"BETWEEN TUBAS and EUPHONIUMS....DANIELLE VanTUINEN"

Hi all. The interview that I bring you today is very pleasant for me because it is with an excellent Euphonist whom I thank for her friendship and her collaboration in this interview project of mine entitled "Between Tubas and Euphoniums ..."

Without further ado, let's get started. 

·      Name and surname:

  Danielle Duron-VanTuinen

·      What instrument / s do you use?

-       Euphonium: Shires Q40

-       Eb-Tuba: Eastman 853

-       CC-Tuba: Eastman 832

·      That make and model are the tools you use:

-       Euphonium: Shires

-       Both Tubas: Eastman

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

-       Euphonium Mouthpiece: DC3

-       Eb-Tuba Mouthpiece: Alliance Neish

-       CC-Tuba Mouthpiece: Shires 4E

Let's talk about your EDUCATION:

·      When and where their studies or tuba euphonium started?

-       Euphonium: Central Michigan University (2009) (Bachelor of Music Performance)

-      Tuba: Arizona State University (2013) (Master of Music in Euphonium) & (Doctorate in  

        Musical Studies in Tuba and Euphonium)

-   I initially started University in 2007 as a Biology Major and found Euphonium to by my passion and started studying music in 2009.

·      At what age?

-        I started playing euphonium at 18 and tuba at 24

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

-     I initially started college as a Biology major and after realizing that I couldn’t imagine myself sticking with it as a career and decided to try my hand at music. For a year I took private lessons from one of the tuba/euph majors at my University and was accepted the following year. Prior to studying I had participated in marching band at Central Michigan where I initially became interested in playing the euphonium.

-   I felt that music and the euphonium provided me with the type of career that would be fulfilling in a professional standpoint but also very rewarding from an emotional and personal standpoint.

·      Who were your main teachers?

-       Dr. Mark Cox (Central Michigan University)

-       Dr. Eric Dluzniewski (Central Michigan University before I joined the studio)

-       Professor Scott Hanson (Sabbatical teacher at Central Michigan University

-       Dr. Deanna Swoboda (Arizona State University)

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 really learned how to play the euphonium while in Brass Bands in my early years of studying. I continued this throughout graduate school. Throughout school I participated in all of the standard large and chamber ensembles.

-    As a professional I actively participate in our faculty brass quintet. This ensemble goes out into the community and interacts will large populations of individuals throughout Florida.

-   I also get the pleasure of performing within Orchestras throughout the US as either a euphonium player or additional tubist on certain pieces. 

·      Solo concerts:

-    My largest “solo” experience actually comes from my duo. The Moreau | VanTuinen Duo is an ensemble comprised of Dr. Danielle Moreau (Percussion) and myself on both tuba and euphonium….occasionally if I’m feeling squirrelly I’ll pull out a trombone, but nobody wants to hear that! This ensembles allows us to travel all over the world presenting brand new chamber works as well as solo pieces. We get to perform in various venues and in front of such a diverse collection of people.

·      Which uses warm-up exercises?

-     I tend to really dive into “The Brass Gym” and the “20 Minute Warm-up” by Michael Davis. That’s typically if I need a sense of schedule at the beginning of my practice session. That being said, I love playing long tones and playing short melodies with a drone. It’s a time that I just to zone out and really feel/see the sound that comes out of my instrument.

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?

-    You know, this is a hard question…When I was younger I would have said that learning the euphonium should be enough as it is. Though, since being more immersed in the “work force” I’ve realized how important and crucial it is to be as multi-faceted as possible. I feel that I honestly would not be where I am had I not picked up the tuba and began studying at a high level. I think in order to be relevant in today’s musical environment you need to have your hands in many pots.

-   I personally choose the route of learning the tuba in addition to the euphonium. I don’t personally feel that that is the right decision for everyone but I do think as a euphonium player (with very few career options) there needs to be either another area or instrument that a person is proficient in.

-    As for how education can reflect this idea. I personally feel that as the music industry evolves, the University experience needs to mimic the real world. Thus requiring students to be a little more self-sufficient, experimental and exploratory. I feel that most Universities tend to be too stuck in “what has always work will work today”. I think that encouraging students to think out of the box and explore areas outside of the classical world are crucial for development!

