"ENTRE TUBAS Y BOMBARDINOS: CONVERSANDO CON JÓVENES PROMESAS...EDUARD GISBERT"

Hola a todos.

Es un placer y un orgullo poder continuar con esta serie de entrevistas con los jóvenes valores de la tuba y el bombardino de España, que están cosechando éxitos y reconocimiento internacional. Esta vez con un talentosísimo bombardinista valenciano, cuyos logros no dejan de aumentar.

Sin más, comencemos.

● Nombre y apellido: 

Eduard Gisbert Vañó

● ¿Qué instrumento / s usas? 

Bombardino

● De que fabricante y modelo son los instrumentos que utilizas y porque: 

El bombardino que utilizo es el Adams E1. 

Lo que me ha llevado a tocar este instrumento durante los últimos ocho años es la facilidad y la claridad que me proporciona, además de su sonido y buena afinación.

● De que fabricante y modelo son la / s boquilla / s que usas y porque: 

Desde hace 4 años utilizo la boquilla Bach 4G. 

En esta he podido encontrar una gran comodidad y facilidad al tocar. Además, me permite  ajustar mi sonido según la situación en la que me encuentre tocando: como solista, en una banda, en un grupo de cámara…

● Háblanos un poco sobre tus experiencias y gustos de un fabricante en particular y por qué?

Como he dicho anteriormente, llevo ocho años tocando con mi instrumento Adams, por lo que no he podido tener mucha experiencia con otros fabricantes…

Lo que sí que puedo decir es que este instrumento me ha permitido tocar siempre de la manera más natural y fácil posible. Además, es un instrumento que me ayuda a proyectar el sonido sin perder la calidad de este, lo que es fantástico para tocar como solista.

Hablemos de tu EDUCACIÓN:

● ¿Cuándo y dónde comenzaste tus estudios del bombardino? 

Empecé a estudiar en 2009 en la escuela de música de l'Associació Unió Musical de Bocairent.

● ¿A que edad? 

A la edad de ocho años.

● ¿Qué razones o circunstancias le llevaron a estudiar este instrumento?

En el momento de elegir  el instrumento, me dijeron que se necesitaba gente en la banda que quisiera tocar el bombardino, por esa razón lo escogí.

Actualmente, estoy muy contento y agradecido de poder tocar el bombardino.

● ¿Quiénes han sido tus principales maestros?

Javi Molina fue mi primer profesor, con él estudié mis primeros cuatros años en la escuela de música de mi pueblo.

Eduardo Nogueroles, con quien estudié mis últimos años de grado profesional en el Conservatorio Profesional de Valencia.

Miguel Moreno, quien ha sido mi profesor durante cuatro años en el Conservatorio Superior de Música de Valencia.

Sergio Finca y Vicente López, con los que he realizado clases en el aula de tuba de Spanish Brass durante 8 años.

También quiero mencionar a Hélène Escrivà y Bastien Baumet, de los que he aprendido y me han inspirado mucho.

En cuanto a tu EXPERIENCIA PROFESIONAL:

Por favor déjanos un recuento de tu experiencia como solista, miembro de grupos de cámara, orquesta, banda, etc.

● En Orquesta y/o Banda:

Orquesta de la Comunitat Valenciana y  Orquesta ADDA•Simfònica.

● Conjuntos de Metal:

 Ensemble de profesores del Festival Spanish Brass Alzira 2021 y la Valencia Brass Band.

● Conciertos como Solista:

He actuado como solista junto a la Banda Sinfónica Municipal de Alicante, Banda del Conservatorio Profesional de música de Valencia, Banda Sinfónica del Ateneo Musical de Cullera, Banda Associació Unió Musical de Bocairent, Banda AETyB Madrid, Brass Band del Conservatorio Superior de Música de Valencia.

OTROS TEMAS DE INTERÉS. EL BOMBARDINO EN ESPAÑA.

Aquí en España, en algunos centros se considera que el Bombardino, es un instrumento que debería tener su propia especialización y, por otro lado, algunos creen que, como instrumentista, uno debe conocer y dominar la Tuba y el Bombardino.

• ¿Podrías darnos tu opinión sobre esto y sobre cómo abordarías este tema en interés de una educación y capacitación adaptadas a la especialización necesaria que se requiere en la actualidad a nivel mundial de este instrumento?

Es verdad que sí que hay  algunos intérpretes que son capaces de compaginar y tocar tanto el bombardino como la tuba a un gran nivel,  pero las diferencias a nivel técnico entre estos dos, hacen que por lo general, sea difícil alcanzar un alto rendimiento o tocar a un nivel profesional con  ambos instrumentos. 

Esto no quita que sea interesante tener conocimientos de los dos instrumentos, ya que creo que  puede ser beneficioso.

• ¿Cómo ves la enseñanza de el Bombardino en España actualmente y de cara al futuro?

Pienso que en España  tenemos la  gran suerte de contar con grandes profesionales, bombardinistas y tubistas, los cuales están ejerciendo una gran labor pedagógica en los jóvenes. Esto está dando como fruto una generación de bombardinistas jóvenes con un nivel alto.

Además creo que la tecnología también ha ayudado a que podamos aprender y conocer, casi diariamente, sobre lo  que se está haciendo en otros países o en las escuelas de referencias de nuestro instrumento (como Francia, Suiza, Inglaterra…). Desde mi punto de vista, veo esto como algo muy positivo, ya que nos permite estar informados sobre todo aquello que está aconteciendo fuera de nuestro país: desde la creación de nuevo repertorio y publicación de nuevos ejercicios o métodos de técnica… hasta el tener a nuestro alcance muchísimas grabaciones de referencia o incluso poder escuchar a otros bombardinistas de nuestra edad en concursos transmitidos en streaming… Sin ninguna duda, todo esto nos permite aprender y seguir avanzando. 

