"BETWEEN TUBAS and EUPHONIUMS...DAVE EARLL"

Today's interview is very pleasant for me, because it is a great friend, as well as a great interpreter of the Tuba and a teacher with excellent results.

Without further ado we begin.

• Name and surname:

David Earll

• What instruments do you use?

I play on the Willson 3050 FA-5 CC Tuba, Willson 3200 FA-5 XL F Tuba, and the Besson BE1065 Euphonium.

• What manufacturer and model are the mouthpieces you use:

I use the Giddings Alan Baer Signature CC Mouthpiece on my CC tuba, the Giddings Alan Baer Signature F Mouthpiece on my F Tuba, and on Euphonium I play the very large Giddings DH-100 (I’m primarily a tubist, after all!).  I also used the Roger Bobo Symphonic and Roger Bobo Solo for many years before making the shift to stainless steel mouthpieces.

Let's talk about your education:

• When and where did your studies on tuba euphonium start?

My serious studies on tuba began at the University of South Dakota for my Bachelors degree, then continued with both my Masters degree and Doctorate at Arizona State University.  Before college, I played tuba in my school bands and local city bands as well.

• At what age?

I began playing the tuba in the 5^th Grade, at age 9 in my school band.

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

Our school’s band director visited our general music classes when I was in 4^th grade to showcase all the instruments of the band and I was immediately drawn to the biggest of them!  Both of my grandfathers had been cornetists (one in dance bands and the other in the United States Army Bands), so my family was very supportive of me taking up a brass instrument.

Both of my parents taught at my school, so I would often practice in the school band room while I waited for them to finish their work.  I was very fortunate to have patient music teachers at my school who not only allowed for me to practice right by their offices, they often worked to help me while I practiced!  These outstanding early teachers helped me to fall in love with music, the tuba, and also showed me that it was my mission to help other young musicians to pursue their dreams.

• Who were your main teachers?

My main teachers were Galen Benton, Larry Mitchell, Steven Sudduth, Michael Andersen, Kenneth Drobnak, Deanna Swoboda, and 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.

• In Orchestra and / or Band:

I presently perform as the Acting Principal Tuba with the Cayuga Chamber Orchestra, which is based here in Ithaca, New York and I also serve as a substitute tubist with Symphoria, a larger symphony orchestra based in Syracuse, New York. 

Before moving to New York from Wisconsin, I served as the first-call substitute tubist with the Dubuque Symphony Orchestra for 5 years – some of my favorite times with them included their outreach and educational concerts for children and students.  During this time, I was also a member of the Tallgrass Brass Band and played CC tuba in their contrabass tuba section.

While I lived in Arizona I had the pleasure of performing in the tuba section with the Tempe Symphonic Wind Ensemble, and with the Salt River Brass Band (in both the bass tuba and contrabass tuba sections on F and CC tuba).

• Metal & Chamber Ensembles:

Chamber music is my favorite way to express myself as a musician.  My biggest ongoing chamber collaboration is a duo with the phenomenal Norwegian Euphonium freelancer, Bente Illevold.  We started this international collaboration called The Northern Lights Duo after meeting at the AETYB Festival Madrid in 2018, and have roughly 2-3 tours with multiple performances and masterclasses each year.  

So far, the Northern Lights Duo has made appearances in the United States, Norway, and Spain and you can see one of our recent collaborative videos here: https://youtu.be/kXwG7FWMfVg.  

I have been part of one other international collaboration as well with the outstanding saxhorn players of Opus 333 (Vianney Desplantes, Patrick Wibart, Corentin Morvan, and Jean Daufresne) which we call The International Willson Low Brass Quintet, which has performed in France and Spain over the last several years featuring new music for 4 saxhorns and tuba.

My local chamber collaborations include two brass quintets.  I joined the Ithaca Brass when I became the Professor of Tuba/Euphonium at Ithaca College – this brass quintet focuses on bringing music to students throughout the Northeastern United States and also plays often at events at Ithaca College and Cornell University.  After joining the Cayuga Chamber Orchestra, I also became a member of the Cayuga Chamber Orchestra Brass Quintet which performs throughout the Finger Lakes region of New York.

