Guide to the Tuba Repertoire, Second Edition

Cover

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Title Page, Copyright Page

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CONTENTS

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pp. vii-

FOREWORD (2005)

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pp. ix-x

Before we get beyond the first sentence of this foreword, we want to make sure that credit is given where credit is due and we must acknowledge the incredible work of all the assistant editors on both editions of The Tuba Source Book. They are responsible for developing the material that you see in this book. They are listed elsewhere but must be recognized at this point for their...

FOREWORD (1995)

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pp. xi-

Information contained in The Tuba Source Book (TSB) is thorough and definitive. It will be greeted with grateful enthusiasm by everyone interested in the tuba, most especially by professional performers, teachers, serious students, composers/ orchestrators/arrangers, and enthusiasts of every age. The cliché “everything you ever wanted to know about the tuba” applies to this collection...

PREFACE

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pp. xiii-xvi

The Tuba Source Book (TSB) has been one hundred and fifty-eight years in the making. The purpose of the project has been to attempt to define the current status of the tuba and document its growth from its original 1835 conception by Prussian instrument maker Wilhelm Wieprecht (see Clifford Bevan’s chapter, “A Brief History...

ACKNOWLEDGMENTS (1995)

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pp. xvii-xx

First and foremost, I am immensely grateful to my wife, Barbara, for all the support and help on this project and all the others I have engaged in over the past thirty years. Not only has she provided complete moral support and understanding but she has been the best of all possible English teachers. I only wish I could say that I have learned at least half of everything she has...

ACKNOWLEDGMENTS (1995)

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pp. xxi-xxii

When I was a student at the Peabody Conservatory back in the 1970s, my teacher David Bragunier suggested that I pick up a copy of the Tuba Music Guide [TMG] by R. Winston Morris. It quickly became a constant companion. Looking through it was like opening a time capsule. It was then one of the few sources for finding out about the heritage of the literature...

1. Music for Tuba and Keyboard

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pp. 1-149

It is staggering to realize that within the relatively short period between the first Tuba Source Book and this edition (roughly eleven years) there has been a considerable expansion in the output and number of composers writing for tuba and piano. This chapter lists over 3,000 works for tuba and piano, while the previous chapter contained 1,900. This degree of output in a little over a decade...

2. Music for Tuba and Band

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pp. 151-171

The primary goal of this chapter is to provide an updated list of compositions written for tuba and band. Not having been involved with the research for the first edition of The Tuba Source Book, I would like to congratulate Skip Gray for the exceptional job he did. When my mentor, Winston Morris, contacted me about joining the team for this publication as an assistant editor...

3. Music for Tuba and Orchestra

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pp. 173-187

The primary goal of this chapter is to provide an updated list of compositions written for tuba and orchestra. Not having been involved with the research for the first edition of The Tuba Source Book, I would like to congratulate Skip Gray for the exceptional job he did. When my mentor, Winston Morris, contacted me about joining the team for this publication as an assistant editor...

4. Music for Tuba in Mixed Ensemble

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pp. 189-216

The primary goal of this chapter is to provide an updated list of compositions written for tuba and mixed ensemble. Not having been involved with the research for the first edition of The Tuba Source Book, I would like to congratulate Skip Gray for the exceptional job he did. When my mentor, Winston Morris, contacted me about joining the team for this publication as an...

5. Music for Unaccompanied Tuba

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pp. 217-247

Countless times during my research of unaccompanied works for the Guide to the Tuba Repertoire: The New Tuba Source Book, I would uncover what I expected to be a work that could be added to the new listings, only to discover that Jeff Funderburk, editor for this chapter in the initial edition, had already located the piece and had written a concise, accurate, and helpful...

6. Music for Tuba and Electronic Media

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pp. 249-255

In his comments preceding the Tuba and Tape chapter from the first edition of The Tuba Source Book, editor Jeffrey Funderburk suggested that this chapter might be more accurately labeled (in future years) in such a way as to represent a wider range of playback formats (tape, compact disc, digital audio tape, etc.) as well as to incorporate the small number of works found employing...

7. Music for Multiple Tubas

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pp. 257-433

The published repertoire for multiple tubas has grown enormously over the past decade, and it may well be the fastest-growing genre of tuba-related literature. From fewer than 200 works listed in the Tuba Music Guide (Morris 1973), to just over 1,100 works in the Tuba Source Book (Morris and Goldstein 1996), this chapter contains almost 2,000 entries...

8. Methods and Studies

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pp. 435-461

As in the first edition, the primary goal of this chapter is the annotation of any method or study book composed specifically for the tuba. The only stipulation is that the work must be published, or at the very least, available for purchase from the composer. In the case of out of print material, the work must still be in circulation. Due...

9. Orchestral Excerpts

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pp. 463-476

As in the first edition, the primary goal of this chapter is the annotation of any excerpt collection compiled specifically for the tuba. The only stipulations are that the collection must be legal and available for purchase or, in the case of out of print works, still in circulation. Due to the scope of such an undertaking, it is understood that works may have been unintentionally omitted...

10. Discography

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pp. 477-614

The first time around was a great experience. The original Tuba Source Book staff (Jerry Young, Mark Nelson, Charlie McAdams, Skip Gray, Jeff Funderburk, and myself, along with Winston Morris and Ed Goldstein) was a team. In the beginning we all met together in one room to get things started. We knew it was a technology-driven project, so I had to master skills with word processing, databases, and e-mail. That last one...

APPENDIX

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pp. 615-636

EDITORS

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pp. 637-

INDEX

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pp. 639-662