«BETWEEN TUBAS and EUPHONIUMS…DAVE EARLL»

Before moving to New York from Wisconsin, I served as the first-call substitute tubist with the Dubuque Symphony Orchestra for 5 years – some of my favorite times with them included their outreach and educational concerts for children and students.  During this time, I was also a member of the Tallgrass Brass Band and played CC tuba in their contrabass tuba section.

While I lived in Arizona I had the pleasure of performing in the tuba section with the Tempe Symphonic Wind Ensemble, and with the Salt River Brass Band (in both the bass tuba and contrabass tuba sections on F and CC tuba).

• Metal & Chamber Ensembles:

Chamber music is my favorite way to express myself as a musician.  My biggest ongoing chamber collaboration is a duo with the phenomenal Norwegian Euphonium freelancer, Bente Illevold.  We started this international collaboration called The Northern Lights Duo after meeting at the AETYB Festival Madrid in 2018, and have roughly 2-3 tours with multiple performances and masterclasses each year.  

So far, the Northern Lights Duo has made appearances in the United States, Norway, and Spain and you can see one of our recent collaborative videos here: https://youtu.be/kXwG7FWMfVg.  

I have been part of one other international collaboration as well with the outstanding saxhorn players of Opus 333 (Vianney Desplantes, Patrick Wibart, Corentin Morvan, and Jean Daufresne) which we call The International Willson Low Brass Quintet, which has performed in France and Spain over the last several years featuring new music for 4 saxhorns and tuba.

My local chamber collaborations include two brass quintets.  I joined the Ithaca Brass when I became the Professor of Tuba/Euphonium at Ithaca College – this brass quintet focuses on bringing music to students throughout the Northeastern United States and also plays often at events at Ithaca College and Cornell University.  After joining the Cayuga Chamber Orchestra, I also became a member of the Cayuga Chamber Orchestra Brass Quintet which performs throughout the Finger Lakes region of New York.

When I lived in Wisconsin, I had two large chamber music projects that I performed regularly with for roughly 5 years.  While I taught at the University of Wisconsin-Platteville, I was a member of their resident faculty chamber group called Ensemble Nouveau.  This unique sextet included the following instruments: trumpet, clarinet, saxophone, horn, tuba, and percussion.  Ensemble Nouveau performed often throughout Wisconsin, Iowa, Illinois, and Minnesota featuring an eclectic and diverse repertoire.  

I also collaborated with Dr. Samantha Keehn, an excellent trombonist who teaches Trombone, Euphonium, and Tuba at Augustana College in Rock Island, Illinois in a duo called Sam & Dave’s Brass Extravaganza.  This duo toured regularly throughout the United States and had one extended tour in Germany featuring music for trombone, tuba, and multimedia (including electronic sounds, video, and images).

Before my work in Wisconsin, I also performed as a substitute tubist with Phoenix Chamber Brass (Arizona), the Sonoran Brass Quintet (Arizona), the Nautilus Brass Quintet (Massachusetts), and served as an interim tubist with the University of South Dakota Faculty Brass Quintet.

With the great «Opus 333 Saxhorn Quartet»

• Solo concerts:

Generally speaking, I try to perform 2 or more solo tours in the United States and 1 international solo or chamber music tour each year.  I’ve been very lucky to perform as a soloist throughout the United States (with most of my appearances in the Midwest, South, Southwest, Southeast, and Northeast.  

Most of my solo appearances have been in collaboration with universities and colleges so that I can also work with students during my travels.  As an international solo artist, I have had the pleasure of appearing in: Norway, Spain, Germany, The Netherlands, Austria, Switzerland, France, and Hong Kong. 

I absolutely love traveling to perform, to make new amazing friends in the tuba/euphonium community, and to learn about the amazing traditions of performance and pedagogy with each new place that I visit.

In the upcoming years, my aim is to perform more often as a soloist with wind bands and orchestras.  

I recently had the pleasure of performing the Donald Grantham Tuba Concerto with Ithaca College Wind Symphony (you can see a video of this performance here: https://youtu.be/t6Ru43j4MIw), and have also appeared with as a soloist with: the University of Wisconsin-Platteville Wind Ensemble, The University of South Dakota Wind Ensemble, the Low Brass Summit 2017 Wind Ensemble, and numerous community wind bands.

• Which uses warm-up exercises?

I like to incorporate many breathing exercises (taken from Sam Pilafian & Patrick Sheridan’s “The Breathing Gym,” Arnold Jacobs’ exercises, and more) as part of my warm-up and daily routine – this helps me to feel in control and steady as a player.  From there, I draw on a number of different playing exercises.  My favorites come from The Brass Gym (compiled and written by Sam Pilafian & Patrick Sheridan), but I also borrow some from Chris Olka, Arnold Jacobs, Emory Remington, and some of my own design (especially exercises in arpeggios and slurs over wide intervals).

