"BETWEEN TUBAS and EUPHONIUMS....BEN PIERCE"

Any Tubist who is affiliated with ITEA or who is simply aware of what is happening with the Tuba internationally, knows at least by name the interviewee that I bring you today.

It is a real pleasure and honor for me to be able to count on your friendship for many years, and I appreciate your sincere collaboration on this interview project.

Without further ado let's get started

·       Name and surname:

Benjamin Pierce

· What instrument (s) do you use?

Miraphone 5050 Ambassador Euphonium, Elektra 481 F tuba

That manufacturer and model are the nozzles you use:

Symphony and Solo Models by Hauser Sellmansberger

Let's talk about your EDUCATION:

· When and where did you start your tuba euphonium studies?

New York State, 4th grade band.

·       At what age?

  9 on the trumpet

· What reasons or circumstances led you to study this instrument?

My dad had been in the band and my older brother played the trumpet, so I did the same. I switched to the euphonium a year later.

· Who were your main teachers?

The director of my high school band was a trombone and was a good teacher. So I had a great instruction. Even my teachers in my younger years were strong musicians and they really cared, so they got me off to a great start.

In undergraduate and graduate school, I studied with David Saygers, Velvet Brown, Fritz Kaenzig, and Wesley Jacobs.

Regarding your PROFESSIONAL EXPERIENCE:

Leave us a little account of your experience as a soloist, member of chamber ensembles, orchestra, band, etc.

In Orchestra and / or Band:

    

Of course, I grew up playing in concert bands every year, as well as all state bands, etc. I played in the Toledo Concert Band, which was the summer version of the Toledo Symphony.

My first experience with the orchestra was gaining positions with the University of Michigan Symphony Orchestra and the Ann Arbor Symphony. I did some supplemental and extra work at the Detroit Symphony, and played in the local orchestra here in Northwest Arkansas for several years.

While I was busy with my family, I took a break from orchestral performance. I have also been playing with the Battle Creek Brass Band, mainly euphonium, since about 2002.

Solo concerts:

Solo recitals are what has really kept me busy as a player since I started working as a professor in 2003.  I have tried to play recitals every year, and usually I’ll go out on the road and visit other universities to play.  I have been fortunate to travel and perform in some really interesting places—Finland, Hong Kong, Korea, Spain, Germany, Italy, Austria... as well as all over the USA.

·      Which uses warm-up exercises?

I have a big pile of books, and I try to rotate and do different exercises so I don’t get bored.  I love flexibility work—Bai Lin is a favorite.  I also frequently make up my own exercises; I try to create challenges that will help me with specific issues that I encounter in solos or excerpts.  Lately I have been doing lots of long tones.  

I never used to, but I am finally (after 33 years of playing) understanding the benefits.

Trying other topics of interest.

Here in Spain, in some centers it is considered that the 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 euphonium.

·      Could you give us your opinion on this and how would address this issue in the interests of education and training adapted to the necessary expertise required today?

In my field, college teaching in the USA, it is generally beneficial to have good working knowledge of both the tuba and the euphonium.  Playing both is perhaps not essential, but understanding the pedagogy and knowing the repertoire is vital, because most of our teaching positions are for tuba and euphonium both.  

Also, many college positions might be for tuba and euphonium as well as trombone, concert or athletic bands (or both), music theory, music history, etc.  Being well rounded as a musician and not “just” a tuba or euphonium player is pretty vital. 

I like to think of the euphonium as its own separate instrument, not an offshoot of the tuba.  In my opinion it is the greatest brass solo instrument, truly the cello of the brass family, and underrated in the musical world.  But our opinions don’t generate income, and most everyone needs a job.  So it is important to consider the real life opportunities that exist.

Let's talk about your TEACHING EXPERIENCE:

·      Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.)

I am really fortunate to teach only tuba and euphonium.  I am a full time professor, nine months out of the year.  In the summer I generally relax, though sometimes there are gigs.  In addition to teaching lessons I usually coach several tuba/euph quartets, though that is not possible currently due to Covid-19.

·      How do you organize your classes and the subject in general?

It’s almost always one on one lessons.  I assign etudes, exercises, excerpts, and solos, tailored of course to the goals and needs of each student. 

·      How long are your classes?

Lessons are most often one hour, sometimes 30 minutes.

·      Do you think it is important that students make public appearances during his years of training? If so, recommend how many times it deems appropriate and what age or course. Elementary, vocational, higher?

