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Elephant, your pretty smart, why are there bow markings in the Kopprasch etudes.

Those are breath marks as you only see a "v" in both the King version and the German version. If I am not mistaken, they are the composers markings, not an edit.


Chuck"not implying Wade isn't brilliant, I was just here first"Jackson

I agree with you about the Grigoriev studies. VERY NICE, and among my favorites. Also among my favorites are the Vasiliev, Ernst Paudert, Blazevich, and Hosa methods/etudes, if you haven't already studied them.

From a distant memory I remember that Grigoriev wrote 50 etudes for tuba. He also wrote etudes for other instruments as well. Some were duplicates in a different octave, some were transposed into a different key and some were slightly re-written for the specific needs of the instrument.

In the commercial way of things, his etudes have been published for different instruments, sometimes picking and choosing etudes from another instrument. It would be almost impossible to determine what the original tuba etudes (whatever the number) were from today's publications.

I looked around and could not find the "original" 50 but I'm sure someone in Russia has them.

Anyone have contact with a Russian tubist?

Years and years ago, when I was in the US Army stationed in West Berlin, I befriended some of the members of the Soviet Army band in East Berlin. They use really big BBb instruments (probably a forerunner of the St. Petes that are made now). When marching, there were five tuba players and two of them played sousaphones (one with rotary valves). I lost contact after a time. I'd love to know what happened to them but I can't even remember their names! (One was Ukrainian and one was Belarusian, although he was from Moscow.)