SCHNIBBLES for Two by Brad Carman 101 Easy Practice Duets TUBA Two-Part Etudes for the Development of Skill, Awareness, and Confidence. Designed for Full-Band Settings, Small Group Instruction, Private Lessons, and Home Learning. SCHNIBBLES for Two 101 Easy Practice Duets for Tuba Brad Carman Dedicated to one of my earliest music teachers, Gerald Mattern, who's love for life and music was profound and infectious. He taught us that there is joy and beauty everywhere, and at an early age introduced me to the simple pleasure of reading duets with a good friend. Share the light on the other side, Big Jammer! 2 SCHNIBBLES for Two The word schnibble is a term that means "a little piece of something" - something little that can be tinkered or fiddled with or eventually built upon. I feel that the best way to describe this book is as a collection of schnibbles. This collection of duets sets out to expose young players to a broad range of musical situations and challenges but without pushing beyond what most first- and second-year players can manage, (with some practice and a little guidance). These duets are very short and focused, with limited range and rhythms that do not extend beyond eighth-note subdivision. Care has been taken to approach contrary motion and independent rhythms in a way that builds skill, awareness, and confidence. There ARE challenges, but most will be easily overcome. Designed for maximum accessibility, the collection introduces many intermediate concepts, (such as 3/8 and 5/4 time, syncopation and "jazzy" rhythms, whole-tone harmony, etc.), but in a way a beginner can digest them. Throughout, students are encouraged to begin thinking beyond the ink by experimenting with articulations, dynamics, and tempo to create their own musical interpretations. My hope is that students (and their teachers) will find this collection to be a practical tool that can be used to reinforce basic skills and musical concepts, but also an entertaining way for students to build confidence and expand their musical horizons. Feel free to play through the collection in order or skip around as desired to coordinate with a band method, learning sequence, or simply to explore. All books are compatible with one another for use in a full-band setting or so friends can pair up regardless of their instrument. Enjoy! -Brad Carman Brad Carman earned his degree in Music Education from the University of Wisconsin-Madison and has taught instrumental music at the college, high school, and middle levels, and maintains an active private studio. He has performed in wind ensembles, jazz ensembles, rock bands, music theater "pit" orchestras, and numerous chamber ensembles, and works frequently as a clinician, guest conductor, and as an education consultant, specializing in musical creativity in all genres and at all levels through composition, improvisation, and inspired musical interpretation. SCHNIBBLES for Two 3 A few suggestions for all players (and teachers): BEGINNERS (2nd semester of Band Class or equivalent): Start at the beginning of the collection and play everything with a very big sound, and a very steady, sturdy (slow) tempo. As you progress through the book, try to figure things out on your own, (look up fingerings or positions, clap and count rhythms, etc.), but don't hesitate to ask for help or for a demonstration from a teacher or more experienced musician when things seem confusing. Pairing tuba with trombone, bassoon, baritone, or euphonium is highly recommended to avoid muddy harmonies created by two tubas. EARLY INTERMEDIATE PLAYERS (Most 2nd and 3rd year players): Play everything more than once. FIRST, sight-read. Pick a modest tempo and stick to it. Do not stop for mistakes when sight reading. SECOND, identify and fix as many mistakes as you can and add stylistic elements to the music when there are none, (dynamics, articulations, etc.), and try things faster or slower. LATER INTERMDIATE/EARLY ADVANCED PLAYERS: The sky is the limit! Read things in cut-time, transpose, embellish with trills and other ornaments, play things up or down an octave, or flex your creative muscles and extend any one of these duets by composing additional measures in the same style. Review often, but always feel free to try different things each time. To ALL PLAYERS: PLAY BOTH PARTS! Being part of an ensemble means being able to play a melody confidently when you have it, but also being able to play a supportive role by playing in tune and in time, by playing with good blend and balance, by matching articulations and dynamics, and by bringing out your part when the music calls for it. The "bottom parts" are, in many ways, the more challenging of the two parts; a challenge that should not be avoided. HAVE FUN! It is possible to be serious and have a good time. Never be afraid to have a laugh. Beginners: Play with a BIG SOUND and a STEADY, STURDY TEMPO! Suggested tempo* q = 72 (+/-) Brad Carman °? 