Yes.  Every student should strive to perform at the highest level they can, even if they are not interested in a performance career.  It is about caring about what you do, having a good work ethic, and being disciplined, and also about understanding that rewarding music making takes work.  My most motivated students will take every performance opportunity they can get.  We should appreciate the opportunity to have an audience! 

I was fortunate in my childhood to have many opportunities to perform—yearly solo contest, honors recitals in the spring, chamber music.  I fear that with music education cuts, not as many programs offer as great an experience anymore.

·      Is there another teacher with your same specialty in the center where you teach?

No, that would be very rare.  In the USA, even the largest music schools typically have only one tuba/euphonium professor (with a few exeptions). 

An important part of the course curriculum is standardized and is based on the idea that students master the repertoire alone, sometimes to the detriment of the repertoire of large groups (Orchestra and Band), when in fact, most students Tuba and euphonium will be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of Tubas.

·      In your opinion, how should this problem be addressed? How important do you think is include learning and mastery of the orchestral repertoire as part of the curriculum of the course?

Different students have different interests and goals.  Therefore, I don’t see the curriculum as being set.  Not all students will study the same solos or excerpts.  However, I like to think of orchestral excerpts as inroads into exposure to great music.  It’s one thing to try to play “Ride of the Valkyries”; it’s another thing completely to listen to a great recording of it and to have your mind blown!  For performance-geared students who want to have a career performing, of course the excerpts take on a higher level of importance.  The detail and consistency that has to go into performing them is both a science and an art.  The same is true for band excerpts. 

·      Tell us what the admission process is to access your learning center:

We are as inclusive as possible.  Auditions are required, but I am always looking for a “diamond in the rough.”  The fact is, in our region there are many small programs and under-exposed students.  If we give them a chance, many of them will shine.

·      What it is required repertoire in the entrance exam?

There is no required repertoire.  Most auditioning students will perform their all-region or all-state audition music.  This is generally fine.  It’s how they play that matters, not what they play.  Sometimes students who study with a private teacher will have a solo, and that is even better (especially if they play it well). 

·      Do you suggest any particular repertoire?

It depends on the student.  A difficult part of being a teacher is assigning music that will challenge the individual student and make them grow, but not overwhelm them and cause bad habits.  Students’ learning curves are all different.  They all take off at different times.  Some never do, but that comes down to their level of dedication.  So a student auditioning with very simple music, but with good sound and good rhythm, I think it’s easy to see the potential.

·      How many works are required and in what format (solo, with piano, studies, etc.)?

Just solo, usually two contrasting pieces or etudes.  We also listen to a couple of scales.

·      Is there a mandatory piece? If so, what is it?

Nope.

·      Approximately how long is the exam?

About 15 minutes.  Maybe 5-7 minutes of playing, and then we just chat with them.  I want to know why each student is auditioning, why they want to major in music.

·      What aspects you value most in deciding? ¿Musicality, intonation, rhythm, …?

I would say, in this order: rhythm, sound, and some sense of music making, even if it’s crude.

·      If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?

No preference.

About their work during the course.

·      What kind of repertoire you work primarily with your students? Solo, with piano accompaniment, chamber music, ...?

All of the above!  I really try to have each student working on a variety of music.  Some students go through repertoire very quickly and are eager for more; other students require more time.  We’re fortunate to have fine pianists to work with, so the students do lots of playing with piano.

·      What format is examining LIMIT? Solo concert, piano recital ...?

Each undergraduate student plays a senior recital with piano.  Masters students play two recitals.  One is with piano, the other is mixed chamber music

·      Does the student select the works to play? or they are chosen by the teacher?

We choose the music together.  I make suggestions, the student comes with ideas, and we agree on a reasonable program.

·      Is there any work it deems mandatory? So what?

Our repertoire is young.  Unfortunately, we do not have many masterpieces.  So there are not many pieces that I consider essential, from a musical standpoint.  However, there are a few, especially for tuba.  Students should at least be exposed to the Vaughan Williams and the Hindemith, the Penderecki, the John Williams Concerto...  I think for euphonium, it’s a bit tougher, because for euphonium we have no Vaughan Williams, we have no Hindemith.  It’s just been a sadly overlooked instrument.

Therefore, it is vital to find great music, regardless of what instrument it was written for.  That means transcripions—cello music, clarinet music, anything.  There is wonderful music out there, in addition of course to all the exciting new pieces being written for us nowadays. 

