An annotated bibliography for contemporary techniques on the tuba

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An Annotated Bibliography for Contemporary Techniques on the Tuba

Aaron Hynds aaronhynds.weebly.com hyndsa@gmail.com

Submitted in Partial Fulfillment for MUS 7860: Contemporary Performance Practice

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Introduction The following document is intended to serve as a resource for tubists and composers interested in the use of contemporary techniques on the tuba. It does not serve as a comprehensive and complete document at the time of its writing, but rather is the first draft of a living document that the author will update as the use of each technique evolves and new techniques are added to the contemporary tuba lexicon. The bibliography is divided into five broad categories (Air, Voice, Lips/Tongue, Movement, and Instrument), each of which is further broken down into sections on the techniques that most closely relate to the category’s overall subject matter. Each technique section contains a brief description of the technique, a discussion of necessary information for the composer and tubist to consider, a short description of notational concerns for the technique, and a discussion of 1-3 works that exhibit the technique in a fundamental way. Potential future contributions to this document include notation samples and score excerpts, as well as the addition of new techniques and musical examples as they are developed.

This document was submitted as the culmination of an Independent Study on Contemporary Performance Practice, completed with Dr. Andrew Pelletier in the Fall of 2015.

Table of Contents 1. Air

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Wind Tones/Breathing Through the Instrument – Circular Breathing 2. Voice

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Multiphonics – Speaking – Singing – Screaming/Yelling – Vocal Fry 3. Lips/Tongue 9 Split Tones – Pressure Sounds – Ingressive Buzz – Tongue Ram – Vowel Modification 4. Movement

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Stage Presence – Instrument Movement – Playing Other Instruments 5. Instrument

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Muting – Glissando – Striking – Pulling Slides – Amplification – Effects -Modification – Sonification – Finger Tremolo – Valve Notation – Microtonality

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1. Air Wind Tones/Breathing Through the Instrument Method One of the most common air-based techniques required of tuba players is to mimic the sound of rushing wind. This can be achieved relatively simply, as the acoustical nature of the tuba serves to greatly amplify any sounds that are sent through the instrument. To create this sound, the tubist simply has to blow air through the instrument, varying if needed the velocity (thus affecting dynamic level) and relative pitch (i.e., the “pitch” in which the air sound closely relates to).

Necessary Information Air sounds made through the tuba can be slightly varied in pitch by opening and closing the valves of the instrument. Because of the nature of the instrument, though, this change is relatively negligible. Air sounds of a loud nature take quite a bit of air, so sustained high-volume sounds may not be as effective, given the tubist that you are working with.

Deep breathing through the instrument can be tiring, and may in some extreme cases lead to a slight sense of hyperventilation. Additionally, if the tubist is not consistent with their instrument care, breathing through the instrument for a lengthy period of time may be dangerous for health reasons.

Notational Reference Like any effect, the key is to make sure that the notational symbol that is used to depict an air sound is consistent throughout the work, and can be used for all possible rhythmic notations. A four-sided diamond shape head works perfectly for this purpose.

Musical Examples Solo Tuba Music (1993) – Cort Lippe Lippe directs the tubists to create an “air current noise” through the mouthpiece.

His instructions call for the lips to be placed half inside the mouthpiece and half out, making the resultant sound much more audible (splitting the stream with the mouthpiece rim creates a pressurized stream of air, which is much louder than making a wind sound through or outside of the instrument).

Solo No. 3 - László Dubrovay Dubrovay’s solo requires multiple different kinds of air sounds, especially a direction to “Luft ins instrument blasen, die verschiedene Tonhöhen erzeugt,” or to “blow through the instrument, and produce different pitches.”

Breath and Sounds (1970) – Beatrice Witkin As the title would indicate, there are a number of wind tones required in this work, most of which simply indicate to make a wind-like sound through the tuba.

These sounds are done in counterpoint with the fixed media component, which features a number of wind samples.

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Circular Breathing Method Like many (if not all) wind instruments, the technique of circular breathing can be used on the tuba. To achieve this technique, the tubist must “puff” out their cheeks, and use the pressure of pulling the cheek muscles back in to push out air through the embouchure. Simultaneously, the tubist also breathes in through the nose. The final result is a continuous sound from the embouchure, and with practice, this technique can be used to create sounds over a long period of time.

Necessary Information Circular breathing on the tuba is relatively difficult, for a few reasons. The most important consideration is the fact that the tuba takes a large amount of air moving at a continuous speed to create a proper sound. Because of this, a circular breathing tubist is almost continuously taking circular breathes, as the air supplied by these breathes usually only last for a short amount of time (depending on the dynamic of the sound being sustained). The high volume of air taken with each breath also creates quite a bit of noise.

Additionally, the relaxed muscle movement needed to achieve the effect naturally leads to a distortion of the tone of the sustained sound. Finally, very few tubists are actually wellversed in the technique; it was common thought as of a few decades ago that circular breathing was a technique ill-suited to the tuba, and is still thought of as a bit of a “parlor trick,” rather than a valid (if difficult) contemporary technique.

Notational Reference There are no major notational issues to consider with this technique—it’s such a rare effect that a simple description in the system will suffice to tell the tubist what technique to apply.

Musical Examples Jigsaw (1992) – Mikel Kuehn The middle movement of this three movement solo work requires the tubist to circular a C2 for ca. 1.5-2 minutes, increasingly adding a variety of different embouchure and pitch modifications. dark rooms filled with formless people who breathe bitter shrouds – Aaron Hynds This work requires the tubist to circular breathe a note for a few minutes, while slipping in and out of a split tone.

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2. Voice Multiphonics Method Vocal multiphonics are, in many ways, the lingua franca of contemporary techniques on the tuba. To produce this effect, the tubist must hum while also buzzing into the mouthpiece. The resultant sound resembles that of a chord, with the hummed note often placed at the unison or above the buzzed note. On certain intervals more than two notes can be heard in a multiphonic; this is caused by the acoustical peculiarities of the instrument, which cause sympathetic resonances that fill out the chord.

Necessary Information In order for the hummed and buzzed frequencies to be heard at an equal volume, the hummed note must be projected at a much higher volume. Another important consideration to make is the difficulty of humming notes below the buzzed note; notes hummed below the played note destabilize the buzz to an extreme degree, so much so that it was commonly claimed in the early days of the tuba as a solo instrument that this type of multiphonic (hummed note below buzzed note) was virtually impossible. Vocal ranges also vary from tubist to tubist, so a multiphonic that is possible for one tubist might have to be adjusted for the next.

