Without further delay let us begin.
- Name and surname:
Demondrae Thurman
- What instrument / s do you use?
- That make and model are the tools you use:
- That manufacturer and model are the / s nozzle / s you use:
Let's talk about your education:
- When and where their studies or tuba euphonium started?
- At what age?
- What reasons or circumstances led him to study this instrument?
- Who were your main teachers?
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:
- New Philharmonic
- Philadelphia Orchestra
- Atlanta Symphony
- Sarasota Orchestra
- Oregon Symphony
- Metal sets:
- Solo concerts:
(Dear readers, I invite you to read my chronicle on the CD SOLILOQUIES)
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| Soliloquies Cd cover |
- Which uses warm-up exercises?
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 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.)
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| Left to Right Gail Robertson, Steven Mead, Benjamin Pierce and I |
- Alabama State University
- Troy University
- University of Montevallo
- The University of Alabama
- Miles College
- Samford University
- Indiana University.
- How do you organize your classes and the subject in general?
- How long are your classes?
- 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?
- Is there another teacher with your same specialty in the center where you teach?
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?
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| Sotto Voce Quartet in the Highway |
- Tell us what is the admission process to access your learning center:
Graduate students audition with three works plus band excepts for a 15-25 minute timeframe.
- What it is required repertoire in the entrance exam?
- Do you suggest any particular repertoire?
- How many works are required and in what format (solo, with piano, studies, etc.)?
- Is there a mandatory piece?
- Approximately how long is the exam?
- What aspects you value most in deciding? ¿Musicality, intonation, rhythm, ...?
- If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?
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| 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 ?
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:
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?
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 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