SPEAKING OF TECHNICAL ISSUES:

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

There is so much variety in sound concept for both the tuba and euphonium.  Sound is part of our musical personality.  Part of it is regional, part of it is what interests each of us in our listening.  And, of course, part is directed toward the career we want to pursue.  For instance, an ochestral tuba player’s concept of sound is different from a soloist’s.  But within that, there are so many nuances!  

Of course, the style period of the music we’re playing should inform the sound concept as well.  (Mozart shouldn’t be played with the same palette of sounds as, say, the Kraft Encounters III.)

·      Talk a little about making snorkels and / or euphoniums and nozzles:

I’m not sure about snorkels and nozzles?  I think something got lost in translation there.  Sounds like SCUBA gear. 

·      Tell us about your experiences and tastes of a particular manufacturer and why?

I’ve been delighted to work with the Miraphone company.  They are a wonderful company owned by the workers, and they have been making top quality instruments since the early 20th C. 

Ben. You have been doing a commendable job for years on the ITEA board. Could you tell us a little about our organization? Something about its history, founders, number of current members and its approximate geographical distribution, election process in the organization, etc.?

Well, it would be difficult to sum up the whole history here, but in short, it is an organization that promotes brotherhood and sisterhood amongst tuba and euphonium playing musicians.  Over the decades, TUBA/ITEA has been responsible for commissioning repertoire, holding countless conferences, publishing through our Press, and printing the quarterly Journal, for which I am responsible.  Of course, we also have our online presence through the website, which features the Journal electronically, has a huge archive of content, and serves as a portal for competition and conference registrations, among much more.

I am not sure of the current number of members; I would estimate it at around 2,000 worldwide.  Most members are American, however we have a sizable presence in Japan, Spain, and Brazil.  We like to think of the ITEA as a liaison to other tuba/euphonium organizations all around the world.

IN CONCLUSION:

·      In your experience, do you think the diversity of performers, instruments and the opportunity to train in various specialized schools is homogenizing in interpretive centers already established? (Example: Russian, American, German-Austrian, English, etc.).

Certainly, there has been some melding of styles due to the internet, the proliferation of recording, and the ease (before Covid) of international travel.  But there are still many cultural differences!  Some that come to mind are the differences between British brass band style and American military bands, for example, or the difference between many American tuba solists versus German solists.  Those diverse cultural sounds and styles have not homogenized, and hopefully they won’t!  That would be like having only one style of food.  🙁 

Ben, it´s a big pleasure and an honor to count on your experience,  collaboration in this series of interviews and longtime friendship.

Thank you, sir.  It’s my pleasure.

Muchas gracias y mis mejores deseos.

Un fuerte abrazo.

"BETWEEN TUBAS and EUPHONIUMS....DANIELLE VanTUINEN"

Hi all. The interview that I bring you today is very pleasant for me because it is with an excellent Euphonist whom I thank for her friendship and her collaboration in this interview project of mine entitled "Between Tubas and Euphoniums ..."

Without further ado, let's get started. 

·      Name and surname:

  Danielle Duron-VanTuinen

·      What instrument / s do you use?

-       Euphonium: Shires Q40

-       Eb-Tuba: Eastman 853

-       CC-Tuba: Eastman 832

·      That make and model are the tools you use:

-       Euphonium: Shires

-       Both Tubas: Eastman

·      That manufacturer and model are the / s nozzle / s you use:

-       Euphonium Mouthpiece: DC3

-       Eb-Tuba Mouthpiece: Alliance Neish

-       CC-Tuba Mouthpiece: Shires 4E

Let's talk about your EDUCATION:

·      When and where their studies or tuba euphonium started?

-       Euphonium: Central Michigan University (2009) (Bachelor of Music Performance)

-      Tuba: Arizona State University (2013) (Master of Music in Euphonium) & (Doctorate in  

        Musical Studies in Tuba and Euphonium)

-   I initially started University in 2007 as a Biology Major and found Euphonium to by my passion and started studying music in 2009.

·      At what age?

-        I started playing euphonium at 18 and tuba at 24

·      What reasons or circumstances led him to study this instrument?

-     I initially started college as a Biology major and after realizing that I couldn’t imagine myself sticking with it as a career and decided to try my hand at music. For a year I took private lessons from one of the tuba/euph majors at my University and was accepted the following year. Prior to studying I had participated in marching band at Central Michigan where I initially became interested in playing the euphonium.

