"BETWEEN TUBAS AND EUPHONIUMS...HAIM MAZAR"

Hello everyone. Today's interviewee is a reference in his country, Israel, a renowned and excellent tuba player and teacher to whom I am sincerely grateful for his friendship and collaboration in this interview project.

Let us begin. 

• Name and surname:

 Haim Mazar 

• What instruments do you use?

F tuba: Meinl Weston 2182

C Tuba: Meinl Weston 6450 Baer

Mouthpiece: AR Resonance 

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

I chose these instruments due to budget, availability and brand reputation 

Let's talk about your EDUCATION:

• When and where their studies or tuba euphonium started?

Started playing the tuba in Israel at age 12

I wanted to play a wind instrument and was offered the tuba at the local conservatory.

I Did my Bachelor Degree at the Peabody Conservatory and Masters Degree at the Juilliard School

• Who were your main teachers?

David Fedderly and Alan Baer

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.

I’m currently principal tubist of the Israel Police Band for almost 4 years. Playing in a professional wind  ensemble is a great experience and very different from a symphony orchestra. A big part of the repertoire is marches and national anthems but we get to play other genres as well. 

I’m also freelancing with local orchestras and ensembles and a member of the Israel Tuba Duo with Avital Handler, principal tubist of the Israel Opera. 

TRYING OTHER TIPS OF INTEREST

Here in Spain, in some centers it is considered that the Euphonium, 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?

With Avital Hadler in AETYB Madrid 2018

In my opinion, the Euphonium should be studied separately from the tuba. I believe the Euphonium is more similar to the trombone in terms of mouthpiece size and range. 

Let's talk about your TEACHING EXPERIENCE:

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

Before I joined the Police Band I used to teach all low brass instruments in a conservatory. 

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

Depends on the student need- usually warm up exercises, etudes and pieces. 

• How long are your classes?

60 min 

• 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 is important for students to perform in order to have motivation to practice towards a goal whether for performance or audition. 

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?

Since the tuba is mostly an orchestral instrument, I believe that learning orchestral repertoire starting at an early stage is essential. 

 

• Do you suggest any particular repertoire?

All orchestral repertoire is equally important for me. 

 

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

I would say the Vaughan Williams tuba Concerto only because it is a required solo piece in almost every audition. 

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

I work with my students on etudes, solos with or without piano accompaniment and orchestral repertoire. I believe that it is important to make a repertoire as diverse as possible. 

SPEAKING OF TECHNICAL ISSUES:

• From your experience, could you give us your opinion on the different concepts of sound and what characteristics in your opinion define it, articulation, types of instruments, literature?

• Do you consider the influence of the language and musical tradition of a country on the sound and playing of a performer to be important?

I believe developing a high quality sound is by mouthpiece buzzing and having a concept of sound that you want to have in your mind. 

A varied repertoire is essential for developing both sound and musical taste. 

Haim, you are a recognized tuba player in your country and other lands.

• Please tell us about the tuba in Israel, history, study methodology, references, in short, everything you think is interesting to share with us.

 

Israel is a small country however produced extraordinary tuba players, starting with the legendary former tubist of the Israel Philharmonic Orchestra, Adi Hershko who taught many tuba players throughout the years. 

Left to Right Haim, Avital and the interviewer

Please tell us about your experiences and what differences there are, if any, between the preparation of American and European tuba players

Mostly Israel tuba players are more American oriented since many went to study in the United States. 

IN CONCLUSION:

The research carried out and contrasted agree that there are five historically recognised methodologies for teaching the tuba and euphonium in the world. The American, the English, the French, the German and the Russian.

In your experience, do you think the diversity of performers, instruments and the opportunity to train in various specialized schools is homogenizing in interpretive centers already established? (Example: Russian, American, German-Austrian, English, etc.). 

I think that diversity is great and gives us the opportunity to learn from everyone.

Haim , it´s a big pleasure and an honor to count on your experience,  collaboration in this series of interviews and longtime friendship.

Thank you very much and my best wishes.

A big hug.

