Tuba/Euphonium

Guide to the Tuba Repertoire is the most comprehensive investigation ever undertaken into the literature and discography of any single musical instrument. Under the direction of R. Winston Morris and Daniel Perantoni, this publication represents more than 40 years of research by dozens of leading professionals throughout the world. The guide defines the current status of the tuba and documents its growth since its inception in 1835. Contributors are Ron Davis, Jeffrey Funderburk, David Graves, Skip Gray, Charles A. McAdams, R. Winston Morris, Mark A. Nelson, Timothy J. Northcut, Daniel Perantoni, Philip Sinder, Joseph Skillen, Kenyon Wilson, and Jerry A. Young.

Guide to the Euphonium Repertoire is the most definitive publication on the status of the euphonium in the history of this often misunderstood and frequently under-appreciated instrument. This volume documents the rich history, the wealth of repertoire, and the incredible discography of the euphonium. Music educators, composers/arrangers, instrument historians, performers on other instruments, and students of the euphonium (baritone horn, tenor tuba, etc.) will find the exhaustive research evident in this volume's pages to be compelling and comprehensive. Contributors are Lloyd Bone, Brian L. Bowman, Neal Corwell, Adam Frey, Marc Dickman, Bryce Edwards, Seth D. Fletcher, Carroll Gotcher, Atticus Hensley, Lisa M. Hocking, Sharon Huff, Kenneth R. Kroesche, R. Winston Morris, John Mueller, Michael B. O'Connor, Eric Paull, Joseph Skillen, Kelly Thomas, Demondrae Thurman, Matthew J. Tropman, and Mark J. Walker.

A massive research effort by leading professional tubists in 36 countries presents a comprehensive picture of the tuba. The ""baby"" of the orchestra, the tuba was ""born"" in 1835. The first major solo compositions for the instrument appeared only in the 1950s, but in the next forty years the body of literature for the tuba increased at an amazing pace. The first several chapters of The Tuba Source Book identify that literature by ensemble type. They provide bibliographic data and descriptions of 1,900 pieces for tuba and keyboard, 234 for tuba and band, 1,056 for tuba ensemble, 106 for tuba and strings, and 258 for unaccompanied tuba, as well as hundreds of works in other categories and 456 methods and studies. The chapter entitled ""Recommended Basic Repertoire"" is subdivided by level, from high school through professional, and ""Orchestral Excerpts"", in addition to listing 146 works that every tubist should know, includes advice on how to audition. The Tuba Source Book also offers an extensive discography (400 entries), a very complete bibliography, biographies of professional tubists, career advice, guidelines for composing and arranging music for the tuba, and lists of instrument builders and sources of tuba equipment. This encyclopedic volume fills a need for tubists at all levels of study and accomplishment. It is invaluable for composers, music educators, conductors, administrators, librarians, historians, and everyone who enjoys the art of tuba performance.

To breathe well means to breathe free of tension, and tuba players who breathe well create a resonant tone quality. The Breathing Book provides concise information about breathing alongside etudes and activities encouraging application of this knowledge in musically meaningful ways. The Breathing Book teaches the truth about breathing, establishing a reliable foundation for improved resonance, articulation, endurance, and tone quality.

This study begins with a brief history of the tuba, focusing on its development from its instrumental precursors, as well as the development of solo and ensemble literature for tuba. The second chapter contains an in-depth study of pedagogical techniques and materials required for the implementation of a college level tuba program. It contains essential technical information such as tone production articulation concepts etc., as well as essential administrative information such as grading procedures, equipment choices, etc. The final section contains annotated tuba literature lists, divided into solo, orchestral, band and etude works, and a listing of solo tuba recordings.

To breathe well means to breathe free of tension, and trombonists who breathe well create a resonant tone quality. The Breathing Book provides concise information about breathing alongside etudes and activities encouraging application of this knowledge in musically meaningful ways. The Breathing Book teaches the truth about breathing, establishing a reliable foundation for improved resonance, articulation, endurance, and tone quality.

Developing Expression in Brass Performance and Teaching helps university music teachers, high school band directors, private teachers, and students develop a vibrant and flexible approach to brass teaching and performance that keeps musical expression central to the learning process. Strategies for teaching both group and applied lessons will help instructors develop more expressive use of articulation, flexibility in sound production, and how to play with better intonation. The author shares strategies from today's best brass instrument performers and teachers for developing creativity and making musical expression central to practicing and performing. These concepts presented are taken from over thirty years of experience with musicians like Wynton Marsalis, Barbara Butler, Charles Geyer, Donald Hunsberger, Leonard Candelaria, John Haynie, Bryan Goff, members of the Chicago Symphony and New York Philharmonic and from leading music schools such as the Eastman School of Music, The University of North Texas and The Florida State University. The combination of philosophy, pedagogy, and common sense methods for learning will ignite both musicians and budding musicians to inspired teaching and playing.

(Meredith Music Resource). Until now, there has not been a bass clef tuba book entirely dedicated to the lip slur. Lip slurs are specific exercises designed to develop flexibility and are essential in building strength and developing technique. This collection of lip slurs, offering exercises for multiple stages of ability and development, serves both young tuba students and more advanced players. It will surely improve the playing of all tuba players!