Guide to the Euphonium Repertoire: The Euphonium Source Book

ACKNOWLEDGMENTS

When I was in the middle of my studies at Tennessee Technological University (TTU) in 1993 and 1994, I remember often going to Winston Morris’s home to perform cheap labor projects: remove weeds, mulch the lawn and flower beds, and so forth. When I would take breaks or have lunch, Mr. Morris would show me the immense amount of materials he was receiving for the first edition of the Tuba Source Book. The amount of materials he was sorting through and editing was staggering. Many days he would receive hundreds of pages of faxes of research and mindboggling amounts of telephone calls from the many associate and contributing editors. For over two years, I often observed Mr. Morris dedicating tireless hours to the Tuba Source Book. This left an unforgettable impression on my young professional life, especially when considering the other “hats” he was wearing. Mr. Morris played a major role in the TTU Department of Music and was a major influence across the campus. He was very active around the state of Tennessee in many areas of music education , he was organizing the first professional tuba and euphonium ensemble, Symphonia, and he was a major force in TUBA (Tubists Universal Brotherhood Association, later International Tuba-Euphonium Association: ITEA). If all of that wasn’t enough, he was organizing tours of the internationally acclaimed Tennessee Tech Tuba Ensemble to such events as MENC (the National Association for Music Education), U.S. Army Band Tuba-Euphonium Conferences, and Carnegie Hall, as well as organizing several tuba and euphonium ensemble recording projects, which included a massive amount of new tuba and euphonium ensemble music, and organizing a host of tuba and euphonium guest artists to attend the very large annual TTU Octubafest activities and the spring Tubafest. While wearing all of these “hats,” Mr. Morris’s international reputation as one of the foremost tuba and euphonium instructors did not suffer, as his students continued to be successful in national and international competitions and in acquiring graduate school scholarships and teaching assistantships. Since that time, Mr. Morris has been working on tuba and euphonium ensemble tours and recording projects, tuba and euphonium ensemble compositions, numerous tours, and several recordings with Symphonia, the creation of the Modern Jazz Tuba Project, which has now had numerous tours and is considered the world’s premiere jazz tuba and euphonium ensemble. He has also been doing all of the professional activities listed in the previous paragraph , as well as being the senior editor of the second version of the Tuba Source Book. As if all of the work over the past twelve years wasn’t enough, Mr. Morris about three years ago approached Eric Paull and myself about helping him organize and create a book modeled after the Tuba Source Book for the euphonium. Needless to say Eric and I were ecstatic but a little scared as we were both well aware of the amount of time this project would demand. So what does all of this information have to do with the Guide to the Euphonium Repertoire: The Euphonium Source Book? Without Winston Morris’s tireless efforts and nearly unmatched dedication to the tuba and euphonium, this book would not exist. It is that energy, dedication, and selfless attitude that we all need to employ to help the euphonium world continue to grow. I, and all of the people involved with the Guide to the Euphonium Repertoire: The Euphonium Source Book, believe this book is a major step in the history and future of the euphonium. We play and teach one of the most beautiful, lyrical, and technically versatile instruments. We all must push forward with the drive and energy that Winston Morris has demonstrated throughout his entire career. Many people have been invaluable in terms of support and assistance. Thanks are extended to Eric Paull, my co-editor, for his time, advice, insights, encouragement, and friendship; Adam Frey for allowing me to peruse his euphonium library; Timothy Northcut for his advice and for his assistance in mass mailing to all the many publishers and composers; the University of Cincinnati College-Conservatory of Music for their financial assistance with the mass mailing; ACKNOWLEDGMENTS the many publishers and composers who were so kind as to send copies of their music for review; Glenville State College for their financial and moral support, especially my students (Scott Smith!) and my department chair, Duane Chapman ; and finally, all of the world-class euphonium players and teachers involved...