Bienvenidos a este, un espacio didáctico multilingüe sobre la Tuba y el Bombardino.

Espero y deseo que encuentren lo que buscan y les ayude en sus intereses sobre nuestro excelente instrumento.

IBSN

IBSN: Internet Blog Serial Number 7212-1413-1-0

SOBRE MÍ

Mi foto
PhD "Cum Laude" en Patrimonio Artístico y Cultural (UCO, UJA, UHU y UEX). Artista/Embajador “Wessex” y “Mercer&Barker".“Profesor Superior de Tuba” (RCSM de Madrid.España)). “Instrumentista/Profesor de Tuba y Práctica de Conjunto” (ENA/Cuba).Miembro de I.T.E.A., AETYB y UNEAC. Director Máster Pedagogía Instrumental (UAX)/// PhD "Cum Laude" in Artistic and Cultural Heritage (UCO, UJA, UHU and UEX). Artist/Ambassador "Wessex" and "Mercer&Barker". "Profesor Superior de Tuba" (RCSM de Madrid.Spain)). "Instrumentalist/Teacher of Tuba and Ensemble Practice (ENA/Cuba), Member of I.T.E.A., AETYB and UNEAC. Director Master in Instrumental Pedagogy (UAX).

martes, 7 de julio de 2020

"BETWEEN TUBAS and EUPHONIUMS.....NORBERT NOLD"

Hi all. Today's interview is with a very important person and known to many metal musicians in Europe who love the Miraphone brand. It is a pleasure to be able to interview him for my blog and I thank him infinitely for his patience, collaboration and friendship for many years. 

Without further ado let's begin.

  • Name and surname:
Norbert Nold

  • Do you play or have you played any wind instrument?
Trombone and saxophones

  • What instrument manufacturer do you own, CEO or representative?
Director Marketing and Sales

  • What instruments do you make?
Various professional Miraphone brass instruments from flugelhorns to tubas "100% Made in Germany" 

  • What models?
  1. Bb tubas: model Hagen, 91A, 86A, 282
  2. F tuba: Elektra, Firebird, Petruschka
  3. C tuba: New Yorker, Bruckner
  4. Eb tubas: Norwegian Star, Starlight,
  5. Euphonium: Ambassador M5050, M5000, 1258
  6. Tenorhorn/bariton 47WL, 54L, 56L
  7. Flugelhorn 24R, 25
  8. Trumpet: M3000, M3050, 9R, 11
MIRAPHONE Tubas

  • What type of Tubas and / or Euphoniums are manufactured in your company? Professionals, for students, beginners?
Tubas 4 -6 valves with rotary valves, front action and piston valves upright, euphonium 3-4 valves with or without compensating system. All manufactured for professionals and students.

  • Do you manufacture nozzles in your company?
No
  • What type of nozzles? Standard or specifically for each instrument?
All mouthpieces are made by J. Klier and specially made for each instrument.


Let's talk about your company:
  • When it was founded?
1946
  • In what city or country?
Waldkraiburg, Bavaria, Germany

  • Who was the founder?
13 instrument builders from Graslitz who came to Waldkraiburg after being expelled from their country after World War II

  • Since when do you manufacture Tubas and / or Euphoniums?
Having started with repairs the founders decided in 1947 to build instruments, including tubas and euphoniums


MIRAPHONE   Factory
  • What reasons or circumstances led you to manufacture Tubas and / or Euphoniums?
The 13 founders brought the knowledge and started building instruments in their new home country. We continue the tradition, experience and craftsmanship in order to give the musicians instruments that meet their highest demands concerning response, intonation, sound and perfection. Thus we give them the opportunity to create their individual sound according to our slogan: "Live the Perfection"

  • Who were its main designers?
In the early years there was no special main designer. Instruments were developed in cooperation with professional musicians. Main designers from the late 1970´s onwards: Franz Köhler, then Bernd Jestädt, now Christian Niedermaier

Regarding the vast experience of your brand in the market:
Please leave us a count of the most relevant artists in your catalog broken down as follows:
  • In Orchestra and / or Band, Metal Sets, Soloist and Teachers:
Please see here a short list out of our huge endorser pool:
  • Öystein Baadsvik, Norway
  • Dirk Hirthe, Germany
  • Gerard Buquet, France
  • Micael Cortone d‘Amore, France
  • Pablo M. Fernandez Garcia, Spain
  • Eros Sabbatani, Italy
  • Gil Goncalves, Portugal
  • Dr. Benjamin Pierce, USA
  • Steve Rosse, Australia
  • Sun Shuai, China
  • Florian Wielgosik, Monte Carlo
  • Demondrae Thurman, USA
  • Salvador Tarraso, Spain
  • Stefan Huber, Germany
  • Wolfgang Rabensteiner, Italy
  • Gianluca Grosso, Italy
  • Michael Pircher, Austria
  • Max Wagner, Germany
  • Alexander Wurz Germany
  • Carsten Ebbinghaus, Germany
  • Daniel Herskedal, Norway
  • Miraphone Tuba Quartett, France
MIRAPHONE artist:
Oystein Baadsvik, Pablo Fernández, Gil Gonçalves, Dirk Hirthe and Demondrae Thurman

TALKING ABOUT TECHNICAL ISSUES:
  • Could you give us your opinion on the different concepts of sound and what characteristics define it, according to the different types of instruments, that your brand manufactures?

