Etude Book 1
Instrumentation: Tuba Methods/Studies/Etudes Instruments: Tuba
As low as $15.00
Although etudes, there are just three pieces in this set and they are more like extended unaccompanied works. Good for High School and beyond. The pieces are:
Overture for One (In Classic Style)
Fair and Warmer
Don Butterfield was one of the world's premier brass players. He was a student of William Bell at the Juilliard School of Music. (It is said that Mr. Butterfield convinced his classmate, Harvey Phillips, to continue playing tuba, when Mr. Phillips wanted to quit Juilliard and go to chef school in France.) Although Mr. Butterfield has been tagged as a jazz player, he was much more than that. He was principal tubist with the American Symphony Orchestra under Leopold Stokowski for many years. He was principal tubist with the Radio City Music Hall Orchestra. He was principal tubist with the Cities Service Band of America under Paul Lavalle for many years. He was a member of the Frank Sinatra Orchestra for four years. Mr. Butterfield performed under the great symphonic conductors of the twentieth century, including Arturo Toscanini, Leopold Stokowski, Dmitri Mitropoulos, and Leonard Bernstein. He also performed with jazz greats like Charles Mingus, Clark Terry, and others. Considering all of his talents and accomplishments (we mention more below), it is safe to say that Don Butterfield was the most well-rounded tuba player of his generation.
Mr. Butterfield was a lifelong music teacher and composer. He served on the music faculties of Trenton State College, New York University, and Columbia Teacher's College. He had hundreds of students, many of whom became professional musicians, music educators, and members of various service bands. Mr. Butterfield was one of the first tuba players to write music specifically for tuba and euphonium ensembles. He wrote extensive solo and study materials for these instruments. Don often said of his compositions that he had a twofold purpose in writing them. His intent was that they be both part of the tuba's performance literature and also be used as teaching pieces.
The etudes presented here serve multiple purposes. They are superb interval studies as well as studies in dynamics. They are great studies in modulation to various keys. They are excellent for work with intonation, tonality, and articulation. They are also excellent exercises for sight-reading -- they lull one into a false sense of security and then suddenly catch one off guard. There is a great deal of humor in this music, as one suddenly finds oneself playing orchestral and jazz quotations.
To really get the best out of these etudes, keep in mind that Don Butterfield was fascinated by sound itself. Use these etudes to explore extremes of dynamics, articulation, consonance and dissonance. Don't be afraid to "split the bell" when he calls for "sffz". If you can hear your “ppp” passage, you are playing almost too loudly. Staccato markings mean short, but never sacrifice tone quality nor intonation. Throughout, strive to maintain richness of tone. As Don often told us, “In the end, the only thing that matters is what comes out of the bell of your horn."
Don Butterfield was many things to us personally. He was teacher, mentor, colleague and friend. We cannot begin to find the words to describe how much we learned from him about the tuba, about music, and about life in general. It was an honor and a privilege to have known him and worked with him. "Straight ahead."
Paul R. Ogushwitz, Ph.D.
Dean A. Somerville
|Delivery||PDF download, Shipped (printed)|
|Publisher||Cimarron Music Press|