TubeNet

http://www.vaboda.org/AllVa/Auditions/1 ... 20Tuba.pdf

How does this compare with required etudes for other all-state bands / orchestras?

A few years back, when the proposal was made to add a "prepared piece" to the audition process, the stated purpose was to give the judges opportunity to evaluate things such as tone quality and expression. I don't think this is the right piece to use for that purpose. What do you think?

Pete

tubapete wrote:http://www.vaboda.org/AllVa/Auditions/1 ... 20Tuba.pdf

How does this compare with required etudes for other all-state bands / orchestras?

A few years back, when the proposal was made to add a "prepared piece" to the audition process, the stated purpose was to give the judges opportunity to evaluate things such as tone quality and expression. I don't think this is the right piece to use for that purpose. What do you think?

Pete

It does seem a little steep for younger tubists. I scanned it and thought it was a rockin' etude and just might try it out myself, but like you say, it's not something I'd put on the audition for the purposes you describe. It would certainly show technical facility and rhythm but it's definitely not a melodic etude like one I'd personally ask for of the young auditioners. Probably doable by many of those auditioning, but I'd have to agree with you.

My post is, admittedly, more of a reminiscing post than anything else. With that having been said, way back in 1971 I was the first chair tuba in the Virginia All State Band. (The year before, my junior year, I made 3rd chair.) We did not have prepared etudes back then. We just had to play a bunch of scales and sight read one or two short pieces. In all honesty, I doubt I would have made first chair if I had had to prepare and play this etude. The reason being that my strong suit back then (and I guess still today) was tone quality and expressive musical playing. My technical skills were back then, and still are today, pretty average. So yes, I am in agreement that this etude certainly stresses technical prowess at the expense of tonal quality and expressive musicality. And yes, I think this is a mistake not to test ALL aspects of musical proficiency.

These VA etudes are off the wall. I worked with a student last year and this seems like it's par for the state.

I am a big proponent of a body of etudes being used for an audition. By no means am I implying that the process used by the ASBOA is a model of how it should be done; Arkansas is doing many things right, but are far from perfect.

1. They have several etudes from the Second Book of Practical studies plus Bordogni, Vasiliev, Kopprasch from the Woodruff. They can have a couple melodic etudes, an easier etude, and some hard ones for the big kids.

2. By having some easier materials (Second Book of Practical Studies), at the region level, the judges do not have to scratch their eyes out too much listening to a bunch of kids stagger over rep they can't play.

3. At the state level, they can hear a melodical etude then hear something that really seperates the upper tier players from the lower ones from the Woodruff.

4. The materials are used at both Region and State, not seperate materials. This gives the kids plenty of time to really dig into material a lot harder than they would be able to do otherwise.

5. The all region process is a qualifier for the all-state process. Unlike some states, you actually have to pass a certain level of proficiency with a different audition (the all region) to make it to the all-state audition. This really helps insure that the right players sit at the top of the ensembles. Flukes still happen, but I think it alleviates some of the issues states like Nebraska have. (In Nebraska, the audition is taped and open to anyone, many times there are complete flukes and great desparity between players in the ensemble)

6. They also have sight reading and scales in the audition. The sight reading is progressively difficult from region to all state level. Unfortunately, they do not require all scales (they can only pick from a select list) , but hopefully that will change soon.

I just checked this out: http://www.vaboda.org/AllVa/Auditions/10Prepared/" target="_blank

This is where ALL of the instruments' requirements are. I looked at the flute, oboe, clarinet, and trumpet requirements for comparison's sake. Be glad you are auditioning on tuba!

As an instrument, the tuba can be as agile as any woodwind, has far superior range capability, and can produce a palette of far more colors. Why is it that students who play the tuba aren't taught this? Don't just be a "tuba player"... be a musician who plays the tuba.

(Sorry for being on a soapbox today.. must be the remnants of a stomach flu we've passed around our family)

These etudes were always challenging- but the important thing is to relish the challenge. The judges always reward clarity over speed (not as obvious as you'd think to some). Good luck at your audition!

