I'm looking for a tuba piece to perform. Here is the criteria for consideration...
Multi-movement/section work that was originally intended for Tuba and Piano. (i.e. not a concerto or transcription)
Please do not recommend the following:
Plog 3 Miniatures
Hindemith Sonata
Casterede Sonatine
Koetsier Sonatina
Madsen Sonata
I'm looking for something to play and just looking for some help brainstorming ideas of pieces...
Tuba Literature Brainstorm...
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ThomasP
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Tuba Literature Brainstorm...
Thomas Peacock
Huttl for life
Schilke 66
Huttl for life
Schilke 66
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MartyNeilan
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Kansas City Dances - Holsinger.
Not too easy to find, and you need a good high C - some would call it a double high C - which I don't consistently have
BUT, a very interesting technical piece that can also be very musical; middle movement does not go into the stratosphere.
FWIW, although the piece is frequently performed on F, it was written for a 5/4 CC in the hands of virtuoso Steve Seward, and has that "weighty" feel in mind.
Not too easy to find, and you need a good high C - some would call it a double high C - which I don't consistently have
BUT, a very interesting technical piece that can also be very musical; middle movement does not go into the stratosphere.
FWIW, although the piece is frequently performed on F, it was written for a 5/4 CC in the hands of virtuoso Steve Seward, and has that "weighty" feel in mind.
Adjunct Instructor, Trevecca Nazarene University
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BVD Press
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If you are looking for a new composition, try the new Barbara York Tuba Sonata. It is available here:
http://www.cimarronmusic.com/
It was premiered at NERTEC about a month ago by Adam Crowe. Here is an excellent description from TUbeNetter Steve Hoog:
2nd movement is somewhat reminiscent of the Hindemith's 2nd movement, although it's much more interesting. A little dialog between upper and lower staff ranges, a steady rhythmic pulse interrupted with a legato 'rest up' section...fun, exciting, and it will be a crowd pleaser. The piano is also reminiscent of the Hindemith, throughout the entire piece, as it's an active and challenging part, nearly an equal to my ears (having heard , not seen the piano part)
1st movement is a technical workout. It opens with the "shaman" theme, a legato beauty. The adventure starts pretty soon, with lots of rhythmic calisthenics--you thought the rhythm of "The Ride" was tough to master, here is a bigger problem, alternating duple, triple, and dotted rhythms. Any slacking of accuracy will be tantamount to dragging tempo, and the shaman's voice will go hoarse. Not good.
3 points of the 1st movement bring up a major decision: What horn to play this piece on??? Trills, tremolos, whichever you want to call them....choose wisely, or your fingers could end up cramping. Nothing tremendously difficult in them, but unusual, let's say. John certainly had the answer, so let the shaman speak to you. My decision is easy, given my limited supply of equipment, but fortunately it's the right horn!
3rd movement.....WOW! An absolutely beautiful piece of writing. Barbara's note about the range (at the end) could be valid, but it's not out of the question for anyone that can handle the rest of the piece. The shaman is heard calling again, and the call is extended into a lyrical but intense dialog. Tuba and piano have equal parts of the scene. Wanna see hair standing up on people's necks? Play this in a dimly lit hall, with only a spotlight on the performers, no other stage or audience lighting. Theatrical, yes, but this is an experience.
IMO, this is an important addition to tuba literature. It has something for everyone, but the emphasis on making music overrides any technique issues. The rhythmic sections must flow, and be precise, but there's more than just notes there. Dig in, use "The Inner Game" if you will, let the Guide take you on the journey. By all means, use the program notes!!!!!!!
--
The Euph. Sonata should be out in a couple of weeks!!!
Wishing all happy Thanksgiving,
http://www.cimarronmusic.com/
It was premiered at NERTEC about a month ago by Adam Crowe. Here is an excellent description from TUbeNetter Steve Hoog:
2nd movement is somewhat reminiscent of the Hindemith's 2nd movement, although it's much more interesting. A little dialog between upper and lower staff ranges, a steady rhythmic pulse interrupted with a legato 'rest up' section...fun, exciting, and it will be a crowd pleaser. The piano is also reminiscent of the Hindemith, throughout the entire piece, as it's an active and challenging part, nearly an equal to my ears (having heard , not seen the piano part)
1st movement is a technical workout. It opens with the "shaman" theme, a legato beauty. The adventure starts pretty soon, with lots of rhythmic calisthenics--you thought the rhythm of "The Ride" was tough to master, here is a bigger problem, alternating duple, triple, and dotted rhythms. Any slacking of accuracy will be tantamount to dragging tempo, and the shaman's voice will go hoarse. Not good.
3 points of the 1st movement bring up a major decision: What horn to play this piece on??? Trills, tremolos, whichever you want to call them....choose wisely, or your fingers could end up cramping. Nothing tremendously difficult in them, but unusual, let's say. John certainly had the answer, so let the shaman speak to you. My decision is easy, given my limited supply of equipment, but fortunately it's the right horn!