Notational Reference Unlike many of the other techniques in this list, the notation for vocal multiphonics has largely become standardized over the years. X-shape note-heads are used quite often to indicate the pitch of multiphonics, and this is the notational system that I recommend for the intrepid composer. When the vocal component of a multiphonic is highly independent, it is possible (and potentially advisable) to split the vocal component into a separate system. For normal usage, though (normal = creating chords and roughly equal counterpoint between buzz and voice), it is highly recommended that you keep the voice in staff.

Musical Examples Encounters II (1966) – William Kraft As one of the earliest truly contemporary works for the tuba, this composition contains a famous (or infamous) extended section of multiphonics. For “traditional” multiphonics, there is perhaps no finer example than what is found in this work, especially considering the foundational aspects of the composition as a whole.

Five Studies for Tuba Alone (1968) – David Reck This composition contains a small section of multiphonics, yet what is found here provides a distinct approach from the Kraft. Reck uses close interval multiphonics to create a destabilizing effect, particularly with minor 2nd dyads. Such an effect is highly effective when done properly, and with some practice, is relatively easy to achieve.

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abscess (2014-15) – Kurt Isaacson The majority of this work consists of a series of repeated multiphonics, held in place while the tubist presses different valve combinations to manipulate the pitch of the buzz. The 1st and 4th slides are removed, causing brief lapses in the sustained quality of the multiphonic. This work is also notable for its use of microtonality in the voice—such a technique has rarely been used, and is incredibly effective in this work.

Speaking Method Because the tuba is, in essence, a large metal amplifier, speaking sounds can be very effective when placed within a musical context. A number of different phonemes can be heard quite clearly when spoken through the tuba, especially when done so at a mediumloud to loud dynamic level. Single vowel or consonant sounds project particularly well through the tuba.

Necessary Information The main factor that potentially limits the effectiveness of speaking effects is the constricted shape the mouth must make when speaking through the tuba mouthpiece (which, for all of its size, still is somewhat smaller than the shape of the mouth). Because of this, some syllables are less effective; a simple way to discover this is to speak the phoneme out loud, and notice if the correct utterance of the sound involves bringing the corners of the mouth back. If so, then it might not be terribly effective when spoken into the tuba, as the mouth must move to a position away from the mouthpiece plane.

Notational Reference The most important element of the notation for speaking sounds is that the text be clearly integrated into the system. If using a standard musical staff, it would be best to keep the text close to the staff, and underneath the system if possible (as most of our notes tends to dwell towards the bottom of the staff). If a certain rhythm is needed, any sort of clearly marked alternate note-head may be used to indicate the desired gesture. It is also advisable to clearly indicate whether the speaking is happening through or outside of the tuba.

Musical Examples 19 E. Main St., Alhambra, CA 91801 (2015) – Nicholas Deyoe The speaking elements of Deyoe’s piece primarily consist of quiet phrases spoken through the instrument at a softer dynamic. Although not marked as such in the score, the composer does not want the audience to be able to distinguish the individual words during the performance.

Solo Tuba Music (1993) – Cort Lippe Towards the middle section of this work, Lippe requires the tubist to speak a passage from Thomas Pynchon’s Gravity’s Rainbow while still performing on the instrument. The resultant sound is a noisy, growling sound that comes off as a

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tuba-voice hybrid. Although relatively difficult, this technique can be quite effective.

Monologue (1978) – Tom Johnson Unlike the other works in this description, Tom Johnson’s work requires the tubist to speak outside of the instrument. The work is constructed as a dialogue between the tuba and the voice—the performer inhabits both sides of the dialogue, and there is a conflict built in to this kind of frenzied discourse. Towards the end of the work, the voice and tuba trade off on single notes/words, creating a kaleidoscopic (if somewhat difficult to perform!) sonic effect.

Death Be Not Proud (2008) – Melvyn Poore The primary spoken element of Melvyn Poore’s composition consists of a Shakespearean sonnet spoken through the instrument. The vocal sounds are then picked up by microphones in the bell, and further manipulated to dramatic effect.

Singing Method As with the speaking effects listed above, the tuba can be an effective amplifier of sung voice effects. The technique is largely the same, as well: to create this sound, simply sing into the tuba through any opening on the instrument.

Necessary Information Like multiphonics, these techniques can run into issues with the individual voice ranges held by different tubists. For the best effect, it is suggested that a composer works directly with the tubist that they are writing for, and to be open to possible alterations for other tubists. Additionally, the tuba does deaden the singing/speaking sounds once they enter the instrument, so adjustments must be made to create the sound effect at a higher volume.

Notational Reference The rules listed above for speaking largely apply to singing through the instrument. Since there are many more codified notational rules for singing, one can simply adopt those and incorporate them into a work for tuba.

Musical Examples Three Essays (1975) – William Penn Penn requires the tubist to sing at various time in the third movement of his work, particularly with the syllables “bou-wee.” He also has the tubist remove the third valve slide and “echo” a series of melodic fragments by singing through the open slide.

First Dreams of Light (1980) – Morton Subotnick Subotnick requires the tubist and pianist both to sing notes that are subsequently echoed by the instruments themselves. Both the played and sung pitches are further modified by the “ghost electronics” score (essentially a series of analog effects modules, with emphasis on a ring modulator).

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Post-prae-ludium ‘per Donau’ (1987) – Luigi Nono In this seminal work, Luigi Nono has the tubist sing a series of falsetto voice gestures through the tuba, which are then projected across a quadrophonic delay system. These gestures are interspersed among sections of multiphonics and extremely high played notes.

Beneath the Horizon III (1978) – Priscilla McLean In McLean’s work, the tubist must (fittingly) imitate whale calls in the falsetto range through the tuba throughout the length of the piece. Because of the high frequency of these calls, the effect is rather effective.

Berserker (2015) – Hong-Da Chin In Hong-Da Chin’s work, the tubist has to sing a series of moaning sounds through the tuba near the end of the composition, while rolling the valves in a continuous bisbigliando. The resultant sound is simultaneously both sustained and trilled.

Screaming/Yelling Method As the name implies, another potential vocal technique is that of screaming or yelling.

Because this is done at a high dynamic level, the tuba does not diminish the sound as much as a normal singing or speaking effect.

Necessary Information The normal disclaimers about wearing out or damaging the voice apply when using this technique—tubists are not usually trained vocalists, so care must be taken to not abuse their vocal cords too much. Additionally, the tuba does constrain the sound quite a bit, and it is often effective to have the tubist scream with the mouth outside of the mouthpiece. That being said, the first piece in the musical examples listing uses the effect of screaming through the tuba extremely effectively.

Notational Reference Again, the notational rules for singing and speaking largely apply to screaming through the tuba. The only caveat is that it is immensely helpful to indicate in the score each time a scream is required, especially if other vocal sounds are being used in the same work.

