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What’s on your stand for 2022? After many years, I’m revisiting the Bach Cello Suites. VERY challenging, but wonderful music. We know they are not easy (as you can hear), but well worth the effort. What do you have on tap for 2022?

Several new solos, orchestra excerpts, VG etudes, and Bach Cello suites

Doc wrote: ↑Fri Dec 31, 2021 3:54 pm What’s on your stand for 2022? After many years, I’m revisiting the Bach Cello Suites. VERY challenging, but wonderful music. We know they are not easy (as you can hear), but well worth the effort. What do you have on tap for 2022?

Doc, there is NOTHING crappy about your excellent performance. Congratulations. Your choice of music is, well, choice.

Ace

Ace wrote: ↑Fri Dec 31, 2021 5:18 pm

Doc wrote: ↑Fri Dec 31, 2021 3:54 pm What’s on your stand for 2022? After many years, I’m revisiting the Bach Cello Suites. VERY challenging, but wonderful music. We know they are not easy (as you can hear), but well worth the effort. What do you have on tap for 2022?

Doc, there is NOTHING crappy about your excellent performance. Congratulations. Your choice of music is, well, choice.

Ace

Thank you, Ace.

There is so much I can improve, but challenging music is great in that always offers opportunities for future improvement and refinement regardless of how nice (or crappy) the performance is today.

No doubt, the Bach cello suites are very challenging. I've recorded them several times over the past year and a half and I still haven't played them right You did great

Nice job

That's actually what's on my stand, too, though on my stand they get played an octave lower, on a BBb tuba. Making a little progress every once in a while, at a rate such that, if I am still in tuba playing condition in 20 years, I might be getting to the point where they sound like music.

‘ sorry…couldn’t resist…

Reflections on the Mississippi

I was asked to play this with two local groups back in 2019 for the Spring of 2020 and that never happened, of course. One of these two groups is planning to start back up with a full schedule this season and has contacted me about a date. The other is still not meeting at all. One is an orchestra and one a band, so getting to play this with both versions of the accompaniment will be a lot of fun. (Nope, not doing it with a pianist other than to work out the memorization.)

I'm still not sure that this will actually happen, but I will start working on it pretty soon, regardless, now that I have decided which horn I will use.

Doc wrote: ↑Fri Dec 31, 2021 3:54 pm What’s on your stand for 2022? After many years, I’m revisiting the Bach Cello Suites. VERY challenging, but wonderful music. We know they are not easy (as you can hear), but well worth the effort. What do you have on tap for 2022?

Nice work, Bill. Keep it up!

I have a few multi track recordings that I want to finish up now that I have a euph to play on. Various genres and styles. First one will be salvation is created hopefully in the next few days. After I finish them up, Im not sure.

the elephant wrote: ↑Sat Jan 01, 2022 7:52 am

Doc wrote: ↑Fri Dec 31, 2021 3:54 pm What’s on your stand for 2022? After many years, I’m revisiting the Bach Cello Suites. VERY challenging, but wonderful music. We know they are not easy (as you can hear), but well worth the effort. What do you have on tap for 2022?

Nice work, Bill. Keep it up!

And as you know, it is WORK. It’s like going to the gym.

In addition to the Arbans that never leaves my stand:

Hanson - Chorale and Alleluia
Copland - The Promise of LIving
Ticheli- Angels in the Architecture
Grainger - Children's March: Over the Hill and Far Away
Thomas - Our New Day Begun
Holst - 1st Suite in Eb
Hanssen - Valdres

Lots of fundamentals, and three pieces that are on my “someday” list;

Wagonsiel Concerto for Alto Trombone
Tom Davoren’s “Healing Power of Flame” for English Baritone
Roggen Concerto for Euphonium.


Now if I can only work less and get better at keeping all these doubles in shape.

the elephant wrote: ↑Sat Jan 01, 2022 7:51 am Reflections on the Mississippi

I was asked to play this with two local groups back in 2019 for the Spring of 2020 and that never happened, of course. One of these two groups is planning to start back up with a full schedule this season and has contacted me about a date. The other is still not meeting at all. One is an orchestra and one a band, so getting to play this with both versions of the accompaniment will be a lot of fun. (Nope, not doing it with a pianist other than to work out the memorization.)

I'm still not sure that this will actually happen, but I will start working on it pretty soon, regardless, now that I have decided which horn I will use.

Will any recordings be available?

My new-to-me euphonium came with a pair of mismatched (treble/bass) Amsden duet books, but as the new ones are so small, the print is tiny.
There probably is a century-old large one somewhere upstairs near the piano, but I’m not prompted to go get it - as those things are not a lot of fun to play without someone else.
I keep going back to Fink “Rhythmical Articulation” book (trombone/bassoon/cello range), because I’m not all that familiar with it, and I’m sick of looking at the three Rochut books.
I can mess around with my new-to-me euphonium playing that stuff, I can stretch myself a bit playing it on my F tuba, and I can play it an octave lower on my B-flat or C tubas…so it’s sort of a generic everything/anything book.
If I have a headache or I’m tired - I can look towards the front of the book, and - if I am peppy - I can look towards the back of the book.
I also keep Poulenc’s oboe sonata on the stand… just the regular published treble clef original version. … I play it on the F tuba, with B-flat below the staff being the equivalent of the lowest B-flat on the oboe. The scherzo movement gives me fits. (My daughter can play the hell out of it on the oboe.)
In a month or so, I’ll probably be mailed a big book of post-breakup Fab Four hits for a pops concert. I’ll probably cover all that on F cimbasso. Having worked with the same cover band before, I expect that book to be thick, and black with notes.

Casca Grossa wrote: ↑Sat Jan 01, 2022 4:22 pmWill any recordings be available?

These are community groups, so maybe. Probably the band. Not sure about the orchestra. And the dates might be in Spring of 2023 (part of the 22-23 season, of course, so being planned now.)

Thank you so much for posting this! Your playing is terrific!
My stand for 2022 will be:
Blazhevich
Meistersinger solo with accompaniment
Tyrrell

Bill, other than the solo, what I usually have on my stand will be changing this year. I will be doing more Max Schlossberg and Theo Charlier. I have had these books for decades and have only used them for a few specific things. I decided I want to learn more of this stuff. I also want to explore Arban a little more.

I bought an Eb tuba a few months ago, and after taxing my elderly brain alternating between it and my euphonium, I decided to dig into my cornet roots and start playing euphonium in treble clef. One of my online mentors has said that treble is a natural fit for euphonium scoring, and pairs nicely with Eb tuba doubling.

So, I have begun transposing a lot of my software-based scores for treble. I use Musescore and can produce a treble version in less than a minute. I have a lot of the Bordogni etudes in that format, among other stuff. Reading the treble score, while allowing muscle-memory to kick in from playing the same pieces in bass clef, has made it a pretty smooth process.

My computer sits literally 3 feet from my music stand, so most of the time, I just sit in front of the computer to play. I even do this with the tuba, since it is an old 3/4 model, barely larger than my euphonium.

So, I guess I have dust on my stand.