-   I felt that music and the euphonium provided me with the type of career that would be fulfilling in a professional standpoint but also very rewarding from an emotional and personal standpoint.

·      Who were your main teachers?

-       Dr. Mark Cox (Central Michigan University)

-       Dr. Eric Dluzniewski (Central Michigan University before I joined the studio)

-       Professor Scott Hanson (Sabbatical teacher at Central Michigan University

-       Dr. Deanna Swoboda (Arizona State University)

As for his PROFESSIONAL EXPERIENCE:

·      Please leave us a little account of his experience as a soloist, a member of chamber ensembles, orchestra, band, etc.

·      In Orchestra and / or Band:

-   I really learned how to play the euphonium while in Brass Bands in my early years of studying. I continued this throughout graduate school. Throughout school I participated in all of the standard large and chamber ensembles.

-    As a professional I actively participate in our faculty brass quintet. This ensemble goes out into the community and interacts will large populations of individuals throughout Florida.

-   I also get the pleasure of performing within Orchestras throughout the US as either a euphonium player or additional tubist on certain pieces. 

·      Solo concerts:

-    My largest “solo” experience actually comes from my duo. The Moreau | VanTuinen Duo is an ensemble comprised of Dr. Danielle Moreau (Percussion) and myself on both tuba and euphonium….occasionally if I’m feeling squirrelly I’ll pull out a trombone, but nobody wants to hear that! This ensembles allows us to travel all over the world presenting brand new chamber works as well as solo pieces. We get to perform in various venues and in front of such a diverse collection of people.

·      Which uses warm-up exercises?

-     I tend to really dive into “The Brass Gym” and the “20 Minute Warm-up” by Michael Davis. That’s typically if I need a sense of schedule at the beginning of my practice session. That being said, I love playing long tones and playing short melodies with a drone. It’s a time that I just to zone out and really feel/see the sound that comes out of my instrument.

Trying other topics of interest.

Here in Spain, in some centers it is considered that the Bombardino, 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 euphonium.

·      Could you give us your opinion on this and how would address this issue in the interests of education and training adapted to the necessary expertise required today?

-    You know, this is a hard question…When I was younger I would have said that learning the euphonium should be enough as it is. Though, since being more immersed in the “work force” I’ve realized how important and crucial it is to be as multi-faceted as possible. I feel that I honestly would not be where I am had I not picked up the tuba and began studying at a high level. I think in order to be relevant in today’s musical environment you need to have your hands in many pots.

-   I personally choose the route of learning the tuba in addition to the euphonium. I don’t personally feel that that is the right decision for everyone but I do think as a euphonium player (with very few career options) there needs to be either another area or instrument that a person is proficient in.

-    As for how education can reflect this idea. I personally feel that as the music industry evolves, the University experience needs to mimic the real world. Thus requiring students to be a little more self-sufficient, experimental and exploratory. I feel that most Universities tend to be too stuck in “what has always work will work today”. I think that encouraging students to think out of the box and explore areas outside of the classical world are crucial for development!

Let's talk about your TEACHING EXPERIENCE:

·      Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.)

-     I’m currently the Assistant Professor of Tuba and Euphonium at the University of Florida.

-   Before moving to Florida I taught at Plymouth State University and the University of New Hampshire in New Hampshire. Portland Conservatory, Westbrook School District and New Horizons Adult Music Learning up in Maine.

·      How do you organize your classes and the subject in general?

-    Most of the classes I’m currently teaching are in relation to the tuba/euph. We currently have lessons, studio, tuba/euph ensemble, Pedagogy, Repertoire and chamber ensembles. In addition to studio related classes I’m teaching a course titled, “ Women Changing Society Through Music” which is designed to discuss how women throughout history played an important role in music in order to effect the environment they were immersed in.

    

·      How long are your classes?

-   Each class runs in 50 min periods with 15 minutes of transition time due to the size of the University

·     Do you think it is important that students make public appearances during his years of training? If so, recommend how many times it deems appropriate and what age or course. Elementary, vocational, higher?

-    I think it’s extremely important for students of all abilities and ages to perform or present in various situations. The experience alone is such a valuable teaching and learning tool. We try to get the studio out into a large array of audience types, whether they are kids concerts at an elementary school introducing students to these larges instruments early on to performing in nursing and retirement communities. The value comes from the connection that the students make with every audience type.