When I lived in Wisconsin, I had two large chamber music projects that I performed regularly with for roughly 5 years.  While I taught at the University of Wisconsin-Platteville, I was a member of their resident faculty chamber group called Ensemble Nouveau.  This unique sextet included the following instruments: trumpet, clarinet, saxophone, horn, tuba, and percussion.  Ensemble Nouveau performed often throughout Wisconsin, Iowa, Illinois, and Minnesota featuring an eclectic and diverse repertoire.  

I also collaborated with Dr. Samantha Keehn, an excellent trombonist who teaches Trombone, Euphonium, and Tuba at Augustana College in Rock Island, Illinois in a duo called Sam & Dave’s Brass Extravaganza.  This duo toured regularly throughout the United States and had one extended tour in Germany featuring music for trombone, tuba, and multimedia (including electronic sounds, video, and images).

Before my work in Wisconsin, I also performed as a substitute tubist with Phoenix Chamber Brass (Arizona), the Sonoran Brass Quintet (Arizona), the Nautilus Brass Quintet (Massachusetts), and served as an interim tubist with the University of South Dakota Faculty Brass Quintet.

With the great "Opus 333 Saxhorn Quartet"

• Solo concerts:

Generally speaking, I try to perform 2 or more solo tours in the United States and 1 international solo or chamber music tour each year.  I’ve been very lucky to perform as a soloist throughout the United States (with most of my appearances in the Midwest, South, Southwest, Southeast, and Northeast.  

Most of my solo appearances have been in collaboration with universities and colleges so that I can also work with students during my travels.  As an international solo artist, I have had the pleasure of appearing in: Norway, Spain, Germany, The Netherlands, Austria, Switzerland, France, and Hong Kong. 

I absolutely love traveling to perform, to make new amazing friends in the tuba/euphonium community, and to learn about the amazing traditions of performance and pedagogy with each new place that I visit.

In the upcoming years, my aim is to perform more often as a soloist with wind bands and orchestras.  

I recently had the pleasure of performing the Donald Grantham Tuba Concerto with Ithaca College Wind Symphony (you can see a video of this performance here: https://youtu.be/t6Ru43j4MIw), and have also appeared with as a soloist with: the University of Wisconsin-Platteville Wind Ensemble, The University of South Dakota Wind Ensemble, the Low Brass Summit 2017 Wind Ensemble, and numerous community wind bands.

• Which uses warm-up exercises?
  
  

I like to incorporate many breathing exercises (taken from Sam Pilafian & Patrick Sheridan’s “The Breathing Gym,” Arnold Jacobs’ exercises, and more) as part of my warm-up and daily routine – this helps me to feel in control and steady as a player.  From there, I draw on a number of different playing exercises.  My favorites come from The Brass Gym (compiled and written by Sam Pilafian & Patrick Sheridan), but I also borrow some from Chris Olka, Arnold Jacobs, Emory Remington, and some of my own design (especially exercises in arpeggios and slurs over wide intervals).

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 that it is very difficult to be a world class performer on more than one instrument – I often encourage my students that are interested in playing both the tuba and euphonium at a very high level to start by focusing their practice on one instrument.  After they have achieved a high level of ability on one, then I encourage them to approach the secondary instrument while relying on the strength they developed on their primary.  I believe that this primary/secondary instrument approach allows for my students to focus and grow quickly as young musicians without spreading themselves too thin in the pursuit of two separate instruments at the same time.

Personally, I think of myself as a tuba specialist.  I will sometimes model on euphonium for my students in lessons, but I rarely perform on euphonium.  My passion is in the tuba, and I only encourage my students to pursue both euphonium and tuba to high level if that is in line with their career aspirations and long-term goals.  I think that those rare musicians who achieve a level of mastery on both tuba and euphonium are amazing and would love to learn more about the methods that they use to maintain both instruments at such a high level!

Let's talk about your teaching experience:

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

I teach as the Full-Time Professor of Tuba/Euphonium at Ithaca College, which is in Ithaca, New York, in the United States.  I have held this position for 2 years, and I teach all tuba and euphonium lessons, some brass chamber music, and a special course on breathing for wind players and singers.  I teach both students in their Bachelors and Masters Degree here at Ithaca College.

