"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....DEANNA SWOBODA"

Hi. Today's interview is very special for me because it is someone who I consider a great interpreter of the Tuba and an excellent person. She was the first woman tubista that I met there in 97 in Madrid with the late Prof. Pilafian and since then our friendship lasts.

Without further ado, I thank you for your kind collaboration.

Let us begin.

• Name and surname: 

Deanna Swoboda

• What instrument / s do you use? 

I play the Eastman CC tuba – EBC836 and the Eastman F tuba EBF864

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

Eastman Winds 

Let's talk about your education:

• When and where their studies or tuba euphonium started?

I studied at University of Idaho for undergraduate, Northwestern University (Chicago) for my Masters degree and Arizona State University for my Doctorate. 

• At what age? 

I began playing the tuba in grade 8, around age 12

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

My first instrument was the clarinet. I chose the clarinet because my mother and my sister played the clarinet. I changed to the tuba in grade 8 because we needed atuba and I got to sit next to a boy that I liked. It was for love! But then I fell in love with playing the tuba also.

• Who were your main teachers?

My main teachers were Robert Spevacek, Rex Martin, Sam Pilafian

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.

Before joining the music faculty at Arizona State University, I was an associate professor of Tuba and Euphonium at Western Michigan University, where I was a full-time member of the Western Brass Quintet. Before WMU, I was a tubist for the Dallas Brass, a group of 6 musicians who traveled the United States and Europe presenting hundreds of concerts each year and working extensively in public schools and colleges and universities. I have also created a motivational video and music recruiting workshop called "Band Blast Off".

In addition I have taught at the University of Nevada Las Vegas, at the University of Northern Iowa, University of Idaho.

As an international and clinical interpreter, I have been invited to the Royal Conservatory of Music in Madrid (Spain), Deutschen Tubaforum - Hammelberg (Germany), the Higher School of Arts in Porto, Portugal, and the Saint Petersburg Conservatory in Saint Petersburg, Russia. among others. As a  performer, I have performed and presented clinics at national and regional conventions of the National Conference of Music Educators (MENC) on numerous occasions, the Midwest Band and Orchestra Clinic, Brass International Conference for Women, Conference of Army Band Euphonium Tuba, International Tuba-Euphonium Conferences, and for state associations of music educators. 

I am a past president of I.T.E.A., the International Tuba Euphonium Association.

• Which uses warm-up exercises?

I like variety for my warm up. My warm up includes many different exercises for long tones, lip slurs, scales, ear training, playing melodies. I incorpórate some of Roger Bobo’s materials, Chris Olka materials, Arnold Jacobs materials, Sam Pilafian materials, Clark Studies, and Arban and my own.

International Women's Brass Conference 2019 at Arizona State University, Monarch Brass Tuba Euphonium section. Left to Right: Gretchen Renshaw James, Gail Robertson, Velvet Brown, Deanna Swoboda, Stacy Baker

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?

I think it is possible for someone to only play the Bombardino and not have to master the tuba and euphonium first. They are related instruments but can do different things. If someone imagines themselves as a player of the Bombardino only, I think it would be fine. Maybe they imagine to be a jazz player on the Bombardino? It is different – but sometimes different is good! In the USA the Bombardino is not played. There is no place in the band or the orchestra for the instrument. If someone chooses to play the instrument they might only play solo or a small chamber group or a jazz ensemble. 

Let's talk about your teaching experience:

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

I teach at Arizona State University in Tempe, Arizona (near Phoenix). I teach tuba, euphonium, chamber ensembles, music entrepreneurship and have taught music education low brass methods clases.

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

For every year of private lessons, the students must perform required pieces for the instrument, scales, technical studies, excerpts. Also they must learn some improvisation and other styles of playing. 

The students must play standard Concertos and Sonatas originally for the instrument and also perform transcriptions. During their studies at the university they will also compose or arrange music for the tuba or euphonium.

• How long are your classes?

Each private lesson with me is one hour per week. My students also have 30 minutes lesson with the teaching assistant. Studio class are three times per week, one hour each class. Performance class, excerpt class, tuba euphonium ensemble, or improvisation class.

• 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?

Public performance is very important even from the beginning. Maybe the student will only play children’s songs for the family, but a performance of what is learned is important. The more we perform, the better we get at performing. I encourage my students to perform a recital every year, from the beginning of college. They might share a recital with a friend or perform a full recital solo. It depends on the strength and preparedness of the student and their ability. 