En cuanto al futuro, me gustaría que en España pudiéramos contar con especialistas de nuestro instrumento en los conservatorios, como si que los hay ya en la gran mayoría de conservatorios europeos ( París, Lyon, Amsterdam, Luzern…).

• ¿Podrías hablarnos sobre el acontecer del bombardino en España en la actualidad?

Creo que cada vez somos más quienes estamos tocando y estudiando este instrumento. Esto lo he podido ver y vivir en concursos o festivales a los cuales he asistido los últimos años, en los que he  coincidido con un gran número de bombardinistas. 

Además creo que en España hay una nueva generación muy interesante, que seguro que en un futuro van a continuar el camino trazado por los grandes bombardinistas españoles de la actualidad. Sin embargo, me gustaría que en los próximos años se explorara y experimentara aún más en cuanto a las posibilidades de este instrumento. 

Bajo mi punto de vista, creo que en esto vamos un poco por detrás, ya que en países como Francia, podemos encontrar grupos cámara de altísimo nivel musical, como son Opus 333 o grandes músicos como Anthony Caillet, Tom Caudelle, Hélène Escrivà…quienes están inmersos en proyectos en los que fusionan música y teatro. También forman parte de grupos en los que tocan jazz, funk… o incluso han creado nuevas formaciones de cámara (SaxBack, No Slide Brass Sextet…).

Por último, también  me gustaría  mencionar que en la actualidad tenemos proyectos como   "La verdadera historia de Pinocho" de Eduardo Nogueroles, un cuento musical para niños en el que se hace difusión  la tuba y el bombardino. Creo que este tipo de espectáculos, además de divertidos, son  muy interesantes y necesarios para seguir difundiendo y dando a conocer nuestro instrumento a los niños y las niñas,  quienes son el futuro.

• ¿Cuales son, a tu parecer, los máximos exponentes históricos de la Tuba y el Bombardino en España?

La verdad que no sabría decirte, ya que tengo una gran admiración y respeto a todos los profesores que he tenido. Además tampoco me gustaría olvidar a ninguno.

Hablemos de TU EXPERIENCIA CON LA ENSEÑANZA:

● Indícanos en que centros o eventos haz tenido la oportunidad de recibir clases (a tiempo completo, cursos, clases magistrales, etc.)

-Conservatorio Profesional de música "Melcior Gomis" d'Ontinyent y  Conservatorio Profesional de música de Valencia (Clases de 60 min. semanales. Además,en el Conservatorio de Valencia realizamos una clase colectiva semanal de 60 min.)

-Conservatorio Superior de Música "Joaquín Rodrigo" de Valencia: (Clases semanales de 90 min. También hacemos clase de repertorio orquestal y con pianista acompañante)

-Aula de Tuba de Spanish Brass: Dos clases colectivas de 60 min. y dos clases individuales de 90 min. mensuales.

También he podido asistir a varias masterclass o cursos con diferentes profesores: el tiempo varía según  el curso, pero generalmente suelen ser entre 45 min y 90 min.

● ¿Crees que es importante que el alumno haga presentaciones públicas durante sus años de estudio? 

Creo que es necesario para nuestra  formación como intérprete. Tener experiencias tocando ante un público o en frente de un tribunal nos va a hacer mejorar nuestra presencia en un escenario y sentirnos cada vez más cómodos cuando nos encontremos en esta situación. Además, a mi me ha ayudado a conocerme mejor y poder gestionar los nervios antes de una actuación.

Una parte importante de la programación de los cursos está estandarizada y se basa en la idea de que el alumno domine el repertorio solo, a veces en detrimento del repertorio de grupos grandes (Orquesta y Banda), cuando de hecho, la mayoría de los estudiantes de Tuba y Bombardino van a ser profesores y / o miembros de una banda y, en menor medida, de una orquesta en el caso de las Tubas. En tu opinión :

● ¿Cómo debería abordarse este problema? ¿Qué tan importante crees que es incluir el aprendizaje y el dominio del repertorio orquestal como parte del plan de estudios del curso?

Creo que el repertorio debe adaptarse según las necesidades del alumno, ya que cada uno va a tener unos objetivos  y unas metas diferentes. 

● ¿Qué repertorio requerirías en el examen de ingreso?

Pienso que cada intérprete debe elegir el repertorio dependiendo de su nivel o simplemente su gusto personal.

● ¿Qué aspectos valorarías más a la hora de decidir? ¿Musicalidad, entonación, ritmo, ...?

Una buena técnica base (sonido, afinación, ritmo…) y la musicalidad.

HABLANDO DE CUESTIONES TÉCNICAS:

● ¿Podrías darnos tu opinión sobre los diferentes conceptos de sonido y qué características lo definen, la articulación, los tipos de instrumentos, la literatura, si se considera importante la influencia del lenguaje y la tradición musical en el sonido y la forma de tocar?

Siempre he pensado  que el sonido es muy personal, cada uno tiene el suyo propio y es lo que nos da nuestra propia  identidad. 

Por supuesto,  el tipo de instrumento que utilices, la boquilla, incluso tu gusto personal o los músicos que escuches… va a influir en el sonido que tenemos o el que queremos conseguir.

COSECHANDO EXITOS.

● Eres un joven talento multipremiado en varios eventos de reconocido nivel dentro del mundo de la Tuba y el Bombardino. ¿Podría compartir con nosotros, algunas de tus experiencias en dichos eventos?