·      Is there another teacher with your same specialty in the center where you teach?

-     I am the only professor at my University that is teaching Tuba and Euph!

An important part of the course curriculum is standardized and is based on the idea that students master the repertoire alone, sometimes to the detriment of the repertoire of large groups (Orchestra and Band), when in fact, most students Tuba and euphonium will be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of Tubas.

·      In your opinion, how should this problem be addressed? How important do you think is include learning and mastery of the orchestral repertoire as part of the curriculum of the course? I don't teach the audition excerpts in a such a traditional way. I value overall good musicianship so I talk often about knowing and understanding the score and seeing the music through the eyes of the composer.

-   I honestly feel that in order to be well rounded both tuba and euphonium students need to immerse themselves in large ensemble repertoire as well as solo literature. I try to implement various listening/score study assignments within my studio class from the beginning so they can essentially have an early exposure to pieces that they may not choose to listen or study on their own.

-    Learning Orchestral and Band excerpts is a crucial part applied lessons here at UF. Not for the singular purpose of an audition but rather to learn how to blend and mold ones sound with various groups of people. We challenge the students to learning an excerpt with precision clarity, and still learn to adapt their sound to various groups and ensembles.

·      Tell us what is the admission process to access your learning center:

-     At the University of Florida we hold multi-layered audition process. Once the student applies to both the University and the School of Music they will schedule an audition. These auditions take place in front of the entire brass department. Throughout audition day students will go through various meetings and interviews. These interviews serve as a tool to decide if the student will not only survive a degree in music but rather thrive and grow as a person. Once the students have been evaluated at each level they are then given a decision with an financial award package.

·      What it is required repertoire in the entrance exam?

-       Undergraduate Requirements for Tuba:     

1) Two Contrasting pieces (one can be an etude)

                - Grigoriev: Studies for Tuba

                - Bordogni: Lento Etudes Vol. 1

                - Blazhevich: 70 Studies for Tuba

                - Tyrell: 40 Advanced Studies

                - Arbans: Characteristic Studies

Solo Examples:

·       Haddad: Suite for Tuba

·       Hindemith: Sonata for Bass Tuba

·       Vaughan Williams: Concerto for Bass Tuba

·       Holmes: Lento

·       Marcello: Sonata in F-Major

·       Marcello: Sonata in A-Minor

2) All major scales in two octaves

3) Sight reading

-       Undergraduate Requirements for Euphonium:

1)     Two Contrasting Pieces (One can be an etude)

o   Voxman: Selected Studies for Baritone

o   Tyrell: 40 Studies for Euphonium

o   Fink: Studies in Legato

o   Rochut: Melodious Etudes for Trombone

Solo Examples:

·       Morceau Symphonique - Guilmant

·       Rhapsody for Euphonium – Curnow

·       Beautiful Colorado – DeLuca

·       Sonata for Unaccompanied Euphonium – Clinard

2)     All major scales in two octaves

3)     Sight Reading

-       Graduate Requirements for Tuba:

Pre-screening:

·       Two Solo works of contrasting style (level 5 or higher)

·       Three Standard band/orchestral excerpts

Live audition:

·       Discussion: Having a clear idea of your final project/product.

·       Scales: Major and Minor

·       Sight-reading

·       Orchestral Excerpts

·       Two Selections from the Following

o   A Transcription written prior to 1800

o   Unaccompanied work of equal difficulty to Encounters II (Kraft) or Capriccio (Penderecki)

o   Concerto of equal difficult to Concerto for Bass Tuba (Vaughan Williams)

-       Graduate Requirements for Euphonium:

Pre-screening:

·       Two Solo works of contrasting style (level 5 or higher)

·       Three Standard band/orchestral excerpts

Live audition:

·       Discussion: Having a clear idea of your final project/product.

·       Scales: Major and Minor

·       Sight-reading

·       Six Band/Orchestral Excerpts

·       Two Selections from the Following:

o   Charlier: 36 Etudes: Transcendantes

o   Arban: Characteristic Studies

o   James Curnow: Symphonic Variants

o   Ponchielli: Concerto

o   Bourgeois: Concerto, Op. 114

o   Cosma: Concerto

·      Do you suggest any particular repertoire?

-   I provide general examples of what can be used as an audition piece for the undergraduate students. For graduate auditions I tend to be a bit more specific.