Trying other topics of interest.

Here in Spain, in some centers it is considered that the Bombardino, is an instrument that should have its own specialization and, on the other hand, some believe that, as an instrumentalist, one must know and master the tuba and euphonium.

• Could you give us your opinion on this and how would address this issue in the interests of education and training adapted to the necessary expertise required today?

I think that it is very difficult to be a world class performer on more than one instrument – I often encourage my students that are interested in playing both the tuba and euphonium at a very high level to start by focusing their practice on one instrument.  After they have achieved a high level of ability on one, then I encourage them to approach the secondary instrument while relying on the strength they developed on their primary.  I believe that this primary/secondary instrument approach allows for my students to focus and grow quickly as young musicians without spreading themselves too thin in the pursuit of two separate instruments at the same time.

Personally, I think of myself as a tuba specialist.  I will sometimes model on euphonium for my students in lessons, but I rarely perform on euphonium.  My passion is in the tuba, and I only encourage my students to pursue both euphonium and tuba to high level if that is in line with their career aspirations and long-term goals.  I think that those rare musicians who achieve a level of mastery on both tuba and euphonium are amazing and would love to learn more about the methods that they use to maintain both instruments at such a high level!

Let’s talk about your teaching experience:

• Tell us what learning centers you have taught (full-time professor, visiting professor, courses, lectures, etc.)

I teach as the Full-Time Professor of Tuba/Euphonium at Ithaca College, which is in Ithaca, New York, in the United States.  I have held this position for 2 years, and I teach all tuba and euphonium lessons, some brass chamber music, and a special course on breathing for wind players and singers.  I teach both students in their Bachelors and Masters Degree here at Ithaca College.

Before moving to New York, I taught for 5 years as a Full-Time Professor of Tuba, Euphonium, and  Trombone at the University of Wisconsin-Platteville.  During my time there, I taught all of the tuba, euphonium, and trombone lessons, courses on music history and world music, courses on music technology, coached brass chamber music, and also conducted a brass band.

• How do you organize your classes and the subject in general?

While each student has their own individual trajectory, I have developed a rough 4-year course of study for my Bachelors students on both euphonium and tuba.  This course of study includes expectations for scales and modes, standard solos (sonatas, concertos, transcriptions, and unaccompanied works) and is designed to prepare students for an audition for a Master’s degree in performance.

When I teach chamber music, each session is tailored to fit the group that I am working with.  I focus on communication and fundamentals with younger groups, and with more advanced groups I work on musicianship, expression, and ensemble techniques.

• How long are your classes?

Each of my students have an individual lesson with me for one hour every week during the school year.  In addition to these lessons, my studio comes together for one hour each week for a studio class where we discuss special tuba/euphonium topics, host guest artists, and allow for my students to perform for each other on a regular basis.

• Do you think it is important that students make public appearances during his years of training? If so, recommend how many times it deems appropriate and what age or course. Elementary, vocational, higher?

I think that performing in public from early in a student’s development is so important.  As a musician, it is important to share what you are creating with other people and grow from the experience of performing.  I find that many students come to me with a great deal of performance anxiety/fear, and this can only be improved by practicing the art of performance in public.  I have found that regular performances in our Tuba/Euphonium Studio Class helps with this, and I often encourage my students to offer more recitals than are required by their degree as well.

• Is there another teacher with your same specialty in the center where you teach?

I am the only tuba/euphonium professor at Ithaca College.  I am often able to offer one of my Master’s students a special scholarship called a graduate teaching assistantship which allows for them to assist me with teaching some of the tuba/euphonium-related music education classes here.

An important part of the course curriculum is standardized and is based on the idea that students master the repertoire alone, sometimes to the detriment of the repertoire of large groups (Orchestra and Band), when in fact, most students Tuba and euphonium will be teachers and / or members of a band and, to a lesser extent, of an orchestra in the case of Tubas.

• In your opinion, how should this problem be addressed? How important do you think is include learning and mastery of the orchestral repertoire as part of the curriculum of the course?

I believe that the best music teachers (whether they teach lessons, band, orchestra, or any other music) are also phenomenal musicians – so I believe that these areas of study walk hand-in-hand.  The focus of my lessons is primarily in building: musical fundamentals, musicality through etudes and solos, technique through etudes, solos, and orchestral/band excerpts, and consistency through orchestral/band excerpts and scales/arpeggios.

As a teacher, it is important for my students to be multi-faceted performers.  I expect my students to be excellent ensemble players, fine solo musicians, and to be creative as they approach new music.  This wide base of skills helps to serve them whether they go on to be performers, educators, sound recording technicians, composers/arrangers, or into even more options in the music profession.

