ITEC opinions

[NC_amateur_euph]

Now, the biggest obstacle/challenge/time and money burner has to be scheduling. That includes facilities, personnel, performers, accompanist, etc. A regular nightmare.

So, it's really amazing that these things don't collapse. They are Herculean undertakings.

Having worked with Dennis on planning/pulling off the Greensboro ITEC, I can say that truer words were never spoken. Dennis and Bart are candidates for sainthood.

[BriceT]

5. This IS a tuba-euphonium conference, but I see a problem in cornholing us into ONLY listening to or respecting this genre. It would be great to hear about musicality from a top-notch violinist or breathing from a vocalist. Maybe hire a well-known tenor sax player to host one of the jazz nights? The mission statement says it all.

Hmm. I don't really understand why their would be different instruments at a TUBA and EUPHONIUM conference. I realize that there should be some variety, but it just doesn't make any sense to me to bring in a violinist, etc. (Just my opinion...I could be totally wrong.)

[mclaugh]

Hmm. I don't really understand why their would be different instruments at a TUBA and EUPHONIUM conference. I realize that there should be some variety, but it just doesn't make any sense to me to bring in a violinist, etc.

Yeah. It's not like there's anything a tubist or euphoniumist can learn from other musicians.

[Charlie Goodman]

Hmm. I don't really understand why their would be different instruments at a TUBA and EUPHONIUM conference. I realize that there should be some variety, but it just doesn't make any sense to me to bring in a violinist, etc.

Yeah. It's not like there's anything a tubist or euphoniumist can learn from other musicians.

You're right. A tuba/euphonium conference should be a chance for tubists and euphoniumists to take a break from all the great, professional, local tuba/euph concerts they hear all year and really get a chance to listen to those other, less main-stream instruments.

[TubaRay]

Hmm. I don't really understand why their would be different instruments at a TUBA and EUPHONIUM conference. I realize that there should be some variety, but it just doesn't make any sense to me to bring in a violinist, etc.

Yeah. It's not like there's anything a tubist or euphoniumist can learn from other musicians.

We certainly already know how to be cynical, don't we?

[BopEuph]

At the risk of further fueling the fire:

I think something that has bugged me for years, is that tuba/euphonium players know the great tuba and euphonium players. We all know Steven Mead, Brian Bowman, Oystein Baadsvik, and Arnold Jacobs. When I mention a musician that has had an impact in music in general, like Pablo Casals, John Coltrane, Itzhak Perlman, John Williams (guitarist), they either say they've HEARD of them (not really having ever heard them), or never heard the name at all. I find listening to one subgenre of music can hurt the musician. Many of us tuba and euphonium players, especially students, approach the music of a solo the same way; typically, it's the way of the best recording that has been made for our instrument.

I did not ask to have a huge change to an already great conference. I just asked to have a different instrumentalist perform and speak. I'd like to know about a cellist's bowings (sometimes I write bowings in my music), or how the palette affects the sound coming from a vocalist's mouth. These all can help us understand our own instruments and give us alternative ways of approaching them.

If having an instrument too different is too difficult to grasp for tubists, how about a brass player to start with? What would Jay Friedman say if he had a masterclass? What would he play at a recital? What tuba or euphonium player would have the honor to play with him in a performance? In jazz: the sound of a euphonium blends well with other horns. Even a local jazz musician from around the conference venue would be glad to come in, talk about improvisation, and play with Marc Dickman or Tom Ball, etc. Whatever the area of expertise of an outside musician, a break in the regular routine of something like this could very easily fuel the creative fire.

Why is it, when I hear some of the top musicians speak, they talk about other instruments? I was at a master class Terrence Blanchard was doing, and he started talking about Arnold Jacobs. I was the only other person in the room having heard of him, and after he mentioned Jacobs, friends of mine came to ask me about him, and I was glad to show some recordings of performances and some tracks out of Portrait. Jacobs himself talked about listening to other musicians. Janos Starker loved the idea of giving me a lesson on euphonium (we worked on one of the Bach suites). Bunky Green (alto sax legend), told me that even though I was learning to play bass, absolutely NEVER give up on playing the euphonium, no matter how many people tell me how it'll never land a gig. He loved the sound of the horn too much. He kept telling me to learn as many instruments I could.