La verdad que guardo un muy buen recuerdo de todos aquellos concursos en los que he participado y he podido obtener un premio. En cada uno de ellos he aprendido algo y me han servido para mejorar. Al final, para mi el verdadero premio es el aprendizaje y la evolución obtenida durante el proceso de preparación para un concurso. 

Si tuviera que destacar alguna experiencia, sin ninguna duda sería la vivida en el concurso de Antibes (Francia), celebrado en marzo de 2023. Este es el primer concurso que he ganado fuera de España y el cual  siempre voy a recordar con cariño, ya que aparte del premio pude conocer a mucha gente y escuchar magníficas interpretaciones.

PARA CONCLUIR:

● En tu experiencia, ¿Crees que la diversidad de intérpretes, instrumentos y la oportunidad de capacitarse en varias escuelas especializadas hace que se enriquezca y homogenice la forma de tocar nuestros instrumentos?

Creo que la diversidad es algo positivo,  y que por supuesto es enriquecedor. Al final, cada intérprete tiene su propia personalidad al tocar y su propio enfoque. Esto hace que sea mucho más interesante, ya  que si todos tocáramos igual, sería muy aburrido…

Eduard, un placer y un honor poder contar con tu experiencia y colaboración en este nuevo proyecto de entrevistas a jóvenes talentos e intérpretes de la Tuba y/o el Bombardino. 

Muchas gracias y mis mejores deseos.

Un abrazo fuerte.

"BETWEEN TUBAS AND EUPHONIUMS...JANNICKE ELLINGSEN"

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 ..."

Let us begin. 

·      Name and surname:

Jannicke Ellingsen 

  ·      What instruments do you use?

Euphonium

·      That make and model are the tools you use:

Adams E1 Sterling 

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

MOMO mouthpiece M3

 

Let's talk about your EDUCATION:

·      When and where their studies or tuba euphonium started?

I did my bachelor and master degree at the Grieg Academy in Bergen and Hoschule Luzern in Switzerland. I finished my master degree in 2015. 

·      At what age?

I started my studies when I was 18 year old 

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

Tormod Flaten was my school band conductor. He normally did his practicing before band rehearsal, and I loved to listen to his playing. I changed from cornet to euphonium when I was 14 years old.   

·      Who were your main teachers?

Tormod Flaten, Grethe Tonheim and Thomas Rüedi

 

From my performance at VTEC during covid

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 played for Eikanger/Bjørsvik Musikklag (10 years) and Krohnengen Brass Band (5 years)

Now I am working as a euphonium player for the Norwegian Army Band in Harstad, Norway. 

As a soloist I have performed with different bands including The Royal Norwegian Naval Forces Band and Göteborg Wind Orchestra. I have also performed at several festivals in Norway and internationally. . 

·      Which uses warm-up exercises?

I always start with breathing exercises and buzzing the mouthpiece. My warm up is changing almost every day, but it normally includes long tones and flexibility. 

 

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 Norway it is not normal to play both tuba and euphonium. But, many euphonium players also play the trombone. I had to audition with both euphonium and trombone in the army band. Trombone is just a very small part of my playing, so euphonium is definitely my main instrument. 

Soloist with Krohnengen Brass Band

 

Let's talk about your TEACHING EXPERIENCE:

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

Before I moved to play for the army band, I used to teach euphonium students in a conservatory. 

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

I want to make my students become independent of me, and to become their own teachers. I guide them to find repertoire and good exercises, and we often find the repertoire together. During lessons we normally do 10-20 min basics so I can help them develop on their instruments. 

·      How long are your classes?

60 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?

I think it is very important that the students perform. To work towards a performance makes them more focused and motivated to practice. And to handle the performance situation needs a lot of practice. My students normally performed 2-4 times a year. But we normally played for each other once a month. 

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

Me and the trumpet teacher at the school worked close together so that our students could play for each other and together in an ensemble. 

Soloist with Göteborg Wind Orchestra

 

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? 

My students did not play a lot of excerpts or orchestral repertoire. We focused on exercises and solos. There are only 5 professional euphonium positions in Norway, and before they started to study at any university I did not think that working on excerpts was important for them 

·      Please tell us about the admission process to get into the school where you studied.

You have to to an audition to be accepted at the school

·      What it is required repertoire in the entrance exam?

The students can choose a solo on their own. They have a 10 min audition 

·      Do you suggest any particular repertoire?

I think they should find something that shows what they do best. If their sound is beautiful, show that. If your technique is great, show that. And don't try to play something too difficult. 

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

They only have to play one solo

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

No 

Soloist with Eikanger Band

·      Approximately how long is the exam?

10 min

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

A good sound is important to me. That shows that the student is listening to what he/she is playing.

About your work during courses or masterclasses.

·      What kind of repertoire do you mainly work with your students: solo, with piano accompaniment, chamber music, ....?

Solos

·      Do the students select the works to be played or are they chosen by the teacher?

They just bring a solo, I normally don't know if the student or their teacher choose the piece 

 ·      Are there any works that you consider compulsory? So what?

In Norway students should perform Fantasia by Gordon Jacob since this is a piece often used at auditions here. 

From a concert with the Norwegian Naval Force Band

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 think it is really important to know how you want to sound, and to work to find that sound every day. For literature the students should play in different styles and use music from different periods. They need to listen to recordings and get the knowledge needed to perform in the correct style.  

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

I have played on an Adams euphonium for 3 years now. I really love the sound on the instrument. The high quality of the instruments makes the valves work really well, so I don't need to worry about it during performances. I also really like the intonation of the instrument. I almost never use the trigger. I started on a Adams E3, but decided to change to an E1 as this was better for me as a soloist and in the army band, 

  

Jannicke, you are a young performer recognized in your country and in other countries.

