TubeNet

Well, that depends on if you want to play a standard or something less known, modern or a transcription,what your range is, and even how much time you have - maybe a little more info could help

If you have a pianist try 'Touch of Tuba' - you can hear it played on a few youtube videos. It has the merit of having ballad,swing jazz, and cadenza all in the same piece. It is also on the Solo and Ensemble list here in Maryland.

einahpets wrote:is the Hindemith's tuba sonata a good audition piece?

It could be, but I would only play one movement (the 1st probably) but then pick something lyrical to play in addition.

einahpets wrote:is the Hindemith's tuba sonata a good audition piece?

That and Vocalise would be good.

For the "lyrical" half of your contrasting pieces, you might want to look into Ralph Vaughan Williams' "Six Studies in English Folksong" arranged for tuba. The melodies, for the most part, aren't particularly technically demanding, but are quite beautiful when played expressively. It has a piano part, but I don't think its exclusion would detract from your audition any.

S. Vasiliev's "24 Melodious Etudes for Tuba" also has some really melodic (as the title would suggest) and technically demanding studies as well.

Good luck in your search and audition; hope this helps!

einahpets wrote:If I go into the audition with lets say two pieces that aren't really "hard" but not easy either but it sounds nice and i just put everything i have into two pieces like that. Would someone who comes and does a really hard piece that also sounds nice but their are flaws in it and it doesn't sound as nice as the easier piece, would that mean automatically the harder guy would get more considered just because he chose to do a harder piece?

I think that's a valid question and it MAY depend on the committee. However, committee's don't want to hear a flawed performance. They want to hear your best representation as a player. So however you can achieve this is the route you need to take.

They want to hear solid notes, good intonation, and a full great tone. If the "harder piece" guy doesn't show this well enough because the piece is too hard, then that also shows the player may not have been "smart" enough to pick an appropriate piece.

Remember, your selection of pieces also says something about who you are as a player. No matter what you play, you need to show off all your best characteristics.

pierso20 wrote:

einahpets wrote:If I go into the audition with lets say two pieces that aren't really "hard" but not easy either but it sounds nice and i just put everything i have into two pieces like that. Would someone who comes and does a really hard piece that also sounds nice but their are flaws in it and it doesn't sound as nice as the easier piece, would that mean automatically the harder guy would get more considered just because he chose to do a harder piece?

I think that's a valid question and it MAY depend on the committee. However, committee's don't want to hear a flawed performance. They want to hear your best representation as a player. So however you can achieve this is the route you need to take.

They want to hear solid notes, good intonation, and a full great tone. If the "harder piece" guy doesn't show this well enough because the piece is too hard, then that also shows the player may not have been "smart" enough to pick an appropriate piece.

Remember, your selection of pieces also says something about who you are as a player. No matter what you play, you need to show off all your best characteristics.

I think the way to look at this is that an audition (where you get to choose the material) is a "performance". It's not a lesson, or a practice session. In a performance (with very few exceptions, and I don't think any of the exceptions apply here) your goal is to entertain your audience. It is *not* to impress the audience with how difficult it is, or how hard you are working. As soon as you draw attention to the fact that you are doing something "hard", you have lost the game.

In any "exam" where you have a choice about the material - you will be evaluated on your judgement just as much as your performance. If you choose a piece that you can't quite perform, it shows that your standards are too low.

In an audition where someone else makes the choice of material - it is still your goal to make it sound as if it is "easy" and well within your capabilities.

The questions Bloke has put are important. "We" don't know your playing so it could be very wrong to suggest what you do. If you wanted a lot of "opinions" (for what they might be worth) you could put a demo on U tube. That does have its drawbacks though.

A good starting point would be to listen to several other performers and choose some works which you feel would show off what you do best. With the number of CDs available you can be taking "lessons"from many of the best.

It is very important that you concentrate on developing a good sound throughout your range and across the full dynamic range, then master all scales and arpeggios. ALso really work on sight reading.

Working through book 1 of the Kopprasch studies, the Rochut trombone etudes and one of my favourites for the fingers - the Clark technical studies for cornet/ trumpet will go a long way toward covering the basics of technique.

When you select you solo material, look for something which will be in your comfort zone as the audition process can cause enough tension that if you are pushing your limits you set yourself up for failure.

Going back to the CDs - find a piece or two which you can learn relatively easily and work it up. Then listen to the CD then make a recording of yourself doing the same thing and dissect your performance and compare the two. In my first year of studying with Jake he did not say "get a CC instead of your BBb" he said "set up your own recording studio". If you have specific teachers you would like to study with you might even get in touch with them and arrange to send a CD of your playing for their critical assessment and advice on how to advance your standards prior to the actual audition. Learning to listen to learn will almost certainly help you.

Jake did Carnival of Venice for his audition for Curtis. When I did my audition for him I chose the "simplest" lyrical piece I had in my repertoir - "Chaconne" and he felt is was a very good choice.

I suspect that many young players today are trying too hard to impress by doing things like the Vaughn WIlliams as a college entry piece and as a result are developing bad habits, which take a lot of hard work to change, when they should really be mastering the basics and developing good habits.

One suggestion for a good solo is the old warhorse Air and Bouree. Done musically (do some research) it can demonstrate that you are on the way to becoming the master of your music with tuba being your mode of expression.

Good Luck.

Admittedly guessing here but, I would think it most likely that it is a transcription which he has done. It would make a nice "song" for an audition. Note that it does, as performed here on his Besson Eb, reach middle C. (assuming it actually does match with what my tuner tells me.

It might be worthwhile to write to him and ask where you could get a copy as, after hearing his wonderful utube performance, you would like to learn it. That might make a good way of introducing yourself to one of your potential future teachers.

bloke wrote: 1/ Is there a tuba transcription of the Robert Schumann Romance #3 (op. 94)?

There is. It can be found in Daniel Perantoni's Master Solos - Intermediate Level. My copy even had an example/playalong cassette - I expect that would be a CD today...