First of all, the sound depends on the taper of the instrument, of course also on the material thickness and whether it is a brass or gold brass instrument. Further influences are the bore of the machine, whether you choose a small bore and how much the body then widens to the bell. Rotary valves or piston valves have their own sound character.

Our intention is to produce instruments with a direct and easy response and a large sound projection, together with a well centered tone for both the orchestral musician and the soloist. Therefore, we have different models in the range, where every musician can choose “his" instrument, suitable for his individual sound concept.

  • Please tell us a bit about the actual manufacture of brass instruments based on your experience?
Most important is to train the employees well and to keep them in the company for a long time. This is a fundamental requirement for a good quality of the products. Furthermore, the suppliers who supply us with the tubing material are of great importance. With many of our suppliers we have cooperated for decades.

During MIRAPHONE ANDALUCIA TOUR 2018
Left to Right: Pablo Fernández, Harold Hernández and Norbert Nold

IN CONCLUSION:
  • In your experience, do you think that the diversity of interpreters, instruments and training opportunities in various specialized schools is being homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.).

It is certainly the case that the training, the idea of sound and interpretation are different in the different countries. And that's a good thing!! In the recent years my experience in numerous international activities has shown that students - of course also studied brass players - attend many international seminars and workshops or even take semesters abroad with renowned lecturers in universities and academies. Likewise, most professional musicians are very closely linked internationally, so their own musicality has become more open and free. 

The new impressions they gain are taken over into their own playing, which in turn makes one's own music more multifaceted and flexible. This, in turn, is very important, because many of the students often do not find a vacancy in their own country and therefore have to look abroad for a suitable job.

The experience already gained internationally can play a very important role.


It is a pleasure and an honor to count on your experience and knowledge in my work as well as your sincere friendship.

Thank you very much and best wishes.
A big hug. 

viernes, 3 de julio de 2020

"BETWEEN TUBAS and EUPHONIUMS...VIKENTIOS GIONANIDIS"

Hi all. The interviewe on this occasion, to whom I thank him for his friendship and sincere collaboration with this interview that he will surely enjoy as much as I do, is one of the current references as a Tuba interpreter in an orchestra at a European level and perhaps worldwide, among other things.

Without further ado let's begin.
· Name and surname:
My name is Vikentios Gionanidis.
· What instrument / s do you use?
I play F tubas, Bb tubas and F cimbasso.
· What manufacturer and model are the instruments you use:
My F tuba is a B&S 3100 JBL Classics. 
My Bb tuba(s) are Bohland&Fuchs. I have a 6/4 Bb that is huge and is the instrument I mostly choose to play in the orchestra. It was made around the 1930s. 

I also have a 4/4 from around 1900 witch is currently under construction. Usually these very old instruments need a lot of repairs and restorations before you are able to play them.
I also play a Lätzsch F cimbasso in the orchestra.
· What manufacturer and model are the mouthpiece / s you use:
On the F tuba I use for over 10 years the same mouthpiece, a Denis Wick 2,5CC.  
On the Bb tuba I play a Josef Klier  S 0.9 671.
On the F cimbasso I use a combination of my F tuba mouthpiece rim and a smaller cup made by Werner Schmidt.
Let's talk about your EDUCATION:
· When and where did you start your Tuba studies?
My first contact with the world of music was on the island of Corfu, Greece where I was born. There is a big wind band tradition there and most of the children go there and learn how to play woodwind, brass or percussion instruments free of charge. I started playing the tuba after playing quite a long time other brass instruments and percussion. 

I then started getting lessons with G.Rarakos at the Corfu Conservatory. Later on I decided to study abroad and got accepted at the University of Music and Theater in Hannover, Germany to study under Prof. Jens Bjørn-Larsen. 
· At what age?
I was 15 when I started playing the tuba.
· What reasons or circumstances led you to study this instrument?
I was 12 years old when I first started playing the percussion, particulary snare drum, at the wind band ‘Mantzaros’ in Corfu, Greece. I was always fascinated with the sound of the trumpet and aprox. 5 years after playing the percussion I started taking trumpet lessons. This didn’t last long since my embouchure wasn’t helping. One day, the low brass teacher came to me after he heard how much I was struggling to play notes in middle register of the trumpet and persuaded me to switch to the euphonium. 

