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ITEA Journal Volume 42 Number 4 (Summer 2015)

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EXPERTS' EXCERPTS by James Hicks

Tuba Excerpts from First Suite and Toccata

Marziale
When considering excerpts for a military band tuba audition, I immediately Conferences
think of two pieces: First Suite in Eb by Gustav Holst and Toccata Marziale
by Ralph Vaughan-Williams. These excerpts are generally asked in the first
round of an audition and allow the panel to quickly determine whether a
candidate possesses the skills necessary for performing in a top-tier military
band. Therefore, in order to gain a proper perspective of what the panel is
listening for, the candidate must answer the following questions:

1. What is the style of the piece? (articulations, dynamic/timbre range,

average performance tempo, etc.)
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2. What basic fundamentals will be exposed in this excerpt?

In other words, a candidate should be able to discern between what the

panel wants to hear, and what they will typically hear from most candidates.
Then, the candidate should decide what work they must do to ensure they
are properly communicating that they "know how the song goes."

The following is an analysis of these two commonly asked excerpts

considering the two questions presented above.

First Suite in Eb
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1. STYLE

Want-The opening chaconne should be smooth and connected. The tempo

should be steady, while still moving forward.

Typical- Candidates often have bumps or "fluff" between the notes, and the
time is very unsteady or lacks any motion (drags).

2. FUNDAMENTALS

Want- Beautifully centered and even sound on each note. Great intonation
is a must.

Typical- Candidates often play with bumps and fluff between notes. Perfect
intervals occur throughout the phrase, and poor intonation is easily noted
by an audition panel. Candidates often compress perfect intervals and
intervals of major/minor seconds. Starting at the beginning, examples
include Eb to F, F to C, C to Bb, F to Bb, G to C, etc. Also, consider the tonal
relationship between all of the half notes.

For a player to smooth out their sound, focus should be on flow studies such
as the "Beautiful Sound" exercise and Bordogni/Rochut etudes. These
exercises should also be practiced slowly and with a metronome and a
drone. Because the half notes linger in the listener's ear, the candidate
would be wise to isolate these notes and make sure they not only sound
great, but are perfectly in tune.

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Fritz Kaenzig To
Receive 2019 ITEA
Teaching Award

Sam Pilafian To
Receive ITEA
Lifetime
Achievement Award

New Hire: Donald

 Palmire, Royal
Hawaiian Band

New Hire: Andrew

Doub, Louisville
Orchestra
TAKE IT TO THE NEXT LEVEL

Decide how you will shape the phrase. Crescendo for four bars, then New Hire: Jim
decrescendo for four bars? Crescendo gradually over all eight bars? Grow on Andrus, Boulder
the half notes? Make a decision and sell it. Consider utilizing the Tabuteau Philharmonic
numbering system. Where are you going to breathe? Remember, you are Orchestra
establishing a melody that is repeated sixteen times throughout the
movement. The dynamics should relate that. How softly can you play it? New Hire: David
What if you are asked to play softer? Faster? Slower? Can you do it? Childs, University Of
North Texas
Toccata Marziale
New Hire: Jace
Vickers, East Central
University

New Hire: Alex Avila,

Texas A&M
University -
Kingsville

New Hire: Genevieve

Clarkson, Oklahoma
City University

1. STYLE
New Hire: Aaron
Want- Toccata Marziale could be defined as a keyboard work (busy?) in a Campbell, University
military style. The toccata conveys that there may be several musical Of Tampa
elements going on at the same time and each performer should strongly
adhere to what is written on the page and understand how their part fits. Fritz Kaenzig To
The marziale conveys that the time should be steady and deliberate while Receive 2019 ITEA
still being energetic and exciting. Louder dynamics may be misleading, as Teaching Award
the sound should never be harsh.
Sam Pilafian To
Typical- Candidates may compress (rush) sixteenth notes and drag softer Receive ITEA
sections. There may be little attention paid to articulation and dynamic Lifetime
differences. There is also a temptation to play with a very harsh sound in Achievement Award
the low register.

2. FUNDAMENTALS New Hire: Donald

Palmire, Royal
Want- Clear, even, and 'easy' sound at all dynamics and in all tessituras. Hawaiian Band
Clearly communicate a distinct difference between staccato, marcato,
legato, slurred, and a combo of two varying articulations, with steady time New Hire: Andrew
and evenly placed rhythms. Doub, Louisville
Orchestra
Typical- Using a harsh sound in the low register. No noticeable difference
between articulations or dynamics. Time is very unsteady. New Hire: Jim
Andrus, Boulder
EXERCISE TO IMPROVE Philharmonic
Orchestra
On a low Bb, begin at the top and play the rhythm, dynamics, and
articulations. Do not change notes; play only Bb. This will allow you to focus
New Hire: David
on the sound, rhythm, dynamics, and articulation differences. Then, go
Childs, University Of
back and play everything as written with the goal to sound as easy as when
North Texas
playing only Bb.

New Hire: Jace

Vickers, East Central
University

New Hire: Alex Avila,

Texas A&M
University -
Kingsville

TAKE IT TO THE NEXT LEVEL New Hire: Genevieve

Clarkson, Oklahoma
Although my previous advice seems to indicate otherwise, this is not an City University
exercise or an etude. It's music! Find the opportunities where you can
shape the phrase. Three measures before rehearsal 7 until six bars after is New Hire: Aaron
a good example. Also rehearsal 9 through rehearsal 10. There is a lot of Campbell, University
flexibility to shape the phrase while still being true to what is on the page. Of Tampa
Dig into these sections to find ways to shape the phrase. Again, utilize the
Tabuteau system. What is the clarinet playing in these sections? The oboe?
Shape your part in a way that conveys that you know what is going on in
the band.

James Hicks is Principal Tuba of the United States Navy Band. A Florida
native, he holds degrees from The University of Georgia and DePaul
University. His teachers include Floyd Cooley, Gene Pokorny, and David
Zerkel.

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