"BETWEEN TUBAS and EUPHONIUMS.... DEMONDRAE THURMAN"

Hello everyone. It is a privilege for me to interview this renowned North American Euphonium player and professor and to be able to share with you his reflections and experiences that I hope will be of great benefit.
Without further delay let us begin.

• Name and surname: 

Demondrae Thurman

• What instrument / s do you use? 

Euphonium

• That make and model are the tools you use: 

Miraphone 5050 Ambassador

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

Warburton Demondrae Model

Let's talk about your education:

• When and where their studies or tuba euphonium started? 

1986

• At what age? 

12 years old

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

My band teacher chose it for me.

• Who were your main teachers? 

James Jenkins, Mike Dunn, John Stevens

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: 

Extra or substitute with the following orchestras: 

1. New Philharmonic
2. Philadelphia Orchestra
3. Atlanta Symphony
4. Sarasota Orchestra
5. Oregon Symphony

• Metal sets: 

Brass Band Of Battle Creek and the Sotto Voce Quartet

• Solo concerts: 

Many concerts for the last 20 years

(Dear readers, I invite you to read my chronicle on the CD SOLILOQUIES)

Soliloquies Cd cover

• Which uses warm-up exercises? 

Not really big on warm ups..I do lip slurs and long tones.

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? 

Today's student want a specialist for the instrument they play. Euphonium will difficult because the job market doesn't merit that. 

I teach euphonium only at Indiana University and only the University of  North  Texas has a full-time euphonium teacher. 

I don't believe that these instruments need specialist necessarily but I am happy that many euphonium players are teaching part-time at many universities in the United States.

Let's talk about your teaching experience:

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

Left to Right Gail Robertson, Steven Mead, Benjamin Pierce and I

1. Alabama State University
2. Troy University
3. University of Montevallo
4. The University of Alabama
5. Miles College
6. Samford University
7. Indiana University.

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

I teach individual lessons that I schedule with each student

• How long are your classes? 

Generally 1 hour per week.

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

There should be some public appearances but I believe they should be mostly on the college campus playing for their peers and colleagues.

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

I am the only euphonium teacher at my school.

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.

Sotto Voce Quartet in the Highway

• 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.

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

Undergraduate students audition with two contrasting works in a 10-minute timeframe. 

Graduate students audition with three works plus band excepts for a 15-25 minute timeframe.

• What it is required repertoire in the entrance exam? 

No required repertoire

• Do you suggest any particular repertoire? 

I do not. I ask potential students to show me their musicianship through their playing and repertoire choices.

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

2-3 and any of those formats are ok for me.

• Is there a mandatory piece? 

If so, what is it? no mandatory work.

• Approximately how long is the exam? 

10+25 minutes

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

Tempo maintenance, rhythm, tone quality, and artistry.

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

I like students that can play euphonium and Tuba/Trombone. 

With the Big Daniel Perantoni

SPEAKING OF TECHNICAL ISSUES:

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

I believe that we each have an individual sound. that sound we use in all pieces that we play. 

The more music we listen to, the more sounds we have to draw upon. I believe that we're drawn to music that supports the way we sound.

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

I have larger lips than many people who play euphonium. because of that, Terry Warburton was willing to design a mouthpiece that worked for my lips. 

In addition to making a comfortable rim, we talked about ways to make the instrument project more and have a more consistent color throughout the range. I believe we were able to make that with my model mouthpiece.

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

Until 2007, I played  Besson euphoniums. 

When the company collapsed in 2006, I took the opportunity to reach out to the Miraphone Company to ask if they were willing to design a new instrument. Luckily, they said yes and we came out with the Ambassador 5050. 

The leadership for the company was so amazing to work with and they were so patient with me as we developed what I think is the best instrument on the market as it relates to sound and intonation particularly.

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 don't think instruction is becoming homogeneous. I do believe that we are all borrowing from one another as new music and new techniques are developed for the euphonium. 

I think that's a good thing but I always believe that individuality as it relates to countries and performers will remain.