Musical Examples 19 E. Main St., Alhambra, CA 91801 (2015) – Nicholas Deyoe Deyoe’s work involves a handful of abrupt, high pitch screams through the tuba, always combined with a fff pedal tone of indistinguishable pitch. Because these screams are unprepared, care had to be taken by the dedicatee to create the desired effect without causing too much damage.

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Solo Tuba Music (1993) – Cort Lippe At the apex of the work, Lippe uses a loud, guttural scream to punctuate a section that consists of the frenzied and noisy recitation of a passage from Pynchon’s Gravity’s Rainbow.

Mirum (1965) – Mauricio Kagel The very last section of this work requires the tubist to stand up and alternately shout and whisper a recitation of the Tuba Mirum from the Latin Requiem Mass.

SVPER-ANGRY DEATH-BLAST ASSAVLT COVNTDOWN III (2011) – Francis Robert Near the climax of this short work, the tubist is required to shout the phrase “What the f*uck!” at top volume; the tubist takes the mouth away from the mouthpiece to do so, allowing for maximum output of the scream.

Vocal Fry Method Vocal fry is a sound that is created when air is pressed through the vocal cords with an extremely low amount of pressure. The resultant sound is a low croaking that, with practice, can be projected outwards and combined with more standard vocal sounds.

Necessary Information Although it is possible to learn to produce vocal fry sounds at a louder dynamic, the technique is most effective and controllable at softer dynamics. It can also be a tiring, and potentially damaging, technique to produce over longer periods of time, so care must be taken not to abuse the tubist’s vocal cords.

Notational Reference Although the technique is seen fairly frequently in the contemporary vocal repertoire, there is little standardization when it comes to incorporating the technique into the solo tuba literature. As with many vocal/air sounds, the key to notating this technique is to use a symbol that is very clear to the musician, flexible enough to be used in rhythmic notation, and unique enough to not be confused with other symbols.

Musical Examples Tube space (2008) – Dmitri Kourliandski Kourliandski’s work requires the use of two different registers of vocal fry, with both a “pressurized” and looser form. He pits these four different ranges against each other throughout the first half of the work, modifying them with different vowel shapes. The resultant sound is quiet, yet intense, and incredibly effective.

Colossus (2013-14) – Monte Weber Monte Weber calls for the tubist to create vocal fry both exgressively and ingressively (exhale/inhale). While exgressive vocal fry is the standard, this is the only appearance of ingressive fry that I have personally witnessed in the solo tuba literature. The ingressive form is doubly as difficult to perform, and is only

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recommended if the tubist has ample time to both learn how to make vocal fry and to master the technique to such a degree needed to create the ingressive form of the technique.

3. Lips/Tongue Split Tones Method Split tones are created when the embouchure is manipulated in such a way to allow for more than one frequency to be buzzed within the mouthpiece. When done correctly (or as correctly as the technique allows), the tubist is able to play a tone that contains two adjacent partials on any given harmonic series. This technique is analogous to the technique on woodwind instruments called “multiphonics,” in that both techniques require the manipulation of the “standard” embouchure to allow for more than one frequency to sound at the same time. Whereas the woodwind family relies on alternate fingerings to create a lot of multiphonics, split tones can [theoretically] be created on any note in the tuba’s range—the split tone is merely created by distorting the embouchure enough to cause the lips to vibrate at multiple frequencies, and the tuba slots these frequencies into the partials that are most readily available.

Necessary Information Although split tones have become a standard part of the contemporary technique toolbox of other brass instruments over the last few decades, there has been little use of the technique in the tuba repertoire. This is due in part to long-held and erroneous belief that the tuba was incapable of properly producing the split tone. Although this belief has been overturned in recent times, there are a few difficulties still inherent in the production of split tones on the tuba. Because of the size of the mouthpiece, there remains the possibility of creating too many different frequencies inside the mouthpiece when distorting the embouchure. Additionally, it is exceptionally difficult to produce split tones on the higher partials of the instrument (around the 8th partial and above). Depending on the location and dynamic of split tone, some preparation time is often needed to create the proper sounding split tone. Finally, since the split tone relies on the specific partials present to create their identity, it is necessary that the composer know the key of tuba they are writing for—a split tone of two pitches is potentially only possible on one of the four keys of tuba, although there are occasional workarounds when playing a split tone on a different key of tuba other than what was originally used.

Notational Reference For ease of notation, a split tone is referred to as a set ratio, which expresses the number partial series being “split” by the technique. For instance, a split tone on C2 and G2 on the CC tuba would be a 3:2 split tone, notated as a chord with the lower note (the “split” note) being placed in parentheses or brackets. This is due to the fact that those two notes are found on the open 2nd and 3rd partials of the CC tuba. Although the split tone is a relative newcomer to the tuba repertoire, the notation described above has become the standard.

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Musical Examples 19 E. Main St., Alhambra, CA 91801 (2015) – Nicholas Deyoe Deyoe’s work contains an extremely effective section in which a G2-C2 split tone is alternated with a multiphonic chord of the same pitches. There are also several indeterminate mid-range split tones, which are notated using a special 3-line staff that is used frequently throughout the piece for non-pitched material. category (2014) – Charlie Sdraulig The crux of this work is built around the instability of the split tone, as the tubist is required to repeatedly produce 5:4 split tone at painstakingly low dynamics. This work, unlike the other two mentioned here, specifically highlights the relative difficulty and instability of the split tone, using these facets to great effect.

Proxy (2014) – Ray Evanoff Evanoff’s exceedingly dense work Proxy for brass trio requires the tubist to repeatedly produce split tones throughout the course of the piece, nestled within larger webs of intricate activity. Additionally, this work is an example of the particularity of split tones—they were written with the F tuba in mind, and thus cannot be performed properly on tubas of different keys without adjustments or substitutions.

Pressure Sounds Method By changing the pressure of the embouchure, different sounds can be created by the tubist. The primary method of doing so consists of tightening the embouchure more than normal, to create a pinched sound through the tuba. The inverse may also be used, creating an airy and unfocused sound.

Necessary Information When calling for the tubist to over tighten the embouchure, care must be taken to not damage the tubist’s embouchure musculature. Additionally, this technique naturally decreases the volume of the resultant sound, and is more difficult to sustain at louder dynamics.

Notational Reference A simple graphic symbol indicating the pressure chance will suffice, especially when done over a set period of time.

Musical Examples Solo Tuba Music (1993) – Cort Lippe There are numerous examples in this work where the combination of speech and buzzing sounds leads to a naturally pressurized sound on the tuba. Additionally, Lippe has a specific note-head symbol for notes that need to sound pinched, and uses it frequently throughout the work.

