7.
Music for Multiple Tubas
Copyright © 2006. Indiana University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S.
Kenyon Wilson, Assistant Editor, Guide to the Tuba Repertoire: The New Tuba
Source Book
Charles A. McAdams, Assistant Editor, The Tuba Source Book
Introductory Remarks (July 2005): Kenyon
Wilson
The published reper toire for multiple tubas has
grown enormously over the past decade, and it
may well be the fastest-growing genre of tuba-
related literature. From fewer than 200 works
listed in the Tuba Music Guide (Morris 1973),
to just over 1,100 works in the Tuba Source Book
(Morris and Goldstein 1996), this chapter con-
tains almost 2,000 entries.
Although many of these compositions for mul-
tiple tubas are available from established publish-
ers, there has been a recent increase in the number
of smaller publishers specializing in literature for
low brass. The increasing popularity of the Inter-
net has spawned numerous sites where compos-
ers and arrangers can offer their works directly,
with some even sending the files to your com-
puter for printing. As a result, purchasing music
from across the globe can be as easy as using a lo-
cal music store.
“Multiple tubas” is defined as two or more
tubas or any combination of euphoniums and
tubas. However, for a composition to be listed
here at least one of the parts has to be marked
“tuba.” Compositions for four euphoniums are
not included, but compositions for three eu-
phoniums and one tuba are. Music for multiple
euphoniums is listed in the Euphonium Music
Guide. Although there are many compositions
for multiple trombones, bassoons, celli, or string
basses that are easily adapted for tuba and eupho-
nium ensembles, the present listing is limited to
or applicable copyright law.
those works composed or arranged specifically
for tubas.
Publishers and composers, in addition to our
international consultants, provided materials and
information to examine for this project. If part of
an entry for a work is missing (e.g., price, copy-
right date, range), it is because that informa-
tion was not provided or could not be verified.
EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/18/2019 12:01 AM via SUSQUEHANNA UNIV
AN: 198242 ; Perantoni, Daniel, Morris, R. Winston.; Guide to the Tuba Repertoire : The New Tuba Source Book
Account: s8478156
Compositions whose entries are incomplete may
also be more difficult to obtain.
The duration and grade levels listed for each
piece are meant to be guides, not absolutes. A
composition for four tubas may be extremely
challenging because of the range and technical
demands of the first and second parts. However,
with euphoniums performing the first two parts,
the composition may be as much as a grade level
easier and more approachable. The annotations
indicate whether a euphonium may be substituted
for a tuba part, or vice versa. The instrumentation
given in the listing is exactly what appears on the
printed score or part. Performers are encouraged
to consult the ranges listed and should feel free
to use whatever instrumentation best fits their
needs.
The research for this chapter was an enormous
undertaking, and I need to thank those who made
this possible. First of all, Charles McAdams did a
thorough job preparing the corresponding chap-
ter in the Tuba Source Book, and this chapter in-
corporates his research and builds upon the excel-
lent relationships he established with publishers.
My counterpart for the Euphonium Source Book,
Seth Fletcher, also provided a great deal of assis-
tance, as several pieces are listed in both books.
Several composers and publishers went out of
their way to provide help, including Mike Forbes,
Kenneth Friedrich, Ray Grim, Paul Luhring, Da-
vid Miles, Winston Morris, Mark Nelson, Paul
Schmidt, Stephen Shoop, and David Werden. Fi-
nally, the scope and breadth of this chapter would
be greatly limited without the international con-
sultants representing the musical achievements of
their countries. I am indebted to the following
musicians for their essential contribution: Jørgen
Arnsted, Sérgio Carolino, Alessandro Fossi, John
Griffiths, David LeClair, Harri Lidsle, Giles Lut-
mann, Kazuhisa Nishida, Heiko Triebener, and
Paul Walton.
 258
Introductory Remarks (July 1995): Charles A.
Copyright © 2006. Indiana University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S.
McAdams
The published repertoire for multiple tubas has
grown enormously in the last twenty years. The
growth has occurred not only in arrangements
and transcriptions but also in original composi-
tions. The 1,058 compositions listed in this chap-
ter indicate this recent growth. As a matter of
fact, The Tuba Source Book contains more two-
part listings than all multiple tuba entries in the
Tuba Music Guide (Morris 1973). Fortunately,
as the quantity of literature has increased, so has
the quality. Composers continue to discover the
potential for expression with an ensemble con-
sisting of tubas or euphoniums and tubas.
Many of these compositions for multiple tubas
are available from more established publishers
(i.e., Kendor, Shawnee Press, Theodore Presser,
etc.); however, the bulk of this literature is being
produced by smaller publishers who often devote
a majority of their catalogs to publications for
the tuba.
Multiple tubas is defined as two or more tubas
or any combination of euphoniums and tubas.