• Tell us what is the admission process to access your learning center:

Prospective students apply to Ithaca College in addition to their application to the School of Music.  Their first application is reviewed by the College, which reviews their grade point average and some major test scores.  After this application, students must also prepare for their audition for my Tuba/Euphonium studio.  

This audition is 10 minutes for students applying for their Bachelor’s Degree and 20 minutes for students applying for their Master’s Degree which includes solo literature, orchestral/band excerpts, etudes, and scales.  In addition to this audition, students also take a placement exam for music theory/aural skills.  

Depending on which degree program a student is interested in (like: Music Education, Sound Recording Technology, Composition, etc) they will also have an interview with the area to which they are applying.

• What it is required repertoire in the entrance exam?

For Tuba, Bachelors and Masters: 

For Euphonium, Bachelors and Masters: 

From Bachelors applicants, I want to hear this at minimum:

-One complete solo with both lyrical and technical sections.

-One lyrical or one technical etude.

-Major and Harmonic Minor Scales.

From Masters applicants, I want to hear this at minimum:

-At least 2 contrasting solos (from different historical periods)

-3-5 Standard orchestral or band excerpts

• Do you suggest any particular repertoire?

Yes, I have a recommended list of repertoire in each of these links above – but students are welcome to bring in other solos of a similar difficulty or more advanced level.  I encourage students to contact me about their repertoire selections if they are not on the list that I have created to help them prepare for their auditions. 

• How many works are required and in what format (solo, with piano, studies, etc.)?

No piano accompaniment is required for either Bachelors or Masters applicants for my studio.  The number and format of works is determined by the level and length of the audition (10 minutes for Bachelors and 20 minutes for Masters).  

• Is there a mandatory piece? If so, what is it?

There is no mandatory piece for entrance into my studio.

• Approximately how long is the exam?

Our auditions are either 10 or 20 minutes.  In addition to this, Bachelors students take a Music Theory/Aural Skills exam which takes roughly 15 minutes.  Depending on their intended degree, they will also have an additional interview (with Music Education, Music Composition, or Sound Recording Technology faculty) that will take 10-20 minutes.

• What aspects you value most in deciding? ¿Musicality, intonation, rhythm, …?

I look for students that have an excellent concept of sound and a developed sense of musicality.  I also encourage many of the students who come to audition for me to have a sample lesson with me, and I am always more interested in students who are inquisitive and open to trying new ideas in their practice.

• If I had to choose (in a hypothetical situation), would preferably between student Tuba Euphonium or one?

Generally, my studio will have between 13 and 15 students and I like to have a relatively even split of euphonium and tubas.  My “perfect” number would be 7 Euphoniums and 8 Tubas.  When I have to make a choice, it will always be dependent on how many openings due to graduations that I will have in my studio.

About their work during the course.

• What kind of repertoire you work primarily with your students? Solo, with piano accompaniment, chamber music, ….?

Solos with piano or chamber accompaniment, unaccompanied solos, lyrical and technical etudes, orchestral/band excerpts, chamber music, and fundamentals.

«The Northern Lights Duo» with Bente Illevold.

• What format is examining LIMIT? Solo concert, piano recital …?

At the end of each semester, my students perform a jury/final performance exam for all of the Brass Faculty at Ithaca College.  Typically, this jury involves a large-scale solo or a collection of orchestral excerpts.  In their first years, my students are also asked to play scales from memory in this jury.  In the semesters when my students perform a full recital they are not required to also perform a jury – but also must have another member of the brass faculty grade their recital in addition to me.

• Does the student selects the works to play? or they are chosen by the teacher?

As we start each semester, I offer each of my students between 3 and 5 different solos for my students to try out.  From these initial solos, my students select 1 or 2 to focus on throughout the semester.   So, I feel that both of us collaborate together to come to a choice when it comes to solo repertoire. Generally, I also assign 1 technical and 1 lyrical etude for my students to work on each week (these are taken from many different books, but some of my favorites are: Arban’s Complete Method, Bordogni Vocalises, Blazevich 70 Studies/Advanced Musical Etudes, and Snedecor Low Etudes).  As they approach their 2^nd and 3^rd years of their Bachelor’s degree, I begin to exchange those etudes for excerpts.

When students prepare for their recitals, we often have a lot of discussion about what pieces should be prepared.  There must always be some representations of standard literature in my student’s recitals and I also expect them to have one chamber music selection.

My Master’s students have a little bit more flexibility in their repertoire selections – but I often encourage them to focus on developing a very high level of artistry on their instrument in preparation for upcoming auditions or ongoing study.  Generally, my graduate students will be studying several challenging selections of solo literature while also working on a rotation of standard orchestral/band excerpts.

