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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 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 Advertisements
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.)

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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Decide how you will shape the phrase. Crescendo for four bars, then decrescendo for four bars?
Crescendo gradually over all eight bars? Grow on the half notes? Make a decision and sell it. Consider
utilizing the Tabuteau numbering system. Where are you going to breathe? Remember, you are
establishing a melody that is repeated sixteen times throughout the movement. The dynamics should
relate that. How softly can you play it? What if you are asked to play softer? Faster? Slower? Can you do
it?

Toccata Marziale

1. STYLE

Want- Toccata Marziale could be defined as a keyboard work (busy?) in a military style. The toccata
conveys that there may be several musical 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. The marziale
conveys that the time should be steady and deliberate while still being energetic and exciting. Louder
dynamics may be misleading, as the sound should never be harsh.

Typical- Candidates may compress (rush) sixteenth notes and drag softer sections. There may be little
attention paid to articulation and dynamic differences. There is also a temptation to play with a very
harsh sound in the low register.

2. FUNDAMENTALS

Want- Clear, even, and 'easy' sound at all dynamics and in all tessituras. Clearly communicate a distinct
difference between staccato, marcato, legato, slurred, and a combo of two varying articulations, with
steady time and evenly placed rhythms.

Typical- Using a harsh sound in the low register. No noticeable difference between articulations or
dynamics. Time is very unsteady.
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EXERCISE TO IMPROVE New Hire: David Childs,
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On a low Bb, begin at the top and play the rhythm, dynamics, and articulations. Do not change notes;
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play only Bb. This will allow you to focus on the sound, rhythm, dynamics, and articulation differences.
Then, go back and play everything as written with the goal to sound as easy as when playing only Bb.
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Clarkson, Oklahoma City
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Although my previous advice seems to indicate otherwise, this is not an exercise or an etude. It's music!
Find the opportunities where you can shape the phrase. Three measures before rehearsal 7 until six New Hire: Geoff Durbin,
bars after is a good example. Also rehearsal 9 through rehearsal 10. There is a lot of flexibility to shape Ouachita Baptist
the phrase while still being true to what is on the page. Dig into these sections to find ways to shape the University
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. New Hire: Joe LeFevre,
Kansas City Symphony

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Baltimore Symphony
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Robinson, Oklahoma
State University

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Sarasota Orchestra

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.