When we keep ourselves stuck on one of an infinite amount of facets of music, we throw everything else off to the side. We forget about the roots of music, before the tuba and euphonium were ever heard of. Yes, it is a TUBA and EUPHONIUM conference. I agree to that. That in no way means we can't hear from a different instrument's perspective. One or two different faces at a conference won't change it from being a tuba and euphonium conference. Some of my favorite teachers don't even play a brass instrument, but they have helped me in just as many ways as my teachers who have. One of my best musical lessons was practicing martial arts with Victor Wooten for three hours (we practice the same art), and having him explain to me how all these concepts tie into music. After all, the mission statement for 2006 was "The pedagogy of great musicianship," and I think that means we owe it to ourselves to look outside of our instrument.

Nick

[tubajoe]

At the risk of further fueling the fire:
...we owe it to ourselves to look outside of our instrument.

Nick

Wow. BRAVO. Could have not said it better.

Above all, and simply put, the tuba is a very very YOUNG instrument. It always puzzles me why we mainly focus on OLD music.

The reality is that for the tuba and euph to "mature", we need to learn new perspectives so that we can find and create new venues for it. Not only for creativity, but for practicality; simply to have more JOBS. ...which, is why it has always puzzled me that so many collegiate programs microfocus on orchestral music, where the possibility of actual employment is infinitesimal.

Anyways, thanks Nick. Great "out of the case" thinking! It's not about the horn, it's about our unique voice.

[THE TUBA]

I think the problem would be in finding other instrumentalists who are crazy enough to come to a tuba conference.
Personally, I am looking forward to playing the Ride as loud as I can on every single CC I pick up and the first phrase of the RVW concerto on every F tuba I can get my hands on. I am even considering practicing euphonium so I can sprinkle in some Second Suite in F...

It is not just all classical- the "big" evening concerts on Wednesday and Friday are Jazz. There are bound to be a couple masterclasses/lectures/recitals about improvising bass lines, using new technology, etc.
Wednesday: Modern Jazz Tuba Project followed by Howard Johnson & Friends
Friday: Tom Ball, Marty Erickson, and Tom Holtz with a jazz combo followed by the Jazz Ambassadors of the United States Army Field Band with soloists Marc Dickman, Howard Johnson, Joe Murphy, Jim Self, and Jun Yamaoka

[BopEuph]

the Jazz Ambassadors of the United States Army Field Band with soloists Marc Dickman, Howard Johnson, Joe Murphy, Jim Self, and Jun Yamaoka

There's a great example. The Jazz Ambassadors are an absolutely killin group. I would love to have one or two of them do a jazz master class. And the best part for those worried about the cost, is that the government pays for them to do these things! Listening to Major Bailey play bass trombone is a real treat. Aw, heck, listening to any one of these cats is a real treat. And that I promise you.

Nick

[Tom Holtz]

the Jazz Ambassadors of the United States Army Field Band with soloists Marc Dickman, Howard Johnson, Joe Murphy, Jim Self, and Jun Yamaoka

There's a great example. The Jazz Ambassadors are an absolutely killin group. I would love to have one or two of them do a jazz master class. And the best part for those worried about the cost, is that the government pays for them to do these things! Listening to Major Bailey play bass trombone is a real treat. Aw, heck, listening to any one of these cats is a real treat. And that I promise you.

Nick

Yes and yes. School will be in session Friday night.

[tubajoe]

A while back I played in a brass quintet that ended up being coached by violinist Ida Kavafian - it was a remarkable experience -- it gave an entirely new perspective on how to view articulation and phrase...

Personally, I'd love to attend a tuba-related masterclass given by a master vocalist. Simply because mastering a "singing approach" is so paramount in what we do, on the most elemental level.

Or... an experienced string or woodwind player, or even conductor talking about what THEY look for in an audition winning tubist.

...things like that.

This is just brainstorming and in NO WAY is it meant to be a criticism of what already goes on, as putting these events on is such a feat. I've not played at or attended one since Greensboro (2002?), but I can say that it was a great experience.

[Oystein Baadsvik]

At the Greenboro ITEC, we actually where THAT close to having Chick Corea as featured guest artist with a tuba jazz group.
When I say we, it is beacuse I launched the idea for Dennis Askew. I had the pleasure of playing with Mr Corea in 2001.
Dennis gave green light, but Chick's management answered yes a week too late. Unfortunately.
Øystein

[jeopardymaster]

I remember Sam telling me that Sherrill Milnes had studied tuba in his youth. I think a guy of such standing as a singer and conductor might have something worthwhile to share in a master class. Especially if he knew something about the equipment. Really, though, I think any of a host of really effective vocal pedagogues would be great at ITEC.

Just checked Wikipedia and confirmed that Maestro Milnes DID study tuba and remains active, as of the most recent update in Wik, as a vocal teacher and coach at Northwestern.