Hi, my name is Harold Hernandez Lozano. I'm a tuba / euphonium, repertory orchestra and chamber music profesor at the Cordoba Conservatory of Music in Spain and have been a member of ITEA since 1996 and AETYB (Spanish Association of Tubas and Euphoniums) since 2013
I am writing to you because i´m doing a series of interviews with renowned instrumentalists for posting on my teaching blog where students and others around the world interested in the topic have access to information in spanish and other languages by the tuba, euphonium and other related issues .
Without further ado, let's start:
NAME AND SURNAME:
Adam Frey
Which instrument/s do you use:
Euphonium and F tuba
Manufacturer and model of the instrument/s that you use:
Yamaha 842S
EDUCACIÓN:
When and where did you begin your studies of the euphonium or tuba?
Univeristy of Georgia and Royal Northern College of Music
At what age?
18-24
What reasons or circumstances led you to study this instrument?
Loved the sound
Who were your main teachers?
David Randolph and Steven Mead
PROFESSIONAL EXPERIENCE:
Please leave us a little account of your experience as a soloist, member of chamber groups, orchestra, band, etc: I travel and play solos around the world. Sometimes I play solos with orchestra, wind band and brass band. I enjoy playing new music so I created a publishing company and my website www.euphonium.com. I have more tan 70 pieces written for me and it makes me practice more when I have great new music.
TEACHING EXPERIENCE:
Please let us know what learning centers you have taught in (as a full time professor, visiting professor, courses, master classes, etc..)
I teach at Georgia State University and Emory university in Atlanta, Georgia. I also teach at many festivals in South America, Asia, and Europe. I enjoy the variety of students and culture of each country I travel.
TAKING OTHER ITEMS OF INTEREST.
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 think each instrument has a special knowledge and repertoire on the high levels. I think it is NOW posible to have both a euphonium specialist and a tuba specialist. But for most univeristies and music schools, there is not always both a great euphonium specialist and tuba specialist close. So the postiion goes to the person that can do both at a very good level. I think if we have enough great euphonium players AND teachers, then it is a great thing. But I always say to student with the best teacher posible, no matter what instrument they play.
If your current work takes place mainly as a teacher, please answer the following questions:
How do you organize your classes and the subject in general?
Sight Reading with duets, fundamental work, etude, and solo work.
How long are your classes?
1 hour
How often do they occur? Weekly, biweekly, several times a week?
Weekly.
Do you think it is important that the student does public performances during his training years? If so, recommend how many times you think it appropriate and from what age or course. Elementary, Professional, Superior?
Is there another professor with your same specialty at the center where you teach?
YES___ NO_x__
How does he/she organize his/her classes?
A major part of the course curriculum is standardized and based on the idea that the student should master the solo repertoire, sometimes to the detriment of large group repertoire (Orchestra and Band), when in fact, the majority of tuba and euphonium players go on to be teachers and / or members of a band and to a lesser extent, an orchestra in the case of tubas.
In your opinión, how should one address this issue? How important do you think it is to include the learning and mastering of orchestral repertoire as part of the course curriculum?
I think a great player needs to learn something about all the parts of music making: solo work, band repertoire, orchestral repertoire, brass quintet pieces, and most important fundamentals.
Please tell us what the admittance process is to enter your learning center
What repertoire is required on the entrance exam?
Students choose two pieces (lyrical and technical) to show skills. We ask for scales and also have sight Reading.
Do you suggest any particular repertoire?
We have some suggestions, but it is most important for the student to choose something they like and sound good when they play.
How many works are required and in what format (solo, with piano, etudes, etc.)?
2 to 3.
Is there an obligatory piece? If so, what is it?
About how long is the exam?
10 minutes
What aspects do you value most when deciding? Musicality, intonation, rhythm, ...?
Sound, rhythm, musicianship, technique
If you had to choose (in a hypothetical situation,) would you have a preference between a tuba player or a euphonium player?
Euphonium player.
WORK DURING THE COURSE TRAINING
What kind of repertoire do you mostly work on with your students? Solo, with piano accompaniment, chamber music, ....?
What format does the graduate exam have? Solo concert, Recital with piano, ...?
What programing does it have? Works of different styles and periods, ...?
One 60 minute solo recital
One 60 minute chamber recital
I like to have 2 recitals with 30 min solo/30 min chamber
Does the student select the works to be played? or are they chosen by the professor?
I suggest a large group of pieces (about twice as what is needed) and then let the student choose.
Is there any work you would deem mandatory? If so, what?
It is difficult becuase each player needs some different things.
SPEAKING OF TECHNICAL ISSUES:
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?
I think sound is special for each person. You ha veto make a good resonant sound and your lips must work effectively. The sound can be brighter or darker than an artists, but the player must like the sound.
Articulation needs to be very clear and not just to the player, but for the audience. Most students need to tongue more clearly so it travels to the audience. They hear it clearly in their position, but it becomes much more difficult and unclear for the audience.
TO CONCLUDE:
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 think this is true becuase we can hear so many recordings and we tryt o play like one person. But I think we must try to créate something unique for sure and keep the specific traditions alive. For euphonium, it is nice to have a British/Brass Band tradition, and a more american tradition, but also to have some players that have their own special combination.I am very grateful for your kind attention and for answering my questions.
All will be posted on the blog http://inbbflat.blogspot.com.es/
You are invited to visit the page and colaborate if you are interested.
Again, thank you very much.
Harold Hernández Lozano
Senior Professor of Tuba
and Practice of Joint
Email: haroldtuba@hotmail.com