Perhaps I should clarify my original post a bit... I was speaking from a band director's point of view. My most recent all-Virginia audition was in 1988. ... but I'll take take the mix-up as a compliment.

Toobist wrote

I scanned it and thought it was a rockin' etude and just might try it out myself

I did too!

djwesp wrote

The all region process is a qualifier for the all-state process. Unlike some states, you actually have to pass a certain level of proficiency with a different audition (the all region) to make it to the all-state audition

Virginia does this too. We have 16 district bands and perhaps 4? regional orchestras. The top 2 tubists from each group gets to audition for all state. I agree with you about using multiple etudes...perhaps one lyrical exercise and one technical. Major scales and sight-reading are also part of the audition here.

JHardisk wrote

As an instrument, the tuba can be as agile as any woodwind, has far superior range capability, and can produce a palette of far more colors. Why is it that students who play the tuba aren't taught this? Don't just be a "tuba player"... be a musician who plays the tuba.

I agree with your philosophy, but perhaps I am limited by ability. Technical passages come easier to me on higher-sounding instruments (trumpet, euph, etc)...with shorter key strokes. ...sorry about your bout with stomach flu...

MWShentubist11 wrote

The judges always reward clarity over speed

This is probably true... but this etude is marked at eighth note = 224. I think tempo was meant to be part of the challenge.

Texas used etudes from the Blasevich Book I. Numbers 9, 18 and 35 if I remember correctly.

There's nothing wrong with this etude but it so chanllenging that it would eliminate a huge percentage of "advancing" players right from the start. Additionally, I could foresee that it would discourage many from even auditioning.

From a pedagogical standpoint for example, there's not a single rest from beginning to end; in the first eleven bars there is no phrase indicated (notationally or musically) for a breath which is quite necessary on tuba.

I wonder why the VBODA did not ask a tubist, or at least a brass player, to compose something which may have been more idiomatic for the instrument. Younger players benefit from working a piece up and from participating in the audition process. There's no 'give' in this piece for that to happen.

Were this for a college assignment, I would have no gripe at all. To sum up: this piece would exclude too many students for my taste. Still, if ya gotta play it, ya go learn to play it.

See you in the practice room.

I agree with Hardisky, to a certain extent. We should teach young players that tubas are capable of technique that is on par with many of the "higher" instruments. We certainly shouldn't coddle them, so they get used to just playing "tuba parts".

But...

Is this sort of etude the best judge of ability/musicianship? Sure, a couple of kids will play the snot out of it, but does that mean that they're the best musicians in the state.
I think we often equate "technique" with "ability" and "musicianship".
Who hasn't heard a performance of that had dazzling technique, but sound and phrasing were non-existent?

I have no problem with the difficulty of the etude, I'd just like to hear something with contrast.

Jonathan Fowler wrote:I agree with Hardisky, to a certain extent. We should teach young players that tubas are capable of technique that is on par with many of the "higher" instruments. We certainly shouldn't coddle them, so they get used to just playing "tuba parts".

But...

Is this sort of etude the best judge of ability/musicianship? Sure, a couple of kids will play the snot out of it, but does that mean that they're the best musicians in the state.
I think we often equate "technique" with "ability" and "musicianship".
Who hasn't heard a performance of that had dazzling technique, but sound and phrasing were non-existent?

I have no problem with the difficulty of the etude, I'd just like to hear something with contrast.

In Texas, there's usually a technical one, lyrical one, and another one. Maybe this is the technical one...

Personally, I would love to see the band students' road to All-State like that of the choir students. New music at every level..

[quote="TexTuba"]
In Texas, there's usually a technical one, lyrical one, and another one. Maybe this is the technical one...[quote]

Unfortunately, it is the ONLY one.

djwesp wrote:

TexTuba wrote: In Texas, there's usually a technical one, lyrical one, and another one. Maybe this is the technical one...

Unfortunately, it is the ONLY one.

Hey I've only done allstate stuff in Maine and we have a solo piece that is the same range as these etudes. But my question is are these etudes on top of the solo or instead of a solo...