However, for a composition to be included in this
listing at least one of the parts had to be marked
tuba. For instance, compositions for four eupho-
niums are not included, but compositions for
three euphoniums and one tuba are listed. While
there are numerous compositions for multiple
trombones, bassoons, celli, or string basses that
may be easily adapted for ensembles of multiple
tubas and euphoniums, the listing here is limited
to those works actually composed or published
for tubas.
Publishers and composers, in addition to the
TSB international consultants, provided materi-
als and information to examine for this project. If
part of an entry for a composition is missing (i.e.,
price, copyright date, ranges, etc.), it is because
that information was not provided or could not
be verified. Compositions whose entries are in-
complete may also be more difficult to obtain.
The duration and grade level listed for each
piece are meant to be a guide, not an absolute.
A composition for four tubas may be extremely
challenging due to the range and technical de-
mands of the first and second parts. However,
or applicable copyright law.
with euphoniums playing the first or second
parts, the composition may be as much as a grade
level easier and more approachable.
If a euphonium may be substituted for a tuba
part or vice versa, this will be indicated in the an-
notation. There are, of course, tuba duets, trios,
EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/18/2019 12:01 AM via SUSQUEHANNA UNIV
AN: 198242 ; Perantoni, Daniel, Morris, R. Winston.; Guide to the Tuba Repertoire : The New Tuba Source Book
Account: s8478156
GUIDE TO THE TUBA R EPERTOIR E
quartets, etc., where the composer had in mind
only tubas, not tubas and euphoniums. The in-
struments listed in the instrumentation entry
indicate exactly what is printed on the score or
part. Tubists have been “transcribing” music for
years. Certainly Scott Joplin did not envision rag-
time melodies played by euphonium and tubas,
yet there are twenty of Joplin’s “rags” published
for two euphoniums and two tubas. Generally,
performers should feel free to use whatever in-
strumentation fits their needs best.
Purchasing music from publishers and com-
posers encourages publishers to continue to
publish music for multiple tubas. Unfortunately,
there are several works listed as “out of print”
and no longer available. Supporting the pub-
lishers of this music can prevent further loss of
literature.
The research for a chapter of this magnitude
was an enormous undertaking. I would like to
take this opportunity to thank those individuals
who helped with this task. First, I would like to
thank those publishers and composers who pro-
vided examination copies. Second, I would like
to thank Michael Bersin, Central Missouri State
University, for his assistance in developing a data-
base program to store and manage the informa-
tion on all the compositions; Wesley True, Cen-
tral Missouri State University, for his assistance
with translations of many international publica-
tions; and Kazuhisa Nishida, Osaka University
of Arts, for his invaluable assistance in obtaining
and translating numerous Japanese publications.
Others who provided invaluable information and
materials include Jim Self, freelance artist, Los
Angeles; David Miles, editor of TUBA Press; Jan
Bodeux and the Microsoft Corporation; and the
staff at Wingert-Jones Music, Kansas City, Mis-
souri. I would also like to thank my fellow as-
sistant editors, Ron Davis, Jeff Funderburk, Skip
Gray, Mark Nelson, and Jerry Young, for their
assistance and encouragement. A special thanks
is in order to Ed Goldstein for pushing for many
years to get this project moving. I would also like
to thank Winston Morris for asking me to write
this section of The Tuba Source Book and for be-
ing an invaluable resource.
And finally to my wife, Carol, and my chil-
dren, James and Kathryn, I would like to express
my gratitude for their support and patience. A
project of this nature and scope is truly a labor of
love. While the work has at times been frustrat-
ing, tedious, and time-consuming, I have enjoyed
the opportunity to be a part of this project.
 Music for Multiple Tubas: Two Parts
Two Parts
Copyright © 2006. Indiana University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S.
Albam, Manny. Odd Couple, The. Manncy Music.
Two tubas.
Albert, Thomas. Five for Two Tubas. Brass Music
Limited (The Brass Press). Two tubas. 1971.
$3.50. 5:00. IV. Part I: A1–a; Part II: F1–a.
Five movements: Prelude; Rondo; Meditation;
Scherzo; Postlude. To Daniel Perantoni. This
piece uses very contemporary harmonies and
rhythms. The first two movements are in mixed
meter, and the third movement requires a mute
for both parts. Some sections are technically
challenging.
Anderson, Eugene. Baroque’n Brass. Anderson’s
Arizona Originals. One trumpet or euphonium
and one tuba. 1991. $6.00. 5:00. IV. Part I:
G  –d"; Part II: D1–d'. Commissioned by and
dedicated to David L. Aubuchon, U.S. Army
Band, Ft. Dix, New Jersey. A moderate tempo
fugue. Technically challenging for both players,
and the tessitura of the first part is high.
Anderson, Eugene. Teuphm’isms I. Anderson’s Ari-
zona Originals. One euphonium and one tuba.
1990. $5.00. 5:00. IV. Part I: G–c"; Part II:
F1–f '. Dedicated to Brian Bowman and Harvey
Phillips. Technically challenging for both parts.
The tessitura of the first part is high. There are
many syncopated rhythms in both parts.