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

I am the only tuba euphonium professor at Arizona State University. I have two graduate students who also teach the younger students. 

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 believe that overall excellent musicianship is most important. I teach the excerpts so the student has a foundation and knowledge of the repertoire and through the study of the excerpts they develop better technique. Excerpt study is only one part of building good musicianship. I want my students to be well rounded in their ability to read a score, to hear well when leading an ensemble and to make good choices about how to improve everything they do. 

Deanna Swoboda testing the Eastman F piston tuba prototype
with Chuck Kerrigan, Eastman Music Co. Representative

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

Students apply to the university and are accepted or not depending on their grade point average and test scores. They also apply to the school of music and perform an audition and an interview. The audition for undergraduate is 10 minutes (includes solo, excerpts, scales and sight reading). The Masters degree is 20 minutes (includes solo, excerpts, scales and sight Reading, interview). The doctorate is 30 minutes (includes solos, excerpts, and interview)

• What it is required repertoire in the entrance exam?

For tuba: undergraduate :  https://music.asu.edu/admissions/undergraduate-auditions

Two contrasting movements from works comparable in difficulty to the following representative samples: 

• Grigoriev: Studies for Tuba
• Bordogni: Legato Etudes Vol. 1
• Blazhevich: 70 Studies for Tuba
• Haddad: Suite for Tuba
• Hindemith: Sonata for Bass Tuba
• Vaughn Williams: Concerto for Bass Tuba, Mvmt. 1
• Holmes: Lento
• Wilder: Suite No. 1 for Tuba
• Marcello: Sonata in F–Major
• Marcello: Sonata in A–Minor

For euphonium: https://music.asu.edu/admissions/undergraduate-auditions

• Etudes chosen from the following or comparable collections:
• Voxman: Selected Studies
• Bordogni and Rochut: Melodious Studies, Vol. 1
• Arban: Characteristic Studies.
• Two contrasting movements from works comparable in difficulty to the following representative samples: 
• Curnow: Rhapsody for Euphonium
• Arban: Carnival of Venice and Variations on a Tyrolean Song
• DeLuca: Beautiful Colorado
• Clinard: Sonata for Unaccompanied Euphonium.

• Do you suggest any particular repertoire?

Yes – if a student contacts me, we discuss what they are working on currently and decide what repertoire they should audition with

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

No piano accompaniment is required. The audition is based on time (10, 20, 30 minutes).

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

No

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

Musicality, ear development (matching pitch with the piano, playing in tune)

About their work during the course.

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

Solo with piano, unaccompanied, all styles, jazz and improvisation, excerpts (orchestra and military band), entrepreneurship and career design

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

Jury at the end of the semester. Perform a solo with piano, excerpts. If a student performs a recital they do not have to perform a jury.

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

Both – I choose repertoire that the student should know. The student selects music they want to play. It is a combined effort. 

• Is there any work it deems mandatory? So what?
• For example:

Vaughan Williams, Gregson, Broughton Concertos for tuba

Wilhelm, Horowitz, Cosma Concertos for euphonium

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 ?

It is important for the student to have a personal concept of sound in their mind/ear. I teach the student to have a full, rich, warm, dark sound with clarity and focus. It is also important to have many ways to play different articulations. There is not one staccato or one way to play marcato. It depends on the composer, the style, the ensemble or solo setting which style of articulation that will be used. I play Eastman tubas (CC and F). 

Language is a big consideration. Depending on the language a person speaks, it effects their ability to form the right shape in the oral cavity for good sound on the tuba. It takes extra work sometimes for someone to grasp the concept, depending on the language. 

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

I make breathing tubes out of PVC piping

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

I am an Eastman Tuba Artist and I play Eastman tubas. I love them very much! There are many instruments to choose from and it is very personal. It is important for the player to try many tubas before purchasing. Attend a conference that features the industry and try the instruments first. It has to be right for the person. 

At the AETYB Madrid Festival 2018 performing "Relentless Grooves: Cuba" by Sam Pilafian.
(Work that I thank you for dedicating to me in your Concert.)

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.).

It is most important to be a great musician. If you are a great musician, you can play in any style. You can learn any style. It is special to study with someone who teaches a certain style and it is important to have many concepts. Study with as many people as possible – more tools in your belt for playing and for teaching!

Deanna, 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.

A big hug to you! Thank you for including me.