Every aspiring symphonic tubist should own this book.
* Performance tips for 100 essential symphonic works.
* 277 primary tuba audition passages are presented clearly and accurately.
* The errors present in the original tuba parts have been carefully corrected in the included excerpts and listed for quick reference.
* Some passages are presented a second time with notated interpretation.
* Practice techniques—including exercises and reference to appropriate etudes—are included.
* Suggestions on size and key of instrument for every excerpt.
* Biographical information on every composer.
* Passages requiring memorization are highlighted.
* Performance information is included for music that cannot be printed in this book due to copyright restrictions.
"Wesley Jacobs is best known to readers of this publication as the principal tubist of the Detroit Symphony, a position he held for thirty-eight years prior to his retirement. His experience with the symphonic orchestral literature is vast. Additionally, numerous advanced students and young professionals (now seasoned professionals) studied with him and sought his valuable advice. His interest in education has produced numerous beneficial works for students and teachers, and this new text adds another important resource to his impressive bibliography.
Study of the orchestral repertoire is essential for every serious student of the instrument. While there are now many excerpt books available, as well as important resources for obtaining complete parts for public domain works, there is a paucity of material that guides instruction and study in a methodical way, and none as comprehensive as this text.
Based on his vast experience, Mr. Jacobs has selected what he deems to be the one hundred most important passages for tuba in the orchestral repertoire. His criteria for inclusion are not solely based on the appearance of passages in auditions. Some passages are simply important, problematic, or musically significant segments that are often passed over or ignored in most players’ study of the repertoire. For each composer he gives a very brief sketch of that person’s background and general comments and/or considerations about the music. He initially indicates whether the work is likely to appear in the audition repertoire, whether the musician should consider memorizing the passage, whether there are errors in the orchestra part (which, when present in the part, are corrected in this text), and a suggestion for what tuba works best in performance of the individual piece. The error correction feature alone is a very significant contribution to pedagogical repertoire! After this information comes specific information relative to how to properly perform/interpret the music in the context of the orchestra. This is the perfect textbook to use in any tuba studio curriculum providing ideas for thoughtful interaction between student and teacher, as well as giving built-in structure for week to week studio class work. Mr. Jacobs states clearly that the text is not intended to be a substitute for studying from the complete orchestral part. The text is strictly a resource for information and instruction.
An especially valuable feature of this text is study guides for twenty-seven works that are copyright restricted and are thus not legally reproducible in print in a book such as this one. As students and teachers have access to those parts from other sources, they can use the valuable information provided here to enhance their study."
-- Dr. Jerry Young, The University of Wisconsin – Eau Claire (ITEA Journal, Spring 2011)