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Jigsaw (1992/93) – Mikel Kuehn Kuehn uses a graphic box notation to indicate a “dweezle” effect, in which the tubist tightens the lips to create a pinched sound. This box is placed above the score, and is quite easy to read.

Ingressive Buzz Method By inhaling while keeping the lips in a loose embouchure, it is possible to create a buzz on the mouthpiece and through the instrument. The resultant sound is somewhat strained in comparison to normal playing, but when done on higher brass instrument, it can be a very effective technique. Unfortunately, because of the bigger mouthpiece used on the tuba, this technique is largely ineffective when performed on the instrument.

Necessary Information Although theoretically possible, this technique is extraordinarily difficult to perform on the tuba effectively. If a high-pitched, unstable buzzing sound is desired, than this technique might hold some promise, though.

Notational Reference Because of the difficulty of producing a reliable pitch with this technique, it is advisable for the composer to notate this in such a way that the intended effect and process is outlined, and the tubist is allowed to create the effect in any way that is both effective and comfortable for them.

Musical Examples Res/As/Ex/Inspirer (1973) – Vinko Globokar The ingressive buzz is a key component of this work, helping to create a sustained texture throughout the entire length. At the same time, this is a work written for any brass instrument, and it is possible that the composer (also an accomplished and revolutionary trombonist) was not aware of the immense difficulty of this technique on the tuba.

Tongue Ram Method This technique, (largely analogous to the technique of the same name used by flautists), requires the tubists to strike the tongue between the teeth while simultaneously exhaling.

The resultant popping sound resonates through the tuba, which gives the sound a distinct pitched quality.

Necessary Information Pitched tongue rams resonate through the open harmonic of whatever valve combination is being held down—for instance, on an Eb tuba, a tongue ram in open position would, naturally, create a low Eb pitch. One important aspect to note about tongue rams is that

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the pitch created by the technique can only descend from open position. I have personally seen works which require melodic gestures created by tongue rams that are technically impossible, as the melody travels above the open fundamental of the instrument.

Notational Reference The two most common notational symbols for tongue rams are triangle and x-shape noteheads. These can be written on the pitch that is intended, and the tubist should automatically know which fingering to use. As with split tones, the composer must be aware of what tuba is being used—pitched tongue rams rely on the harmonic series of the instrument being performed, and a series of notes that is possible on one horn might not fall in the range of a different keyed tuba. In particular, the composer must be aware of whether or not they would like a bass or contrabass tuba, as some pitched tongue rams possible on the bass tuba might not be possible on the lower pitched instrument.

Musical Examples 19 E. Main St., Alhambra, CA 91801 (2015) – Nicholas Deyoe A variety of tongue rams are used within this work, most notably at the end of the entire composition. One unique feature of the last section of tongue rams is the use of alternate fingerings to create microtonal shadings on a single note—in this case, an F#1.

Colossus (2013/14) – Monte Weber Weber’s composition requires both ingressive and exgressive tongue rams. The inhaled version of the technique has a slightly different sound, as there is a little bit of lag time between the inhale and the initiation of the tongue ram itself. The result is a noticeable different between the two, with the ingressive version being slightly louder. Weber wrote multiple sections in which the two forms are repeated one after another, to create variation.

Diligence is to Magic as Progress is to Flight (2014) – Katherine Young The majority of the tuba part in this work consists of pitched tongue rams.

Depending on the tuba being used, some of the tongue rams will be out of range—a CC tuba will not be able to reach the highest pitched tongue ram, while an F or Eb tuba will not be able to reach the lowest.

Vowel Modification Method When performing on the tuba in a “standard” way, the tubist often adopts a vowel roughly similar to that used when pronouncing the word “dough.” This isn’t the only vowel sound possible on the tuba, though, and any of the other vowels (a, e, u, i, y) can be used to alter the sound characteristics of the tuba.

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Necessary Information The only major aspect of vowel modification to be aware of is simply the fact that the standard syllable for performance is the long o, as in the words “dough” or “snow.” Any other vowels will alter the sound characteristics.

Notational Reference One convention often used in vowel modification is to simply the vowels above or immediately below the notes that are being altered, and this is the technique that the author recommends. If used on non-buzzing sounds, the same rule applies.

Musical Examples Tube space (2008) – Dmitri Kourliandski Throughout the entirety of this work, the tubist is called on to make up to four different kinds of vocal fry (described in the section on that particular technique).

Additionally, these types of vocal fry are modified by different vowel sounds, which constantly change throughout the length of the piece.

Jigsaw (1992/93) – Mikel Kuehn Unlike the other two works mentioned here, this work simply uses a single symbol to indicate that a different vowel is to be used on a certain note or series of notes.

This is a less-common strategy for vowel modification, but the freedom allowed by this method is highly effective.

Vox superius (1977) – Melvyn Poore Poore (one of the godfathers of the contemporary tuba) uses vowel modification on sustained multiphonics, creating a highly original sound. As far as the author is aware, this is one of the few works to use multiphonics and vowel modification in such a unified way.

4. Movement Stage Presence Method As part of a larger trend within contemporary music, the tubist has increasingly been required to perform a variety of theatrical movements and actions. Because of the large size and general aesthetic qualities of the tuba itself, the tuba(ist) carries a great potential for theatrical performance.

Necessary Information The most important point to realize about the theatrical abilities of the tubist is the problems inherent in wielding such a large instrument. Depending on which tuba is being used, the instrument can weigh anywhere from 18-28 pounds, and there is also the issue of the general size and awkwardness of carrying the instrument itself. That being said,

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there is still a wide range of actions available to the tubist, and any adventurous performer will gladly work to achieve any series of movements you might ask.

Notational Reference There is nothing special about notating theatrical actions for the tuba—simply notate and/or direct the tubist in the same way you would any other instrumentalist.

Musical Examples Tuba Mirum (1978) – Trevor Wishart Tuba Mirum contains perhaps the most complex set of instructions seen in a theater piece for the tuba. Among other things, the work calls for a full-size bed and covers, a specialized cabinet to hold a variety of mutes, three silent assistants, and a set of hospital uniforms. Wishart lays this all out in great detail in the technical notes for the work, and does so in a way that clearly conveys his direction for the piece. He further utilizes a type of action-based staff system, with pictograms symbolizing the different actions required throughout the work.

Mirum (1965) – Mauricio Kagel At the very end of Kagel’s work, the tubist is directed to stand and shout a series of lines taken from the Latin Requiem Mass, followed by a set of actions that eventually encompass the tubist’s ritualized exit from the hall. These directions are laid out in clear prose, and are quite easy to understand.

