In lieu of an abstract, here is a brief excerpt of the content:

Introductory Remarks (July 2005): David D. Graves 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, though every effort has been made to avoid such omission. The stated price reflects the most upto -date information at the time of this chapter’s preparation. Due to the limited availability of review materials, bibliographical information for some collections may be missing or incomplete. Furthermore, with the current rate of technological development, particularly with regard to printed media, it is worth noting that many of the more comprehensive excerpt collections are now in electronic format. Also, many of the once-obscure orchestral LPs have now been re-released as compact discs. Subsequently, the personal computer and CD player have earned a place alongside the metronome and tuner as valuable tools in the thorough study of orchestral repertoire. Thanks are extended to the following, for their invaluable assistance in the completion of this chapter: • Jerry Young—an extraordinary scholar, musician and mentor—for his guidance in the first edition and his trust in my abilities with the second edition • Linda Stewart—administrative assistant in the Baylor University School of Music—for addressing and mailing approximately four hundred letters, resulting in the availability of review materials for this chapter • Colin Campbell—an outstanding young tubist and overall nice guy—for spending many hours on the phone, thereby ensuring the accuracy of much of the information contained in this chapter • The many composers and publishers who provided review materials for this chapter • Winston Morris—editorial genius and grandfather of tubadom—for his infinite patience and flexible deadlines • Denise, Andrea, Evan, and Jeremy Graves— my family—for their love, support, and understanding , particularly while I have been confined to the Tuba Source Book room (formerly known as the laundry room) of our house. Perhaps now we can locate the missing laundry. Introductory Remarks (July 1995): Jerry A. Young and David D. Graves The study of orchestral repertoire consumes a considerable portion of the serious tubist’s practice time. In addition to the Albums of Orchestra Parts published by Kalmus, numerous publishers have created publications that furnish either entire parts or important passages for the tubist. Many contain specific pedagogical and interpretational information and suggestions. Although the bulk of the literature for tuba in this area has been produced since the late 1940s, such materials for tuba have existed since the latter part of the nineteenth century. Special thanks are extended to Eugene Pokorny of the Chicago Symphony Orchestra, Ronald Bishop of the Cleveland Orchestra, and Douglas Yeo of the Boston Symphony Orchestra for their assistance in obtaining some of the more difficult-to-locate orchestral study texts. Thanks are also due to several TSB international consultants for providing information about publications from their respective parts of the world. In addition, special thanks go to the University of Wisconsin–Eau Claire School of Graduate Study and Research, Dr. Ronald Satz, Dean; and the 9. Orchestral Excerpts David D. Graves, Assistant Editor, Guide to the Tuba Repertoire: The New Tuba Source Book Jerry A. Young, Assistant Editor, and David D. Graves, Editorial Assistant, The Tuba Source Book 464 G U I D E T O T H E T U B A R E P E R T O I R E Department of Music, Dr. David Baker, Chair. Because of their generous support, Mr. David Graves was able to assist with the research for and preparation of this portion of The Tuba Source Book. General comments regarding this annotated bibliography: 1) The goal for this chapter was to determine the availability of published orchestral excerpts for the tuba. When it was determined that a given work was out of print, this was indicated in the bibliographic information presented. However, lack of an “out of print” notation does not guarantee that the given item is indeed available. 2) The prices given indicate the most recent price for each piece. In the case of out of print material or where no other source was available, the cover price is listed with the assumption that this information might be of interest. Since every publisher did not furnish...

Share