The commentary and review of IEI 2004 occurs below the photos.

The IEI Participants – Front Row (L to R) Ben Robertson, Kevin DeMarcus, Ken Anders, Adam Frey, Kennedy Wells, Ryan Black, Grayson Holland. Middle Row – Dr. Scott Stewart, Robert Pendergast, Lawrance Terry, Elliot Woodbury, Emily Jones, Caryl Conger, Jamie Lipton, Richard Kesner, Gail Robertson. Back Row – Chris Buckley, Jukka Myllys, Mark Carlson. Not pictured – Josh Lachaussie, Rick Lawson, Gary Latz, Karen Mullins, and Marc Dickman.

The featured teachers at the IEI 2004: Adam Frey and International Artists Jukka Myllys, Finland

The Ball of Fire Quartet (also known as Adam's Boys) - Buckley, Black, Pendergast, Marlson

A little fun shot after a hard week of fun!!

The Nabucco Quartet – (L to R) Emily Jones, Richard Kesner (hidden), Elliot Woodbury, Jamie Lipton

The Yamaha Corporation was a significant sponsor of IEI 2004. District Manager David Suter was able to attend Adam Frey’s Recital. Pictured are the Yamaha Participants Standing (L-R) Kennedy Wells, Jamie Lipton, Adam Frey, Mark Carlson, Ken Anders. Kneeling – David Suter.

At the Wednesday Evening, Outreach Concert, the 200+ audience gave the IEI Ensemble a Standing Ovation!!

(L-R) Jukka Myllys, Caryl Conger, Adam Frey

The highlight of Jazz Night was the Mass Doxy Performance

L to R – Adam Frey, Robert Pendergast, Ryan Black, Gail Robertson, Rick Lawson, Chris Buckley, and Marc Dickman

The College Crew of the IEI 2004!! - Back (L-R) Chris Buckley, Mark Carlson, Robertpendergast. Front (L-R) Emily Jones, Jamie Lipton, Ryan Black.

Jukka had everyone feel his stomach muscles when ascending into the VERY high range.

Adam Frey, Caryl Conger, and David Zerkel performing David Gillinghams's Diversive Elements

Blowing off a little pent up anger at the euphonium. Thanks Rob!!

Our STAR PIANIST Caryl Conger, Gail Robertson, Jukka Myllys, and Adam Frey.

The Funnist Face Contest....Thank you Karen. Please note that Ryan Black has trumpet mentality. He is thinking...I can do better than that. Maybe something like......

THIS!!!

Click here for more photos from the event....

The Reviews and Details from the IEI 2004....

The International Euphonium Institute Debriefing

The IEI staff had a Mission for interested players…to learn about the euphonium, elevate our art, introduce new audiences to the euphonium, meet new people, perform often, become inspired, and have a great time doing it!! This Mission occurred from May 31 through June 6, 2004 in Atlanta, Georgia. We are pleased to report…MISSION ACCOMPLISHED!!

For six days, fifteen participants, four staff, one tireless pianist, a brass band, and a music director labored for their love…the euphonium and the results were glorious. As the organizer and director of the International Euphonium Institute, this undertaking was a dream to share my love for the instrument and education, my music ideas, and introduce others to the great joy of music making in a fun environment with so much performing that there was never a moment to be nervous. I know that I was inspired and motivated during the week and I was one of the teachers!! I also know that the experience had even more impact on the participants. What I hope made the difference involved how the week tailored the experiences to the individual students with a 45-minute lesson with their chosen staff member, two master class performances in student chosen master classes, the students recommended repertoire to be performed by the staff over the course of the week, and the students brought music to play and share. Please take the time to remember our sponsors that made the IEI possible: The Yamaha Corporation, Rayburn Music, Willson /DEG, Atlanta Brass Society, The Georgia Brass Band, The Euphonium Foundation, and Emory University. Read below what IEI 2004 participants had to say about their experiences. Sorry to have missed you, but there are details for IEI 2005 at the end of the article.

