales.

Some of the etudes have metronomic markings suggesting ranges of tempi; these are "goal" tempi. In many cases it is suggested that the performer start at a slower tempo and build up to these goals.

Many of these etudes include obvious quotations from the masterworks of the literature which will remind the performer what preparation is needed for a particular style. Within the twenty etudes, the composer has included over a dozen direct quotations to help the performer. Some of these quotations are very obvious while some have been hidden within the fabric of the composition. As an exercise, the performer may want to write in the names of these quotations as they appear in these etudes.

Although this set of etudes has been specifically composed for the advanced college and professional tubist, performers of intermediate ability may find some of the studies helpful at slower tempi. These etudes will work well for tubas in all keys, although a few of the etudes have been composed especially for the CC tuba.

Gregory Fritze Learn More

"Studies in Ancient Irish Song" serves several purposes for the brass student. One is to give younger players an introduction to lyrical playing which will help prepare them for the greater demands made by the Bordogni and Concone etudes. Another is to challenge more advanced players with the techniques of phrasing and dynamic control required for pleasing melodic interpretation. They can be also used as part of one’s warm-up routine once some of the etudes become more familiar, providing players of all levels with beautiful, flowing melodies to warm-up the “musical” part of our playing that sometimes is overlooked in a daily routine. The performer should feel free to add dynamics to the ones already provided in the etudes. Breath marks are not provided, however, so that one may have more of a challenge in interpreting the phrases. 

An intense study of excerpts for Tuba from:

Lohengrin - Wagner
Ride of the Valkyries - Wagner
Hungarian March - Berlioz
March to the Scaffold - Berlioz
Fountains of Rome - Respighi

This book focuses on various techniques such as time, rhythm, pitch, and accuracy and will teach an aspiring tuba artist how to practice the five excerpts included and then apply those practicing techniques to other excerpts, studies or solos.