Before moving to New York, I taught for 5 years as a Full-Time Professor of Tuba, Euphonium, and  Trombone at the University of Wisconsin-Platteville.  During my time there, I taught all of the tuba, euphonium, and trombone lessons, courses on music history and world music, courses on music technology, coached brass chamber music, and also conducted a brass band.

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

While each student has their own individual trajectory, I have developed a rough 4-year course of study for my Bachelors students on both euphonium and tuba.  This course of study includes expectations for scales and modes, standard solos (sonatas, concertos, transcriptions, and unaccompanied works) and is designed to prepare students for an audition for a Master’s degree in performance.

When I teach chamber music, each session is tailored to fit the group that I am working with.  I focus on communication and fundamentals with younger groups, and with more advanced groups I work on musicianship, expression, and ensemble techniques.

• How long are your classes?

Each of my students have an individual lesson with me for one hour every week during the school year.  In addition to these lessons, my studio comes together for one hour each week for a studio class where we discuss special tuba/euphonium topics, host guest artists, and allow for my students to perform for each other on a regular basis.

• 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 that performing in public from early in a student’s development is so important.  As a musician, it is important to share what you are creating with other people and grow from the experience of performing.  I find that many students come to me with a great deal of performance anxiety/fear, and this can only be improved by practicing the art of performance in public.  I have found that regular performances in our Tuba/Euphonium Studio Class helps with this, and I often encourage my students to offer more recitals than are required by their degree as well.

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

I am the only tuba/euphonium professor at Ithaca College.  I am often able to offer one of my Master’s students a special scholarship called a graduate teaching assistantship which allows for them to assist me with teaching some of the tuba/euphonium-related music education classes here.

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 the best music teachers (whether they teach lessons, band, orchestra, or any other music) are also phenomenal musicians – so I believe that these areas of study walk hand-in-hand.  The focus of my lessons is primarily in building: musical fundamentals, musicality through etudes and solos, technique through etudes, solos, and orchestral/band excerpts, and consistency through orchestral/band excerpts and scales/arpeggios.

As a teacher, it is important for my students to be multi-faceted performers.  I expect my students to be excellent ensemble players, fine solo musicians, and to be creative as they approach new music.  This wide base of skills helps to serve them whether they go on to be performers, educators, sound recording technicians, composers/arrangers, or into even more options in the music profession.

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

Prospective students apply to Ithaca College in addition to their application to the School of Music.  Their first application is reviewed by the College, which reviews their grade point average and some major test scores.  After this application, students must also prepare for their audition for my Tuba/Euphonium studio.  

This audition is 10 minutes for students applying for their Bachelor’s Degree and 20 minutes for students applying for their Master’s Degree which includes solo literature, orchestral/band excerpts, etudes, and scales.  In addition to this audition, students also take a placement exam for music theory/aural skills.  

Depending on which degree program a student is interested in (like: Music Education, Sound Recording Technology, Composition, etc) they will also have an interview with the area to which they are applying.

• What it is required repertoire in the entrance exam?

For Tuba, Bachelors and Masters: 

For Euphonium, Bachelors and Masters: 

From Bachelors applicants, I want to hear this at minimum:

-One complete solo with both lyrical and technical sections.

-One lyrical or one technical etude.

-Major and Harmonic Minor Scales.

From Masters applicants, I want to hear this at minimum:

-At least 2 contrasting solos (from different historical periods)

-3-5 Standard orchestral or band excerpts

• Do you suggest any particular repertoire?

Yes, I have a recommended list of repertoire in each of these links above – but students are welcome to bring in other solos of a similar difficulty or more advanced level.  I encourage students to contact me about their repertoire selections if they are not on the list that I have created to help them prepare for their auditions. 

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

No piano accompaniment is required for either Bachelors or Masters applicants for my studio.  The number and format of works is determined by the level and length of the audition (10 minutes for Bachelors and 20 minutes for Masters).  