I immediately could play stuff way easier than on the trumpet. After reaching a level good enough to be a member of the concert band, the same teacher said I should get some trombone lessons if I later would like to become a professional brass player, since the euphonium has no place in the symphony orchestra. After some months practicing the trombone, I took part to the first masterclass for brass in 2003 and the teacher there convinced me to play the tuba. 

This felt even easier for me than the euphonium and started liking the profound sound of the law frequencies.  I am glad I took this long journey when I was still young, from the trumpet all the way down to the tuba. I learned how those instruments work and their abilities, this helped me a lot on playing the tuba as well as on arranging, witch I am very active nowadays.





· Who were your main teachers?
My teachers where Otto Gkogkas, George Rarakos and Prof. Jens Bjørn-Larsen.

Regarding your vast PROFESSIONAL EXPERIENCE:
Please give us an account of your experience as a soloist, member of chamber groups, orchestra, band, etc.
· In Orchestra and / or Band:
I am tuba player with the Deutsche Oper Berlin since 2013. I have played with many major symphony and opera orchestras in Germany, including the Berlin Philharmonic, the Gewandhaus orchestra in Leipzig, the Hamburg State Opera, the German Symphony Orchestra Berlin (DSO Berlin), the Stuttgart State Opera, among others. 

I have played with orchestras outside Germany, such as the Orchestre de la Suisse Romande in Switzerland. In addition to that, I also played with the Ensemble Modern in Frankfurt, which is an ensemble specialized in contemporary music.
· Brass Ensembles:
In 2019 I played a lot with the Stockholm Chamber Brass. I also conducted the Metallon Brass Ensemble from the Athens State Orchestra with exclusively my arrangements. Apart from that, we form brass quintet or brass ensemble with members of the Deutsche Oper Berlin and play chamber music concerts regularly. 

In my studies in Hannover we used to form all forms of tuba ensembles, from tuba duets up to 14-part tuba orchestras!
· Concerts as Soloist:
I won first prizes in two of the most prestigious competitions for brass instruments. At the International Aeolus Competition in Düsseldorf (2010), apart from the first prize, I  also won the special prize for contemporary music and the audience award. At the final round of this contest, every brass instrument is competing each other, witch makes it even more difficult for the tuba to win against the trumpet or the trombone. 

At the International Instrumental Competition in Markneukirchen (2012) I won the first prize. In addition, I have won prizes at the National Music Academy Competition in Lübeck (2011) and the International Brass Competition in Gdansk (2012).
The competitions gave me the chance to appear as a soloist with orchestras such as the Folkwang Chamber Orchestra in Essen, the orchestra of the Plauen-Zwickau Theater, the Göttinger Symphoniker, the Düsseldorfer Symphoniker, the Gdansk Academy Orchestra, just to name a few.

About your ORCHESTRAL EXPERIENCE:
  • Tell us your experiences to access the orchestra place you currently occupy:
First, the Deutsche Oper Berlin offered a time contract and I took the audition for that and won, this was back in 2012. I played with them for some months and then there was an opening for the permanent  position. Many tuba players from all over the world auditioned too.

I had to audition for my job twice.

  • How was the selection process?
Usually, the group, after receiving the applications, decides witch candidates to invite to the audition, according to their orchestral experience, age, etc. In this case, the tuba player (my orchestra has two tuba positions) together with the trombone group. I had some experience when I applied, had played with professional orchestras in the past, to get an invitation wasn’t a problem. 

  • What works and / or orchestral solos were there as mandatory in the tests?
The list had all the classics! R.V.Williams tuba concerto with piano, F tuba excerpts from Berlioz to Bruckner, Bb tuba excerpts from Wagner to Mahler.
  • Did you take any work of free choice? Which was?
This wasn’t an option.

In another sense:
  • How is your current work in the orchestra of Opera?
The times we all  experienced was difficult during the pandemic lockdown. We were not allowed to do what we love to do, this is really hard especially for the artists. I was fortunate enough to be able to go back and play in June. 

The Deutsche Oper Berlin was the only opera company that got the permission to make a small production in an open air stage! We staged an arrangement of R.Wagner’s Rheingold for small orchestra. This felt like heaven after sitting home for so long time, practicing just for yourself (and the neighbours!).





  • What recommendations would you give future Tuba players aspiring to an orchestral position?
I know it’s hard to get a job as a tuba player, there are not many opportunities, not many auditions. You have to perform your audition program in a certain way in order to make most people happy to get the job. This comes with a cost. Sometimes we tend to forget how WE like to play, how we want to sound, how we would like to phrase an excerpt. We always need to find the balance on that with the least sacrifice of our own taste. 

Get inspiration from great performers, great orchestras, etc. not necessarily tuba players, not even brass players. We can learn from anything around us. I learned a lot listening to great opera singers, how they fraze, how they make words sound less or more important. You can steal ideas from everywhere.

