Contemporary Systems and Trends

for the Tuba

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Daniel Perantoni

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Nearly all of the "new music" composed for the tuba

has been written especially for some outstanding artist. These compositions tend to be technically difficult
and may introduce many unfamiliar notational devices.
The performer must not only be well established in the
traditional sense but must also be able to manage
non-traditional techniques and notation. Encounters
II for Solo Tuba1 by William Kraft immediately comes
to mind. This work was composed especially for Roger
Bobo and demands incredible musicianship and technique. It encompasses a range of just about six octaves
^
.
and requires the performer
'
to produce a "doublets
:
stop" effect.
15 lowed note

This interesting effect is brought about

by humming one note while playing another simultaneously. The hummed part is usually higher in pitch
than that produced by the embouchure; a reverse pattern is practically uncontrollable. The tuba seems to
be very suitable for this technique because of its low
range and large mouthpiece. The lower the pitch, the
wider the opening has to be in the oral cavity, thus,
one can more easily project the higher hummed note.
(Of course, vocal range is also an important factor.)
Other compositions that feature this effect are "Like
a Duet" from Theodore Antoniou's Six Likes for Solo
Tuba2 and Midnight Realities3 for solo tuba by Morgan Powell.
One of the most important works for the tuba artist
is David Reek's Five Studies for Tuba Alone.4 This
excellent composition will enable the performer to better understand some of the newer rhythmical notation
systems. (See music below and table, p. 25-27.)

ElEE

Daniel Perantoni holds degrees from the Eastman School

of Music and Catholic University. In 1968 he joined the
faculty at the University of Illinois and is currently Associate Professor of Music at the Urb'ana-Champaign campus.

Seaview5 for tuba and piano by Barney Childs is

one necessary work for the young tubist with an interest in "new music." According to the publisher,
"[Childs] has written Seaview to introduce young performers to contemporary compositional techniques,
maintaining ease of execution for the performers without sacrificing musicality or style." This composition
introduces the performer to the responsibility of improvising imaginatively on given pitches and shaping them
into a musical line. In one section, the pianist and
tubist are given 10 fragments and directed to play
them once each, in any order.
One of the finest contemporary compositions for the
tuba, Paul Zonn's Divertimento,6 features a unique
combination of instruments string bass, marimba,
vibraphone, xylophone, and orchestra bells in addition to the tuba. This virtuoso composition is traditionally notated and is very challenging.
Five1 for two tubas, by Thomas Albert, is a fairly
straightforward duet, but the third movement presents
an interesting treatment of so-called "proportional
notation" i.e., the pitches and pitch order are given,
but the duration of each pitch is at the performer's
discretion. The only stipulation is that the movement
is generally slow.
George Heussenstamm's Tubafour8 is one of the
better works in the contemporary idiom for tuba
quartet. It is written for tenor tuba, two bass tubas
in F, and a contrabass tuba in C and features graphic
notation of rhythms, dynamics and pitch. The composer's explanatory notes at the beginning are ex-

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1970). Recording: Roger Bobo and Tuba, Crystal Records, S. 125.

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vi

5. Barney Childs, Seaview (M.M. Cole, 1971).

6. Paul Ztmn, Divertimento No. 1 (American Composer Alliance. 1967).

4. David Reck, Five Studies for Tuba Alone (C.F. Peters, 1968).

8. George Heussenstamm, Tubafour

1973

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ef

7. Thomas Albert, Five (Manuscripts for Tuba, Box 5045, Tennessee

Technological University, Cookville, Tenn. 38501, 1972).

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b-J\. William Kraft
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3. Morgan Powell. Midnight Realities (Professor Morgan Powell,

School of Music, University of Illinois. Urbana, Illinois 61801, 1972).

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2. Theodore Antoniou, Six Likes for Solo Tuba (Barenreiter, 1968).

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(Seesaw Music Corp., 1970).

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tremely valuable, since he discusses many new techniques being used by composers today.
Asleep in the Deep,9 a fantasy by Phil Windsor for
tuba and pre-recorded tape or 5 tubas plus conductor,
uses a very challenging notational system. Twelve
improvisational models are given in the instructions.
These are numbered and numbers appearing in the
score refer the player back to these models. In addition, a number appearing in the score will be accompanied by dynamics (below the staff), expression
marks (on the staff), durational indications (arrows),
placement of beats (perpendicular lines), etc. These
should then be applied to the particular improvisational model indicated by the number. A wide variety
of effects (color-noises, talking, singing, clicks, blats,
shrieks, etc.) are also included in this humorous, yet
sensitive composition. The work is also important for
its tremendous audience appeal, especially when performed by 5 tubas.
35
40

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works. The preservation of traditional performance

practices is, of course, of great importance, but we
must constantly re-evaluate our conception of music
so that we will be able to perform and teach the techniques found in the new idiom.
Below is a table of notational systems found in many
contemporary compositions. I wish to acknowledge
the assistance of Professor Paul Zonn of the University of Illinois in the compilation of this list.

decrescerao

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POO I ; f

Walter Ross's Midnight Variations10 for tuba and

pre-recorded tape offers a different challenge to the performer. The composer uses consonant sounds that are
pronounced through the tuba (ch, zzz, tk, etc.) as well
as vowel sounds that are to be projected through the
horn between notated sections.

