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What would be a good tuba solo for a pro orchestra audition. I know most of the time due to time constraints the solo is usually skipped until the finals.

When I audition on bass trombone the typical solo they ask for is the Sarabande from the Bach cello suite in Eb. Is there something similar for playing on the contrabass that folks usually play?

I would go with either the Vaughan Williams, or the Strauss Horn Concerto in Eb.

Often the RVW is listed as compulsory material - everybody does all the same charts.

When there is an option Strauss 1 isn't bad as long as you can make it into the show piece that the Strauss Tuba Concerto should be and not a weak imitation of a so so horn blatter.

If you can show some finesse, the Mozart Eb Tuba Concerto is something very familiar and accessible to any member of an audition panel.

If you want to really show finess, control and are good at the more subtle nuances and want a lyrical piece to contrast something showier the second movement of the Haydn trumpet concerto can soften up some really hard hearted, crusty, old fogeys, but you better be very, very good at it. And yes, it can be done in the original key on a contra and is well worth considering as a recital piece.

I won an audition playing a Bordogni.

Whatever you can play sexy.

Very nice, Joe, and a good suggestion, for those who meet your criterium #1.

A possibility to couple it with would be that old warhorse, the Bouree, possibly with the 'Air' from Air & Bouree. IF one did the research and practiced to get the finesse to do it right.(Not as Harvey did it on the old Golden Crest recording.)

When I was at NEC I did some study and got the original fiddle part and then listened to several recordings of the Bouree and took a violinistic approach to doing it in unaccompanied form. The jury, including Harvey, were most complimentary about it being done that way.

If I were to be doing an audition now I would be tempted to use an F as you have suggested. a contra on the Bach for contrast between instruments (particularly if the F was not just an under sized sounding contra) and then possibly first movt of the Strauss on contra.

Of course this might be dependant on stated requirements for the audition,

Whatever one plays it MUST be something which can be done at your highest possible standard and a prospective audition candidate should ONLY do an audition if you are truly capable of doing everything to a high standard. It is very easy to get a "reputation" as being a waste of time for a committee by doing a bad one before you are ready.

When preparing for an audition it is wise to study the orchestra as well to know what they play and sound like and consider your equipment choice accordingly.

It is also wise to be able to play everything on whatever combination of instruments you take along and don't forget your mute. Committees have been known to pop in little surprises in the form of some sight reading which might be anything and not just some tuba chart.

bloke wrote:http://tinyurl.com/Debussy-Syrinx-tuba-bloke (requires WMP)

Freaking gorgeous, Joe!!!!
(not to mention the stellar intonation...)

Hey kiddies... if you aren't in this ballpark, stay home and give the audition committee a break.

bloke wrote: If the answers are 1/ "completely" and 2/ "no", consider a same-key transcription of Debussy's Syrinx for unaccompanied flute. The piece is quite short, can demonstrate lyricism/facility/flexibility, and there are numerous recordings of fabulous flautists from whom you can "steal" phrasing/interpretation/etc. ideas.

Several years ago (when I had a brick-and-mortar music store with a 2500 sq. ft. showroom and some recording equipment at hand), I pulled the sheet music (only two pages) the shelf and recorded it. I've stored the recording here, if you would like to hear what it sounds like played on a tuba:

Very nice playing Mr. Bloke !

What instrument did you use on the recording?

Wim

bloke wrote: http://tinyurl.com/Debussy-Syrinx-tuba-bloke (requires WMP)

Not in Linux using Google Chrome.

Joe's playing just proves that years ago, I made the right decision and majored in something besides music.

Beautiful playing Joe`!

That, to my ears, sounds like it was played on the B&S Symphonie F.

Tim

Gene Pokorney won the CSO audition while playing a transcription of Debussy's Prelude to the Afternoon of a Faun. If you have the choice of a solo, choose something that you can nail and will make you stand out from the other players. The committee will likely be very tired of hearing the Vaughn-Williams for the 100th time.

Tubists's choice? I'd go with Encounters II, then an unaccompanied Bach/Vivaldi flute work. Penderecki. You want to make a statement and stand out, right?

Wasn't the Kraft the required solo for the NY Phil when Warren Deck won he audition.