Let's talk about your TEACHING EXPERIENCE:

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

-     I’m currently the Assistant Professor of Tuba and Euphonium at the University of Florida.

-   Before moving to Florida I taught at Plymouth State University and the University of New Hampshire in New Hampshire. Portland Conservatory, Westbrook School District and New Horizons Adult Music Learning up in Maine.

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

-    Most of the classes I’m currently teaching are in relation to the tuba/euph. We currently have lessons, studio, tuba/euph ensemble, Pedagogy, Repertoire and chamber ensembles. In addition to studio related classes I’m teaching a course titled, “ Women Changing Society Through Music” which is designed to discuss how women throughout history played an important role in music in order to effect the environment they were immersed in.

    

·      How long are your classes?

-   Each class runs in 50 min periods with 15 minutes of transition time due to the size of the University

·     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 it’s extremely important for students of all abilities and ages to perform or present in various situations. The experience alone is such a valuable teaching and learning tool. We try to get the studio out into a large array of audience types, whether they are kids concerts at an elementary school introducing students to these larges instruments early on to performing in nursing and retirement communities. The value comes from the connection that the students make with every audience type.

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

-     I am the only professor at my University that is teaching Tuba and Euph!

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 don't teach the audition excerpts in a such a traditional way. I value overall good musicianship so I talk often about knowing and understanding the score and seeing the music through the eyes of the composer.

-   I honestly feel that in order to be well rounded both tuba and euphonium students need to immerse themselves in large ensemble repertoire as well as solo literature. I try to implement various listening/score study assignments within my studio class from the beginning so they can essentially have an early exposure to pieces that they may not choose to listen or study on their own.

-    Learning Orchestral and Band excerpts is a crucial part applied lessons here at UF. Not for the singular purpose of an audition but rather to learn how to blend and mold ones sound with various groups of people. We challenge the students to learning an excerpt with precision clarity, and still learn to adapt their sound to various groups and ensembles.

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

-     At the University of Florida we hold multi-layered audition process. Once the student applies to both the University and the School of Music they will schedule an audition. These auditions take place in front of the entire brass department. Throughout audition day students will go through various meetings and interviews. These interviews serve as a tool to decide if the student will not only survive a degree in music but rather thrive and grow as a person. Once the students have been evaluated at each level they are then given a decision with an financial award package.

·      What it is required repertoire in the entrance exam?

-       Undergraduate Requirements for Tuba:     

1) Two Contrasting pieces (one can be an etude)

                - Grigoriev: Studies for Tuba

                - Bordogni: Lento Etudes Vol. 1

                - Blazhevich: 70 Studies for Tuba

                - Tyrell: 40 Advanced Studies

                - Arbans: Characteristic Studies

Solo Examples:

·       Haddad: Suite for Tuba

·       Hindemith: Sonata for Bass Tuba

·       Vaughan Williams: Concerto for Bass Tuba

·       Holmes: Lento

·       Marcello: Sonata in F-Major

·       Marcello: Sonata in A-Minor

2) All major scales in two octaves

3) Sight reading

-       Undergraduate Requirements for Euphonium:

1)     Two Contrasting Pieces (One can be an etude)

o   Voxman: Selected Studies for Baritone

o   Tyrell: 40 Studies for Euphonium

o   Fink: Studies in Legato

o   Rochut: Melodious Etudes for Trombone

Solo Examples:

·       Morceau Symphonique - Guilmant

·       Rhapsody for Euphonium – Curnow

·       Beautiful Colorado – DeLuca

·       Sonata for Unaccompanied Euphonium – Clinard

2)     All major scales in two octaves

3)     Sight Reading

-       Graduate Requirements for Tuba:

Pre-screening:

·       Two Solo works of contrasting style (level 5 or higher)

·       Three Standard band/orchestral excerpts

Live audition:

·       Discussion: Having a clear idea of your final project/product.