·      Please tell us something about the history of development of the woman low brass players our instruments in your land.

I often get questions about being a woman playing euphonium. In Norway I have always been surrounded by women playing euphonium. During my studies at the Grieg Academy my class consisted of 5 girls and no boys. 

Cover of the Adams magazine 

  

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.).

 I think we have a lot to learn from each other across the borders. As the euphonium is a quite new instrument compared to other brass instruments, there is a lot of repertoire that needs to be written, and still some improvement that can be done on our instruments. I hope we will keep to develop the euphonium world more and more. 

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

Thank you very much and my best wishes.

A big hug.

 

 

"ENTRE TUBAS Y BOMBARDINOS POR LATINOAMÉRICA....FERNANDO DEDDOS"

 Hola a todos. La entrevista que les traigo hoy es con Fernando Deddos, el que quizás sea el más prominente eufonista y compositor para nuestros instrumentos de Brasil y puede que de latinoamérica actualmente, al cual le agradezco sinceramente su tiempo, colaboración y  amistad

Espero que disfruten de ella y les invito a seguir esta nueva serie de entrevistas, visualizando las anteriores,  las que están por llegar y por supuesto todo el blog.

Saludos.

"BETWEEN TUBAS and EUPHONIUMS...MIEL ADAMS"

Hello everyone. 

Today's interview is with the representative of one of the references in the manufacture of musical instruments in the world and since about 10 years ago specifically of brass instruments and I sincerely thank him for his time, friendship and collaboration in this interview project.

Without further ado, let's begin

• Name and surname: Miel Adams

• Do you play or have you played any wind instrument? 

Yes.  I played the oboe and baritone saxophone as a child and teenager. I stopped when I was 23, which was the time that I became more dedicated to learning to become a repair technician.  

• What instrument manufacturer do you own, CEO or representative?

I work in the company that my uncle, Andre Adams, founded.  Adams Musical Instruments is now owned by Andre’s son-in-law Frans Swinkels and his Lison Swinkels-Adams.  

• What instruments do you make?

Adams manufactures many members of the brass family of instruments.  Beginning with the flugelhorn many years ago, the firm expanded to trumpets, cornets, trombones, euphoniums, and tubas.  

Of course, Adams is also a well-known percussion instrument manufacturer

• What models?

15 trumpet models, 6 Flugelhorns, 2 Cornets, 4 Trombones, 4 Euphoniums, 6 Tubas, and a series of Marching Brass instruments primarily for the US market. 

• What type of Tubas and / or Euphoniums are manufactured in your company? Professionals, for students, beginners?

Adams manufactures primarily professional, handmade euphoniums and tubas.  

•        Do you manufacture nozzles in your company?

Adams does not manufacture mouthpieces.  

Let's talk about your company:

• When it was founded?

Adams was founded in 1970.  The company began as an instrument repair shop, and then grew into a retail store and percussion manufacture.  Brass manufacture began in a serious way in 2004.

The bell

• In what city or country?

Adams began in Thorn, the Netherlands. 

• Who was the founder?

Andre Adams, my uncle.  

• Since when do you manufacture Tubas and / or Euphoniums?

The first euphoniums were developed in 2008, and tubas began in 2010.  

• What reasons or circumstances led you to manufacture Tubas and / or Euphoniums?

Developing low brass instruments was a natural extension of the Adams product line. 

• Who were its main designers?

I was the main designer, and have regularly consulted and worked with many musicians as part of the ongoing process.  

Regarding the vast experience of your brand in the market:

Please let us have a count of some of the artists that appear in your catalog broken down as follows:

The list of our artist of tuba and euphonium appear in our web.

See 3 examples in this videos.

•  Perry Hoogendijk 

• Mauro Martins

• Fernando Deddos soloist and composer too

TALKING ABOUT TECHNICAL ISSUES:

• Could you give us your opinion on the different concepts of sound and what characteristics define it, according to the different types of instruments, that your brand manufactures?

Adams aims for free-blowing instruments with superior intonation and slotting. To achieve this, we create the bell, lead pipe, tuning slide and bows from sheet metal and craft them through a traditional process of seaming, hand hammering, and finishing by spinning or drawing. These old world techniques combined with modern machinery make Adams Custom Series Brass instruments special and unique.  

Part of process

• Please tell us a bit about the actual manufacture of brass instruments based on your experience?

We make all of the major parts from the receiver to the bell in house, and also have our own lacquering and silver plating facilities.  Through this dedication of resources, we have been able to extensively learn and grow as a company, and it also allows us complete control over consistency and quality. 

Each of the instruments in the custom series is available in a selected model that has specifications that are the ideal concept of the model, and these will meet the needs of most musicians. Additionally, most models are available in many choices of bells, material thicknesses, and finishes, allowing the musician to create a custom instrument to their own sonic preferences.

In the work

IN CONCLUSION:

• In your experience, do you think that the diversity of interpreters, instruments and training opportunities in various specialized schools is being homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.)

As part of designing instruments, I have worked with many musicians from all over the world. I feel that musicians bring their unique musical and viewpoints with them, and these are all different. Even within a given country, different teachers at different conservatories produce students with different styles and viewpoints.

It is a pleasure and an honor to count on your experience and knowledge in my work as well as your sincere friendship.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS and EUPHONIUMS...JEFF BAKER"

Hi. For many people, today's interviewee is a well-known tuba player and teacher in the USA. For others, outside of those lands, they may not even know him and this last is something we wish to remedy.

It is a pleasure for me to be able to bring you closer to this brilliant American tuba player whom I thank for his friendship and collaboration in this interview project.

