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.