·       Scales: Major and Minor

·       Sight-reading

·       Orchestral Excerpts

·       Two Selections from the Following

o   A Transcription written prior to 1800

o   Unaccompanied work of equal difficulty to Encounters II (Kraft) or Capriccio (Penderecki)

o   Concerto of equal difficult to Concerto for Bass Tuba (Vaughan Williams)

-       Graduate Requirements for Euphonium:

Pre-screening:

·       Two Solo works of contrasting style (level 5 or higher)

·       Three Standard band/orchestral excerpts

Live audition:

·       Discussion: Having a clear idea of your final project/product.

·       Scales: Major and Minor

·       Sight-reading

·       Six Band/Orchestral Excerpts

·       Two Selections from the Following:

o   Charlier: 36 Etudes: Transcendantes

o   Arban: Characteristic Studies

o   James Curnow: Symphonic Variants

o   Ponchielli: Concerto

o   Bourgeois: Concerto, Op. 114

o   Cosma: Concerto

·      Do you suggest any particular repertoire?

-   I provide general examples of what can be used as an audition piece for the undergraduate students. For graduate auditions I tend to be a bit more specific.

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

-    Undergraduate students are requires to prepare two contrasting pieces and Graduate students are required to prepare two pieces in addition to excerpts.

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

-     As of right now I haven’t mandated a particular piece. I’ve recently thought of revamping the way that I choose audition material for the future.

·      Approximately how long is the exam?

-   Undergraduate auditions tend to be around 15-20 minutes in length with the brass faculty, whereas the graduate auditions tend to be around 30 min in length. I like to chat with each student to really gain a good idea of their interests and goals.

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

-   You know, this is a really tricky questions…I think my biggest deciding factor is whether or not I can work well with the student. If they are open to suggestions and various styles of teaching. You can teach Musicality, Intonation and Technique but if you don’t click with the student and they don’t learn well from your teaching style there is no hope! Ideally I would love an even playing field with a stellar personality!~

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

-    Hmmmm, you know this is difficult because I would hate to have to choose but if I had to I think I would choose euphonium.

About their work during the course.

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

-    We work a wide array of pieces ranging from the standard solo with piano, unaccompanied, chamber, solo with electronics, solo with interactive electronics. Duos, trios…you name it!

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

-       For any of the examinations we tend to stick to solos with piano or unaccompanied works.

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

-    I think it’s a pretty even combination of the two. Every now and then I have to tell a student that they need to wait to perform a piece but it rarely comes up.

·      Is there any work it deems mandatory? So what?

-    There are certain pieces that the students at least need to know about, whether it’s score study and listening logs or actually working up the piece.

-    For example: Tubas need to “know” the Vaughan Williams and Euphoniums need to know the Horovitz Euphonium Concerto.

Talking about other topics.

You have recently done an interesting project with the Tuba Player and teacher of  the Arizona University  Deanna Swoboda.

·      Do you think you can tell us a bit about it, its development and future projection?

-    First off I need to start by saying that Deanna Swoboda is amazing, not only as a performer, musician and mentor but she is a wonderful human and friend. We recently published a new book for Euphonium that acts as a companion book for her “Lip Slurs for Tuba” book. I can honestly hope that we will continue to work together creatively. As of right now we don’t have anything planned but who knows!

SPEAKING OF TECHNICAL ISSUES:

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

-    I honestly think that all of those concepts all start in your mind. If you don’t have any idea of how you want something to sound then the act of playing will be very labor intensive. The concept of sound usually starts by us mimicking other players and then needs to evolve into how we want to “see” our sound and how it interacts with others.

-     When it comes to articulation, it’s all about how we “voice” notes inside of our mouth. Where our tongue is placed and how high or low it is in our mouth. There are certain physical traits that people can possess that make articulation something that they have to work around but it general we have to work with what we have! I’m a firm believer in voicing notes before they come out into the horn. Kind of like a vocalist. My students are encouraged to listen to vocalist recordings in order to develop their own unique sound and how they want each note to begin and end.

-    I’ve always wondered how various languages help people to perform on their instruments. I can only imagine that they more Germanic languages tend to approach their sound a little more squared off as opposed to some of the romantic languages just based off of the way that words are pronounced and emphasized.