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

There is no mandatory piece for entrance into my studio.

• Approximately how long is the exam?

Our auditions are either 10 or 20 minutes.  In addition to this, Bachelors students take a Music Theory/Aural Skills exam which takes roughly 15 minutes.  Depending on their intended degree, they will also have an additional interview (with Music Education, Music Composition, or Sound Recording Technology faculty) that will take 10-20 minutes.

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

I look for students that have an excellent concept of sound and a developed sense of musicality.  I also encourage many of the students who come to audition for me to have a sample lesson with me, and I am always more interested in students who are inquisitive and open to trying new ideas in their practice.

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

Generally, my studio will have between 13 and 15 students and I like to have a relatively even split of euphonium and tubas.  My “perfect” number would be 7 Euphoniums and 8 Tubas.  When I have to make a choice, it will always be dependent on how many openings due to graduations that I will have in my studio.

About their work during the course.

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

Solos with piano or chamber accompaniment, unaccompanied solos, lyrical and technical etudes, orchestral/band excerpts, chamber music, and fundamentals.

"The Northern Lights Duo" with Bente Illevold.

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

At the end of each semester, my students perform a jury/final performance exam for all of the Brass Faculty at Ithaca College.  Typically, this jury involves a large-scale solo or a collection of orchestral excerpts.  In their first years, my students are also asked to play scales from memory in this jury.  In the semesters when my students perform a full recital they are not required to also perform a jury – but also must have another member of the brass faculty grade their recital in addition to me.

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

As we start each semester, I offer each of my students between 3 and 5 different solos for my students to try out.  From these initial solos, my students select 1 or 2 to focus on throughout the semester.   So, I feel that both of us collaborate together to come to a choice when it comes to solo repertoire. Generally, I also assign 1 technical and 1 lyrical etude for my students to work on each week (these are taken from many different books, but some of my favorites are: Arban’s Complete Method, Bordogni Vocalises, Blazevich 70 Studies/Advanced Musical Etudes, and Snedecor Low Etudes).  As they approach their 2^nd and 3^rd years of their Bachelor’s degree, I begin to exchange those etudes for excerpts.

When students prepare for their recitals, we often have a lot of discussion about what pieces should be prepared.  There must always be some representations of standard literature in my student’s recitals and I also expect them to have one chamber music selection.

My Master’s students have a little bit more flexibility in their repertoire selections – but I often encourage them to focus on developing a very high level of artistry on their instrument in preparation for upcoming auditions or ongoing study.  Generally, my graduate students will be studying several challenging selections of solo literature while also working on a rotation of standard orchestral/band excerpts.

• Is there any work it deems mandatory? If so, what?

While I don’t have any mandatory solo requirements, most of my bachelor’s students will perform most of the following works before they graduate:

Tuba:

-Gregson Tuba Concerto

-Hindemith Tuba Sonata

-Vaughan Williams Concerto for Bass Tuba

-Stevens Triumph of the Demon Gods

-Broughton Sonata

-Wilhelm Concertino for Tuba

-Penderecki Capriccio

Euphonium:

-DeLuca Beautiful Colorado

-Capuzzi Andante & Rondo

-Bellstedt Napoli Variations

-Gordon Jacob Fantasia

-Horovitz Concerto

-Boccalari Fantasia di Concerto

-Gillingham Blue Lake Fantasies

-Cosma Concerto

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 ?

Having a full and resonant sound is very important – but I think that there is room for many interpretations of a great sound throughout the world.  I encourage my students to aim for a rich and ringing sound on both euphonium and tuba, and often work on placement of the tongue and jaw in order to find their sound concept.  Ultimately, our core sound is a very individual concept and I encourage my students to explore and model their ultimate sound after some of their favorite players.

I think that having a large tool box of different articulations and playing styles is very important – ensemble playing requires a different sort of articulation than solo playing, and playing in different styles of music (orchestral, jazz, transcriptions, unaccompanied, with piano) requires unique and controlled approaches.

I am a huge advocate for each student trying a large selection of different professional-quality instruments before choosing their horn.  Everyone’s face, tongue, mind, and playing is different, and we each need different instruments and equipment to make our jobs a bit easier as players.  There is no “one-size-fits-all” when it comes to horns and mouthpieces.