Introspection d’un Tubist (1983) – Vinko Globokar Globokar’s composition, like many of his theatrical works, draw on a ritualized discourse that questions the very act of performance. In this work, the inner mental states of the tubist as laid bare, with actions such as weeping, rolling around on the ground, and screaming. Although ultimately somewhat clear in its directions, this work does suffer from a rather opaque score—Globokar chose to utilize a rather vague grid system for his directives, leaving some ambiguity as to the final result.

Instrument movement Method Due to its large stature, the tuba makes an effective visual aid in a theatrical performance.

Because of this, a number of composers have written works that incorporate the movement of the tuba in certain ways.

Necessary Information As with any sort of theatrical action, the intrepid composer must be aware of the size and weight of the tuba when calling for any sort of pre-ordained movement. Beyond that, the same restrictions apply for this section as for the section on theatrical movement.

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Notational Reference Depending on the intricacy of the movement desired, it is best to have a very clear and concise description of the desired series of actions to be performed by the tubist.

Musical Examples In Freundschaft (1996) – Karlheinz Stockhausen Although Stockhausen’s work is theatrical in one sense, it does not require the explicit level of theatrical action as those in the previous section. The primary means of conveying a sense of theatricality lies in the circular motion that the tubist must perform with the tuba itself. This is done during a constantly accelerating series of repeated notes, creating a loose Doppler effect in live performance.

Playing other instruments Method An increasing trend over the past few decades has been to write works for solo performers that incorporate more than one instrument (excluding multipercussion works, which follow this trend in their natural form). The tuba is no different than any other instrument in this regard, with a few notable examples from the repertoire.

Necessary Information The tuba’s size makes the simultaneous performance of more than one instrument particularly challenging. The best results are for works that either let the performer put the tuba down and play another instrument, or use instruments that can be played with the feet. In one notable case, the resonance and dynamic level of the tuba is used to trigger a different instrument (discussed below).

Notational Reference This is such a unique technique that there have been no attempts to standardize notation, as each compositional case will be highly individual. The one bit of advice that I can offer is to incorporate the notation of other instruments as close as possible with the “standard” tuba notation.

Musical Examples Hommage à Brian Ferneyhough (2012-13) – Claus-Steffen Mahnkopf Mahnkopf’s massive work for the solo tuba requires a bevy of additional instruments, including a set of crotales and wooden boards strapped to the tubist’s feet. Mahnkopf indicates performance instructions for the additional instruments through a few different kinds of graphic notation, including a single line staff indicating the action of the feet.

And What Rough Beast…? (1995) – Marc Satterwhite In contrast to the Mahnkopf, Satterwhite’s work only contains one additional instrument—a thunder sheet. At the end of the work, the tubist is directed to put

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her/his tuba down and walk to the side of the stage, where the thunder sheet is to be placed.

Code Fragments (2014) – Carter John Rice Rice’s work involves the performance of a whistle at the beginning of the composition, and a kick drum throughout the composition. The kick drum and tuba are largely used at different times, and when they do sound simultaneously, Rice indicated the kick drum hits through symbols on top of the system. Because the kick drum is played with the foot, it is quite easy and effective for the tubist to play both simultaneously.

5. Instrument Muting Method In comparison to its smaller brethren, the tuba rarely uses the tuba in the standard repertoire. This is due in part to the larger size of the tuba, and also to the lack of standardization across the entire range of instruments. In order for a mute to be truly effective, the length of the mute needs to correspond to the length of the tuba bell, and since this varies quite a bit from instrument to instrument, any commercially sold mute often works poorly. That being said, there is much that can be done with muting on the tuba, and composers are increasingly exploring the possibilities of the technique.

Necessary Information Besides the limitations listed above, there is also a general lack of standardization across the different materials that a mute can be made of. Unless an adventurous tubist is willing and able to fabricate his or her own mutes, the only type of mute that a tubist can buy is a straight mute. Additionally, there tends to be no distinction among tubists between wooden and metal mutes, and this can cause problems if/when a composer dictates the type of material required for their muted sections. Most high-end mutes made these days are built out of wood, with cheaper mutes being made of metal. It is the opinion of the author that metal mutes are a must for any muted section on the tuba, but that opinion is far from being held by the rank-and-file tubist. The last point to stress is the actual process of putting in and pulling out a mute—because of their size, the tubist must have ample time for both actions, unless the composer wants the tubist to frantically bang the mute against the side of the tuba bell.

Notational Reference N/A Musical Examples Durations III (1961) – Morton Feldman Feldman requires the tuba to be muted for the entirety of this work. Although strange at first, this direction makes more sense when considering the instrumentation of the work (tuba, violin, and piano).

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Tuba Mirum (1978) – Trevor Wishart Wishart gives the tubist fabrication charts for the creation of three unique mutes for this work: the “smoke mute,” a “cornucopia mute,” and the “rattle mute.”

The first mute is built to conceal a smoke machine with flashing lights, while the second mute conceals a tweeter underneath a cornucopia of fake plastic fruit. The third mute consists of a wooden framework that rests inside the tuba bell, with a tambourine suspended in the middle of the tuba’s bell opening. When played, the tuba rattles the tambourine, hence the name of this particular contraption. abbess (2015) – Kurt Isaacson Isaacson’s work abbess is an unaccompanied euphonium adaptation of the tuba+electronics work abscess. In place of the latter work’s electronics, the euphonium version calls for the use of a specially designed mute, called the “splitter mute.” This mute (which is itself adapted from a similar design for trumpet) suspends a handful of marbles inside of a plastic bowl, which is fitted into the euphonium bell. When installed properly, this mute creates an automatic split tone, along with a rattling, distorted sound.

Glissando Method The tuba, like any brass instrument, is capable of creating glissandi in certain instances.

There are two different methods for creating glissandi—an overtone glissando (in which the tubist moves rapidly through the partial series of a certain harmonic), and a valve glissando (where a tubist rolls the valves through various half-valve combinations in order to glissando from one note to another).

Necessary Information Glissandi can be performed in both directions by the tuba, and there is a noticeable difference in terms of the range covered by both forms of glissando. Overtone glissandi move through the instrument’s range at a much faster rate, whereas the valve glissando can be performed at any number of speeds.

Notational Reference When notating a glissando for the tuba, it is essential to notate the type of glissando desired. Other than that, the standard rules apply for glissandi notation.

Musical Examples Five Studies for Tuba Alone (1968) – David Reck The fifth movement of this work is built around a series of monstrous overtone glissandi, covering a range from E1 into the highest ranges of the instrument.

Although highly effective, these glissandi are also rather strenuous to perform.

Additionally, Reck uses a number of valve glissandi at slower tempos, to great effect.

