Twenty Etudes and Four Duets - Noten für Tuba Solo Christopher Warren

Section 1 -- Reference
A. Major and Minor Scales
B. Contemporary and Ancient Scales

Section 2 -- Warm-up Sequence
A. Warm-up/Tune-up
B. Arpeggios
C. Aniculation Studies

Section 3 -- Etudes
1--Composite Etude
2--Desert Dance
3--Song Without Words #1
4--Dorian Dance on F
5--La Sefiorita Azul
6--Pentatonic Etude
7--Technical Etude # 1
8--Whole Tone Etude
9--Song Without Words #2
10--0ctatonic Etude
11--0ctatonic Melody
12--Serial Waltz
13--Jazz Bailad
14--Whole Tone Jazz Study
15--Boppin´ Blues
16-Meter Dance
17--Rhythrn Study #1
18--Rhythm Study #2
19--Fanfare
20--Technical Etude #2

Section 4 -- Duets: Four Etudes for Two Tubas
1--Bouncy
2--Moderate
3--Mysterious
4--Marcia

The purpose of this set of etudes is to provide the collegiate or professional player with the tools to approach comemporary an literature. Many of the etudes in this book are based on scales which, although in use for a century or more, arenot commonly raught in the teaching Studio.

Having this material "under your fingers" provides the player with several benefits:

1) An improvement in aural perceprion of tritones, major sevenths and extended chord tones.
2) Familiarity with modal material found in art music and popular music, including jazz.
3) An introduction to the octatonic, whole-tone and pentatonic scales which characterize music of composers from Debussy and Stravinsky to the present.

In addition, these etudes are generally rhythmically active. Many contemporary rhythmic devices are utilized for the express purpose of covering some (by no means all!) of the increasingly common rhythmic patrerns seen in today´s tuba literature.

At the end of the book are four etudes for two players, which are included to encourage duet playing of contemporary music by the Student and teacher, or with another Student.

While many of these etudes fall well within the common range of high intermediate players, there are certain etudes that exploit higher and/or lower extremities of the instrument. This is based on the beliefthat the professional player should have a range of at least three-and-one-half octaves.

While some players have achieved more already, most still struggle with the edges on both ends of the horn.

These etudes should provide challenges in all these areas, to help the player achieve specific and long-tenn results.