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The Evolution of the Tuba Quartet and Its Repertoire Bradley Bryant Boone Louisiana State University and Agricultural and Mechanical College, [email protected]

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The Evolution of the Tuba Quartet and Its Repertoire Bradley Bryant Boone Louisiana State University and Agricultural and Mechanical College, Bradleybboone@Gmail.Com Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 The evolution of the tuba quartet and its repertoire Bradley Bryant Boone Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Boone, Bradley Bryant, "The ve olution of the tuba quartet and its repertoire" (2011). LSU Doctoral Dissertations. 377. https://digitalcommons.lsu.edu/gradschool_dissertations/377 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE EVOLUTION OF THE TUBA QUARTET AND ITS REPERTOIRE A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bradley Bryant Boone B.M.E., Stetson University, 2002 M.M., Louisiana State University, 2005 December 2011 © Copyright 2011 Bradley Bryant Boone All rights reserved ii ACKNOWLEDGEMENTS I am deeply indebted to my entire committee for their patience, support, and guidance throughout this process. I owe a special debt of gratitude to Dr. Joseph Skillen, my mentor and advisor, for his direction and commitment to this document. I am most appreciative of the outstanding work of R. Winston Morris, Daniel Perantoni, Kenyon Wilson, and Charles McAdams. Without their steadfast dedication to cataloging the repertoire of the tuba quartet in Guide to the Tuba Repertoire: The New Tuba Source Book, a document of this scope would be impractical. I would like to thank all of the teachers who have instilled a love of music and education in me from the beginning of my musical studies: Kenneth Watkins, Michael Zion, Jill Sheldrake, Chris Mallory, Michael Jones, David A. Schmidt, Bobby Adams, and Frank Wickes. Finally, I would like to thank my family for their continued support and motivation: Richard and Earlene Boone, Jane and Nicholas Clark, and Rosemary Simpson. Rosemary, I am doubly indebted to you – for your assistance editing this monograph and, more importantly, your incredible daughter, Liz. I would be remiss if I neglected to recognize my wife, Liz, for her patience while I have worked on this degree. Liz, without your advice, criticism, and support, this document would never have been completed. iii TABLE OF CONTENTS Acknowledgements................................................................................................... iii List of Tables............................................................................................................. vi List of Figures............................................................................................................ viii Abstract..................................................................................................................... x Introduction................................................................................................................ 1 Chapter One: A Brief History of the Tuba Family......................................................... 9 Two: The Importance of Chamber Ensembles in Western Music.................. 19 Three: A Brief History of Tuba Ensembles..................................................... 26 Four: Overview of Tuba Quartet Repertoire................................................... 43 Five: An Annotated Examination of Selected Representative Works for Tuba Quartet........................................................................................ 54 Six: Conclusions............................................................................................. 98 References................................................................................................................ 103 Appendix A: Permission for Copyright Letter.................................................................. 109 B: Copyright Permissions............................................................................... 112 C: Pedagogical Suggestions.......................................................................... 142 D: Performance Opportunities........................................................................ 152 E: Tuba Quartets Founded After 1970........................................................... 158 F: Discography............................................................................................... 165 G: Publisher, Distributor, and Composer Contact Information....................... 221 H-1: Catalog of Tuba Quartets – Publication Information............................... 239 iv H-2: Catalog of Tuba Quartets – Performance Information............................ 294 H-3: Catalog of Tuba Quartets by Title........................................................... 372 Vita............................................................................................................................ 427 v LIST OF TABLES 1. The four major international brass instrument associations............................... 36 2. Top ten composers of original or arranged works for tuba quartet..................... 44 3. Most prolific tuba quartet arrangers.................................................................... 46 4. Prominent publishers of tuba quartets................................................................ 47 5. Number of tuba quartet publications from 1950 through 2004........................... 48 6. Tuba quartets published by decade through 2000............................................. 50 7. Difficulty level guidelines.................................................................................... 50 8. Difficulty level ratings assigned by McAdams and Wilson.................................. 51 9. Representative tuba quartet repertoire............................................................... 55 10. C.P.E. Bach, Solfeggietto................................................................................. 56 11. J.S. Bach, “Air on the G String”........................................................................ 57 12. J.S. Bach, Bist du bei mir................................................................................. 59 13. J.S. Bach, Contrapunctus IX............................................................................ 61 14. A. Bruckner, “Three Bruckner Motets”.............................................................. 63 15. M. Forbes, Consequences............................................................................... 65 16. G. Gabrieli, Canzona per sonare No. 2............................................................ 69 17. C. Gates, Tuba Quartet, Op. 59....................................................................... 71 18. T.R. George, Tubamobile................................................................................. 73 19. S. Joplin, Elite Syncopations............................................................................ 75 20. K.L. King, The Melody Shop............................................................................. 78 21. W.A. Mozart, Eine Klein [sic] Tuba Musik........................................................ 80 vi 22. J. Primrose, St. James Infirmary...................................................................... 81 23. W. Renwick, Dance.......................................................................................... 83 24. J.P. Sousa, El Capitan..................................................................................... 85 25. J.P. Sousa, The Stars and Stripes Forever...................................................... 87 26. J. Stevens, Benediction.................................................................................... 88 27. J. Stevens, Manhattan Suite............................................................................ 90 28. J. Stevens, Power............................................................................................ 94 29. R. Wagner, Elsa’s Procession to the Cathedral............................................... 96 vii LIST OF FIGURES 1. Octave designation............................................................................................. 8 2. Military serpent................................................................................................... 10 3. Ophicleide.......................................................................................................... 11 4. Range comparison of saxophone and tuba quartets at pitch............................. 24 5. Chopin, Mazurka Op. 68, No. 2.......................................................................... 30 6. C.P.E. Bach, arr. F.C. Roberts, Solfeggietto, Rehearsal D-end, Allegro............ 57 7. J.S. Bach, arr. J.D. Goble, “Air on the G String” from Orchestral Suite No. 3, mm. 17-end................................................................................................ 59 8. J.S. Bach, arr. D.R. Werden, Bist du bei mir (BWV 508), m. 14-rehearsal A..... 60 9. Alternate Scoring of Bist du bei mir.................................................................... 61 10. J.S. Bach, arr. P. Rauch, “Contrapunctus IX,” mm. 89-98............................... 62 11. “Contrapunctus IX,” two fugue subjects..........................................................
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