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

-     I’m currently performing on Shires and Eastman instruments. Through the years I’ve been on various instruments and I can honestly say that these to instrument makers provide extremely easy instruments to play and maneuver! I love the overall sound and color that I’m able to get on each of the instruments. 

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.).

-    You know, I think the straight forward answer is sadly, “No”…though I do see institutions and areas of the world that are beginning to embrace diversity and inclusivity. I think we have such a long way to go but we are slowly making strides.

  

Danielle, 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.

”BETWEEN TUBAS and EUPHONIUMS...STEFAN TISCHLER”

Hi all. There is no doubt that Stefan Tischler is one of the most important and renowned orchestral tubists in Europe.

It is a luxury to be able to count on your experiences and I take the opportunity to thank you infinitely for your time, your collaboration with this interview project and your friendship.

Without further ado let's get started.

· Name and surname:

Stefan Tischler

· What instrument / s do you use?

I use to play F-tubas and Bb-flat-tubas.

· What manufacturer and model are the instruments you use:

F-tuba: MELTON/MEINL-WESTON 4250

Bb-flat-tuba: MELTON/MEINL-WESTON 197/2

and on journeys and in hotel rooms I use MELTON/MEINL-WESTON 14 - Travel tuba in F.

· What manufacturer and model are the mouthpiece / s you use:

I use mouthpieces of Franz Windhager, a fantastic and precise manufacturer from Vienna/Austria. For F-tubas I use mouthpieces of “his“ sizes 4-6 (depends on needs of piece and ensemble/orchestra), for Bb-flat-tubas I use a mouthpiece of “his“ size 8. Finding the perfect fitting mouthpiece is a very individual process every tuba player should spend some time on...

Let's talk about your EDUCATION:

· When and where did you start your Tuba studies?

When I was a young boy I played the trumpet until I started to play the tuba at the age of 15. My teacher was Eckhard Vincke (a fantastic teacher for brass instruments at my hometowns’ music school) who helped me to prepare for conservatory.

· At what age?

At the age of 15...

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

Those days on a trip to Berlin I visited a concert of a youth orchestra. They performed the Vaughan-Williams-Concerto. Suddenly I was completely enthusiastically thrilled by this great instrument...

· Who were your main teachers?

When I was 16 years old Professor Klemens Pröpper became my tuba teacher at Musikhochschule Detmold and later at Musikhochschule Hannover.

3 years later Professor Walter Hilgers became my teacher, when I started my studies at Musikhochschule «Franz Liszt» in Weimar.

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 the principal tuba player of the BAVARIAN RADIO SYMPHONY ORCHESTRA since 2010. 2006-2010 I was a tuba player at the BAYERISCHE STAATSOPER, before 2006 I was a tuba player at the ESSENER PHILHARMONIKER.

As a guest tuba player I had the chance to play with some famous European Orchestras like the BERLIN and VIENNA PHILHARMONIC ORCHESTRAS, the CONCERTGEBOUW ORKEST AMSTERDAM and the ORCHESTRA OF THE BAYREUTH FESTIVAL...

· Metal Ensembles:

With colleagues of my orchestra we founded and established the Brass Quintet «NoPhilBrass» 10 years ago. Playing with this Brass Quintet is very important for me - it’s more than a job, it’s a passion - and of course big fun!

· Concerts as Soloist:

As a soloist I performed with my orchestra (BAVARIAN RADIO SYMPHONY ORCHESTRA) and several orchestras like ESSENER PHILHARMONIKER,  WEETFÄLISCHE KAMMERPHILHARMONIE and several youth orchestras. My favorite tuba concertos are LANDSKAP for tuba and strings by Lundquist and the VAUGHAN-WILLIAMS-CONCERTO.

About your ORCHESTRAL EXPERIENCE:

• Tell us your experiences to access the orchestra place you currently occupy:

When I was a tuba player at the BAYERISCHE STAATSOPER I played as a guest in BRSO, because of BRSO‘s vacant tuba position. I was very happy and felt very comfortable being the tuba player of the opera house, that’s the reason why I was hesitant and shy in applying for BRSO’s vacant tuba position. During some auditions colleagues couldn’t find a tuba player. After a couple of months I was very honored when Maestro Jansons and colleagues of BRSO’s brass section asked me to apply. In December 2008 I applied and took part in an audition for my current job.