Adam Frey – Director, The International Euphonium Institute

A wager I KNOW I will win!!
By Elliott Woodbury – Lover and Player of the Euphonium, Portland, Maine

A GEM IN GEORGIA…a diamond in the rough…that’s the International Euphonium Institute at Emory University in Atlanta! Rare high end value Euphonium talent of Adam Frey, Jukka Myllys (Finland), Gail Robertson, Marc Dickman, with Caryl Conger on piano, and others led the learning through six thrilling days for our diverse participants. Look for next year’s IEI, grab this gem…I’ll bet you a MAINE LOBSTER you’ll love it!!

Performance Experiences at the IEI

By Jamie Lipton - Graduate Student, University of North Texas

Performance experience was a big part of the IEI. There were many opportunities to play for audiences, including the outreach concert at Alpharetta First United Methodist Church (an audience of over 200 general listeners), master classes, and two internal recitals. All the performances were accompanied, which leads to another important point: IEI’s accompanist, Caryl Conger, is a goddess. Anyone who has the chance to collaborate with her should do it. She is a fabulous musician, incredibly accommodating and both easy and fun to collaborate.

Because the students at IEI were so diverse as far as age and ability, the literature performed was equally varied. This made performances mutually beneficial for both performer and audience. The advanced players were exposed to excellent intermediate literature, and the less experienced students were privileged to hear rare live performances of major works such as the Linkola and Cosma concerti. While every student performed at least one solo, many performed two or three. Several duets were played over the course of the week, and of course there were performances by the chamber groups and the massed ensemble.

Among the students were several, myself included, who suffered from performance anxiety. We used the many performance opportunities to practice being in recital situations and combating problems like shaking and dry mouth. With such intimate and positive audiences, it was easy to relax and play my best.

Personally, I played in four master classes, performed two solos, two duets, two chamber ensemble performances, and two massed ensemble performances on the various concerts. By the end of the week, I felt a lot more confident on the stage.

Every music institute attracts three major demographics, and the IEI was no different: there were the Flight-of-the-Bumblebee-obsessed high school students, the job-seeking college students, and the note-taking amateurs. While we were clique-ish at first, the walls started to come down during Adam Frey’s ice-breaking games. Everyone became closer even more as the week progressed and all of the students united in our awe of the faculty, support for one another, and enthusiasm for nightly activities.

I was privileged to be assigned to the most diverse of the chamber ensembles: a quartet comprised of me (a graduate student), an undergraduate, and two amateur players. I really enjoyed getting to know the other people in my group, who each brought something unique to the ensemble. Quartet rehearsals were one of the most rewarding experiences of the week.

The massed ensemble (a choir made up of all the students at the Institute) was another exercise in diversity, as we ended up sitting next to a new person about every 15 minutes. We also had four different conductors over the course of the week. The music we played was mostly transcriptions for tuba quartet, so the experience that I thought would be fairly unchallenging turned into a complete chop-buster: one minute I’d be playing Euphonium 1 parts written entirely above the staff, and the next minute I’d be playing Tuba 2 parts in the basement.

Performed Repertoire

By Adam Frey

I just wanted to write about the scope, variety, plethora, glut, superfluity of music that was played during the week so people can get an idea about how much diversity, listening enjoyment, and awe you gain by just being at the IEI. Remember this was all played by 14 participants and 4 staff in 6 days!!