Demondrae, thank you very much for your collaboration and friendship

Keep in touch with my best wishes. I hope to see you soon

AETYB 2018…¡¡¡VENTE PA’ MADRID!!! (ENGLISH VERSION)

Hello everyone, for the spanish version see here http://www.aetyb.org/index.php/festival-aetyb-madrid-2018-resumen

I would like to start these brief chronicles with a cordial greeting and a congratulations in capital letters to the organizing committee of this wonderful Festival and sincere thanks to ITEA and Kevin Wass President of the same, for their support and confidence to hold the Festival Supra Regional of the organization with our Festival AETYB MADRID 2018. Thank you very much.

Festival Poster

As official reporter of the event, I intend in these "brief and concise" lines "summarize" what happened in this Festival, which was held in what is perhaps the most important Higher Education Center in Spain, I mean the ROYAL SUPERIOR CONSERVATORY OF MUSIC OF MADRID, which welcomed us for 6 wonderful days full of diverse activities and camaraderie, with guests from different parts of the world and a more than recognized instrumental and pedagogical prestige, which was complemented by the no less talented artists of the Spanish territory, who attended the event.

Among the guests were: Øystein Baadsvik (Norway), David Childs (England), Patrick Wibart (France), Robert Benton (USA) David López (Colombia), Misa Mead (Japan), Sébastien Perez (France), Scott Roeder (USA), Jean Daufresne (France), Matt Tropman (USA), Brian Bowman (USA) Chiaki Mawatari (Japan), Deanna Swoboda (USA), Vianney Desplantes (France) ), Andy Smith (USA), Bente Illevold (Norway), Tomás Alemany (Spain / Mexico), Danielle VanTuinen (USA), Harold Hernández (Cuba / Spain), Corentin Morvan (France), David Earll (USA), Henrique Costa (Portugal), Ken Drobnak (USA), Patricio Cosentino (Argentina / Germany), Kevin Wass (ITEA President - USA), Walter R. Stormont (USA). UU. / Spain),, Chris Vivio (USA), Avital Handler and Haim Mazar (Israel), Ricardo Carvalhoso (Portugal / Germany), Drew Bonner (USA), Javier Castaño (Spain / Italy), Will Druiet (England / Belgium), Andreas Hofmeir (Germany / Switzerland).

Oystein Baadsvik in his Master class

On behalf of "the land" were: Miguel Moreno, Eduardo Nogueroles, Manuel Dávila, Sergio Rey, Juan Francisco Aranega, Jonathan Vázquez, Oscar Abella, David Quilez, Angel Torres, Iván Ortega, David Muñoz Vicente Castelló, Jose Vicente Climent, Pedro Sucias, Jose Antonio Mira, Pablo Fernandez, Sergio Linares, Ismael Cantos, José Manuel Redondo, José Luís Martín, David Llácer, Vicente Cremades, Sergio Finca, Jesús Navas, Vicente Pascual, Jonathan Sevilla, José Luís Bueno, Luís Javier Zenner, Víctor Cardeñosa, Francisco Pavón, Vicent Blasco, Josep Burguera, Ignacio Fernandez, Mari Carmen Luz, Ramón Gómez, Sergio Casas, Alberto Pons, Pablo Martínez del Cerro, Pablo Domínguez, José Luís Sellés, Luis Miguel Jiménez, etc.

BBflat Tuba Duo. Patricio Cosentino y Harold Hernández

Without further delay let's go into matter.

After the reception of attendees, about 270, and the first rehearsals for the Contest that will be from 21 to 23, we started the Festival with the official Inauguration, where we received a warm welcome from Mrs. Ana Guijarro, Director of the RCSMM, our President Eduardo Nogueroles, Kevin Wass President of ITEA and Manuel Dávila as coordinator of the Festival's organizing committee.

The musical part of this endearing opening was put by the Tubas group of the RCSMM with a varied and interesting repertoire with works by M.Kamen, G.Holtz / M.Forbes, R. Szentpali and G Danner, thus putting the "first sounds" in the Inauguration Act in which as "extra" we enjoyed a work in performance for 2 Tubas, Piano and Narrator entitled "Requiem for Wounded Knee" by the North American composer Elizabeth Raum very well interpreted by the Tuba Teachers of the RCSMM and their companions.