• How was the selection process?

In German Orchestras you apply for a job if you feel comfortable to meet its demands. If your c.v. looks interesting you get an invitation for an audition. During this audition a lot of musicians play for the members and chief conductor of the orchestra.

• What works and / or orchestral solos were there as mandatory in the tests?

Usually tuba players play the Vaughan-Williams-Concerto and one piece of their own choice. After playing those concert pieces applicants are asked to play orchestral excerpts for "Basstuba" and „Kontrabasstuba“ (usually these excerpts are some well-known passages for tuba from orchestra literature).

In another sense:

• How is your current work in the orchestra?

My orchestra - Bavarian Radio Symphony Orchestra - is a big concert orchestra of Bavarian Broadcasting Services (BAYERISCHER RUNDFUNK). We play concerts for our audiences and subscribers, usually in Munich and Bavaria, but quite often on international stages worldwide, visiting the most important capitals of culture.

BRSO collaborates with internationally known conductors and soloists. Supplementary all concerts are broadcasted by radio and internet streaming services. All these profiles make my job so attractive: I really enjoy the international orientation.

• What recommendations would you give future Tubistas aspiring to an orchestral position?

ENJOY THE MUSIC AND NEVER GIVE UP LEARNING!

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? How do you see the tuba and euphonium teaching today and with a view to the future?

Euphonium and tuba are completely different instruments. Usually and in fact trombone players and tuba players share those students of Euphonium, very often “this system” does not support the Euphoniums’ unique character and exigencies.

In Germany military-wind-bands and police-wind-bands collaborate with just a few conservatories which employ teachers for Euphonium, Baritone or Tenorhorn.

Today and for the future it seems to be very important to educate and qualify students of Euphonium to become good teachers especially for those instruments. Many schools of music are in need of qualified teachers.

Let's talk about your EXPERIENCE IN TEACHING:

· Tell us in which learning centers you have taught classes (visiting teacher, courses, master classes, etc.)

Currently I am teaching Tuba at MUSIKHOCHSCHULE NÜRNBERG. There I coach  my fine and small tuba-class.

In the past I was a guest teacher at conservatories and masterclasses in many European countries, Japan, USA, Brazil, Russia, Argentina, Korea... some conservatories invited me as a guest professor, like MANHATTAN SCHOOL OF MUSIC in NYC, YONSEI UNIVERSITY in Seoul, TOHO GAKUEN UNIVERSITY in Tokyo..., some orchestras invited me as a coach of its brass-section, like SHANGHAI PHILHARMONIC ORCHESTRA....

· How do you organize your classes and the topic in general?

During masterclasses time very often is limited to get in contact with students. If I have the chance to teach in private lessons, very fast I concentrate on noticeable problems and topics to afford success and new perspectives for the student I am working with. Those may be a special topic of music or even sometimes a small technical problem.

With my own students at Musikhochschule Nürnberg I have the chance to achieve sustained success due to the possibility to create a concept of teaching that is based on long-term considerations.

· 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?

For every student it is important to play concerts for a public audience, especially young musicians need to learn to get in contact WITH and to play FOR an audience. That’s a physical experience every musician should deal and grapple with, independently of his/her age and individually “operating experiences” on stage.

An important part of the course curriculum is standardized and based on the idea that the student masters the repertoire alone, sometimes to the detriment of the large group repertoire (Orchestra and Band), when in fact the majority of Tuba students and Bombardino are going to be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of the Tubas.

· In your opinion, how should this problem be addressed? How important do you think it is to include learning and mastery of the orchestral repertoire as part of the course curriculum?

Every student should get in contact with a versatile development during his/her education or studies irrespective of his/her intended career. If you will become a teacher you should have learned all basics about most important literature and orchestral excerpts of your instrument. If a student aspires to become a tuba player in an orchestra he/she should have learned basics about pedagogical issues.