I hope and desire that you enjoy his experience as much as I do.

Without further ado, Let us begin.

· Name and surname:   Jeff Baker

· What instrument / s do you use?

Tuba, Contrabass Trombone, Cimbasso, Euphonium

· That make and model are the tools you use:

Meinl Weston 2165 CC tuba

¾ Rudy Meinl CC tuba

Alexander F tuba

Adams F tuba

Meinl Weston Cimbasso

Holton Bass Trombone

Adams E1 Euphonium

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

Stofer Geib Mouthpiece

Laskey 30H Mouthpiece

Thein MCL contrabass trombone mouthpiece

Schilke 59 bass trombone mouthpiece

Griego BB1 euphonium mouthpiece

Let's talk about your EDUCATION:

· When and where their studies or tuba euphonium started?

I joined the band program when I entered middle school (6th grade).  That first year, I was in a class with other first-year trombones, euphoniums, and tubas.  I also played tuba in a jazz band that rehearsed in the evenings.

· At what age?

I began playing tuba at the age of 11 and trombone at the age of 14.

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

One of my earliest music memories was when the Dallas Symphony Orchestra Brass Quintet came to my elementary school.  The tuba player was Ev Gilmore and I knew that’s what I wanted to play.  There was an after-school orchestra program at my elementary school, I began playing the cello in this program when I was 8 years old.  At the age of 10, I switched to contrabass and when I was 11 and entering middle school, I switched to tuba.

· Who were your main teachers?

I have had many great teachers throughout my musical studies, but my two primary tuba instructors were Don Little and Ted Cox.  I was fortunate to have the opportunity to study with students of Arnold Jacobs and Harvey Phillips.

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 perform regularly with the Dallas Opera on tuba, cimbasso, and bass trombone.  I have also performed with many of the orchestras in the area including the Dallas Symphony Orchestra, the Ft. Worth Symphony Orchestra, and the Dallas Winds.

· Metal sets:

I have very little Brass Band experience, it is not popular in this part of the country.  I have performed with the Texas Star Brass Band.

· Solo concerts:

I perform recitals every year and have been a soloist with bands and orchestras in the US and Brazil.    

With the Tatuí Conservatory Orchestra. Conducting James Gourlay

About your ORCHESTRAL EXPERIENCE:

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

I played in the opera orchestra as a substitute musician for a couple of years before serving as a long-term (full-season) substitute when Don Little retired from the orchestra.  Our music director retired during this time as well, and it wasn’t until the new music director’s second season that a tuba audition committee was created.

• How was the selection process?

I was fortunate that I was able to rehearse and perform with the Dallas Opera for almost 4 seasons before the audition committee was created.  Through a unanimous vote among the committee and the music director, they offered me the permanent position in lieu of a traditional audition.  

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

There was not an audition list, but by the time the committee met to discuss my permanent acceptance, I had performed a variety of works within the orchestra, many with little or no time to prepare.  I was called for Tristan und Isolde the day before the first rehearsal and I was called for Verdi’s La Traviata (on cimbasso) less than a week before the first rehearsal.  We performed a number of classics and family concerts, a rarely-performed 12-tone opera by Dominick Argento, a unique chamber opera called Death and the Powers, along with a variety of other productions by Puccini and Verdi.  

It was on opening night of Strauss’ Salome that the personnel manager and the audition committee met with me to let me know the position was mine.  The music director was sitting on the front row for most of those rehearsals and later told me that he was listening intently to my playing during Salome to help finalize his decision.   

In another sense:

• How is your current work in the orchestra?

The orchestra performs approximately 20 weeks out of the year, during those weeks, it is very busy.  It is not uncommon to rehearse and perform on many different instruments within the same week.  A typical week is 20 hours of rehearsals and performances.    

• Do you combine it with another musical group?

I used to freelance around the metroplex and play a variety of gigs, but I don’t have the time anymore.  I have a full-time teaching position at a university in the area and a young family.

• What recommendations would you give future tuba players aspiring to an orchestral position?

Listen to recordings, buy scores, and learn the music.  It’s okay to practice the excerpts, but if you don’t know the music, the committee will figure that out very quickly.

• Be nice to people, it doesn’t matter how well you play if nobody likes you.

We don’t get many opportunities in life, you must be prepared to step into a position and immediately be successful.  If you wait until the opportunity and then begin preparing, it’s too late.  I spent years studying opera music and preparing for an opportunity like the one I had.  I bought a cimbasso mouthpiece and practiced Verdi excerpts on my F tuba long before I ever had a chance to play in the opera orchestra, I went to orchestra and opera concerts regularly, I practiced excerpts on bass trombone, and I took every band and orchestra audition that I could.

 

With my partners of the Dallas Opera Orchestra.

Treating OTHER TOPICS OF INTEREST.

Here in Spain, in some centers the Euphonium is considered to be an instrument that should have its own specialization and, on the other hand, some believe that, as an instrumentalist, one should know and master the Tuba and Euphonium.

• Could you give us your opinion on this and how you would approach this topic in the interest of education and training adapted to the necessary specialization that is currently required worldwide?

I think there must be a balance.  If a school has the students and the finances to support both a tuba and euphonium teacher, that’s great, but that’s very rare.  I have always played multiple instruments, so I feel I have a unique perspective when it comes to teaching and I encourage my students to study multiple instruments for this reason.  While tuba and euphonium are similar, a teacher will be more effective if they understand the nuances of both instruments through their own personal experiences.  I am happy that I can teach and play both instruments at my university.

• How do you see the tuba and euphonium teaching today and with a view to the future?