"BETWEEN TUBAS AND EUPHONIUMS...JANNICKE ELLINGSEN"

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 ..."

Let us begin. 

·      Name and surname:

Jannicke Ellingsen 

  ·      What instruments do you use?

Euphonium

·      That make and model are the tools you use:

Adams E1 Sterling 

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

MOMO mouthpiece M3

 

Let's talk about your EDUCATION:

·      When and where their studies or tuba euphonium started?

I did my bachelor and master degree at the Grieg Academy in Bergen and Hoschule Luzern in Switzerland. I finished my master degree in 2015. 

·      At what age?

I started my studies when I was 18 year old 

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

Tormod Flaten was my school band conductor. He normally did his practicing before band rehearsal, and I loved to listen to his playing. I changed from cornet to euphonium when I was 14 years old.   

·      Who were your main teachers?

Tormod Flaten, Grethe Tonheim and Thomas Rüedi

 

From my performance at VTEC during covid

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 played for Eikanger/Bjørsvik Musikklag (10 years) and Krohnengen Brass Band (5 years)

Now I am working as a euphonium player for the Norwegian Army Band in Harstad, Norway. 

As a soloist I have performed with different bands including The Royal Norwegian Naval Forces Band and Göteborg Wind Orchestra. I have also performed at several festivals in Norway and internationally. . 

·      Which uses warm-up exercises?

I always start with breathing exercises and buzzing the mouthpiece. My warm up is changing almost every day, but it normally includes long tones and flexibility. 

 

Trying other topics of interest.

Here in Spain, in some centers it is considered that the Euphonium, 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?

 In Norway it is not normal to play both tuba and euphonium. But, many euphonium players also play the trombone. I had to audition with both euphonium and trombone in the army band. Trombone is just a very small part of my playing, so euphonium is definitely my main instrument. 

Soloist with Krohnengen Brass Band

 

Let's talk about your TEACHING EXPERIENCE:

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

Before I moved to play for the army band, I used to teach euphonium students in a conservatory. 

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

I want to make my students become independent of me, and to become their own teachers. I guide them to find repertoire and good exercises, and we often find the repertoire together. During lessons we normally do 10-20 min basics so I can help them develop on their instruments. 

·      How long are your classes?

60 minutes 

·      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 is very important that the students perform. To work towards a performance makes them more focused and motivated to practice. And to handle the performance situation needs a lot of practice. My students normally performed 2-4 times a year. But we normally played for each other once a month. 

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

Me and the trumpet teacher at the school worked close together so that our students could play for each other and together in an ensemble. 

Soloist with Göteborg Wind Orchestra

 

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? 

My students did not play a lot of excerpts or orchestral repertoire. We focused on exercises and solos. There are only 5 professional euphonium positions in Norway, and before they started to study at any university I did not think that working on excerpts was important for them 

·      Please tell us about the admission process to get into the school where you studied.

You have to to an audition to be accepted at the school

·      What it is required repertoire in the entrance exam?

The students can choose a solo on their own. They have a 10 min audition 

·      Do you suggest any particular repertoire?

I think they should find something that shows what they do best. If their sound is beautiful, show that. If your technique is great, show that. And don't try to play something too difficult. 

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

They only have to play one solo

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

No 

Soloist with Eikanger Band

·      Approximately how long is the exam?

10 min

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

A good sound is important to me. That shows that the student is listening to what he/she is playing.

About your work during courses or masterclasses.

·      What kind of repertoire do you mainly work with your students: solo, with piano accompaniment, chamber music, ....?

Solos

·      Do the students select the works to be played or are they chosen by the teacher?

They just bring a solo, I normally don't know if the student or their teacher choose the piece 

 ·      Are there any works that you consider compulsory? So what?

In Norway students should perform Fantasia by Gordon Jacob since this is a piece often used at auditions here. 

From a concert with the Norwegian Naval Force Band

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 think it is really important to know how you want to sound, and to work to find that sound every day. For literature the students should play in different styles and use music from different periods. They need to listen to recordings and get the knowledge needed to perform in the correct style.  

