Hello everybody. Today's interviewee is a reference in her country, USA, a recognized, excellent and multi-instrumentalist to whom I sincerely thank her for her friendship and collaboration in this interview project.
Let us begin.
· Name and surname:
o Beth Chouinard-Mitchell
· What instrument / s do you use?
o C and F tubas, cimbasso, serpent, euphonium, bass trombone
· That make and model are the tools you use:
o I am an Eastman Artist, so I play the Eastman BBC 836 and the Eastman BBC 832. Eastman is a partner with Wilson so I also enjoy playing the Wilson Merlin F Tuba
· That manufacturer and model are the / s nozzle / s you use:
o My mouthpiece is made by Warburton and is the “Beth Mitchell Model” Mouthpiece
· Tell us about your experiences and tastes of a particular manufacturer and why?
o I really like Eastman Winds. They have an excellent product and stellar customer service.
Let's talk about your EDUCATION:
· When and where their studies or tuba euphonium started? At what age?
o I started playing tuba when I was 14 in Dallas Texas. For university I went to the Peabody Conservatory of Music of the Johns Hopkins University, and then continued at the University of Southern California for my Masters and Doctorate Degrees, Majoring in Tuba, minoring in Musicology, Conducting, and Arts Leadership
· What reasons or circumstances led him to study this instrument?
o I was a clarinetist for many years, and my brother needed a tuba for his brass quintet. He convinced me it would be fun. He was right!
· Who were your main teachers?
o David Fedderly, Tommy Johnson, Roger Bobo, Jim Self
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:
o I have played with the World Famous Disneyland Band, subbed with various groups in Los Angeles including the Opera, and the Pacific Symphony. I also play in the film studios in Los Angeles and used to play with the Women’s Philharmonic in San Francisco.
· Chamber Music:
o I play with several profesional chamber music groups in Los Angeles. I also have a brass quartet called Music Matters Global which takes profesional concerts and masterclasses around the world to disadvantaged countries and áreas.
· Solo concerts:
o I am an international solo recital artist with Eastman Winds. I give between 10-25 solo recital concerts each year.
· Which uses warm-up exercises?
o I like the Arnold Jacobs 20 minute warm up, found in the back of the Hal Leonard Advanced Band Method for TUBA which is available on Amazon (the blue book)
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?
o I am personally primarily a tuba player. I think to teach, it is essential to know both tuba and euphonium and to be familiar with the repertoire. I think to perform, it is up to the performer and what they are best with.
Let's talk about your TEACHING EXPERIENCE:
· Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.)
o I teach at Azusa Pacific University and also Pasadena City College. I have about 15 tuba and euphonium players in my studios. I also teach chamber music and music appreciation.
· How do you organize your classes and the subject in general?
o In lessons students must play etudes, solo literature, excerpts, and anything special they might be working on.
· How long are your classes?
o Lessons are once a week 45 minutes to an hour, depending on the school requirements.
o Lecture classes are 2-1/2 hrs 2 times a week.
· 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?
o Yes. Playing in public is an acquired skill for many and it is helpful to play many concerts and performances at every age.
· Is there another teacher with your same specialty in the center where you teach?
o No, there are many brass teachers, but I am the tuba and euphonium specialist at my schools.
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?
o It is important to have a balanced diet of solos, etudes, band or orchestral excerpts, especially if the musician desires to get a job after university. A teacher who only teaches one thing is not preparing their students well to work after school.
· Do you suggest any particular repertoire?
o I suggest repertoire that fits the student in addition to required repertoire. There is much standard repertoire that is important for the development of the student. These are hoops that each student must jump through in order to gain the necessary skills as an instrumentalist and musician. In my studio, each students personality and their personal goals also play a role in the repertoire assigned.
· Is there a mandatory piece? If so, what is it?
o In my studio, the student must have two pieces for their final jury. One will always be a piece of standard repertoire. The second piece they can choose and play if I approve it.
About their work during the Master Class.
· What kind of repertoire you work primarily with your students? Solo, with piano accompaniment, chamber music, ...?
o Students bring many things into masterclasses. It is a safe place for them to perform in front of their peers and get feedback. They are welcome to bring anything into the masterclass for evaluation. We will work on the details of what they bring in. Students work on everything in masterclass! =)
SPEAKING OF TECHNICAL ISSUES:
• From your experience, could you give us your opinion on the different concepts of sound and what characteristics in your opinion define it, articulation, types of instruments, literature?
o Sound is your first impression as a musician. Sound is created with good buzz and good air. Both are necessary elements of a great sound.
o In Pasadena, one of the main struggles is articulation. Music educators in lower grades have taught tuba players to articulate with "HooHoo" or "PooPoo" which are both incorrect. It should be "TuTu" ESPECIALLY on Tuba. It takes students a long time to unlearn these ideas and get to a point where they can articulate notes correctly. Poor articulation limits what a student can do on the instrument.
• Do you consider the influence of the language and musical tradition of a country on the sound and playing of a performer to be important?
· Talk a little about making snorkels and / or euphoniums and nozzles:
o Many teachers push their mouthpieces on students. I do not. There is not only one right answer. Every person has a different teeth and mouth setup that influences what works best for them in a mouthpiece. There is not one right answer for everyone, which is why there are so many options for mouthpieces.
· Talk a little about making your singular Tuba:
o I have never actually MADE tubas, but I have tested them for different companies. I would give instrument companies feedback on their instruments, which allowed them to change designs in ways that were good for musicians. Sometimes they listened to my comments, sometimes not. It is great however to be a part of the planning process.
Beth, you are a recognized interpreter, in your country and another countries.
• Please tell us something about the history and development of the Tuba and euphonium woman players in your land.
o Women have played tuba and euphonium from the very beginning. Like most other countries, they have not been allowed to be in professional ensembles until recently because men thought that women did not have the skills to play these instruments. This is not true. Women are very excellent on tuba and euphonium and are breaking into professional orchestras and groups as they are given fair auditions.
IN CONCLUSION:
The research carried out and contrasted agree that there are five historically recognised methodologies for teaching the tuba and euphonium in the world. The American, the English, the French, the German and the Russian.
• In your experience, do you think that the diversity of players, instruments and the opportunity to train in various specialised schools enriches and homogenised the way of playing our instruments?
o Perhaps. Although there are different national schools of playing, I think this is more about national pride and tradition. Playing in different countries with different musical traditions isn’t very different for tuba, which is why successful musicians in orchestras all over the world can train in America or other places. Tuba is not very complex, it is not rocket science. It is just tuba. Our goal should be to listen carefully, match the styles and sounds we hear, and to make great music.
Beth, it´s a big pleasure and an honor to count on your experience, collaboration in this series of interviews and your friendship.
• Thank you for allowing me to interview with you! All the very best to you! Beth
Thank you very much and my best wishes.
A big hug.
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