I think that it is very easy for us to get stuck with certain standard literature as we continue to teach, so I am so grateful that I have had the opportunity to travel internationally and learn about so many other new (to me!) selections and literature that I can share with my students or even perform myself!

This last question about the influence of language on musical tradition and sound is a phenomenal topic as a brass player.  The placement of our tongue, jaw, and openness of our throats plays have an enormous impact on our playing – and our native language changes all of these factors immensely.  

I love to hear the differences in sound concepts as I travel, and think that each of these contributes another very important facet to the diversity and international variety of tuba playing.  In my teaching, I spend quite a bit of time working with the different regional dialects of American English to help students gain a better understanding of their tongues and how to control their sounds.  

• Tell us a bit about the manufacture of Tubas and / or Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

I’ve touched on this a little bit earlier, but I believe that each person will be drawn to different mouthpieces based on their needs as a player.  Generally, I start off my students with some of the following mouthpiece options:

Tuba: Conn Helleberg, Schilke 66, Roger Bobo Symphonic, PT-50

Euphonium: Schilke 51D, Steven Mead (or Ultra) 4, Brian Bowman 1

I have found that most of these mouthpieces are relatively in the middle of the available options for students.  After some experimentation, I may encourage a student to try other mouthpiece options depending on how their playing and skills develop over time.

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

I have been performing on Willson Tubas for nearly 10 years, and I really love my instruments.  I was invited to join the Willson Tuba Artist team in 2014, and have been performing exclusively on these tubas since then.

Although I have this connection with Willson, I think that it is important for each player to find the right instrument for them.  My students play instruments from many different makes and origins, and I encourage them all to experiment in order to find the right fit for them.

"From a Willson Exhibition with Polar Brass in Oslo, Norway."

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 my hope that we continue to keep our different styles of playing around the world.  There is something important in having different schools of thought, different interpretations, and new ideas.  I think that a broad and diverse set of playing concepts helps to make the tuba and euphonium unique in the musical world, considering what young instruments that we are. 

I think that it is important for us to promote excellent musicianship and exciting new music for our instruments above a homogenization of playing style.  I think that versatile musicians who can play in many different styles and are open to new ideas will always be successful.  

Dave, 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.

Thank you so much for including me in this wonderful project!  Such a great pleasure, and I cannot wait to see you again soon!

"ENTRE TUBAS Y BOMBARDINOS....JOAQUÍN (XIMO) DIAZ"

Hola a todos. El entrevistado de hoy es un colega y amigo peculiar cuando menos por su trayectoria y acertadas decisiones musicales a edades ya provectas para algunos pero muy aplaudidas por el que suscribe estas líneas.

Es un lujo para mí que haya aceptado colaborar con esta entrevista mixta como podrán apreciar.

Sin más dilación, comencemos.

• Nombre y apellido: 

Joaquín Díaz López

• ¿Qué instrumento / s usas? 

Bombardino, Tuba en Fa y Tuba en Do.

• De que fabricante y modelo son los instrumentos que utilizas: Bombardino Adams E2 0.80 silver

Tuba en fa B&S 3099/2
Tuba en do EASTMAN 836 silver York model

• De que fabricante y modelo son la / s boquilla / s que usas: bombardino, willson 51-3

Tuba fa, Bruno Tilz M5 granillo 8.7 limada american shank
Tuba do, MOMO SC270

Hablemos de tu EDUCACIÓN:

• ¿Cuándo y dónde comenzó sus estudios del bombardino o tuba? 

En casa, con mi padre, Paco Díaz, siempre bajo la guía de Manuel Vidagany en el conservatorio Profesional de Almansa ( Albacete)

• ¿A qué edad?

Con lenguaje musical empecé a los 6 años, con el bombardino, a los 7, con la tuba a los 27, jaja.

• ¿Qué razones o circunstancias te llevaron a estudiar este instrumento?

Influencia familiar, por mi padre que tocaba y toca la tuba y mi hermana el oboe

• ¿Quiénes fueron tus principales maestros?