·      Talk a little about making snorkels and / or euphoniums and nozzles:

I have played on an Adams euphonium for 3 years now. I really love the sound on the instrument. The high quality of the instruments makes the valves work really well, so I don't need to worry about it during performances. I also really like the intonation of the instrument. I almost never use the trigger. I started on a Adams E3, but decided to change to an E1 as this was better for me as a soloist and in the army band, 

  

Jannicke, you are a young performer recognized in your country and in other countries.

·      Please tell us something about the history of development of the woman low brass players our instruments in your land.

I often get questions about being a woman playing euphonium. In Norway I have always been surrounded by women playing euphonium. During my studies at the Grieg Academy my class consisted of 5 girls and no boys. 

Cover of the Adams magazine 

  

IN CONCLUSION:

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

 I think we have a lot to learn from each other across the borders. As the euphonium is a quite new instrument compared to other brass instruments, there is a lot of repertoire that needs to be written, and still some improvement that can be done on our instruments. I hope we will keep to develop the euphonium world more and more. 

Jannicke, it´s a big pleasure and an honor to count on your experience,  collaboration in this series of interviews and your friendship.

Thank you very much and my best wishes.

A big hug.

 

 

"BETWEEN TUBAS AND EUPHONIUMS...JAMAL BOUKHNOUCH"

Hello everybody, It is a pleasure for me to bring you this interview with a great musician and friend from the "unknown" African continent. I am referring to the exceptional Moroccan tuba player Jamal Boukhnouch.

Without further ado, I thank you for your kind collaboration.

Let us begin.

• Name and surname: 

Jamal Boukhnouch

• What instrument / s do you use? 

F Tuba/ E-flat Tuba/ B-flat Tuba/ C Tuba.

• That make and model are the tools you use: 

Melton 4250-S, Melton 2141, Melton 197/2, Melton 5450-S Thor  and Eastman 836

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

Melton and Eastman

Let's talk about your EDUCATION:

• When and where their studies or tuba euphonium started?

I started to studies Music at the Air Force Conservatory of Music with the Euphonium and one year later with the Tuba.

• At what age? 

13 year old

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

In my country we don’t have a big Brass tradition like in Spain or other European country, that’s why my parents had no idea about Brass instruments.

So the reasons I am playing the tuba now, is that when I was very young I watched a movie with a Brass Band scene, as a kid I saw that I was in love with the French Horn, how it looks and how it is shining, and I asked my parents I want to learn this instrument, then my parents bring me to the Air Force Conservatory because in my city it was the best school for learn Brass instruments. at that time I was not lucky to start with French horn because the class was full of students, and the only free places was in the Flute or the Tuba class, that why I went for the Tuba because it was the closest to the French horn.

• Who were your main teachers? 

Valerie Biondi, Arnaud Boukhitine, Ulrich Hass and Alexander Kritikos

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:

Suzhou Symphony Orchestra

Cairo Opera Orchestra

Royal Symphony Orchestra

Philharmonischen Orchester Hagen

Deutsches Symphonie-Orchester Berlin

Bochumer Symphoniker

Essener Philharmoniker

Iceland Symphony Orchestra

Malaysian Philharmonic

Shanghai Opera orchestra

Nordwestdeutche Philharmonie

Bremer Philarmoniker

• Metal sets:

Air Force Brass Orchestra

Marinemusikkorps Wilhelmshaven

Concert tour in China with the World Master Orchestra

• Solo Concerts

Festival "AETYB" (Valencia-Spain)

Beijing Conservatory of Music (China)

Festival "Soest in Armony" (Germany)

Chang-Ang College of Music (Seoul- South Korea)

ITEC 2019 (Indiana - USA)

Festival "Kymi Brass Kovoula" (Finland)

Festival "Silver Trumpets of the Volga" (Russia)

Chamber Music Festival of the Zhejiang Conservatory of Music (China)

About your ORCHESTRAL EXPERIENCE:

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

The experience I had when I applied for my last Orchestra job, it was completely different process than the other auditions I did before, for example in Asia must of the Orchestra Audition you have to send a video audition first round, around 20 min and after you pass the video round you are invited for the final live Round.