The morning activity

We all know how important and necessary are the MATUTINE WARMINGS to start the day well instrumentally speaking, and they were commissioned by Misa Mead (Euphonium, Composer, Freelance and Artist Besson), Sergio Rey (Tuba, Orchestra Filarm, Málaga), José Luis Bueno (Euphonium and Professor of the Victoria de los Angeles Conservatory of Madrid), Jonathan Sevilla (Tuba of the Orchestra of the Community of Madrid) Pep Burguera and the Tubas with another great instrument of our instruments in Spain, I mean Vicente Castelló, Luis Manuel Resino (Euphonium) and Walter Stormont (Tuba), David Abellan and Miguel Moreno.

Undoubtedly the RECITALS, abounded in the well thought-out program of the festival.

There were all kinds of them, with the magnificent accompaniment of the pianists who collaborated so brilliantly in the Festival: Carmen Yepes, Irene de Manuel, Yuko Mizutani and Omar-Jonatas Sánchez, from "formally" groupings and others in the heat of this great Festival , etc.

Spanish Tuba Quartet in Concert

The "soloists" of the Recitals were: Robert Benton (Euphonium) and Scott Roeder at the head of the Texas Ensemble, The duo Moreau / VanTuinen (Euphonium and Percussion), the renowned Opus333 Saxhorns Quartet, Kevin Wass (Tuba), Bente Illevold ( Euphonium), Patricio Cosentino (Tuba), Chris Vivio (Tuba), Three Brass (Trumpet, French Horn and Euphonium), Scott Roeder (Euphonium), the Ziryab Quartet, TubaFussión, the unmatched Spanish Tuba Quartet, Willson Quintet (David Earl and the Saxhorn Quartet Opus333), Øystein Baadsvick. Andy Smith (both Tubas), Dianna Swoboda (Tuba), David Earl (Tuba), Pep Burguera (Euphonium) Manuel Dávila (Tuba), Laureates at the Festival AETYB VALENCIA 2016, Matt Tropman (Euphonium), the group And The Brass, Misa Mead (Euphonium), Vega Baja Low Brass, The Tubists Eduardo Nogueroles, Pablo Fernandez, Andreas Hofmeir, Oscar Abella and Ken Drobnak, Duo Sintagma, the Portuguese Tubista Henrique Costa, the Great David Childs, David López (Colombian Tuba), Tub 'For Two, the Paul Stocker Trio, Will Druiett (Tuba), Sergio Rey (Tuba), the Steven Bowman (Euphonium), the successful Ensemble Feminine AETYB under the direction of Misa Mead and the Israel Tuba Duo

David Childs in Concert

The MASTER CLASS of the event was given by David Llacer, the Norwegian Bombardier Bente Illevold, the Portuguese Tubist Ricardo Calvalhoso, soloist Philharmonic of Munich, Øystein Baadsvick, Avital Handler (Tuba Opera of Israel), Robert Benton (Euphonium and Professor), Vicente Castelló (Tuba, Municipal Band of Madrid), the renowned German Tubist Andreas Hofmeir, Dr. Brian Bowman, Tubman Chris Vivio, Mark Tropman, Pablo Fernandez, David Childs, and Andy Smith, who were very nourished and interesting because of the diversity of topics that were addressed from the vast experience of the speakers.

This year we did not actually have a CD presentation but many guests and attendees brought their latest "phonograph" works and put them at the disposal of those interested.

Proposals by Øystein Baadsvick, Robert Benton, the Duo Sintgama, The Israel Tuba Duo, among others were some of them.

Israel Tuba Duo

Books as such we only had a very interesting "initiative" and in my opinion attractive by the form and the background, and it was the presentation in "Tubistica society" of a Novel Method of teaching metal wind instruments called "Brass School". This methodology had one of its creators as a presenter, I mean Eduardo Nogueroles, along with Conrado Gastaldo, Carmelo Romaguera and Javier Cerveró. Great idea that had an interested public.

The programmed CONFERENCES were all very interesting and very pleasantly received.

We had Conferences by Joaquín Soler and Luis Vidal on an interesting subject such as "Intellectual Property", José M. Redondo (Prof. of the CSM of Salamanca and Tuba of the OSCyL) with his Conference "Song and Wind", Miguel Galdon on " Musical Marketing ", Jordi Albert" Prevention of Injuries and Neuromotor Disorders in Wind Metal musician ", Vicente Pascual and Sara Magán" Self-management in musician activity ", David Muñoz" Job opportunities for our instruments in the XXI Century ", Luis Zenner "Focal Dystonia" and a historically important "The creation of the Tuba Class in the RCSMM. of Vicente Cremades, Miguel Moreno and the Director of that time, Ms. Encarnación López.