Euphonium Concerto, Philip Sparke; I'll Not Turn Back, Ivor Bosanko; The Debutante, HL Clarke, arr. Robertson; Sonata No. 3 in A minor, Benedetto Marcello; Solo VIII, Kalevi Aho; Piece en forme de Habanara, Maurice Ravel; Euphonium Concerto, Jukka Linkola; Nocturne from Belshazzar’s Feast, Jean Sibelius; Concertino, Jacques Castérède; The Spring Suite, Yukiko Isomura; Beautiful Colorado, Joseph DeLuca; Diversive Elements, David Gillingham; The Swan, Camille Saint-Säens/arr. Denton; Heart in Heart, Ivor Bosanko; Premier Concertino, René Louthe; Euphonium Concerto, Joseph Horovitz; Andante et Scherzo, J. Ed Barat; Flower Song from Carmen, Georges Bizet; Danse Bohème, Georges Bizet/arr. Mendez; Eagle’s Landing, Michael Davis; All the Things You Are, Jerome Kern; Doxy, Sonny Rollins; Joy Spring, Clifford Brown; Sandu, Clifford Brown; Boxing the Wake, Marc Dickman; Polka Dots and Moonbeams, Jimmy Van Huesen; Woodbury Fanfare, Leroy Anderson; Inspector Gadget, arr. Gail Robertson; Nocturno, N. Rimsky Korsakov; Nabucco, G. Verdi / arr. Bale; Ball of Fire, Peter Smalley; Thunderball, John Barry Arr. Gail Robertson; On a Hymnsong of Philip Bliss, David Holsinger; Keystone Chops, Lennie Neihaus; Adagio from Symphony No. 3, Camille Saint-Saens; Barnum and Bailey’s, Karl King; Andante and Rondo, Antonio Capuzzi; Midnight Euphonium, Goff Richards; Euphonium Concerto, Vladimir Cosma; Vocalise, Sergi Rachmaninov; 4 Lyric Pieces, T. Aaggard Nilsen; Duet, Oliver Blume; Carmen Fantasy, Waxman; If with All Your Heart, Felix Mendelssohn; Fantasy, GF Telemann; Euphonium Music,Brian Bowen; En Aranjuez con tu amor, Joquin Rodrigo Arr. Daniel Singer; Fantasia, Gordon Jacob; Siciliano and Chorale, JS Bach; Carioca, Victor Youmans; Siciliene, Gabriel Faure; Euphonium Concerto, Joseph Horowitz; Two Part Invention, Philip Sparke.

International Guest Jukka Myllys

By Adam Frey

It was my great pleasure to invite Mr. Jukka Myllys from Finland as our first (of many) International Artists for the IEI 2004. Many people know him by his superb recording of the Linkola Concerto and the recent ITEA Article by Mark Carlson on his teaching. During the week, he presented a stellar recital that demonstrated his passion and energies at performing the likes of Linkola, Aho, and Sibelius (why of course, he’s Finnish). His master classes were extremely effective. I was not always able to attend due to administrative duties, but I always overheard the students chatting about “Did you try that,” “Oh I think that will work for me,” “That was really neat when he….” I also know he spent long hours working privately with students and this is the sign of a truly dedicated teacher.

One of the other duties involved conducting the massed ensemble. Jukka conducts a wind band at home on a weekly basis and I know why they employ him. His style and reporte with the players was amazing and the clarity of comments and suggestions made it simple for the ensemble to adjust. I must also say on a personal level that this was my first time working closely with Mr. Myllys and I was only impressed. From his long travels to his energy during the week and the relaxation on Lake Lanier, the week was memorable.

Overall, he gave the IEI exactly what they needed: a consummate musician, a superb euphonium player, an inspiring teacher, a motivating conductor, and a captivating personality. Look for Mr. Myllys to return to the IEI in the future.

What I got out of the IEI as an Amateur

By Richard Kesner – Dedicated Amateur Musician, Boston, MA

As a dedicated amateur musician, I faced going to the International Euphonium Institute with some trepidation. Would I humiliate myself? Would I be the odd man out? Would I have fun? In fact, the entire IEI experience was wonderful. First and foremost, I found it to be an expansive and nurturing learning experience. You were made to feel welcomed from the outset and the staff were both sensitive to player limitations and accommodating. No one was humiliated. On the positive side, the faculty from Adam Frey on down were wonderful. The content covered was both rich and comprehensive. I could not think of anything that I would want to see left out and only regret that there was not more time in each day and more energy in yours truly. I especially like the performance focus of the week, with small and large ensemble as well as solo work. I heard three marvelous faculty recitals and participated personally in two master classes, two internal recitals, and two public concerts. All in one week! In short, this was a transformational experience that will propel me to an entirely new level of euphonium performance. Thank you IEI!!