• How was the selection process?

Video First round : Vaughan Williams , contemporary solo piece free of choice and Orchestral excerpts.

Final round live performance, Concerto and Orchestral Excerpts (without curtain)

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

Prokofiev Symphony No. 5 

Prokofiev Romeo & Julia 

Wagner Die Walküre 

Wagner Lohengrin

Wagner Meistersinger von Nürnberg 

Berlioz The Damnation of Faust 

Berlioz Symphonie Fantastique 

Mahler Symphony No. 1

Respighi Fountains of Rome 

Mussorgsky pictures (Bydlo)

• Did you take any work of free choice? Which was?

Yes for the Video first round I chose a solo piece Capriccio Penderecki for Solo Tuba

In another sense:

• How is your current work in the orchestra?

I am Principal Tuba with my Orchestra, I perform Symphonies repertoire, Ballet, Operas, Film Music, and also contemporary Music.

• Do you combine it with another musical group?

Yes we also do Chamber Music, and we performing local music with traditional instruments, and also sometimes play Jazz and Rock Music.

Europe tour with SZSO concert at the Elbphilharmonie Hamburg

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

My recommendations to the young generation tuba players is to Keep hard working and always dream, and love what you do it will always pays.

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?

It is always great when someone can play both perfectly. But in my opinion, the Tuba and the Euphonium are completely different and have different technic, that why I think the Euphonium should have its own specialization and degree.

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

In our days I think almost all the young player plays great and the level is really hight, I think this due to the quality of the teachers and development of the instrument, but we as teachers we have to teach student to be creative and special and not to try to copy someone or be like someone and be unique, and think always about Music.

• Please tell us anything else that you consider of interest on this topic

Keep hard working, focus in your way and never give up your dreams and not to be afraid to try new things.

Let's talk about your EXPERIENCE IN TEACHING:

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

Master Class at the Kymi Brass festival in Kovoula (Finland)

Master Class at the Beijing Conservatory of Music (China)

Master Class at the Chang-Ang College of Music (Seoul- South Korea)

Master Class at the Zhejiang Conservatory of Music (China)

Master Class at the Chung Ang College of Music (South Korea)

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

I organize my lesson in 3 parts: 1. breathing gym and relaxation/ 2. Instrument technique warm up playing in mode ( legato, staccato, flexibility) / 3. Playing Etudes and solo pieces .

· How long are your classes?

I think Individual lesson One and half hours it’s a good time

· 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?

Yes it is important to perform for public during the years of study, even after the first or second year of learning tuba, if they can of course, like this student have always a goals to practice hard and preparing something to share with the audience.

 

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 Euphonium 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 learning only the solo repertoire, is not a good think for a student also when a tuba player think he is goes in the way of being a teacher so he needs only to learn the solo repertoire.

Because also as teacher you might need to master the orchestra repertoire, and know how to teach to the student, and try to help them to prepare the Orchestra Auditions.

We have to think that not everyone can be a teacher or Orchestra Musician that’s why we need to be flexible and able in our study time to learn everything.

· 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?

No I don’t have any preference between a Tuba student or Euphonium student, but if I can suggest him or her later if they like and want to switch to the Tuba, because as a teacher I can see that he or she may has more chance to be better the Tuba player then a Euphonium player.

Master Class at the Chung Ang College of Music (South Korea)

About your DAILY WORK.

· What type of repertoire do you mainly work in? 

Orchestral repertoire, and solo repertoire

· What warm-up exercises do you use?

Breathing exercises, Mouthpiece Buzzing, long notes with different dynamics, Flexibility, scales with slurs and articulation, usually not more than 45 min.

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?

The author and Jamal
after Jamal´s Concert in the
AETYB Valencia 2016

I think the literature helps us to master the sound, and the influence of language as an impact on our articulation, I believe that no matter how good we master the tuba everyone will have his own sound exactly like a human voice, each of us will have his unique sound.