Short Junrtior ihe. larer 4he ncte-Hsaj

-I he. louder fhe

Theater music may offer a new dimension to many

performers. If one has interest in this area, I suggest
that he become familiar with Ben Johnston's Casta^f.11
This work can be performed by any instrument, and I
find the tuba an excellent choice. The performance
requires microphones, technician, two tape recorders,
mixer, typewriter (old noisy model preferred) and
amplification.
Edmund Cioenek's Lamentation of Manfred for Tuba
and Narrator12 with the text selected from the poetry
of Le Roi Jones, offers some interesting tone-painting
effects.
Although these new dimensions in music are fascinating and stimulating, they are too often extremely
demanding. I am aware of a feeling among many performers and educators that any music requiring new
techniques and systems not found in the traditional,
familiar literature is nonsense. With such a narrow
view, the tuba might suffer the fate of many obsolete
instruments. Today's musician must become aware of
the many new techniques and devices that are necessary to understand and perform most contemporary

D^Yidrmc indicated lasts

o-f hcnicn+sl line

(g)

[on^ Dorai-ifln: 5mall doh Sft ;

TEMPO FLUCTUATION
-Accelerando

-R.it 3rd and

OCTAVE DISPLACEMENT
+Q

One oorave hiflhei^

One

I5t

9. Phil Windsor. Asleep In The Deep 'Phil Windsor. Dept. of Music,

DePaul University. Chicago, Illinois, 1970).

Two
TV/a oe,\aves

10. Walter Ross, Midnight Variations (Walter Ross, Dept. of Music,

University of Virginia. Charlottsville, Va. 22903. 1971).
11 . Ben Johnston. Casta - (Media Press. Box 895. Champaign, Illinois 61820. 1970'i.
12. Edmund Cioenek. Lamentations of Manfred 'T.E.M.P.. c / o j . Lesley
Varner, School of Music, Ball State Univ., Muncie, IN 47306, 1972).

a ^ The cifclea pirches are fo B played

^^m. one ocWe lower
8 bassa
FEBRUARY 1 9 7 3 / T H E INSTRUMENTALIST 25

SPECIAL EFFECTS
, |* , T , I
0>

_L

Pla\ only on 4V>e moul-Kpie.ee.

Enclose the
mouH>
and ra

fish,

played twiHi valve,

a,e,i,o ,u

-B\ci

> tine ii

Vowel Sounds u.seA -hi 3ffect -tim

(Can be done on mouthpiece or
while playing)
Tone vuHrVi rmmwn'nq noise.

<:he wo uVln piece .

Remove Vhe roou-Hn piece a n d

PITCH

it over. Holiing it iligViWi

-the insVume^ , Uau) 4t create
3 "su/ooih" sound.

, -

- ,T

Highest pi-fcK; vwiddle To

middle to low lowest i

Grealhy ^jne (BWing in

A. , A , A

Highest pitch possible . Duration

indicated \ri traJJtiona! manner

Slow -Hirouqh tuba wr

1. HIGHEST
2.niD- HIQH
3. MID- LOW
4. LOWEST

Register is shown by number-

TnViale air
Approximate pi^ch areas

Suci. in -Hie souni o{ rhe nole (pre&\XJL& b\ Icissing +Ke mou-tVipiece).

A. Sound stei4s in and it r
8. Suck, air ivi and oat.

P l a y approximate

pikh

TRILLS
X

^"""v.
-VVX-

Slow -Hiveu^ii tubs , producina a

rising and -Jailing pit-en.
Trill be-kveen

SHH, Tt, AH , CH , zz

FhxW sellable through tuba

SPOkEtJ woR.05

Saiii

REMOVE TUNINQ SUDE

Pla\a

tr.

Fast t r i l l ;

Slow trill

VIBRMO
NV
5V

vibrato
Seraa vibrato
W i A e , slow vibrato (may go ^2 step)
Narrow,fast vibrato

Voca\i
Vary speed oj vibrato
26

THE INSTRUMENTALIST/FEBRUARY

GUSSANDl

REPEATED HOTE5

c-oma

or av

Repeat oitth onc -fay each stern

(as opyoyi TO 4W
3 itr-i A

'
f f |

Re pest aroup ol noks

A vcr^j 5\oui g
.
nJ ef fUe liorizonial line

3
note , ftan fcatlt up
A smootX-as-ossible

f\epd-|- uri-ril evid of arrow

li
fJ j

Repeat patte un|,'] -tK e^<J *$ -trie

'

TONQUIMQ
IMPROVISATION
Konfasf as

r rY
hd , td

Free secfi'on Cad

nevt e\/ent usi'n

Tonguing witWrV praiocing

; play wnfil -fhe

pi

of attack and rei^ase

fh" or "t" at bgii>n'M and "d''

Pls\ frailv ^he rualen'al

boy fe*' +W duration i
3We five bey

didi
Gutter
/ ,F ,

(f)

or

,r ~"

rrr

"

Pla\ ffeelvj in an^ ordev

Flvtterfongue on tVie letter

"r"

freely

, / x, ( ^\J>~\
w1? i (^>,

L..vJ^/ " ~^_

X

DURATION
of shcrf

PERCUSSIVE EFFECTS
en-i: wi'fln f fnjerj

I^ote *f long duration .delerrnind by fhe

relative len^li of -Hne KDrt?anfj| line.

Move pistons lauily

5\3p Vn< moi^Kpiece wi'-fri -flie hand

Arrow ir

-fhe

af th -fcne

urn

Tap wifU the palw\{ the hanj on

moutVi p\c, in am-i deslrai rriYHiwi
,
'

cs
ss
^ or

sordino

t-o ; o-

Proportional lime notation in ord^raf

increasing reU-tive dura4i'ori frepo As
Fast As Possible (AW) -te very (ono,
depending on Hie ccufeyt . ( BUT NOTE:
Some a>mpois i^se .T^l -fo Jan^te AFAP)

Denies Tuba mfte

Ojien grajwall^ ; Close gradually

-6-

proXitnale durdtion of events

FEBRUARY 1973/THE INSTRUMENTAtiST

27