·      How many works are required and in what format (solo, with piano, studies, etc.)?

-    Undergraduate students are requires to prepare two contrasting pieces and Graduate students are required to prepare two pieces in addition to excerpts.

·      Is there a mandatory piece? If so, what is it?

-     As of right now I haven’t mandated a particular piece. I’ve recently thought of revamping the way that I choose audition material for the future.

·      Approximately how long is the exam?

-   Undergraduate auditions tend to be around 15-20 minutes in length with the brass faculty, whereas the graduate auditions tend to be around 30 min in length. I like to chat with each student to really gain a good idea of their interests and goals.

·      What aspects you value most in deciding? ¿Musicality, intonation, rhythm, …?

-   You know, this is a really tricky questions…I think my biggest deciding factor is whether or not I can work well with the student. If they are open to suggestions and various styles of teaching. You can teach Musicality, Intonation and Technique but if you don’t click with the student and they don’t learn well from your teaching style there is no hope! Ideally I would love an even playing field with a stellar personality!~

·      If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?

-    Hmmmm, you know this is difficult because I would hate to have to choose but if I had to I think I would choose euphonium.

About their work during the course.

·      What kind of repertoire you work primarily with your students? Solo, with piano accompaniment, chamber music, ....?

-    We work a wide array of pieces ranging from the standard solo with piano, unaccompanied, chamber, solo with electronics, solo with interactive electronics. Duos, trios…you name it!

·      What format is examining LIMIT? Solo concert, piano recital ...?

-       For any of the examinations we tend to stick to solos with piano or unaccompanied works.

·      Does the student selects the works to play? or they are chosen by the teacher?

-    I think it’s a pretty even combination of the two. Every now and then I have to tell a student that they need to wait to perform a piece but it rarely comes up.

·      Is there any work it deems mandatory? So what?

-    There are certain pieces that the students at least need to know about, whether it’s score study and listening logs or actually working up the piece.

-    For example: Tubas need to “know” the Vaughan Williams and Euphoniums need to know the Horovitz Euphonium Concerto.

Talking about other topics.

You have recently done an interesting project with the Tuba Player and teacher of  the Arizona University  Deanna Swoboda.

·      Do you think you can tell us a bit about it, its development and future projection?

-    First off I need to start by saying that Deanna Swoboda is amazing, not only as a performer, musician and mentor but she is a wonderful human and friend. We recently published a new book for Euphonium that acts as a companion book for her “Lip Slurs for Tuba” book. I can honestly hope that we will continue to work together creatively. As of right now we don’t have anything planned but who knows!

SPEAKING OF TECHNICAL ISSUES:

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

-    I honestly think that all of those concepts all start in your mind. If you don’t have any idea of how you want something to sound then the act of playing will be very labor intensive. The concept of sound usually starts by us mimicking other players and then needs to evolve into how we want to “see” our sound and how it interacts with others.

-     When it comes to articulation, it’s all about how we “voice” notes inside of our mouth. Where our tongue is placed and how high or low it is in our mouth. There are certain physical traits that people can possess that make articulation something that they have to work around but it general we have to work with what we have! I’m a firm believer in voicing notes before they come out into the horn. Kind of like a vocalist. My students are encouraged to listen to vocalist recordings in order to develop their own unique sound and how they want each note to begin and end.

-    I’ve always wondered how various languages help people to perform on their instruments. I can only imagine that they more Germanic languages tend to approach their sound a little more squared off as opposed to some of the romantic languages just based off of the way that words are pronounced and emphasized.

·      Tell us about your experiences and tastes of a particular manufacturer and why?

-     I’m currently performing on Shires and Eastman instruments. Through the years I’ve been on various instruments and I can honestly say that these to instrument makers provide extremely easy instruments to play and maneuver! I love the overall sound and color that I’m able to get on each of the instruments. 

IN CONCLUSION:

·  In your experience, do you think the diversity of performers, instruments and the opportunity to train in various specialized schools is homogenizing in interpretive centers already established? (Example: Russian, American, German-Austrian, English, etc.).

-    You know, I think the straight forward answer is sadly, “No”…though I do see institutions and areas of the world that are beginning to embrace diversity and inclusivity. I think we have such a long way to go but we are slowly making strides.

  

Danielle, it´s a big pleasure and an honor to count on your experience,  collaboration in this series of interviews and long time friendship.

Thank you very much and my best wishes.

A big hug.