About your DAILY WORK.

· What type of repertoire do you mainly work in?

After practicing my daily routines, I try to spend some time in practicing those pieces and programs, I need to prepare for future concerts and productions, including those concerts and etudes my students are working with actually.

· What warm-up exercises do you use?

I like and prefer exercises which effect a very natural way of playing the tuba and producing sound. The ideas and exercises of famous brass pedagogues like STAMP, CLARKE or JACOBS are very common even today. I use their ideas daily.

· 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?

Relationship between musician and manufacturer of instruments is characterized by confidence and mutual knowledge about each other.

Since ever I cooperate with MELTON/MEINL-WESTON-manufacturers who exactly know my preferences and demand of sound and response. In my opinion those instruments uniquely and exactly provide myself the special conditions and qualifications to create different “colors“ and possibilities of “transportations” of sound.

You are a recognized interpreter in you country.

Please tell us about the history of our instruments in your land.

Traditionally in Germany tuba players play F- and Bb-flat-tubas. When Mr. Wieprecht and Mr. Stölzel buildet their first tuba around 1830 in Berlin, it was a Basstuba in F.  To produce bigger tubas for military bands instrument makers created C- and Bb-flat-Tubas.

Later Wagner, Bruckner, Mahler and Strauss asked for a KONTRABASSTUBA and for them it was a big Bb-flat-tuba due to its perfect and natural ability to sound together and to cooperate with the sections of trombones and wagnertubas (all in F or Bb-flat). Even almost 150 years later nothing has changed - and if you listen to big orchestras in Germany or Austria with their deep, dark and rich sound obviously Bb-flat-tubas perfectly and naturally enrich and complement those orchestras.

IN CONCLUSION:

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

Generally I enjoy all colorful differences and diversities in music and culture.  There are so many different possibilities to interpret music in interesting variations.

We all should keep our ears and eyes and our mind open to notice all differences in interpretation and sound. And especially with tuba and it’s sound we can notice quite many different ways to create sound - somewhere on earth tuba players use to play with more vibrato than somewhere else (perhaps a question of cultural imprint)...

Some orchestras have a great history and experience in playing special repertoire. It is remarkable how teamwork in sound and phrase is growing if musicians are used to play together for a long period of time.

As a teacher you should invite your students to listen and remark all those different varieties in culture and music. And of course you should learn them to enjoy those varieties and possibilities in interpreting music in different ways.

Stefan, it is a big pleasure and a great honor to count on your experience and collaboration in this series of interviews.

I hope see you soon.

Thank you very much and best wishes.

A big hug.

"BETWEEN TUBAS and EUPHONIUMS.....MISA MEAD"

Hello good day. Today's interview is very interesting because it is a recognized figure of the euphonium, curiously and happily associated with another great name of this instrument, but who has earned her own place in the world of euphonium on an international level.

I appreciate your sincere friendship and collaboration for this interview project which I hope you enjoy as much as I do.

Without further ado, we begin

· Name and surname:

Misa Mead

· What instrument do you use?

Euphonium

· What manufacturer and model are the instruments you use:

Besson Soveregin 967T in Lacquered

· What manufacturer and model are the mouthpiece / s you use:

Denis Wick SM4XR

Let’s talk about your EDUCATION:

· When and where did you start your Euphonium studies?

I started playing the euphonium when I was 9 years old in the school band in Japan.

· At what age?

9 years old.

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

My sister was playing alto horn. 

I wanted to play same instrument but she said “ alto horn plays always off-beats and it’s boring, I recommend euphonium because it looks similar but has more melodies.”

I think alto horn is good instrument!  But I chose the euphonium as she recommended.

· Who were your main teachers?

Actually, I had many teachers.

Noriaki Okamoto, Shoichiro Hokazono, Takashi Yamamoto, Ayano Iwakuro, Philippe Legris, Philippe Fritsch, Anthony Caillet, David Maquet, Jacques Mauger, Roger Bobo.

Concierto con la Banda del Conservatorio de Tatuí en Brasil

Regarding your vast PROFESSIONAL EXPERIENCE:

Please give us an account of your experience as a soloist, member of chamber groups, orchestra, band, etc.