In the USA, there are more tuba and euphonium jobs now than ever.  In the Dallas area, it is possible to make your entire living from teaching tuba and euphonium private lessons.  I think this is wonderful, we’re also seeing many musicians challenging composers to write more difficult repertoire.  Sergio Carolino and Roland Szentpali come to mind, these musicians have created a paradigm shift that ultimately raises the level for all musicians.

Let's talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

I have been a faculty member at Texas A&M University-Commerce, Cameron University, and the University of North Texas.  I have taught masterclasses throughout the USA and Brazil and online as well.

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

Regarding masterclasses, this all depends on where I am teaching, who I will be teaching, and how much time we have.  I focus on fundamentals, mainly tone, breathing, and ear training.  I have also presented clinics on college preparation, audition preparation, and performance anxiety.

· How long are your classes?

Private lessons are one hour in length, masterclasses are usually two hours in length.  If a student that I don’t work with on a regular basis wants a lesson, we will usually go a little longer than a standard lesson.

· Do you think it is important for a student to make public presentations during their years of study? If so, how many times do you consider it appropriate and at what age or grade? Elementary, Professional, Superior?

Absolutely.  We are performers and many people are not comfortable with sitting in the spotlight.  Only through experience can we master our doubts and fears.  I encourage my students to perform early in their career and often.  I like for my performance majors to perform a recital each year they are in school.  My music education majors are required to perform one recital before graduation, but I encourage them to do more.

An important part of the course curriculum is standardized and based on the idea that the student masters the repertoire alone, sometimes to the detriment of the large group repertoire (Orchestra and Band), when in fact the majority of Tuba students and Bombardino are going to be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of the Tubas.

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

I encounter students that only want to work on excerpts.  Harvey Phillips and Arnold Jacobs both believed that if a tubist only practices band and orchestra music, they will be limited as a musician. We must study all great musicians and aspire to perform all types of music at a high level. 

I think if we only practice solo literature, we will also be limited as a musician and the reality is most tuba players do not earn their living as a soloist.  There needs to be a balance and the student should be willing to learn as much music as they can from many styles and genres.  

· If I had to choose as a student (in a hypothetical situation), would you have a preference between a Tuba student and a Euphonium student?

No, I have no preference, they are both musicians and the goals are the same.  An ideal student for me is curious, hard-working, and willing to try new approaches.

With the Contrabass Trombone

About your DAILY WORK.

· What type of repertoire do you mainly work in?

My repertoire varies throughout the year.  During months where I perform with the opera orchestra, I am focused on what we will be performing.  If I am preparing for a recital, I may not play my 6/4 CC tuba and spend extra time on bass trombone and F tuba.  

I have a variety of etudes and solos on my music stand at home, this is the type of music that will help force you to maintain a high-level of playing.

· What warm-up exercises do you use?

I play different instruments every day, I don’t always warm up on my 6/4 CC, in fact, I haven’t played it in a while!  Regardless of the instrument that is in my hands, I am trying to create a consistent sound throughout the low, middle and high range, and I am trying to ensure that I am in tune in all keys.  I play a lot of flow studies and songs in all key signatures.  

Long tones are always beneficial, so are scales and arpeggios.  I used to play a specific routine, the same exercises every day in the same order.  While I believe that is useful for younger musicians, I now play what I feel I need for each day.  If my connections are not smooth in my flow studies, I play more lip slurs or possibly switch to a different instrument that requires more attention in the area I am trying to fix.  I do this a lot with tuba and cimbasso because the cimbasso requires much more air and control.  I will often play ear training exercises on bass trombone which will help my intonation on euphonium.    

TALKING ABOUT TECHNICAL ISSUES:

· Could you give us your opinion on the different concepts of sound and what characteristics define it, the articulation, the types of instruments, the literature, if the influence of language and musical tradition on sound is considered important and how to play?

Regarding sound, I believe that a student must have a strong idea of what they want to sound like.  We model or mimic others, in the same way that babies learn to talk from hearing their parents.  Depending on the instrument, ensemble and the repertoire, my ideal sound models are Michael Lind, Warren Deck, Floyd Cooley, and Brian Bowman.

I’m fortunate to perform with singers, I try to take a singing approach in my own studies and it is the cornerstone of how I teach musicians.  We have to communicate with the audience, like a great singer.

The influence of language is something I also discuss with my students, we perform German, Italian, and English songs and often discuss how the text relates to our articulation and breathing.  We should mimic singers in articulation and phrasing.  We should be creative and expressive storytellers.

· Tell us a bit about the manufacture of Tubas and / or Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

My first CC tuba was an Alexander and that influenced me in many ways.  There is no other sound like an Alex, it’s beautiful and despite its 4/4 size, a well-played Alex can be heard easily inside any ensemble.   Handmade instruments like Alexander, Rudy Meinl, and Adams use thinner metal since there are not any machines used to form the parts.  I think this thinner metal allows the instrument to respond better, it also allows me to play softer with more control, which is much more difficult than playing loud.

I have a variety of equipment that allows me to adjust my sound and presence depending on the repertoire.  For example, my trombone colleagues prefer that I play bass trombone on La Boheme, but for other works by Puccini, I use cimbasso.    

I use medium-sized mouthpieces on all my instruments, I feel that I have more control, more endurance, better intonation, and it requires less air to create an ideal sound.

You are a recognized interpreter in you country.

Please tell us something about the history of our instruments in your land.