The IEI – New Sounds and New Audiences

By Mark Carlson - Graduate Student, University of Wisconsin

In planning the first IEI, Adam Frey made some very important decisions. The first was to place the euphonium alongside other instruments played by great artists. Although conceived as a celebration of the euphonium, this positions it in the greater musical world instead of advocating an exclusive euphonium utopia.

Adam Frey's recital was one of the highlights of the IEI. He presented a wide gamut of works for solo euphonium and some very unique chamber pieces as well. The solo pieces spanned the spectrum from traditional Salvation Army classic Heart in Heart by Bosanko to his unique and exciting take on Saint-Saens's The Swan from his Collected Dreams release. Both were treated appropriately receiving verbose flair and loving sonority respectively. He also performed Beautiful Colorado on a 1925 Conn Double-Belled Euphonium, an extra bonus indeed.

The chamber music was an exceptional treat: The Casterede Concertino for Trombone and Trumpet was brilliantly performed and provided a great opening to the program. Chris Martin, Principal Trumpet with the Atlanta Symphony Orchestra brought exquisite musicality that to the piece. His performance was a welcomed addition to the IEI, providing a great musical foil as well as timbre contrast to a week of euphonium playing. Though the euphonium is often referred to as the tenor tuba, this performance demonstrated that it functions well in a bass trumpet role as well.

The Isomura Sonata offered another strong stylistic contrast. The exciting use of euphonium, violin, and piano with uniquely Japanese tonalities and sense of harmonic patience were a great addition to the program.

The real show stopper was the dual assault of Adam Frey and David Zerkel performing Gillingham's Diversive Elements. Impeccable rhythmic precision and an energetic drive drove the performance.

I came away from this program encouraged to explore the many horizons of euphonium playing as well as a reminder that we must hold ourselves to the high standards of quality held by instrumental traditions that predate us.

The second important ideology that went into planning the IEI was the concept of outreach. Any musical conference functions as a magnet for outstanding talent. Why remain a cloistered affair and keep this bright light under a basket?

It is our vocation as musicians to share our music and our responsibility as euphonium players to educate. The concert at the Alpharetta First United Methodist Church provided much more than just another performance opportunity. It was a chance to perform for not only for a large audience, but for non-euphonium players! The hall proved a great performance space for the euphonium.

There was more than one solo on the program as well as numerous ensembles. The audience was receptive and attentive. The program showcased the IEI artists, had opportunity for solo and duet performances by students, and offered a chance for the chamber groups to play. As he displayed throughout the IEI, Adam is as at home playing the MC as he is playing the euphonium. His quick wit and humorous patter provided a vehicle for the evening program and a model for aspiring players.

I understand that there are plans for more outreach events like this at next year's IEI. A commitment to outreach prevents the Institute from becoming just another back-slapping convention. It provides a welcomed contrast in performance settings, a chance to showcase the combined talent of the IEI, and a reminder of our responsibilities as musicians as well as euphonium players.

High School Student and Parent Perspective

By Kevin DeMarcus and Saralynn DeMarcus

As a high school euphonium player the IEI was an eye opening experience. The IEI consisted of world-class teachers and performers, with a recital each night. The same teachers gave master classes each day. I found the master classes to be most beneficial, along with hearing great euphonium music; I was also able to hear the a professional’s interpretation of the piece that I was currently preparing. The fact that there were college students who were all happy to answer any questions about schools and degree choices was also very helpful. From a high school student’s perspective, the IEI gave a whole new outlook on the world of the euphonium.

As a parent, the entire IEI event was well planned. An enormous amount of organization and attention to detail was evident from our first request for information. As a parent, I was confident my son was in for an enriching experience.

The IEI finally helped me understand

By Ryan Black – Undergraduate Student, Florida State University

Sitting in the Jazz Ensemble I playing bass trombone at FSU, I was always amazed when someone would take a great solo that got the whole band to cheer them on. I saw the benefit in learning to improvise, but lacked the tools to start. I had seen and heard such greats in jazz euphonium playing as Rich Matteson, Dr. Marc Dickman, and Joe Dollard. Seeing and hearing them was an aspiration that stacked on top of one another, but still I had no idea on how to get started.

