Bienvenidos a este, un Espacio Didáctico en español para alumnos y aficionados de la Tuba y el Bombardino.
Espero y deseo que encuentren lo que buscan y les ayude en sus intereses sobre nuestro excelente instrumento.


IBSN: Internet Blog Serial Number 7212-1413-1-0

Datos personales

Mi foto
“Instrumentista–Profesor de Tuba y Práctica de Conjunto” por la Esc. Nac. de Artes , (Cuba). “Profesor Superior de Tuba” por el Real Conserv. Sup. de Música de Madrid (España). Artista Wessex Miembro de I.T.E.A. (International Tubist Euphonium Association), AETYB (Asociación Española de Tubas y Bombardinos) y de la UNEAC (Union de Escritores y Artistas de Cuba). Profesor de Tuba del C.S.M.“Andrés de Vandelvira” de Jaén.

jueves, 12 de julio de 2018


Hi, my name is Harold Hernandez Lozano. I'm a Tubist and Professor and have been a member of ITEA since 1996.

This is a new installment of the interview series "Between Tubas and Euphoniums" that I've been doing to renowned interpreters for some years now and that you can follow here on my blog.

In this case, our guest at the interview is an exceptional woman, Soloist of Tuba of the Orchestra of the Opera of Israel, Member of the Duo of Tubas of Israel and soloist. I am also pleased to have her as one of my guests at the Debate on the Different Schools of Education of the Tuba and theEuphonium at the next AETYB Supraregional Festival Madrid 2018 (from July 20 to 25 at the RCSMM)

Without further ado, let's start:

Name and Surname:

Avital Handler.

Which instrument/s do you use:

At the moment I play Tuba in F and B&S

Manufacturer and model of the instrument/s that you use:

A Kanstul Pro F Tuba and a B&S C Tuba

Manufacturer and model of the mouthpiece/s that you use:

I play a AR80 with my  F Tuba, and a Prana Monette with my C Tuba

When and where did you begin your studies of the euphonium or tuba?

My studies took place in the USA-

At what age? What reasons or circumstances led you to study this instrument?

I began my studies on the Euphonium and quickly moved to tuba. At the time, it wasn't acceptable in my country to play the tuba, however I insisted, so after a year on euphonium, I moved to the tuba- approximately at the age of 13.

Who were your main teachers?

My main influences and teachers were Charles Villarubia, Toby Hanks, Roger Bobo and Ariel Sasson.

Please leave us a little account of your experience as a soloist, member of chamber groups, orchestra, band, etc:

I am a Kanstul performing Artist. My main job is principal tuba player of the Israel Opera Orchestra. I have held that position since 2001.
In the chamber music area, I played in a brass quintet for 15 years. I decided to become a soloist, and released a solo disc- Tuba in the City in 2013
My colleague Haim Mazar and I decided to bring the tuba to the front of the stage, and formed the Israel Tuba Duo in 2015. We recently released our disc Tubalicious

Especially about  your orchestral experience:

- Tell us your experiences to access the orchestra place you currently occupy:

I went to the audition for my orchestra when I was 25 years old

- How was the selection process?

It had two levels and then a trial year

- What works and / or orchestral solos were there as mandatory in the tests?

At the time, just like many auditions in these days, I had to play the Vaughn Williams Concerto. The excerpt list was the standard one that included about 15 orchestral excerpts

-Did you take any work of free choice? Which was?

There weren't any free choice pieces.

-In another sense:
-How is your current work in the orchestra?

At the moment, the Opera Orchestra plays about seven operas a year and 7-10 symphonic programs.

-Do you combine it with another musical group?

I combine this work with my Duo- the Israel Tuba Duo.

-What recommendations would you give future Tubistas aspiring to an orchestral position?

My advice to future aspiring orchestral tubists- be persistently accurate. That will help you win the job. 

Please let us know what learning centers you have taught in (as a full time professor, visiting professor, courses, master classes, etc..)

My teaching experience includes Masterclasses throughout Israel, the US and Europe. I teach at the Rubin Academy of Music and the Israel Conservatory. I teach classes at the Tel-aviv Academy as well.

Here in Spain, in some centers it is considered that the bombardino / euphonium is an instrument that should have its own specialization and on the other hand some believe that, as an instrumentalist, one must know and master the tuba and the euphonium.

Could you give us your opinion on this and on how you would approach this issue in the interest of an education and training tailored to the necessary specialization that is required today?

I believe that the Tuba and Euphonium are two separate instruments and should be addressed as such- each should be studied with its own specialty.

Could you give us your opinion about:
the different concepts of sound and what characteristics define it, articulation, the types of instruments, literature, if you consider the influence of language and musical tradition important in the sound and way of playing?

As a tuba player that studied in Israel and the USA, I believe that sound defines the character of a player. The tuba player that plays with an orchestra serves as the basis for the full sound of the group- therefore, the aim should be to create a full, fat sound. Intonation is crucial to help the orchestra sound homogenous, and good articulation helps the tuba and trombone sections sound clear and precise. All this helps the orchestral tuba player. As a soloist, the full sound is not as important as the accurate sound. The solo tuba player needs to aim to sound like a euphonium player with a big sound!

In your experience, do you believe that the diversity of performers, instruments, and the opportunity to train in various specialized schools is becoming homogenized in the interpretative centers that are already established? (Example Russian, American, Germano-Austrian, English, etc).

I believe that the centers that are established are influencing the rest of the world- performing and teaching in Albania strengthened my view- the American concept of sound was evident from the students that I listened to in the Masterclasses.

I am very grateful for your kind attention and for answering my questions.
You are invited to visit the page and colaborate if you are interested.
See you in Madrid.

See you

Again, thank you very much.


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