· 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 personally prefer to play with Tubas and mouthpieces Manufacturers from Germany because it has a long history and tradition. I was always playing Melton Tubas and I fond that it has an unique Sound and also the quality work and material they use on the Tuba.

Jamal, you are a renowned performer in your country and in other countries on the African continent.

Please, if possible, tell us about the history and teaching of our instruments in your land and in neighbouring countries.

In Morocco and Africa in general, sadly we don’t have a big tradition for Brass, when I was young I was lucky to have a French teacher who helped me a lot, and after that I went to Europa to different teacher to study and master my instrument.

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, English, French).

I must say it is definitely a good things to do if we have the possibility and the opportunity to learn with different teachers and schools, this bring us always to the best level.

Jamal, it´s a big pleasure and an honor to count on your experience, collaboration in this series of interviews and friendship.

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

"BETWEEN TUBAS AND EUPHONIUMS...GAIL ROBERTSON"

Dear followers. Hello everyone. Today's interviewee doesn't need much introduction. She is a reference in his country, United States, she is a renowned artist of the Willson, one of the most important tuba and euphonium manufacturers of the current scene and she is, of course, an excellent euphonium player and teacher to whom I am sincerely grateful for his friendship and collaboration in this interviews project.

· Name and surname: 

Gail Robertson

· What instrument do you use?

Euphonium

· That make and model are the tools you use: 

Willson 2950 Euphonium

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

Gail Robertson-Warburton mouthpiece 

Let's talk about your EDUCATION:

· When and where their studies or tuba euphonium started? 

- Undergraduate degree: University of Central Florida – Roy Pickering (teacher)

- MM Degree: Indiana University – Harvey Philips (teacher)

- DMA Degree: Michigan State University – Phil Sinder (teacher)

· At what age? 

I was 18 years old when I began college.

"SymbiosisDuo" with the Dr. Stacy Baker

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

I loved the role that the euphonium has. I began as a saxophone player in the 6th grade. I continued to play while I was at Indiana during my MM degree. 

As for his PROFESSIONAL EXPERIENCE:

Please leave us a little account of she experience as a soloist, a member of chamber ensembles, orchestra, band, etc.

· In Orchestra and / or Band: 

- Brass Band of Battle Creek (1st baritone)

- Keith Brion’s New Sousa Band (Principal Euphonium/soloist)

- Athena Brass Band

- Pinnacle Brass Quintet (Faculty Brass Quintet at my university)

- I have been featured soloist with many bands across the United States.

- Symbiosis Duo (Dr. Stacy Baker – tuba and Dr. Gail Robertson – euphonium)

I have performed with The Detroit Symphony, Cincinnati Symphony, BostonSymphony,  and the Sarasota Orchestras as euphoniumist/bass trumpet.

In the Battle Creek Brass Band with B. Pierce, S. Mead and D. Thurman.

· Which uses warm-up exercises? 

I have a varied routine that I do. I do not like to do the same thing every day. 

Trying other topics of interest.

Here in Spain, in some centers it is considered that the Euphonium, 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 feel that the euphonium is it’s own instrument, but it is important to double on tuba and or the trombone if you want to teach at a university. Most US colleges have tuba AND euphonium teachers. There are very few where the professor only teaches Euphonium. 

Let's talk about your TEACHING EXPERIENCE:

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

I am an Associate Professor of Tuba and Euphonium at the University of Central Arkansas.

With my student of the University of Central Arkansas a few years ago 

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

I build my schedule to be 4 days a week. I teach longer days to have Fridays’ off to practice and travel as needed. I teach 18-20 lessons a week, coach chamber ensembles, teach 3 graduate repertoire and pedagogy courses, have weekly masterclasses, and lead the UCA Tuba and Euphonium Ensemble each week. 

· How long are your classes? 

My lessons are 50 minutes for majors and 25 minutes for non-majors. 

· 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? 

It is important for students to perform on public performances once or more per semester. The younger they start, the better.

With my student in the University of Central Arkansas actually

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

I am the only Tuba and Euphonium professor at my university. 

