Junior Tuba: Audition Solo 1A, Moderato
The changing time signatures and changing tempos concern some players. The easiest way to think of this is for the eighth note to remain constant all the way through the entire piece. By setting my metronome to 200 beats a minute I found could easily transition from one section to the next. Cantabile is singing style and usually means connected notes with added dynamic variety. The slurs create natural connection. In measures 4 and 7 continue the connected style, even though the notes are not marked slurred. The Animato has lots of dynamic contrasts and lots of details with articulation. Study it carefully. The fermata is open to interpretation. The player decides how long it should be held, and whether to go straight on or put in a break after it. Both options have musical merit, so if you like one better play it that way. Ending “b” has a tuning quirk in measure 47. On a BB-flat tuba when the D in the staff is played “open” following the lower octave D it sounds noticeably flat. Experienced players know this open D as the “flat fifth partial”. The easiest way to avoid this problem is to play the last four notes 1-2.
Clinic Tuba: Audition Solo 2A, Cantabile
Be aware of the key center. The first line is A-flat major, then it immediately shifts into F minor. Have that clearly in your mind’s ear. This study is challenging for its slow tempo and its long, slurred phrasing. The best way to play these lyrical passages is to keep the airflow full and steady. Huffing the wind to assist with the pitch changes is a common error that detracts from the smoothness. Be careful in measures 3 and 4 to play the slur markings exactly as printed. In these two measures there are only three tongued pitches. The tempo change in measure 5 is a challenge. Practice with a metronome to learn where to set the speeds. Measures 11 and 13 can be a timing challenge with the quarter note tied into the first note of a triplet. To get the placement correct you may try practicing these measures without the ties to feel the proper rhythmic placement of the triplets, then put the ties back in. Another way to make sure you are on time is to pay attention to the note on the downbeat of the next measure. If it lands right with the metronome click chances are the rhythm before it is accurate. In the last measure of the “a” ending make sure the quarter note on count 3 is held full value. Release it right on click 4. Be careful of the last two notes of both endings, especially the ff at the end of the “a” ending. It should be loud, but make sure the tone stays controlled.
Senior Tuba: Audition Solo 3A, Grandioso
Download these tuba performance notes [pdf].