The tuba sound in the United States has changed over the last 30 years.  Americans used to perform on 4/4 rotary tubas, much like Roger Bobo, Chester Schmitz, and Ron Bishop.  Large 6/4 piston tubas became popular in the late 1980s and early 1990s primarily due to the success of Arnold Jacobs and Gene Pokorny in the Chicago Symphony.  My Meinl Weston 2165 is a copy of a 6/4 Holton, like the one Floyd Cooley used in the San Francisco Symphony.  It was made famous by Warren Deck in the New York Philharmonic and now there are numerous versions of 6/4 piston CC tubas available.  I don’t know that this is good or bad, it’s mainly just a change in what tuba players wanted which led to many new models and styles.

In the United States, beginner tuba students learn BBb tuba first.  I encourage all of my university students to learn CC tuba, I feel this makes them a more effective musician and teacher if they understand BBb and CC.  I do not requre them to own a CC tuba and if they prefer BBb, I am happy to support them.  There are some fantastic BBb tubas available and many of the top tuba players in Europe don’t own a CC tuba.  I do believe that CC tuba responds better than BBb, probably due to the shorter length of tubing, moreover, currently in the United States, there are more professional-level CC tubas available.

Tuba/Euphonium studio at Texas A&M University-Commerce in the Music Building's Concert Hall with the adjunct tuba teacher Dr. Ken Drobnak and an adjunct euphonium teacher Brian Davis.

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, English, French).

Of course, how could it not be?  Music education in Germany is quite different than in the United States, the same could be said for most countries.  If you are not from Germany but travel there to study, you must do what they tell you in the style they tell you.  Politics, history, economics, and how the arts are valued at a national level all affect these varied styles of pedagogy and performance. 

In our lifetime, I think we have seen, and will continue to see, more diversity and acceptance due to a more interconnected world created by the internet.  Youtube videos, zoom lessons, digital concert subscriptions, this is all wonderful and allows for a wider acceptance of ideas.  This can also be a way to educate our students on different approaches to music.  When I am working on Berlioz excerpts with a student, I encourage them to find recordings of French orchestras and French conductors.  There are many fine recordings by the Montreal Symphony with Charles Dutoit conducting, these sound very different than the Chicago Symphony.  When we are preparing Wagner excerpts, my students must listen to German recordings, Bayreuth sounds very different than the New York Philharmonic.     

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

Thank you very much and my best wishes.

A big hug.

Thank you for inviting me to participate Harold, stay safe and I look forward to seeing you when we can all get together again!

"ENTRE TUBAS y BOMBARDINOS....MAURO MARTINS"

Hola a todos. La entrevista de hoy es a uno de los instrumentistas más fulgurantes del Bombardino en la hermana tierra portuguesa y con un amplio reconocimiento ya a nivel europeo y mundial.

Gracias  por aceptar nuestra invitación y por su amistad y sobretodo reconozcamos su deseo por hacerla en español.

Sin más comenzamos.

• Nombre y apellido:

       Mauro Martins

• ¿Qué instrumento / s usas?

     Euphonium

• De que fabricante y modelo son los instrumentos que utilizas:

     Adams/ E1. 0,55 sterling bell

• De que fabricante y modelo son la / s boquilla / s que usas:

    Brass Lab. Momo/ M-series (Mauro Martins signature)

Hablemos de tu EDUCACIÓN:

• ¿Cuándo y dónde comenzó sus estudios del bombardino o tuba?

En 2010 en la EPABI-Escola Profesional de Artes de Beira Interior

• ¿A que edad?

            15 años

• ¿Qué razones o circunstancias te llevaron a estudiar este instrumento?

      Comencé a tocar la trompeta en una banda de aficionados, y me levantaba todos los días a las 7 de la mañana para poder tocar antes de ir a la escuela, porque era lo qué me hacía feliz, así que entendí que ya no podía vivir sin música. Y fui a estudiar para una escuela de música, no la trompeta sino el instrumento con el sonido más bello que he escuchado, el euphonium. 

• ¿Quiénes fueron tus principales maestros?

           Sérgio Carolino. Mi profesor en la Universidad.

           En la EPABI, Nuno Machado, Ricardo Antão y Luis Oliveira.

         

En cuanto a tu EXPERIENCIA PROFESIONAL:

Por favor déjanos un recuento de tu experiencia como solista, miembro de grupos de cámara, orquesta, banda, etc.

• En Orquesta y/o Banda:

       Fuí el principal eufonista de la orquesta de viento portuguesa, pero esa orquesta terminó.    

  También toqué en la banda sinfónica ARMAB.

• Conjuntos de Metal:

      Soy miembro del ensemble "How Low can You Go", y también toqué con el grupo de metales "Massive Brass Attack".

• Conciertos como Solista:

    Como solista he tocado y realizado recitales, clases magistrales y conciertos a solo en  europa, asia y américa

• Que ejercicios de calentamiento utilizas?

  Nunca hago lo mismo, y no siempre caliento. Lo más importante es hacer un calentamiento          tranquilo y equilibrado. 

Tratando OTROS TEMAS DE INTERÉS. El bombardino en portugal.

Aquí en España, en algunos centros se considera que el Bombardino, es un instrumento que debería tener su propia especialización y, por otro lado, algunos creen que, como instrumentista, uno debe conocer y dominar la Tuba y el Bombardino.

• ¿Podrías darnos tu opinión sobre esto y sobre cómo abordarías este tema en interés de una educación y capacitación adaptadas a la especialización necesaria que se requiere en la actualidad a nivel mundial?

            Mi opinión es que sería extremadamente importante tener un curso especializado, para cada  instrumento, una de las principales fuentes de aprendizaje es la imitación, un profesor de euphonium para un estudiante de euphonium, debería ser indispensable.

               En cuanto a tocar tuba y euphonium, sería una elección, en mi caso, no lo hago.

