Schwantner Tuba Part

adam0408 · Post by **adam0408** » Mon Apr 11, 2005 4:44 am

Has anyone around here played the Schwantner piece And the Mountains Rising from Nowhere? My college "wind ensemble" (the only person that really calls us that is our director, since its just players assembled from band... and the players vary from concert to concert...

) is playing this for our upcoming concert. In case you dont know, there is a part about 3/4 through the piece that is about ten bars long that is just wicked hard. Since this is a very modern piece bordering on aeleotoric (sp?) and chance music, the intervals dont really make traditional harmonic sense, so that makes it really difficult. Secondly, it requires an f above middle c, g above middle c, and f# above middle c respectively within about four bars.

Does anyone have any tips on how to hit these notes CONSISTENTLY in a performance? I was drilling this section tonight in my practice time and got a little frustrated. These notes are very reachable for me, but not in what I would call a "reliable performance range" Dont worry, I am not looking for a "magic feather" as you guys seem to be so fond of mentioning when people ask about high range stuff... I am just looking for somebody who has some tips... or maybe experience with the part.

tubeast · Post by **tubeast** » Mon Apr 11, 2005 5:12 am

Adam,

I understand that piece is leaning a little to the avantgarde- side. (I have no idea what piece youÂ´re referring to).
Lots of consecutive notes that donÂ´t really seem to make sense musically, I presume.
Especially in that context playing in less than comfortable ranges is very hard to the common Arban-Blazhevich-Rochut-trained musician. And I donÂ´t even consider myself as Rochut-trained, not to mention the other books.
My only suggestion is: make sure you can SING this stuff, no matter how weird it may sound.
Punching the passage into a music notation program and having the computer play this to you may be of help.
That could make sure youÂ´re practising the correct "melody", not a wrong one just because you have an incorrect "tune" in your mind.

When you say "middle c", what note are you referring to ? The one thatÂ´s right next to the key-hole of a piano, being in the middle of the keyboard ?
That one would be one ledger line above the staff in bass clef, as far as I know.

Good luck
Hans

adam0408 · Post by **adam0408** » Mon Apr 11, 2005 5:33 am

yeah, that middle c. I just used it as a reference. The range I am referring to is around 2-3 ledger lines above bass clef. I just made it more complicated than it needed to be.

Jay Bertolet · Post by **Jay Bertolet** » Mon Apr 11, 2005 7:03 am

I played that piece back in college and I remember the section you mention well. In fact, I could probably sing it for you right now to this very day. And that's my advice to you. Learn it slowly and completely until the pattern of notes becomes like a melody to you. When you study the passage long enough, you will see the pattern (or make one up for yourself to help understand it) and the key to executing any passage of this type is always knowing where the next note is (not guessing) and knowing when you play the passage if any of the notes you just played are wrong. When you know it that well, you'll be fine as long as you use good high range production technique (don't over tighten, use the air, make good quality sound, etc.).

By the way, that piece is amazing. Check out other Schwantner pieces like Dark Millennium. Enjoy!

adam0408 · Post by **adam0408** » Mon Apr 11, 2005 7:11 am

Thanks for the tips.... Singing does seem to help.

incidentally, it seems that the only time I will have to worry about playing the right notes is in the concert because the trumpet players that sit beside me drown out everything with their incessant whining about "how much this piece sucks" and "this is stupid" I tend to disagree because its the only piece that I have played in an ensemble recently that requires a substantial amount of work. I love a challenge.

I wish that I was able to play more stuff in a large ensemble that requires the level of concentration that this piece does.

Jeremy K. · Post by **Jeremy K.** » Mon Apr 11, 2005 8:56 am

I just played that piece last semester. Besides the good comments that have already been posted (singing, working slowly, singing slowly, etc.), another good piece of advice would be to get together with the trombones, if you and they are so inclined, and work on it together. The licks you are talking about, if I remember correctly, are all part of a bigger picture amongst the low brass. If you can hear the intervening stuff in between your entrances that can help. I do believe that high F# is in unison with the trombones as well.

If you have any other specific questions, shoot me a PM.

Hope this helps!

Jeremy Knudtson
UNL GTA Tuba

tubaman5150 · Post by **tubaman5150** » Mon Apr 11, 2005 3:04 pm

The last time I played that piece, I used an F tuba. Schwantner scored this piece like an orchestral wind section. You could use a F or Eb if you've got one.
That being said, you might just have one tuba only one the high F# and G part. They could play tutti on the lower part (the more tonal section).
Many performances I've seen of this use only one tuba. You might make that suggestion to your conductor since the part is so sparse and extremely difficult.

adam0408 · Post by **adam0408** » Mon Apr 11, 2005 8:37 pm

Yeah I could drop out, but I dont want to just yet... I got some time... not much though. If the trombones can just get it right.....
And I dont have an F or an Eb unfortunately, I just bought a CC. And I am the only tuba player on this particular piece. So its all me.....