Muchos, si tuviese que destacar algunos, destacaría a Manuel Vidagany, David Llácer y Anne Jelle Visser.

En cuanto a tu EXPERIENCIA PROFESIONAL:

Por favor déjanos un recuento de tu experiencia como solista, miembro de grupos de cámara, orquesta, banda, etc.

• En Orquesta y/o Banda: 

Orquesta Teatro Alla Scala de Milán, Orquesta Teatro Regio de Turín, ONE (nal. España), OSE ( Euskadi), Orquesta de Córdoba, Banda municipal de Vitoria-Gasteiz, Bilbao y Barcelona.

• Conjuntos de Metal: 

Magna Boskotea ( quinteto de metal), Zurich Brass Band

• Conciertos como Solista: 

3 ocasiones con la Banda de Vitoria-Gasteiz, con la Banda de Caudete, Banda de Altea, recital en el Conservatorio de Vitoria-Gasteiz, recitales de fin de Master en Zurich…

• Que ejercicios de calentamiento utilizas? 

No me gusta llamarlo calentamiento, lo llamo rutina de estudio y desde el primer instante estoy intentando mejorar, no sólo calentar. Voy variando los ejercicios, sus autores y los voy adecuando e inventando a mi necesidad. Complicado explicar por aquí.

Tratando OTROS TEMAS DE INTERÉS. LA TUBA EN ESPAÑA.

Aquí en España, en algunos centros se considera que el Bombardino, es un instrumento que debería tener su propia especialización y, por otro lado, algunos creen que, como instrumentista, uno debe conocer y dominar la Tuba y el Bombardino.

• ¿Podrías darnos tu opinión sobre esto y sobre cómo abordaría este tema en interés de una educación y capacitación adaptadas a la especialización necesaria que se requiere en la actualidad a nivel mundial?

Interesante pregunta porque estudio e intento dominar ambos. Son instrumentos distintos, pero complementarios. Eso sí, requieren de un proceso y estudio muy concreto. Yo desde pequeño estudié mucho sólo bombardino. 

Ya con unos 27 años, empecé casi de broma a estudiar tuba porque me gustaba mucho y ahí sigo. Creo que salvo mi caso, que es un poco particular, deberían haber especialidades distintas, al menos en un nivel avanzado (Superior). 

Creo que esta opinión no es muy popular porque ya de por sí la tuba es el instrumento más minoritario y el bombardino no es orquestal y su campo de acción es bastante pequeño, así que creo que entre ambos se retroalimentan, ayudan y complementan, aunque no es lo que debería ser, ya que uno es tubista o bombardinista, aunque ponga “profesor de tuba y bombardino”, sabes que te va a enseñar desde la tuba o desde el bombardino. 

Esto ha sido todo un reto para mí, el poder dominar a un alto nivel ( en ello estoy eh?!) ambos y adecuarte a las necesidades del alumno.

• ¿Cómo ves la enseñanza de la Tuba y el Bombardino en España actualmente y de cara al futuro?

Lo que he venido viendo estos últimos años es bastante parecido a aquello con lo que me encontré cuando estudiaba en Almansa-Alicante. 

Creo que hay que evolucionar, tomárselo más en serio y copiar más el modelo que funciona mejor, ya sea en Alemania, Suiza, EEUU… son distintas concepciones de entender el estudio, su práctica y curiosidad sobre lo que lo rodea. Esta apreciación en cuanto al alumnado. 

En cuanto al sistema, soy muy crítico, porque creo que está muy mal montado y no prima el mejor profesor, sino los años que lleva…pero los años bien hechos te aportan sabiduría y experiencia pero los años haciendo un mal trabajo, tan sólo hacen que cada vez enseñes peor, por más puntos o años que lleves. desgraciadamente, en España siguen sin reconocerse las titulaciones obtenidas en el extranjero y todos hemos y debemos pasar ese filtro. 