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Encounters II (1966) – William Kraft Kraft’s seminal work for the tuba incorporates several valve glissandi, used by the composer as ornamentation for series’ of rapid runs throughout the instrument’s range. These glissandi are aided by Kraft’s use of arrival notes—doing so gives the glissandi a concrete shape, which aids the tubist in their performance.

Berserker (2015) – Hong-Da Chin Chin’s work requires the tubist to “smear” between rapid note patterns, using a combination of overtone and valve glissandi. Much like the Kraft, Berserker relies on arrival notes to give the glissandi shape.

Striking Method The tuba is basically a collection of metal pipes and flat surfaces, and as such can be used to create a number of really fascinating percussive sounds. This can be achieved both with the hands and with a number of different striking objects, such as mallets, coins, metal rings, and wooden blocks.

Necessary Information The most important consideration to make when requiring a tubist to hit their instrument is that the tuba is damageable! There are a few different areas that make a lot of sound with minimal sound, including the flat surfaces of the bell and the bell rim. Additionally, one has to be aware of the fact that in performance, only the left hand is available for creating percussive sounds. Thus, the use of percussive sounds must be monophonic (unless the feet are also included in performance). Alternatively, composers can give the tubist time to remove the hands from the valve block, in which case both hands can be used to make percussive sounds on the instrument.

Notational Reference Standard rhythmic notation works exceptionally well for these purposes, with the only caveat being the inclusion of a text direction notifying the tubist of how to create the desired sounds.

Musical Examples Jonah and the Whale (1993) – Garth Knox In this tuba+viola duo, the tubist must repeatedly strike the bell of the tuba with their fingernails, creating a metallic clicking sound that carries quite well into the performance space. During the tubist’s cadenza, this sound is used extensively, with the only downside being the possibility of broken fingernails on behalf of the performer when performed at full volume.

Colossus (2013-14) – Monte Weber Weber’s work directs the tubist to strike the tuba in four different locations, across the bell and upper branches of the instrument’s body. This is done with a doubleended rubber mallet in which one head has been wrapped in foam (to protect the instrument from serious denting). In the second movement, the tubist must also

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use the unwrapped end to create a friction roll on the flat back surface of the bell.

The main difficulty in such a work is the inability of the tubist to clearly see to the left of the mouthpiece—the tubist must rely on muscle memory from diligent practice to hit the instrument in the proper locations.

Omaggi e Fantasie (1981/97) – Claude Baker In the second movement of Claude Baker’s masterwork for the tuba and piano, both instruments are required to hit their instrument in various locations. The tubist is required to find four different sounds across the instrument body, and hit those areas with their knuckles. Depending on the instrument, this can be difficult to achieve, thus necessitating an alternative means for creating the different sounds (for instance, by varying the striking strength in order to create slightly different sounds).

Pulling slides Method During performance, the slides of the tuba can be manipulated in a number of different ways. Each slide can be pulled out all the way, or back and forth to create a pressurized air sound from within the instrument. Additionally, manipulating the slides can create a diverse array of metallic sounds.

Necessary Information Because of the wildly varying designs of different tubas, not every slide on the instrument will be reachable or easily moved during performance. Many slides are not meant to move freely, either, as such easily movable slides have a tendency to fall out of the instrument when placed flat on the floor.

Notational Reference A simple text direction works well for the removal of slides during performance. If a specific motion is desired, graphic notation works quite well for that purpose.

Musical Examples Three Essays (1975) – William Penn In the third movement of Penn’s Three Essays, the tubist must covertly remove the third slide of the instrument, in order to create a series of singing “echoes” through the third slide while the third valve is depressed. One weakness of this approach is that some instruments might have an inaccessible or difficult to reach third valve slide, and it may be placed in a location that prevents covert management.

19 E. Main St., Alhambra, CA 91801 – Nicholas Deyoe Deyoe’s work incorporates a number of de-tuning gestures that require the tubist to move their main tuning slide in and out during performance. In the premiere performance, however, the performance had to create the de-tuning gesture with

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his embouchure, as the main tuning slide of his tuba was not pliable enough for the manual gesture to work.

Tube space (2008) – Dmitri Kourliandski One of the most potent theatrical elements of Kourliandski’s work is the forcible removal of a slide during the final section of the piece. This is done with as much strength as possible, so that a loud clanging sound is created. The final gesture of the piece is the sound of the slide being pulled, with the applicable valve being depressed at the last second to create a loud pop.

Amplification Method The tuba can be amplified in a number of different ways, usually for the purpose of highlighting a specific sound or creating a little bit of audio reinforcement. Specific miking strategies will be addressed below.

Necessary Information The tuba has a sound that can be relatively tricky to amplify, leading to the use of a couple of different miking strategies. The most blunt means for amplifying the tuba is by dropping a reinforced dynamic mic into the bell (something akin to the Shure SM57 or 58). This mic must have some sort of padding around its body, both to prevent damage to the tuba and to prevent sympathetic vibrations from entering through the mic’s body.

This type of sound is very coarse, but is highly suitable for use with analog or digital effects processors. It is also very effective at amplifying the mechanical sounds of the instrument in performance. An alternative (and much cleaner sonically) strategy is to place a condenser microphone a few feet above the bell of the instrument, pointing slightly to the side of the bell’s center. Care has to be taken not to create feedback with the PA system when using this strategy, but it is a very effective means for miking the instrument. Finally, contact microphones can be affixed to the body of the instrument, particularly to the insides of the instrument. The stronger and more sensitive the microphone, the more noise is picked up. This can create some interesting effects, particularly when run through any sort of audio modification. When taping microphones onto the body of the instrument, a type of non-residue tape must be used (such as masking or painter’s tape).

Notational Reference N/A Musical Examples Post-prae-ludium ‘per Donau’ (1987) – Luigi Nono The bulk of the musical content of this work is generated by the manipulation and projection of the sound of the tuba through amplification. In this instance, any sort of open-air amplification is satisfactory.

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Still (1997) – Jonathan Harvey Harvey’s work relies on the amplification and looping of a series of long tones, creating a continuously shifting series of chordal structures.

Breathing Machine (2015) – Aaron Hynds This work specifically calls for a dynamic microphone to be placed inside the bell, in order to amplify the transient sounds of performance (breathing, slide moving, valve fluttering, and so on).

Tube space – Dmitri Kourliandski Like the previous work, this work uses amplification to magnify the transient sounds of performance. Additionally, the microphone serves to amplify the relatively quiet vocal fry sounds that dominate the first third of the composition.

Effects Method After amplifying the tuba, it is relatively simple to send the resultant signal through any number of digital and analog effects generators. Additional information may be found below.

Necessary Information Because the tuba is an analog instrument, there has to be some sort of conversion process before the signal is processed by any digital effects processors (mainly guitar effects pedals). This is most easily achieved by running the output of a microphone into a mixer or other standalone signal converter before being sent to the effects processors.