Treating OTHER TOPICS OF INTEREST.
Here in Spain, in some centers the Euphonium is considered to be an instrument that should have its own specialization and, on the other hand, some believe that, as an instrumentalist, one should know and master the Tuba and Euphonium.
• Could you give us your opinion on this and how you would approach this topic in the interest of education and training adapted to the necessary specialization that is currently required worldwide?
As I said before, I switched from euphonium to other lowbrass because the euphonium has no place in the symphony orchestra. In Germany, most euphonium players are mainly trombonists that play euphonium if you ask them to. 
• How do you see the tuba and euphonium teaching today and with a view to the future?
You can study tuba in most places around the world in a very high level. A young tuba player should consider where to apply for studies, cause there are traditions from country to country. f.Ex. the american brass playing philosophy is much different than the let’s say the german. 
For the euphonium, studying options are more limited. In the US, most tuba studios include euphonium students too. In Europe things are different. 
Let's talk about your EXPERIENCE IN TEACHING:
· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)
I started teaching periodically at the Hannover Music School, orchestral and solo literature in 2014. This is in form of masterclasses, twice or three times a year. Last year, I gave masterclasses for tuba and chamber music at the Rice University in Houston and at the Baylor University in Texas. In the past years I was invited to teach masterclasses in Athens, Greece.
· How do you organize your classes and the topic in general?
This depends on the student needs, I try to stay flexible and adapt on what the student needs the most. In the start, I usually let the student play for a longer time to be able to understand on what we need to focus.
I don’t believe that the teacher should have only one style of teaching. Every student is different. Especially on masterclasses, there are so many different levels, ages, etc.
· Do you think it is important for a student to make public presentations during their years of study? If so, how many times do you consider it appropriate and at what age or grade? Elementary, Professional, Superior?
I strongly believe that a student should perform as often as possible. This makes you stronger as a performer and it’s the only way to get used to play in front of public, to learn to be exposed, to entertain the audience to enjoy it! But always be well prepared. 
· If I had to choose as a student (in a hypothetical situation), would you have a preference between a Tuba student and a Euphonium student?
I would choose a tuba student. The reason is that we would have much more to work on, according on my experience.



About your DAILY WORK.
· What type of repertoire do you mainly work in?
I divide my practice schedule on:
Staying in shape
This includes warm up exercises, technical exercises, etc. Both bass and contrabass tuba. 
What I need to practice depending on what I have to perform

If there is a solo appearance, I would focus my practice on that. If there is an orchestral piece I haven’t yet played coming, I would focus on learning it. This requires to listen to the work, study the score, etc. 
When I have a new arrangement done for tuba I always like to test it out and of course make corrections, changes, etc.
· What warm-up exercises do you use?
I usually start my warming-up with slow, flowing exercises such as Stamp. I often make my own exercises. Then I do some flexibilities in different speeds, expanding the registers. Always alternate and modify them, This keeps me being creative.
This  depends on how much time I have avaible.
TALKING ABOUT TECHNICAL ISSUES:
· Could you give us your opinion on the different concepts of sound and what characteristics define it, the articulation, the types of instruments, the literature, if the influence of language and musical tradition on sound is considered important and how to play?
I believe most people around the world use very similar instruments, Melton, B&S, Yamaha, etc. This makes the sound already very similar. Of course, the language of the player influences the playing a lot.
· 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 always liked the B&S F tubas because they have a sound you can shape it in the way you like it. You can do a lot with it. For Bb tubas, I am a big fan of the old Kaiser tubas simply because they produce a sound very deep, profound and round that modern ones don’t do. There are other difficulties such as intonation you need to be extra careful with these old tubas.
You are a recognized interpreter in Germany but I like know about our instruments in your country.
Please tell us about the history of our instruments in your land.
Most of the modern german instrument makers have their origins to Graslitz-Bohemia, today is Kraslice-Czech Republic. There where many brass instrument factories and makers, such as Bohland&Fuchs. It is very interesting. 


IN CONCLUSION:
· In your experience, do you think that the diversity of interpreters, instruments and the opportunity to train in various specialized schools is being homogenized in the interpretive centers that are already established? (Example: Russian, American, German-Austrian, English, etc.).


In my opinion, even though most of the players play very similar instruments or from same instrument makers, you can still hear the differences and be able to tell where they studied, what are there background. However, I each player is an individual with his own personal characteristics. For me these characteristics such as sound, articulation, frazing, musicality are more distinctive to a player.


Vikentios, it is a big pleasure and a great honor to count on your experience and collaboration in this series of interviews.
It was my pleasure.
I hope see you soon.
Thank you very much and best wishes.
A big hug.

martes, 30 de junio de 2020

"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 5th 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 4th 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?





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 2nd and 3rd 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!