TubeNet

Wonderful work, Joe. I think with out a doubt it would work nicely. The phrase structure is easily playable on tuba and any range issues could be easily taken care of by 1. Playing it down an octave or 2. this is not sacrilege: carefully looking at the accompianment and carefully rewriting the part for those few measures incorporating existing material. I believe the piece was written for his wife IIRC. Let us know what you come up with.

Chuck"intrigued"Jackson

I don't know if it can be played. I do know that *I* can't play it, (though I would love to hear it from someone who can) and that you must be very proud of your daughter! It's very impressively played on the oboe.

Very nice! (the composition AND the performance ) Yes, I think that would work well as a tuba solo.

http://www.esnips.com/doc/060cf4fd-33dd ... Reduction)

Page 6 looks like fun.

This concerto was written for Léon Goossens, who was the brother of the composer.

I am listening to Katie’s recording for the 3rd time. Aside of some potential setting problems, where the tuba line would be very low compared to the accompaniment, my main concern is about the somewhat introspect passages, which run a major risk of getting dull on the tuba.

However there should be no problems at all in trying out the music on a CC tuba without even rewriting anything. Just apply trumpet fingerings while playing from the original oboe music.

Klaus

pierre wrote:http://www.esnips.com/doc/060cf4fd-33dd ... Reduction)

Page 6 looks like fun.

Most interesting link!

It is possible to print the solo part and the piano reduction from that page.

The music goes a semitone lower than B. There is a low Bb at letter J. Doesn’t change the big picture.

Klaus

I clearly agree upon the F as being better suited for the range, but then a transcription would be necessary for most players.

Klaus

bloke wrote: would have liked to have heard Roger Bobo play this (after, maybe, woodshedding it for a couple of months or so...)

Interesting thought, no doubt. I was thinking of Pokorny.

I like this piece. I may do it on my next recital. The only thing I notice that wouldn't translate to tuba very well is parts of the "cadenza" toward the end. My initial reaction would be to solve the difficulty by omitting the 9-tuplet figures and skip directly from the top-of-the-staff F# fermata to the triplet figures after the three consecutive fermatas.

The rest of the piece isn't so "woodwindy" like many other pieces (extremely long phrases, huge leaps, fast slurred wide arpeggios). I think the modern harmonies would lend themselves fairly well to a two octave lower displacement, as well. We'll see.