El del sistema. Está mal, obsoleto, pero es el que hay. Se me ocurre un sistema mixto en el que aquellos que tienen experiencia orquestal puedan pasar a la enseñanza para compartir esa experiencia en los alumnos y a su vez se regenerarían más a menudo las orquestas, otra cuestión clave. De esta forma reduciríamos lo profesores sin experiencia de ningún tipo enseñando no se sabe bien el qué. No se trata de enseñar a tocar el instrumento, es ir más allá. 

Con esto no quiero criticar al profesional, sino al sistema. Dentro del cual hay muchísimos buenísimos profesionales que ejercen su labor con total sabiduría y dedicación, pero desgraciadamente se cuelan muchos perfiles que no son los adecuados. en mi opinión los centros privados bien gestionados y llevados son el futuro, pero se necesita el papel, así que no queda otra que seguir pasando por el sistema.

• ¿Podrías hablarnos sobre el devenir de nuestros instrumentos en España?

Espero que sea muy bueno, ya que hay mucho talento emergente. Eso sí, hay que pulirlo bien.

• ¿Cuando llegaron?

La verdad es que no sé contestarte con exactitud y de lo que no sé con exactitud prefiero no hablar.

• ¿ Cómo se conocieron aquí?

¿Los instrumentos? Me imagino que a raíz de las bandas militares y posteriormente copiados por las bandas de los pueblos.

• ¿Cómo fue su introducción en las agrupaciones musicales españolas?

Repito. No lo sé con exactitud. Necesitaría estudiarme bien este tema para contestarte.

• ¿Cuales son, a tu parecer, los máximos exponentes históricos de la Tuba y el Bombardino en España?

En España es imposible no hablar de David Llácer, Miguel Navarro, Miguel Moreno…

• ¿Cuál ha sido el andar y desarrollo de “nuestros instrumentos” en las enseñanzas musicales en España?

Según tengo entendido en un principio estaban dentro de “trombón y similares”, después históricamente los enseñaba el profesor de trombón y tan sólo desde 1985 (si no recuerdo mal) empezaron los tubistas a enseñar a tubistas/bombardinistas con Miguel Moreno como primer profesor.

• Por favor coméntanos cualquier otra cosa que consideres de interés sobre este tema

Queda mucho por hacer. Por trabajar, escuchar, viajar, conocer, flexibilizar y modernizar.

Hablemos de tu EXPERIENCIA EN LA ENSEÑANZA:

• Indícanos en qué centros de aprendizaje haz impartido clases (como profesor a tiempo completo, profesor visitante, cursos, clases magistrales, etc.)

Como profesor he estado 2 años en la Escuela de Música de Caudete, 3 años enseñando en la Musika Eskola de Alegría-Dulantzi ( Álava), realizado Master Clases en los Conservatorios superiores de Navarra, Castellón y Murcia y al profesional de Zaragoza. Soy habitual profesor en el festival de verano “Numskull Brass” celebrado en Caudete desde su 2ªedición hasta la fecha.

• ¿Cómo organizas tus clases y el tema en general?

Hay que diferenciar entre clases periódicas, master clases o diferentes eventos como calentamiento grupal en festivales, etc.

Me gusta enseñar distintas rutinas de estudio, que el alumno piense, pruebe y se adapte a diferentes formas de estudiar. Lo más importante es el concepto, si se tiene claro, el resto es trabajo bien hecho. Si no se tiene, es imposible llegar a buen puerto, por ello cada persona necesita una labor distinta a la que hay que saber dar herramientas para que encuentre su concepto y su camino.

• ¿Cuánto duran tus clases?

Si hay que ceñirse a horario de escuela o curso, pues el máximo posible. Si no hay prisa, pocas veces menos de 70’ y en bastantes ocasiones en función de lo que estemos trabajando se pueden alargar horas. No hay que definir el tiempo de la clase, sino la clase al tiempo que hay.

• ¿Crees que es importante que el alumno haga presentaciones públicas durante sus años de entrenamiento? De ser así, recomiende cuantas veces lo considere apropiado y de qué edad o curso. Elemental, Profesional, Superior?