· Metal Ensembles:

Spiel Kammerensemble (2012-2013, Japan)

· Concerts as Soloist:

More than 20 countries and with more than 40 ensembles.

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?

I think it depends on the countries. For example, people can specialise in euphonium in most universities of music in Japan.

As a country of wind bands, there are so many school bands in Japan and so many euphonium players too.

Also, as a county of brass bands, people can study specialist in euphonium in many music colleges in the UK too.

I think the countries where you can’t study specialise in euphonium where the dominates.

In these years, more countries started to put euphonium class in the university of music as same as more people play euphonium.

Tuba and Euphonium are really different and I think no many teachers has enough knowledge for both and play both as a professional level.

• How do you see the euphonium teaching today and with a view to the future?

I think it’s getting better. Because there are more euphonium players than before and more competitive. Also we can get so many information easily by internet now. I don’t know for the future but maybe better again.

Master Class

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 normally travel to other countries and do masterclasses or individual lessons.

I also do internet lessons.

· How do you organize your classes and the topic in general?

I search which levels students will come and make the plan.

It’s depends of the students.

· How long are your classes?

Normally, one hour for an individual lesson.

Masterclasses are normally 90 minutes to 2 hours.

· 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’ve never think about it before. Maybe once a year is good.

An important part of the course curriculum is standardized and based on the idea that the student masters the repertoire alone, sometimes to the detriment of the large group repertoire (Orchestra and Band), when in fact the majority of Tuba students and Bombardino are going to be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of the Tubas.

· In your opinion, how should this problem be addressed? How important do you think it is to include learning and mastery of the orchestral repertoire as part of the course curriculum?

I think the important point is a good balance. I think it’s good to study the standard repertories for every student for any music job for the future.

And also I hope students are interested in many other categories and study voluntarily.

· 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’m happy to teach both Tuba and Euphonium.

Mostly, my students are Euphonium but sometimes I teach Tuba too.

Master Class. AETYB Madrid 2018

About your DAILY WORK.

· What type of repertoire do you mainly work in?

Euphonium solo repertory as I’m a soloist.

· What warm-up exercises do you use?

Breathing, Buzzing, Long tone, Lip slur, Arpeggios, etc.

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 think it’s connected our talking and playing. So when I visit different countries, I can find the characteristic of the language and playing.

I think when we play the piece, we have to search where it’s from, when it’s written, which style, etc… then we can get ideas about how to play.

· Tell us a bit about the manufacture of Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

I play Besson instrument. For me, Besson is the best sounds euphonium. And other things are good too, for example, valves, tuning which I use trigger, etc.

I use Soveregin 967T it’s lighter and easier to play than Prestige. 

With Besson instrument, Denis Wick mouthpiece is the best combination for me. I use SM4XR, it make bigger sounds and easier to play for high notes. I used SM4X, it has warm sound, SM5 is keep my stamina longer.

You are a big woman player of the euphonium in Europe and Japan another places.

Please tell us about you experience and about our instruments en your born country and adopted country

In Japan, there are many female euphonium players so I haven’t think about gender for instrument until I started traveling for other countries. We have two famous professional wind band in Tokyo and both euphonium players are women. Also, these years Japanese female euphonium players won some international solo competitions, ITEC, Falcone, Lieksa, all different players.

I think normally women has less vital capacity and muscles so harder to play than men but euphonium is still ok for women’s capacity. I know some great female euphonium players are work so hard, have passions and wonderful musicality. 

I can see there are no many female professional euphonium players in the world but why not, euphonium is open to everyone.

In the Debate about the Differents School of Tuba in the World. AETYB Madrid 2018

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.).

I don’t know. Because when I do my classes in different countries, normally euphonium players do the interpreter.

Interpreter for the music needs special knowledge about the music and instruments so we can’t really have like great interpreter but doesn’t know any about the music and instruments.

Misa, it is a big pleasure and an a great honor to count on your experience and

collaboration in this series of interviews.

Thank you very much and best wishes.

A big hug.