Master Class Walter Stormont and Javier Castaño

The WORKSHOPS all of great benefit were made by Javier Castaño (Soloist of the Scala of Milan) and "our" Walter Stormont (Soloist of the Symphony Orchestra of Madrid) on the use of the Cimbasso in the operatic repertoire, its history, use current, difficulties and demand of this unique member of our family, the Workshop of Didjeridoo by Pedro Martín, Liliana Robleda with his Workshop on "Postural Education", Workshop on "La Tuba en el Jazz", given by José Luis Martín. One very curious and interesting about the logical comparison of which instruments are good and others bad according to the criterion and particular interests of the person who defends or denostes them. Well of it I treat the workshop of A. Zara and finally Pedro Sucias brought us a Workshop entitled "Training my Music"

Wessex Exhibition

An event of this caliber must have EXHIBITIONS and COLLABORATORS of all kinds. With discounts and attractive offers for attendees here were among others: Erviti (representative in Spain of Alexander, Tiger, Geneva Group and Gara), La Musa (accessories and instruments Eastman), Aitana Music (representative of Willson), Sanganxa (Adams, St.Petersburg.), Low Brass Store (Miraphone), Wessex, Buffet Group (B & S, Melton, Besson), Metall i Fusta (instrument repairers), TodoNotas and Gewa (Conn)

OTHER COLLABORATORS: Royal Conservatory Superior of Music of Madrid, Grupo Quilez, Caja Rural Villar, National Institute of Performing Arts and Music INAEM, Community of Madrid, Association of Performers and Performers AIE, Madrid City Council, Municipal Symphonic Band of Madrid, International Tuba and Euphonium Association ITEA, Spanish Confederation of Musical Societies, El Creata, Sala Nubel of the Reina Sofía Museum, Banda de Villarejo de Salvanes, Band of the Regional Federation of the Autonomous Community of Madrid, etc.

The DEBATES, are meeting places to exchange opinions, learn, confront. On this occasion, two took place.

One was "Tuba y Bombardino ¿Instrumentos de Hombres?" Moderated by Belen Ramiro and with the participation of Marisa Manchado, Nieves Hernández, Ana Isabel Martín and Sara de Vega, who clearly explained the current reality and the aspirations of equality for women within the musical guild. Very successful in these times of feminine vindication and #MeToo. Bravo!!!.

Different Teaching Schools of the Tuba and the Euphonium

The other Debate was a continuation (unfinished subject) about the "Different Teaching Schools of the Tuba and the Euphonium" directed by the one who humbly signs these chronicles, and who counted as guests with Miguel Moreno, Kevin Wass, Misa Mead, Patricio Cosentino , Pablo Fernández and Avital Handler, in addition to the undersigned.

It is encouraging to see and help the many attendees to understand aspects inherent to the interpretation of our instruments seen from the perspective and experience of renowned interpreters. Hopefully we can repeat this experience in future events, because there are always new things to learn and understand. Thanks for the confidence!!!

One of the reasons for this event is the AETYB COMPETITION.

This competition divided into 6 categories (Tuba Artists, Euphonium Artists, Tuba Young Artists, Euphonium Young Artists, Tuba Young Promises and Young Euphoria) had a duration of three days in which they were winners:

• Tuba Artists: David Soriano

• Euphonium Artists: Carlos Fluixa

• Tuba Young Artists: Miguel Osca

• Euphonium Young Artists: Eduard Gisbert

• Tuba Jóvenes Promesas: Samuel Hernández

• Euphonium Young Promises: Marcos Ponce

It is pleasing to see the high level displayed by the contestants and the confirmation of the promising future of our instruments in Spain. CONGRATULATIONS TO THE AWARDS AND THEIR FAMILIES !!!