En cuanto a las audiciones, cuantas más mejor, tanto internas como con público, cada 2 semanas, cada mes...hay que exponerse el máximo posible y lograr que la escena sea nuestro hábitat natural

Una parte importante del currículo del curso está estandarizada y se basa en la idea de que el alumno domine el repertorio solo, a veces en detrimento del repertorio de grupos grandes (Orquesta y Banda), cuando de hecho, la mayoría de los estudiantes de Tuba y Bombardino van a ser profesores y / o miembros de una banda y, en menor medida, de una orquesta en el caso de las Tubas.

• En tu opinión, ¿Cómo debería abordarse este problema? ¿Qué tan importante crees que es incluir el aprendizaje y el dominio del repertorio orquestal como parte del plan de estudios del curso?

Opino que hay que enseñar a escuchar, a tocar con gente, a hacer mucha cámara, a saber seguir la música que hacen los demás, lo que no está escrito y el resto viene solo. También considero importante enseñar a investigar acerca de los compositores, a su estilo y a las distintas formas de interpretación.

• Si tuvieras que elegir (en una situación hipotética), ¿Tendrías preferencia entre un alumno de Tuba o uno de Bombardino?

No, primaría siempre la persona, el músico y su perfil.

Acerca de NUMSKULL BRASS.

•   Cuéntanos un poco acerca del curso que realizas cada año en Caudete.

•   ¿Como se realiza la selección de profesores y alumnos?

La de profesores la tienes que preguntar a la dirección del curso y los alumnos, por orden de inscripción.

• ¿En qué tipo de repertorio trabajan principalmente con los alumnos? Solo, con acompañamiento de piano, música de cámara, ….?

Trabajamos todo lo que se puede, pero nunca hasta ahora acompañamiento de piano. La cámara y los grupos de metales es muy importante en el curso.

• ¿El estudiante selecciona las obras para tocar? o son elegidos por el profesor?

El alumno es quien manda y quien se pone en nuestras manos para que le ayudemos en lo que podamos.

• ¿Hay alguna obra que consideres obligatoria para seleccionar a los alumnos? ¿Cuál sería?

No. Obligaciones ninguna, sugerencias, muchas.

HABLANDO DE CUESTIONES TÉCNICAS:

• ¿Podrías darnos tu opinión sobre los diferentes conceptos de sonido y qué características lo definen, la articulación, los tipos de instrumentos, la literatura, si se considera importante la influencia del lenguaje y la tradición musical en el sonido y la forma de tocar?

La respuesta a esta pregunta la podrán ver en el siguiente video por deseo expreso del entrevistado. 

https://youtu.be/DA3XbVhc8Co

• Háblanos un poco sobre la fabricación de Tubas y / o Bombardinos y boquillas y cuéntanos sobre tus experiencias y gustos de un fabricante en particular y por qué?

Me gusta probar e indagar. Hasta la fecha, el mejor bombardino que he probado y que mejor se adapta a mis cualidades es el que tengo, y lo mismo con la tuba en fa y en do. Opino que la herramienta es muy importante, pero lo primordial es lo que tenemos dentro de nosotros. Con tema boquillas, no volverse loco. Usar una que vaya bien y fuera.

PARA CONCLUIR:

• En tu experiencia, ¿Crees que la diversidad de intérpretes, instrumentos y la oportunidad de capacitarse en varias escuelas especializadas se está homogeneizando en los centros interpretativos que ya están establecidos? (Ejemplo: ruso, estadounidense, germano-austríaco, inglés, etc.).

Puedo hablar de mi experiencia. No he estado en ninguna escuela ni rusa ni estadounidense. En suiza hay mucha flexibilidad, en Alemania son más herméticos con sus instrumentos y formas de tocar, pero a la vez varían unas zonas de otras. Creo que en cada sitio lo hacen lo mejor que pueden. La tradición les avala.

• Sino es repetitivo, ¿Cómo ves esta influencia de escuelas en España?

Generalizar todo España es mucho generalizar, creo que cada profesor intenta aportar su experiencia y saber hacer. Generalizando, lo veo muy anclado a “lo de siempre”.

Ximo, un placer y un honor poder contar con tu amistad, experiencia y sapiencia en mi trabajo.

Muchas gracias y mis mejores deseos.

Un abrazo fuerte.