• Is there any work it deems mandatory? If so, what?

While I don’t have any mandatory solo requirements, most of my bachelor’s students will perform most of the following works before they graduate:

Tuba:

-Gregson Tuba Concerto

-Hindemith Tuba Sonata

-Vaughan Williams Concerto for Bass Tuba

-Stevens Triumph of the Demon Gods

-Broughton Sonata

-Wilhelm Concertino for Tuba

-Penderecki Capriccio

Euphonium:

-DeLuca Beautiful Colorado

-Capuzzi Andante & Rondo

-Bellstedt Napoli Variations

-Gordon Jacob Fantasia

-Horovitz Concerto

-Boccalari Fantasia di Concerto

-Gillingham Blue Lake Fantasies

-Cosma Concerto

SPEAKING OF TECHNICAL ISSUES:

• Could you give us your opinion about different concepts of sound and what characteristics define, articulation, types of instruments, literature, if the influence of language and musical tradition in sound and way of playing is considered important ?

Having a full and resonant sound is very important – but I think that there is room for many interpretations of a great sound throughout the world.  I encourage my students to aim for a rich and ringing sound on both euphonium and tuba, and often work on placement of the tongue and jaw in order to find their sound concept.  Ultimately, our core sound is a very individual concept and I encourage my students to explore and model their ultimate sound after some of their favorite players.

I think that having a large tool box of different articulations and playing styles is very important – ensemble playing requires a different sort of articulation than solo playing, and playing in different styles of music (orchestral, jazz, transcriptions, unaccompanied, with piano) requires unique and controlled approaches.

I am a huge advocate for each student trying a large selection of different professional-quality instruments before choosing their horn.  Everyone’s face, tongue, mind, and playing is different, and we each need different instruments and equipment to make our jobs a bit easier as players.  There is no “one-size-fits-all” when it comes to horns and mouthpieces.

I think that it is very easy for us to get stuck with certain standard literature as we continue to teach, so I am so grateful that I have had the opportunity to travel internationally and learn about so many other new (to me!) selections and literature that I can share with my students or even perform myself!

This last question about the influence of language on musical tradition and sound is a phenomenal topic as a brass player.  The placement of our tongue, jaw, and openness of our throats plays have an enormous impact on our playing – and our native language changes all of these factors immensely.  

I love to hear the differences in sound concepts as I travel, and think that each of these contributes another very important facet to the diversity and international variety of tuba playing.  In my teaching, I spend quite a bit of time working with the different regional dialects of American English to help students gain a better understanding of their tongues and how to control their sounds.  

• Tell us a bit about the manufacture of Tubas and / or Euphoniums and mouthpieces and tell us about your experiences and tastes of a particular manufacturer and why?

I’ve touched on this a little bit earlier, but I believe that each person will be drawn to different mouthpieces based on their needs as a player.  Generally, I start off my students with some of the following mouthpiece options:

Tuba: Conn Helleberg, Schilke 66, Roger Bobo Symphonic, PT-50

Euphonium: Schilke 51D, Steven Mead (or Ultra) 4, Brian Bowman 1

I have found that most of these mouthpieces are relatively in the middle of the available options for students.  After some experimentation, I may encourage a student to try other mouthpiece options depending on how their playing and skills develop over time.

• Tell us about your experiences and tastes of a particular manufacturer and why?

I have been performing on Willson Tubas for nearly 10 years, and I really love my instruments.  I was invited to join the Willson Tuba Artist team in 2014, and have been performing exclusively on these tubas since then.

Although I have this connection with Willson, I think that it is important for each player to find the right instrument for them.  My students play instruments from many different makes and origins, and I encourage them all to experiment in order to find the right fit for them.

«From a Willson Exhibition with Polar Brass in Oslo, Norway.»

IN CONCLUSION:

• In your experience, do you think the diversity of performers, instruments and the opportunity to train in various specialized schools is homogenizing in interpretive centers already established? (Example: Russian, American, German-Austrian, English, etc.).

It is my hope that we continue to keep our different styles of playing around the world.  There is something important in having different schools of thought, different interpretations, and new ideas.  I think that a broad and diverse set of playing concepts helps to make the tuba and euphonium unique in the musical world, considering what young instruments that we are. 

I think that it is important for us to promote excellent musicianship and exciting new music for our instruments above a homogenization of playing style.  I think that versatile musicians who can play in many different styles and are open to new ideas will always be successful.  

Dave, it´s a big pleasure and an honor to count on your experience, collaboration in this series of interviews and long time friendship.

Thank you very much and my best wishes.

A big hug.

Thank you so much for including me in this wonderful project!  Such a great pleasure, and I cannot wait to see you again soon!