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I am a big fan of the Alec Wilder Suite for Horn, Tuba, and Piano

try the eugene anderson, baroque and brass. There are arrangements for tuba and trumpet, and tuba and euphonium.

You may be interested in this one:

"7 Baroque Duets" by various composers, arranged by Barton Cummings for Tuba and Piccolo
Item number BW116
1. Air, 2. Gavotte, 3. Le Petit Rien, 4. Sarabande, 5. Minuet in Rondo Form, 6. Minuetto in C, 7. Minuet in F

It can be found here: http://brassworks4.com/brass_duets.html

I have written several duets for flute & tuba ($5 @ +postage).

Titles include:

Korean Folk Song (same tune as used in the John Barnes Chance band piece)
The Entertainer
William Tell Overture
Carol ofthe Drum
Away in the Manger
Joy to the World
Silent Night

and a couple of others...

Alfred Bartles Bersheba Neo-baroque Duet for Cello and Tuba And Hartley Duet for Flute and Tuba

Hartley is genuinely funny and nice to play. Bartles is really quite good, not terribly demanding and worth hearing.

The "Dutch" Suite by PDQ Bach for Tuba & Bassoon

Baroque N' Brass by Eugene Anderson for Tuba & Trumpet


They're both audience friendly pieces and fun to play for the performers too.

This might be OOP....William Presser, 7 Duets for Violin and Tuba. Not incredibly great music, but fun.

Dutch Suite = great stuff!

I'm a big fan of the David Gillingham pieces for Tuba and...

Those of you around Athens can come hear these tunes on October 22 on an all Gillingham Brass program, starring pianist Anatoly Sheludyakov (The program was HIS idea!), Jean Martin-Williams on Horn, Demondrae Thurman on Euphonium, and yours truly on Tuba:

Divertimento for Horn, Tuba and Piano
Blue Lake Fantasies for Solo Euphonium
Baker's Dozen for Horn and Piano
Diversive Elements for Euphonium, Tuba and Piano

Should be fun!

I'd second the Wilder Suite f/ Hn/ Tba/ Pf -- VERY performable.

Also, why not look into tuba-vocal duets? Bruno Amato's 2 Together & Roger Vaughan's 3 Songs come to mind -- very different stylistically, but each is right for its own situation. Vaughan also did some simple & enjoyable duets with clarinet & viola -- maybe give 'em a look.

Ken Singleton also did a series of Renaissance duets originally intended probably for 2 tubas, but combos with almost ANY bass clef [or other?] instrument would probably work.

It's also worth a look at the Walt Hartley Tba/ Fl Duet, as suggested above. Hartley also did a series of Telemann duos also with flute -- nice sounding, easy to listen to. These are only some of the ones that jump out.

I also have a number of other more exotic combos -- as many of our other posters seem to -- of findings and gatherings from here and there. Experiment a bit -- lots of ways to get this done, and loads of fun ways to go about it.

keronarts wrote:Also, why not look into tuba-vocal duets? Bruno Amato's 2 Together & Roger Vaughan's 3 Songs come to mind -- very different stylistically, but each is right for its own situation.

The Vaughan piece is very entertaining. I also quite like Jan Koetsier's Galgenlieder for tuba and high voice.

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Bob1062 wrote: One of the pieces he did was for 2 tubas and a speaker.
I bet if you can get up a stud bass trombonist or euph player (though I bet the bass trombonist would enjoy it more! ), he could do the higher part.
You could probably do most tuba duets (at pitch) with a bari/bass sax, contra clarinet, bass trombone, euph,.... on the higher part.

(edited for emphasis)

"Wonderland Duets" by Ray Luedeke. Ray is a unique guy...very quiet and reserved socially, but his music gets out there!

But, please don't do it with a sub for either tuba part. Unless you're using two of the same instrument. Part of the humor of the piece comes from the timbral effects of the tubas. That won't happen with anything else. Ray knows what he wants, and he wants tubas for that.

knuxie wrote: I'd hate to think of all the music that would go unplayed if composers' personal lives were taken in account. I'm sure you could dig up a little dirt on every one of them if you tried.

I can certainly agree that there would probably be a little dirt for most everyone, however I'm not sure I would catagorize being a Nazi as a "little dirt."

keronarts wrote:As to Koetsier work, it has come out on this forum, along with a couple of other places, that he was either sympathetic with, or engaged in open complicity with, the German Nazi machinery of the 1930s & 40s. I never met the guy, or knew anyone who directly did. Doubtless such involvement would be categorically denied in the inevitable cover-your-butt after-the-fact scramble.

BUT, even the POSSIBILITY that it might have been true could offend sizable portions of the audience. It offends me. And as programmers, we also have a moral obligation to screen people whose reprehensible alliances color our art and statements of intent in a less-than-noble way.

Personally speaking, I avoid the guy's work, as I would anyone whose oeuvre was tainted by personal worldly alliances founded in some kind of overt or implied hatred.

I am not sure what exactly Koetsier is supposed to have done during the war, but I am not comfortable with judging him and refusing to play his works because of his connections with the Nazi party, since to my knowledge he wasn't what one would call a war criminal.

Don't forget that many German and European musicians were members or sympathisers of the NSDAP, including Herbert von Karajan, Elisabeth Schwarzkopf and about half of the Wiener Philharmoniker, and although he wasn't a member of the party, Richard Strauss was Göbbels' Reichskammermusiker.

In most cases, we do not know whether it was out of necessity or principle, so where do we draw the line? And what about other nasty causes? Would we not play Edward Elgar since he may have been a supporter of English colonialism or Stephen Foster because he wrote "blackface" music?

keronarts wrote:As to Koetsier work, it has come out on this forum, along with a couple of other places, that he was either sympathetic with, or engaged in open complicity with, the German Nazi machinery of the 1930s & 40s.
...

Aren't you adopting a "guilty until proven innocent" approach? Why not do some real research and find out if your attitude is justified. Don't depend on a forum for this kind of information.

With this approach we also be opposed to the performing of the works of Richard Wagner, definitely anti-Semitic. Wilhelm Furtwangler continued to conduct for the Nazi's in WWII, don't listen to his recordings.

I think it was common in Bach's time to consider followers of the Jewish faith very unkindly. I'm sure he was a bigot in that regard. Don't listen to Bach. There's more, I'm sure.

Well, I'm taking it a bit far, aren't I? All excess was in the pursuit of making intellectual fun of ourselves. But before we are too critical in our positions, we ought to be sure of the ground we stand on.

I can understand that if you have such strong feelings about certain individuals, you can program whatever you want. I just don't see somebody in the audience being offended. Even if they KNEW what you know and got upset, so what? Should we always cater to everyone's personal views at all times?

After all, if you put on a recital, you should be able to play what you want to, just as they have the right to not like it.

I have performed a piece by Koetsier in BQ before, and nobody seemed bothered by it. At least, I didn't notice it if they were.

BTW, Koetsier's quintet stuff is really fun to play, and its even fun to LISTEN to...!

You can try out my Boston Suite (a duet for Tuba and a Friend). The duet is dedicated to a friend and teacher, Peter Lancto. It is a baroque-inspired duet in 4 movements. Originally conceived for Tuba & Euphonium, the Euph. part comes transposed for instruments in C, F, Eb & Bb, so you can play it with almost anybody. It is available through online retailers such as Robert King and Solid Brass Music.

You can check out a sample of the score at www.dorm40music.com