Hello everyone. It is a real pleasure and an honor for me to have this living legend of the Tuba in this series of interviews on my blog that I invite you to visit.
I hope this little interview is to your liking and you enjoy it as much as I do. Without further delay let us begin.
· Name and surname:
James Gourlay
· What instrument / s do you use?
Besson Eb 980, Rudolph Meinl CC 5/4, Eastman 4/4 CC, Melton Fafner Bb, Schiller Euphonium, Beuscher Sousaphone
· That manufacturer and model are the / s nozzle / s you use:
Perantucci, 48 and 50 Dennis Wick 3
Let's talk about your education:
· When and where their studies or tuba euphonium started?
In Scotland
· At what age?
10 years old
· What reasons or circumstances led him to study this instrument?
I couldn’t play football, so had to be in the school band. I had no choice.
· Who were your main teachers?
William J. Ross, Bruce Fraser, John Jenkins
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.
Willian Ross was a janitor, Bruce Fraser a school band director and John Jenkins played for the Philharmonia in London.
· Metal sets:
John Jenkins played sometimes for the Philip Jones Brass Ensemble
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?
There are some excellent specialist euphonium teachers. I teach both instruments and that works too. It’s not necessary for students to be able to play both in my opinion.
Let's talk about your teaching experience:
· Tell us what learning centers has taught (full-time professor, visiting professor, courses, lectures, etc.)
I have taught full time at the London College of Music, The Conservatory in Bern, The Royal Northern College of Music and the Royal Scottish Academy of Music and Drama. I have also given masterclasses all over the world.
· How do you organize your classes and the subject in general?
There are individual lessons and weekly studio classes. In the studio class we do one week excerpts, technique and scales. The second week, we play and critique solo repertoire.
· How long are your classes?
Individual lessons are 1 hour. The studio class is two hours.
· 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?
They should be performing every week if they can and at every level.
· Is there another teacher with your same specialty in the center where you teach?
Yes
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 think it’s very important to educate flexible musicians who can play anything. The orchestral repertoire is important, but as most students will never get a job in an orchestra, I don’t solely focus on it.
· Tell us what is the admission process to access your learning center:
Audition and interview
· What it is required repertoire in the entrance exam?
Two pieces of the candidate’s choice and a set piece.
· Do you suggest any particular repertoire?
Yes
· How many works are required and in what format (solo, with piano, studies, etc.)?
Three with or without piano.
· Is there a mandatory piece? If so, what is it?
Yes. I change it every year. Last year it was the Malcolm Arnold Fantasy
· Approximately how long is the exam?
20 minutes
· What aspects you value most in deciding? ¿Musicality, intonation, rhythm, ...?
Sound and Musicality
· If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?
Probably tuba
About their work during the course.
· What format is examining LIMIT? Solo concert, piano recital ...?
For the final examination, we have a recital of 45 minutes for Bachelors and 60 minutes for Masters.
· Does the student selects the works to play? or they are chosen by the teacher?
They are chosen by the student guided by me.
· Is there any work it deems mandatory? So what?
No
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’m not sure I understand the question, but certainly language plays an important role in articulation and sound.
· Tell us about your experiences and tastes of a particular manufacturer and why?
I like Besson Eb tubas because they are well made and sound great (to me)
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 are mostly sounding the same because we all use the same types of instruments and mouthpieces (B&S, Melton, Miraphone, Yamaha etc).
Thanks James for attending me. It´s a pleasure.
Keep in touch with my best wishes.