Anderson, Eugene. Teuphm’isms II. Anderson’s Ari-
zona Originals. One euphonium and one tuba.
1992. $5.00. 5:00. IV. Part I: G–c  "; Part II:
E1–f '. Dedicated to Brian Bowman and Har-
vey Phillips. Fanfare-like in character. Switches
back and forth from 6/8 to 2/4. Both parts are
challenging technically and have large range de-
mands.
Anderson, Eugene. Three Contrasts for Two Tu-
bas. Anderson’s Arizona Originals. Two tubas.
1988. $5.00. 4:30. IV. Part I: G1–d'; Part II:
E1–b
. Three movements: Allegretto; Rubato
Espressivo; Forcefully. The first movement is in
a canon-like style. The last movement has a few
meter changes with many syncopated rhythms.
Aronson, Lee. Suite for Tuba and Euphonium.
Tuba-Euphonium Press. One euphonium and
one tuba. 2001. $12.00. 10:00. II–III. Part
I: A–e'; Part II: A1–e. Four movements: Alle-
mande; Courante; Sarabande; Gigue. A collec-
tion of four dances in baroque style with tradi-
tional harmonies. Demonstrates effective use of
two-part contrapuntal writing. Individual move-
ments can stand alone on a concert.
or applicable copyright law.
Bach, Johann Sebastian. Aria–Duet from Cantata
No. 78. arr. David Werden. Cimarron Music and
Productions. One euphonium and one tuba with
piano. 1995. $10.00. II–III. Part I: d–b
'; Part
II: A–e
'. Effective arrangement of this highly
imitative work in ternary form. Ranges and style
are appropriate for young and intermediate-level
EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/18/2019 12:01 AM via SUSQUEHANNA UNIV
AN: 198242 ; Perantoni, Daniel, Morris, R. Winston.; Guide to the Tuba Repertoire : The New Tuba Source Book
Account: s8478156
259
performers. Second part may also be performed
on euphonium. Euphonium parts also available
in treble clef.
Bach, Johann Sebastian. Bach for Two Tubas. arr.
Scott MacMorran. Tuba/Euphonium Music
Publications. Two tubas. Out of Print. III–IV.
Part I: D–d; Part II: G1–f . A collection of twelve
minuets, marches, and one bourrée. Each lasts
approximately two minutes. Select movements
may be combined into a suite for concert use.
Bach, Johann Sebastian. Duets and Trios. arr. Daniel
S. Augustine. Southern Music Company. Two
or three tubas. 1972. $7.95. 17 pp. III–IV. Part
I: F–f'; Part II: F1–b
; Part III: F1–f. This is a
collection of short minuets, marches, and other
dances. Ten of the sixteen arrangements are from
the Clavier Book of Anna Magdalena Bach, the
composer’s second wife. There are thirteen du-
ets and three trios. The first part works equally
well on euphonium. Individual movements may
be played alone or combined into a suite.
Bach, Johann Sebastian. Minuet I from Partita No.
1. arr. Jeffrey Lazar. Lyric Brass Publishing. One
euphonium and one tuba. 1998. $2.50.
Bach, Johann Sebastian. Suite in D Minor, Cello
Suite No. 2. arr. Arthur Frackenpohl. Tuba-
Euphonium Press. One euphonium and one
tuba. 1997. $12.00. III. Part I: F–g'; Part II: F1–
c' (d'). Six movements. A good teaching piece
for understanding of baroque contrapuntal style.
Both parts have been given ample amounts of
melodic work and harmonic support. Eupho-
nium part also available in treble clef. Also re-
viewed in the Summer 1999 issue of the TUBA
Journal (Vol. 26, No. 4).
Bach, Johann Sebastian. Tuba Duo Nine. arr. James
Self. Basset Hound Music. Two tubas. 1988.
$5.00. 4:00. IV–V. Part I: G1–d'; Part II: G1–d'.
This transcription is from the second movement
or Largo of Bach’s concerto for two violins. A
beautiful melody that is lyrical and technically
challenging. Works very well.
Bach, Johann Sebastian. Twelve Duets. arr. Ronald
Dishinger. Medici Music Press. Two tubas. 1993.
$9.50.
Bach, Johann Sebastian. Twelve Two Part Inventions.
arr. David McNaughtan Miller. Two tubas.
Bach, Johann Sebastian. Two Part Inventions. arr.
Allen Ostrander. Kendor Music, Incorporated.
Two tubas. 1976. $6.50. 5:20. IV–V. Part I:
C–e
'; Part II: (F1) G1–d'. Four movements:
1; 3; 12; 15. To Bill Bell. Bach wrote 15 two-
part inventions and 15 three-part inventions for
the clavier. Ostrander selected the first, third,
twelfth, and fifteenth movements of the two-
part inventions and transposed them down a ma-
jor sixth for the tuba. The movements may be
played alone or in any combination. The move-
ments contrast in meter and tempo and are very
challenging to play at the tempos marked.