Additionally, it is difficult to control the variables of effects pedals in performance, as that requires the tubist to bend down and change the settings on the pedal (an action that is difficult when a tuba is on your lap). There also needs to be quite a bit of amplification on the signal end before an effects pedal can be useful, so care must be taken not to blow out any speakers or create feedback.

Notational Reference If an effect is being triggered on and off throughout the work, a simple graphic indication above the staff works well.

Musical Examples Colossus (2013-14) – Monte Weber Weber’s work uses both a reverb module and a distortion pedal in the work, with the distortion pedal being triggered in short bursts. The composer notated this by including a colored line above the staff to indicate when to turn the pedal on, and this method works great.

Breathe (2014-15) – Ruby Fulton The front half of this composition is built out of a series of looping melodic patterns, culminating in an endlessly-shifting chordal structure. One difficulty of this process is the gradual accumulation of time lag, as there is a slight lag between

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when the pedal is triggered and when the loops start over. As far as both the composer and dedicatee can tell, this is a problem inherent in all commercially available loop pedals.

Jejunum Pummeller (2011) – Clinton McCallum McCallum’s work uses a variety of different sound effects, with a few different kinds of distortion and some reverb effects. This can either be achieved by using multiple pedals or one multieffects pedal, and both approaches are equally valid.

The composer gives the tubist time to make the switch between the different effects; such accommodation is a necessity in works requiring lots of different effects pedals.

Modification Method Modification as a category encompasses any changes made to the body of the instrument (i.e., putting trumpet bells in the valve slides, stuffing items in the bell, attaching items to the instrument, and so on). As such, this is a fairly open-ended category, and is only limited by the imaginations of the tubist and composer.

Necessary Information As usual with this type of category, the standard rule is to not do anything that might damage the instrument.

Notational Reference N/A Musical Examples Piernikiana (1977) – Witold Szalonek The majority of this composition relies on modifications made to the body of the tuba, namely the insertion of trumpet and trombone bells into the valve slides of the instrument. In doing so, the buzzing of the mouthpiece is routed into those alternate bells, creating a “disembodied” sound. This is further altered with mutes placed into each alternate bell, to create rapid changes in timbre from the open tuba bell to the muted trumpet bells.

Incon-sequenza (1973) – Matthias Bamert Throughout sections of this composition, the composer directs the tubist to place a tambourine inside the tuba bell. In doing so, a loud buzzing sound is generated whenever the tubist plays.

Tuba Mirum (1978) – Trevor Wishart Wishart modifies the tuba in a number of ways in this work, the most striking of which is the installation of a specialized interactive lighting system onto the body of the instrument. Additionally, he uses a number of special mutes to modify the sound and look of the instrument; most infamous is the use of a “cornucopia mute,” as described in the section on muting.

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Sonification Method There are two general methods that have been used to create what I refer to as a “sonification” of the tuba (referring in both cases to the use of technology to play sounds through the body and space of the instrument itself, as opposed to traditional speaker systems). The first involves places small transducers on the body of the instrument, and using the natural resonance of the metal as a loudspeaker. The second is achieved by placing a microphone inside the tuba, and then pointed a loudspeaker into the bell of the instrument. When the signal being picked up from inside the tuba is amplified through the loudspeaker, the tubist can create different pitches of feedback simply by pressing the valves up and down.

Necessary Information The general disclaimer against damaging the instrument applies here, but with less urgency than in the section on modification. The feedback loop method can potentially get out of control if the proper cautions aren’t taken in regard to sound output level control. When applying small transducers to the tuba, care must be taken to make sure that the speakers are securely fastened (so that they don’t fall off and into the body of the instrument). The bell is the most resonant part of the tuba, and is thus the best place to apply transducers.

Notational Reference N/A Musical Examples abscess (2015) – Kurt Isaacson In Isaacson’s work, two transducers are affixed to the inside of the tuba bell, and sawtooth waves are played through the bell itself. The sawtooth waves are commonly tuned to the fundamental frequency of the tuba being used, and this tends to produce the most audible and effective results.

Duet Elephants (2010) – Mark Trayle; In this short tuba duo, the feedback looping method is used to create a duet of varying feedback signals. The two F tubas used in the original were of slightly different design, which created a wide variety of microtonal shadings, (which were compounded by the minute differences in the electronics.

Finger tremolo Method Like any valved brass instrument, most of the notes on the tuba have alternate fingerings.

Because of the vagaries of the harmonic series, each of these alternate fingerings has slightly different intonation tendencies, and these can be used in quick succession to

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create a microtonal tremolo. The alternate fingering options for any given note grow larger the higher up the harmonic series a pitch lays.

Necessary Information Depending on the fingering pattern being used for the tremolo, the difficulty in performing this technique can lie anywhere from easy to exceedingly awkward and ineffective. If a specific finger tremolo is desired, the composer must know what tuba they are writing for.

Notational Reference If a specific fingering for the tremolo is to be specified, then it is sufficient to simply write the fingerings for each note in the tremolo above the figure itself. Otherwise, the performing tubist will appreciate a simple text directive specifying the technique’s use when applicable.

Musical Examples Omaggi e Fantasie (1981/87) – Claude Baker The Fantasie portion of this composition contains a series of alternate fingering tremolos, all of which were intended for the F tuba. Thus, in order to perform this work on the Eb tuba, a tubist will need to adjust for their different keyed instrument.

Five Studies for Tuba Alone (1968) – David Reck In contrast to the work above, Reck’s composition simply specifies that the technique should be used on certain sections of repeated notes, leaving the decision of specific fingerings up to the performer.

Valve Notation Method A recent trend in brass composition has been to notate actions for the fingers/valves individually, regardless of pitch. When doing so, composers often create some form of graphic notation, indicating when to depress the various valves.

Necessary Information This particular technique is still relatively new, and most (if not all) tubists will have little to no experience with this particular technique. Also, since the vast majority of professional quality tubas have five valves, it is necessary to explain the somewhat illogical pattern of valves on the instrument. The overwhelming majority of 5-valve tubas have all five valves controlled by the right hand—the four fingers control valves 1-4, and the thumb operates the 5th valve. As such, if a pictogram of the valves is to be used, then it is best to put the 5th valve first in order, as that is technically the first valve in the block.

The author highly suggests that the 5th valve (first in order) be placed in parentheses, as that helps to distinguish the proper order of valves.

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Notational Reference There is little standardization in notating this technique—for slow moving or repetitive uses of the technique, a pictogram that indicates the 5 valves will suffice, with hollow circles for open valves and darkened in circles for depressed valves (fractions of the circle can be darkened to indicate ¼, ½, and ¾ valve effects). In faster uses of the technique, a 5-line staff with darkened lines indicating closed valves can be used quite effectively to indicate particular rhythms.