In the evenings came what I traditionally call "Tubist's Rest". The classic and always expected AETYB NIHGT this time to raise awareness with the city that welcomes us called "Movida's Night AETYB for that of the unforgettable 80's and his longed for" Movida Madrileña "

This time it was the NOUBEL Hall of the Reina Sofía Museum, a few meters from the Festival venue. This time we have the famous Portuguese Tubist Gil Gonçalves with his great, extensive and well-prepared jazz recital. The "Movida Madrileña", which gave us very pleasant and unforgettable moments with that "Band of Tubas" improvised and integrated by Festival assistants and guests interpreting popular songs from those unforgettable 80's and the exquisite Dixieland by Luis Zenner.

This year the youngest ones, which were not many, had a single activity directed especially to them and this was the responsibility of the QuarTubass group. A very applauded and grateful activity for the most supportive attendees.

As a novelty, this year we had a "Photo Contest" with a clear theme, leave graphic evidence of everything that was possible about what happened at the Festival and who won the most "likes" on social networks. Thanks to this, there were pleasant memories that can be seen on the Association's Facebook page and on the social networks of the participants, which will make us relive intense moments.

The ASSEMBLY OF PARTNERS took place as each meeting with their usual delivery of accounts, reading minutes and others. From this meeting I think it is appropriate to highlight three things

1- The well-deserved election of "our" teacher Miguel Moreno as honorary member of the Association.

2- The integration of 2 new members to the Directive for the final part of the current mandate that ends in 2020

3-The debate and request of several assistants to reconvert the AETYB Festivals into an entity of greater official recognition, going on to name them Congress and the search of the "officialization" of the articles written on the web by means of the application of the well-known ISBN, issue is that It is already in the process of being requested.

A balance was also made of several things of interest such as the fluctuation of partners, the little collaboration in articles for the web in the last year, or the duality of belonging to AETYB and ITEA.

It was exciting the amount of CONCERTS that we had the opportunity to attend, almost all of first-class guest soloists and magnificently accompanied by the Municipal Music Band of Madrid, the Band of Music of Villarejo de Salvanes and the Band of the Regional Federation of the Autonomous Community of Madrid.

The Soloists of these Concerts were Øystein Baadsvik, Matt Tropman, Misa Mead, Ricardo Carvalhoso, Robert Benton, David Muñoz, Jonathan Sevilla, Jose Vicente Climent, Jesús Navas.

Special mention deserves the one that we offered the members of the AETYB ENSEMBLE formed by more than 300 Tubas and Euphoniums (among festival attendees and external guests), in the Plaza of the Reina Sofía Museum with a diverse and attractive program under the direction of Kevin Wass, Eduardo Nogueroles, Brian Bowman, Manuel Dávila, José Luis Bueno, Miguel Moreno and Sergio Rey

AETYB Ensemble

At the time of the Final Concerts, we first attend the demand that provokes listening and getting to know the representatives of those who are seen as an excellent future of our instruments in SPAIN. I refer to the winners of the various categories of the 3rd AETYB Concert accompanied magically by the AETYB MADRID Symphonic Band formed by musicians who selflessly came together to collaborate with this project under the intense and correct direction of José Luis Bueno, who also directed at the Closing Concert to the Big Band AETYB MADRID with equal exquisiteness, counting as soloists with the young talent of the Bombardino Ramón Gómez and with the great David Childs who left a masterful imprint to the audience.

In these concerts the prizes were awarded to the Photo Contest whose winner was Javier Boluda and Miguel Moreno was formally presented with his "distinction" as an Honorary Member of AETYB.

To end the seats that wanted it, we celebrated a fraternal and pleasant farewell dinner of this wonderful Festival that few are the words to describe the good work of its organizers.

The last Dinner together

It was in the previous to the Closing Concert with awards and distinctions, speeches, mutual thanks between AETYB and ITEA, etc., where the city selected to host the 4th "AETYB Congress" was unveiled and it is how everyone will know the Andalusian city of MÁLAGA

Repose and assume all the lived experiences that many have been shaped and will continue to be in our social networks. As the old saying goes, "remember is to live again" and the illusion with the next appointment that awaits us, which surely will be wonderful, fascinated and seductive, will make us drunk with that Mediterranean breeze of the Andalusian Mediterranean.

Good luck to the organizers, to whom from here with humility, I offer my sincere collaboration.

A see you soon and Many thanks to all with my best wishes.

See you at AETYB MALAGA 2020.