4 Œ Œ 4 ˙ ˙ ˙™ 1 ˙ œbœ ˙ œbœ b˙ ˙ ˙ ˙ b˙ ˙ ˙™ ? 4 Œ Œ ¢ 4 b˙ œ œ ˙ ˙ b˙ œ œ ˙™ ˙ b˙ ˙ b˙ ˙ b˙ ˙™ °? Œ Œ ˙ ˙ œ œ b˙ ˙ ˙ œ œ b˙™ b˙ ˙ ˙ ˙ bœ œ b˙™ ? Œ Œ ¢ ˙ œbœ ˙ ˙ ˙ œbœ ˙™ ˙ ˙ b˙ ˙ b˙ œ œ b˙™ *All tempo markings are merely a suggested starting point. Feel free to go faster or slower to meet your needs and fit your preferences, or simply to try things a different way. Any tempo is ok as long as you can stay together. Copyright © 2017 Brad Carman. All Rights Reserved. 4 SCHNIBBLES for Two - Tuba - Brad Carman Musical Uniformity = Sameness of Style As you play, listen to the sounds you are making together. Are the two parts balanced? In other words, are you both playing at about the same volume? Are all of the notes the same length, and played with the same kind of articulation? Sometimes it's difficult to tell, so ask a teacher or a more experienced player to listen to you, or even record yourselves and listen back to see how well you match each other. °? 4 Œ Œ Œ 4 ˙ œ œ œ œ œ 2 bœ ˙™ bœ ˙™ b˙ œ œ ˙ b˙ ˙ bœ ˙™ ? 4 Œ Œ Œ ¢ 4 ˙ œ œ b˙™ œ œ œ œ b˙™ ˙ bœ œ ˙ ˙ b˙ œ œ b˙™ Three-Quarter Time (3/4) Duets 3 and 4 are in Three-Four time. Be sure to count off in 3. For beginners, try it this way: "One, Two, Three, One, Two ----" (Breathe where "Three" would be.) °? 3 4 b˙™ 3 ˙ œ ˙™ ˙ œ ˙ œ ˙ œ ˙ œ ˙™ ? 3 ¢ 4 b˙ œ ˙™ b˙ œ ˙™ b˙ œ ˙ œ b˙ œ b˙™ ° 3 ? 4 4 ˙ œ ˙ œ ˙ bœ ˙™ ˙ bœ ˙ bœ œ œbœ ˙™ ? 3 ¢ 4 b˙ œ b˙ œ b˙ œ b˙™ b˙ œ b˙ œ bœ œ œ b˙™ Intermediate players (and their teachers): Remember to PLAY BOTH PARTS (or at least switch parts for each new duet). Also, challenge yourselves by adding articulations, dynamics, and other stylistic elements to make the music more interesting to play and to listen to. Doing this is called musical interpretation, and is an important factor to becoming a more skilled and imaginative musician. If you have a difficult time thinking of what to do, start with opposites: slurs/tongue, loud/soft. SCHNIBBLES for Two - Tuba - Brad Carman 5 3/4 time is sometimes called Waltz-Time. A Waltz is a kind of a dance, and probably something you're already familiar with. Search "waltz" on the internet and see what you get. Sometimes watching dancers can make certain rhythms and grooves make more sense; and more fun to play! ° 3 ? 4 5 ˙ œ bœ œ œ ˙™ ˙™ ˙ œ bœ œ œ ˙™ ˙™ ? 3 ¢ 4 ˙ œ œ œ œ b˙™ ˙™ ˙ œ œ œ œ b˙™ ˙™ °? ˙ œ bœ œ œ œ œ œ ˙™ bœ œ œ bœ œ œ ˙™ ˙™ ? ¢ ˙ œ œ œ œ bœ œ œ ˙™ œ bœ œ œ bœ œ b˙™ ˙™ Syncopation q h q The rhythm in measures 1, 3, 5, and 7 of Duet 5 (q h q) is an example of Syncopation. See if you can put a little extra weight on beat 2 in each of those measures. The musical term for adding weight or emphasis is accent and is marked with this symbol: > °? 4 4 b˙ b˙ bœ ˙ œ ˙ b˙ bœ 6 œ >˙ œ ˙ œ >˙ œ ˙ > œ >˙ w 41 ? 4 ¢ ˙ ˙ œ ˙ œ ˙ ˙ œ bœ >˙ œ b˙ bœ >˙ œ b˙ > bœ >˙ bw The Beat Goes On Be sure each half-note lasts two full beats then stops. In measures 1-2 and 4-6, the sound stops and the silence begins right on beat 3. It might be worth having each partner play their part while the other counts and claps. Remember: Even when the sound stops, the steady beat keeps going during the rests! ° 4 ? 4 Ó Ó Œ Œ Ó Ó Ó Œ Œ Œ Œ ˙ b˙ œ bœ ˙ ˙ b˙ œ bœ œ œ 7 1-2 (3-4) ? 4 Ó Ó Œ Œ Ó Ó Ó Œ Œ Œ Œ ¢ 4 b˙ ˙ bœ œ ˙ b˙ ˙ bœ œ bœ œ 6 SCHNIBBLES for Two - Tuba - Brad Carman 3/4 & 3/8 ; Counting Twins Be sure to count carefully through measures 7 and 8. Make the note in measure 7 end exactly on beat 1 of measure 8. Also, don't rush through the counting in measure 8. Keep a steady tempo and be patient. Silence is an important part of music. Don't skip over it! ° 3 ? 4 ∑ ˙ œ ˙™ ˙ bœ ˙™ œ œ bœ œ œ œ ˙™ 8 1 - 2 - 3 ? 3 ∑ ¢ 4 b˙ œ b˙™ ˙ œ b˙™ œ bœ œ bœ œ œ ˙™ °? ∑ ˙ œ ˙ œ b˙™ ˙ bœ ™ bœ œ bœ œ œ b˙™ ? ∑ ¢ ˙ bœ ˙™ b˙ œ ˙™ œ œ bœ œ bœ œ b˙™ Duet 9 is written in 3/8 time, which is just a different way of writing 3/4.