• ¿Cómo ves la enseñanza del Bombardino en Portugal actualmente y de cara al futuro?

           La enseñanza del euphonium en Portugal está creciendo. Creo que pronto habrá cursos de euphonium especializados en más universidades y escuelas profesionales y conservatorios en el país.

• ¿Podrías hablarnos sobre el devenir de nuestros instrumentos en Portugal?

               El futuro pertenece solo al futuro. Pero me parece que será un futuro con un nivel muy alto

               y  lleno de buenos músicos en los instrumentos graves.

       

• ¿Cuales son, a tu parecer, los máximos exponentes históricos de la Tuba y el Bombardino en Portugal?

                La tuba y el euphonium son instrumentos muy recientes en Portugal.

Hablemos de tu EXPERIENCIA EN LA ENSEÑANZA:

• Indícanos en qué centros de aprendizaje haz impartido clases (como profesor a tiempo completo, profesor visitante, cursos, clases magistrales, etc.)

        Como profesor a tiempo completo, en la Escuela Profesional de Artes covilhã-EPABI.

        Clases magistrales en los continentes: europeo, asiático y americano.

• ¿Cómo organizas tus clases y el tema en general?

        Depende del alumno, pero creo que la organización de la rutina diaria es uno de los puntos

        principales, así como el trabajo de la mente y el físico.

• ¿Cuánto duran tus clases?

     Normalmente una hora

• ¿Crees que es importante que el alumno haga presentaciones públicas durante sus años de entrenamiento? De ser así, recomiende cuantas veces lo considere apropiado y de qué edad o curso. Elemental, Profesional, Superior?

       Claro qué si. 

       Como un deportista necesita competir en sus filas, los músicos deben estar en su hábitat durante  los años de aprendizaje, ya que los años de aprendizaje van desde el primer día que tocamos el instrumento hasta el último.

Una parte importante del currículo del curso está estandarizada y se basa en la idea de que el alumno domine el repertorio solo, a veces en detrimento del repertorio de grupos grandes (Orquesta y Banda), cuando de hecho, la mayoría de los estudiantes de Tuba y Bombardino van a ser profesores y / o miembros de una banda y, en menor medida, de una orquesta en el caso de las Tubas.

• En tu opinión, ¿Cómo debería abordarse este problema? ¿Qué tan importante crees que es incluir el aprendizaje y el dominio del repertorio orquestal como parte del plan de estudios del curso?

         Los músicos deben ser lo más completos y eclécticos posible. Así que creo que deberíamos                 centrarnos en todo y no solo en el repertorio solo en este caso.

• Si tuvieras que elegir (en una situación hipotética), ¿Tendrías preferencia entre un alumno de Tuba ó uno de Bombardino?

          Bombardino claro. Es el instrumento que toco y domino. Por supuesto, será el que mejor 

          pueda  enseñar.

Acerca de tu TRABAJO COMO SOLISTA.

• ¿En qué tipo de repertorio trabajas principalmente? Solo, con acompañamiento de piano, música de cámara, ....?

         Por ahora estaba trabajando más con piano y orquesta. Pero ahora estoy haciendo algunos                    pedidos de música de cámara con euphonium solo tambien y duetos.

• ¿Qué formato tienen tus conciertos? Concierto en solitario, Recital con piano, ...?

       Depende de la invitación, generalmente hago más recitales, pero también hago algunos                         conciertos en solitario.

• ¿Hay alguna obra que consideres fetiche para tí? ¿Cuál sería?

       Me encantaria hacer el concierto para euphonium de Jukka Linkola a solo con orquesta, ya lo hice com piano, pero nunca con orquesta. 

HABLANDO DE CUESTIONES TÉCNICAS:

• ¿Podrías darnos tu opinión sobre los diferentes conceptos de sonido y qué características lo definen, la articulación, los tipos de instrumentos, la literatura, si se considera importante la influencia del lenguaje y la tradición musical en el sonido y la forma de tocar?

          Me encanta cambiar los colores del sonido. Creo que la mayoría de las ideas para el sonido                  provienen de la música que escuchamos y de toda nuestra experiencia de la vida. 

     El instrumento es solo un medio de transmitir lo que nuestro cerebro y corazón dicen, incluso podemos decir que en el momento en que tocamos el instrumento es como una continuación de nuestro cuerpo.

• Háblanos un poco sobre la fabricación de Bombardinos y boquillas.

Los Instrumentos Adams y las boquillas Brass Lab. Momo son 100% hechas a mano. Tal vez eso los hace tan especiales.

• Cuéntanos sobre tus experiencias y gustos sobre ADAMS marca de la que eres artista. ¿Porque la elegiste?

Elegí los instrumentos Adams porque son los instrumentos que presentan la flexibilidad que busco para transmitir mi mensaje con el menor número de preocupaciones / filtros. Me encanta la facilidad de cambiar los colores y la facilidad de tocar todo el registro, y claro el sonido.

PARA CONCLUIR:

• En tu experiencia, ¿Crees que la diversidad de intérpretes, instrumentos y la oportunidad de capacitarse en varias escuelas especializadas se está homogeneizando en los centros interpretativos que ya están establecidos? (Ejemplo: ruso, estadounidense, germano-austríaco, inglés, etc.).

        

       Creo que solo nosotros hacemos nuestras posibilidades. Entonces, con más instalaciones en un  país u otro, eso nunca será una barrera. Lo que necesitamos es luchar por nuestros sueños todos los días.

Mauro, un placer y un honor poder contar con tu colaboración, amistad y experiencias en este proyecto de entrevistas.

Muchas gracias y mis mejores deseos.

Un abrazo fuerte.