Musical Examples abscess (2015) – Kurt Isaacson Isaacson’s piece is almost entirely built around repetitive loops of valve combinations, indicated by the 5-valve pictogram described above. The tubist is constantly performing a multiphonic composed of the first partial fundamental and various microtonal sung notes, with the looping valve combinations causing the multiphonic to distort. This is furthered by the removal of the 1st and 4th valve slides, creating sonic “gaps” in the held pedal.

Hommage à Brian Ferneyhough (2012-13) – Claus-Steffen Mahnkopf Mahnkopf’s work uses the rhythmic valve notation method described above to great effect, creating rhythmic gestures that are wholly independent of the resultant pitch being produced by each combination.

Breathing Machine (2015) – Aaron Hynds The 5-valve pictogram notation method is used in this work to create different pitched air sounds throughout the entirety of this work.

Microtonality Method The tuba has some capability to play microtonal compositions, but the microtonal aspects of the instrument are only available as a by-product of its incomplete usage of the equal temperament system. The two main methods for performing microtonally are the use of alternate fingerings and embouchure distortion (particularly the loosening of the embouchure to lower pitch slightly).

Necessary Information When using the embouchure method for playing microtonally, it is important to remember that it is relatively easy to lip notes down in pitch, but incredibly difficult and ineffective to lip notes up. Additionally, it is helpful to know which tuba is being written for, as one can plan certain alternate fingering solutions ahead of time.

Notational Reference The standard rules for notating microtonal pitches apply to this category.

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Musical Examples …aus freier Lust…verbunden… (1994-96) – Georg Friedrich Haas Haas’ composition uses a number of slight microtonal pitches, intended for the F tuba. These are very slight in difference, with most comprising a mere quarter step away from standard equal temperament.

Plainsound Brass Trio No. 1 (2008) – Wolfgang von Schweinitz This work uses microtonality extensively, but was written so as to accommodate the natural microtonal capabilities of the tuba. As such, this work provides an excellent model for the use of microtonal writing on the tuba.

19 E. Main St., Alhambra, CA 91801 (2015) – Nicholas Deyoe Deyoe’s work uses microtonality extensively, with every single microtonal note carrying a specific fingering. This work was written for the CC tuba, and is currently being prepared for the Eb tuba as well. The prime means of microtonal writing consists of writing long patterns of microtonal notes around a common pitch area in the higher ranges of the horn, where there exists a multitude of alternate fingerings for every single note.

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6. Bibliography Instrumental References Buquet, Gérard. Le Tuba Contemporain: Nouvelles techniques de jeu appliquées au Tuba. Paris, FRA: Abrioso Editions, Cummings, Barton. The Contemporary Tuba. Salem, MA: Cimarron Music Press, 2004.

Dempster, Stuart. The Modern Trombone: A Definition of its Idioms. Athens, OH: Accura Music, Inc., 1994.

Hill, Douglas. Extended Techniques for the Horn: A Practical Handbook for Students, Performers and Composers. Miami, FL: Warner Bros. Publications, 1996.

Stone, Kurt. Music Notation in the Twentieth Century. New York City, NY: W.W. Norton & Co., 1980.

Dissertations Funderburk, Jeffrey Lee. An Annotated Bibliography of the Unaccompanied Solo Repertoire for Tuba. DMA diss., University of Illinois at Urbana-Champaign, 1992.

Jenkins, Kevin Joseph. A study of seven compositions for tuba and electronic sound source. DMA diss., Arizona State University, 1994.

Larson, Andrew Brian. Investigating “Experimentalism”: A Case Study of the Tuba and its Repertoire. DMA diss., Louisiana State University, 2013.

Randolph, David Mark. New Techniques in the Avant-Garde Repertoire for Solo Tuba. DMA diss., University of Rochester, 1977.

Rowland, Daniel Jay. William Kraft’s “Encounters II” for Solo Tuba: A Performer’s Guide and Annotated Bibliography of Unaccompanied Works Written for Roger Bobo. DM treatise, Florida State University, 2015.

Tignor, Scott Edward. A Performance Guide to Luigi Nono’s “Post-Prae-Ludium No. 1‘per Donau’.” DMA diss., University of North Texas, 2009.

Scores Bamert, Matthias. Incon-Sequenza for One Tuba-Player. G. Schirmer, 1973.

Deyoe, Nicholas. 19 E. Main St., Alhambra, CA 91801. Self-published, 2015.

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Deyoe, Nicholas. Wouldn’t Need You. Self-published, 2011.

Fulton, Ruby. Breathe. Self-published, 2014-15.

Harvey, Jonathan. Still. Faber Music, 1997.

Isaacson, Kurt. abscess. Self-published, 2014-15.

Kagel, Mauricio. Mirum. Universal Edition, 1965.

Kraft, William. Encounters II. Editions BIM, 1991.

Lippe, Cort. Solo Tuba Music. Borik Press, 1987.

Mahnkopf, Claus-Steffen. Hommage à Brian Ferneyhough. Sikorski, 2013.

Nono, Luigi. Post-prae-ludium n. 1 per Donau. Ricordi, 1987.

Penn, William. Three Essays for Solo Tuba. Seesaw Music Corp., 1975.

Poore, Melvyn. Death Be Not Proud. Self-published, 2009.

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

Sdraulig, Charlie. category. Self-published, 2013-14.

Subotnick, Morton. The First Dreams of Light. Schott, 1980.

Szalonek, Witold. Piernikiana. Polski Wydawn, 1985.

Weber, Monte. Colossus. Self-published, 2013-14.

Young, Katherine. Diligence is to Progress as Magic is to Flight. Self-published, 2014.

Acknowledgements The information contained in this document comes from working with the following people and organizations: MidAmerican Center for Contemporary Music, International Summer Course for New Music Darmstadt, Dr. Sharon Huff, Dr. Jeffrey Funderburk, John Stevens, David Saltzman, Mike Svoboda, Marco Blaauw, Melvyn Poore, Saar Berger, Matt Barbier, Weston Olencki, Danny Rowland, Janne Matias Jakobsson, Jack Adler-McKean, Luke Storm, Andy Larson, Beth McDonald, Sean Kennedy, Max Murray, Monte Weber, Ruby Fulton, Nicholas Deyoe, Ray Evanoff, Danny Hynds, Elise Roy, Kurt Isaacson, Jacob Gotlib, Colin Tucker, Joseph Greer, Kyle Frost, Justin Rifkind, Kana Kotera, Dmitri Kourliandski