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 teach Band and Orchestral repertoire as part of lessons. Many of my students compete for military positions each year. They also auditions for orchestras too. 

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

You must apply to the university as either an undergraduate or a graduate student. We do not offer a DMA degree. We do offer Graduate Certificates for players seeking intensive instrumental study without general education and music course demands. 

· What is it required repertoire in the entrance exam? 

Undergraduates may play solos, contrasting etudes, band/orchestra excerpts, or all-state required music from the state they live in. 

· Do you suggest any particular repertoire? 

I always suggest that they play what “they” are best at playing…to not pick must to try to impress others. To play what they do best!

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

 Usually two contrasting etudes or solos combined with sight-reading and a few scales. 

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

NO

In the International Women´s Brass Conference. Holiday Brass St. Louis. Missouri

· Approximately how long is the exam? 

Depends on if they set up a personal audition vs. come to the university on a planned audition day. Usually 15-20 minutes. More for graduate students. 

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

All of the above plus having a positive attitude/being open to suggestions.

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

NO – I have not preference. The students chose what they want to play and I value both instruments equally. 

About their work during the course.

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

Solos with and without piano. During the pandemic we focused on more unaccom-panied works and works with CD play-a-long accompaniment. 

We also work in method books each week such as Arban, Snedecor, Bordogni, Kopprasch, Blazevich, and more.

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

Each student must perform on ONE or more public performances each semester. 

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

I prefer the students to select their own solos. However, I often suggest and help many of them. 

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

Nothing is required. I prefer a variety of repertoire each semester and try to not have too many players working on the same solo at the same time.  Sometimes this can’t be avoided if they are competing and must all play the required Works. 

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 ?

It is import to develop YOUR sound. Listening to others to gain ideas and mold your sound as you grow. I prefer a Lip-jaw vibrato. All kinds of literature and I require diversity for each recital program. I teach them the importance of commissioning new music too. 

Walt Disney’s The Tubafours. With Chris Olka (Cincinnati Symphony Orchestra), Willie Clark (United States Air Force Ceremonial Band - Washington, D.C.) and Steven Carruthers. 

· Talk a little about making snorkels and / or euphoniums and nozzles: 

I currently play on a Gail Robertson mouthpiece I co-designed with Terry Warburton. It is made of Bronze and not Brass. The bronze metal is heavier and it makes it super responsive and I love it. I have played on it for 15 years or so! Prior to playing on it, I used a Dillon M2B that is very similar to what I currently use. Prior to that I was on a Dennis Wick 4am while I worked at Disney World. While I was a college student, I played on a Schilke 51D and a Doug Elliot Mouthpiece. I really have played on very few mouthpieces in my career. I prefer to pick something and stick with it. 

My current euphonium is a Willson 2950 with Martin Wilk valve-stems and finger buttons. The finger buttons are a little larger and that helps my small hands reach the 4th valve while working the main tuning slide tuning lever. The finger buttons and stems are much lighter and they allow me to use lighter springs for more ease with technical passages. Prior to my Willson 2950, I was playing a York Eminence 4052 for about 4 years. Prior to that I was on a Willson 2900 for about 22 years. My very first euphonium was a Yamaha 321s. I played on that for 3 years while a senior in High School and for my first 2 years of my undergraduate degree. 

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

I have always loved the Willson Euphoniums. I was a York artist for a short time, but prefer the Willson 2900 and 2950 euphoniums. 

Gail, you are a recognized interpreter and professor in your country.

Please tell us something about the history of development of the woman low brass players our instruments in your land.

There are very few women that teach full-time as university professors. However, there are 4 women that teach full-time in Arkansas!! 

The earliest woman that I know of to teach full-time was Constance Weldon – University of Miami. There is much growth in the women in low brass! This is great news!

Play the Bass Trumpet with the Detroit Symphony

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.). 

There is much need for more diversity everywhere. Let’s hope it continues to grow and grow. 

Gail, it´s a big pleasure and an honor to count on your experience,  collaboration in this series of interviews and your friendship.

Thank you very much and my best wishes.

A big hug.