3rd movement.....WOW! An absolutely beautiful piece of writing. Barbara's note about the range (at the end) could be valid, but it's not out of the question for anyone that can handle the rest of the piece. The shaman is heard calling again, and the call is extended into a lyrical but intense dialog. Tuba and piano have equal parts of the scene. Wanna see hair standing up on people's necks? Play this in a dimly lit hall, with only a spotlight on the performers, no other stage or audience lighting. Theatrical, yes, but this is an experience.
IMO, this is an important addition to tuba literature. It has something for everyone, but the emphasis on making music overrides any technique issues. The rhythmic sections must flow, and be precise, but there's more than just notes there. Dig in, use "The Inner Game" if you will, let the Guide take you on the journey. By all means, use the program notes!!!!!!!
--
The Euph. Sonata should be out in a couple of weeks!!!
Wishing all happy Thanksgiving,
Bryan Doughty
http://www.cimarronmusic.com/
http://www.cimarronmusic.com/
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MartyNeilan
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Can the "average" accompanist play this without dedicating a large portion of their life to learn it? I was never able to perform the Hindy, because I could never find an accompanist who was willing to play it!BVD Press wrote: If you are looking for a new composition, try the new Barbara York Tuba Sonata... The piano is also reminiscent of the Hindemith, throughout the entire piece, as it's an active and challenging part, nearly an equal to my ears (having heard , not seen the piano part)...
Adjunct Instructor, Trevecca Nazarene University
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TubaRay
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I have had a similar experience. I even worked this up for a graduate recital, only to find out I would not be able to perform it. An interesting thing in connection with this is that I ended up performing a piece by Roger Jones, in its place. After the recital, the accompanist told me she wished she had let me play the Hindemith. This piece was a pretty severe challenge for the piano, also.MartyNeilan wrote: I was never able to perform the Hindy, because I could never find an accompanist who was willing to play it!
Ray Grim
The TubaMeisters
San Antonio, Tx.
The TubaMeisters
San Antonio, Tx.
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BVD Press
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I am not a pianist, but the accompanist should be fine with this chart. As Steve says, it is active, but not to a fault.MartyNeilan wrote:Can the "average" accompanist play this without dedicating a large portion of their life to learn it? I was never able to perform the Hindy, because I could never find an accompanist who was willing to play it!BVD Press wrote: If you are looking for a new composition, try the new Barbara York Tuba Sonata... The piano is also reminiscent of the Hindemith, throughout the entire piece, as it's an active and challenging part, nearly an equal to my ears (having heard , not seen the piano part)...
There is a .pdf sample on the site, but if you need more please just drop me an email and I can send along more of the score. I am hoping to have a real sound file relatively soon which will help, but I am not sure when I will have that in my hands. I can send along a computer generated .mp3 if that would help as well.
Bryan Doughty
http://www.cimarronmusic.com/
http://www.cimarronmusic.com/
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WoodSheddin
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skinnytuba
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Gordon Jacob's Tuba Suite, which was mentioned earlier, is great - 8 short, contrasting movements (one of which is for piano alone), and fairly difficult. If you're looking for a crowd-pleaser, you could also look at the Frackenpohl Variations on a Cobbler's Bench - theme and variations on "Pop goes the weasel." Should bring the crowd to their feet with ravenous applause.
Good luck!
Good luck!
David Rappenecker, PhD
Tubist, Southeast Iowa Symphony Orchestra
Burlington, Iowa
Tubist, Southeast Iowa Symphony Orchestra
Burlington, Iowa
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eupher61
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Barbara's Sonata is amazing. The review quoted above is dead on. 
The Bruce Broughton Sonata/Concerto is composer arranged in both forms. A beautiful 2nd movement, nicer IMO than the VW, and fun and somewhat challenging outer mvts.
The Frank Lynn Payne Sonata. Lots of rhythmic stuff, some technique that sounds tougher than it is, but it's not simple or simplistic.
The Bozza is a Concertino, yes, but not concerto. I've not seen anything but piano accompaniment.
The Alec Wilder Sonata (Possibly my favorite of Wilder's pieces). Wilder did several other suites for tuba/piano, all for Harvey.
Beversdorf Sonata.
The Bruce Broughton Sonata/Concerto is composer arranged in both forms. A beautiful 2nd movement, nicer IMO than the VW, and fun and somewhat challenging outer mvts.
The Frank Lynn Payne Sonata. Lots of rhythmic stuff, some technique that sounds tougher than it is, but it's not simple or simplistic.
The Bozza is a Concertino, yes, but not concerto. I've not seen anything but piano accompaniment.
The Alec Wilder Sonata (Possibly my favorite of Wilder's pieces). Wilder did several other suites for tuba/piano, all for Harvey.
Beversdorf Sonata.