I began asking around to the members of the jazz band on how to get started and I got almost every answer; from transcribing solos to learning the bass line to knowing the various scales and modes. These were all great answers, but these answers gave me no incite on how to start. That is, until I came to the International Euphonium Institute and attended Dr. Marc Dickman's beginning improvisation master class.

First he started us out saying the chromatic scale and writing a note a measure. For instance, C was the first measure, Db was the next measure, D was the next measure and so on and so forth. Then we played the arpeggios with a metronome: C-E-G-C, Db-F-Ab-Db, D-F#-A-D, etc. and going through all the keys until you get back to C.

After that, we then learned the weave, which was simply C-E-G-C-, Db-Ab-F-Db-, D-F#-A-D, and simply just weaved up and down the arpeggios until you get back to C.

Next, we named notes in perfect fourths starting on C, once again a note per measure: C for a measure, F for a measure, then Bb for a measure and so on. Then after being able to play that you should move next to being able to play it in the weave pattern that I mentioned earlier.

Then, we named notes in whole tones starting on E, using a note a measure once again. This got tricky because once you get to the note D, you have to start on Eb to avoid starting all over on E. Then from Eb we named notes in whole tones until we had used all the keys. After you could play the arpeggios in the whole tone order, then you would have to be able to do the weave pattern. We learned the diatonic chords in the key of F major: I7-ii7-iii7-IV7-V7-vi7-vii half dim. We had to learn to play those and play it again in the weave pattern.

Dr. Dickman then wrote out the form for a 12 bar Bb blues. We then listened to what the Bb blues sounded like with the aid of the Jamey Abersold CD. We then learned the Bebop scale, which was simply ex. Bb: Bb-C-D-Eb-F-G-Ab-A-Bb. After that, he played the Abersold CD of a rhythm section playing the 12 bar Bb blues and had whoever wanted to volunteer, to solo over the changes. I soloed and was already making a difference, but according to Dr. Dickman I was "rambling". He described it just like a person rambling when they talk and that was all I needed to hear to know that I was doing things wrong. Later on in my private lesson we played with the Abersold CD and he had me play just simply. Not as many notes, but trying to make it interesting by using different rhythms. He also suggested that we should start transcribing easy solos at first. I learned so much about the language and basic knowledge of jazz and have started incorporating it into my daily routine and practice. I have seen the difference it has made in my playing immediately and in my general knowledge of music.

So many summer camp choices – this is the one!!

By Chris Buckley – Graduate Student, University of North Texas

Every summer I attend at least one tuba-euphonium camp. I have great experience with all the choices that are available. This summer I attended the International Euphonium Institute, which would be the first ever camp just for euphonium. This camp offered several professional teachers to work with, chamber music opportunities, several performance opportunities, a perfect environment for learning and having fun, and all at a much lower price than the other camps I had previously attended, which is great for a starving college student like me. There were even several scholarships available thanks to John Wittmann at the Yamaha Corporation of America, Ed Stevens at DEG Music, Lee Walkowich at Rayburn Music in Boston, and Mike Moore with the Atlanta Brass Society. Thank you for making it happen.

The International Featured Artist was Jukka Myllys whose playing immediately transcends his sweet euphonium sound to pure music. He had many insightful and useful different things to say and different ways of saying them. He had fun ways of explaining things that were simple and easy to understand. He also tried to work with as many students as he could and found time for everyone. His playing was both moving and inspiring, but Jukka himself was incredibly kind and had a great sense of humor throughout his master classes. He combined the playing, teaching, conducting, and personality necessary to be the International Guest.

None of this epic week could have taken place of course, if it was not for the hard work and dedication of Adam Frey. He practically single-handedly organized this and wore himself out the whole week to make sure everything was getting done and running smoothly. Adam does a remarkable job of promoting the euphonium and now he has done another equally remarkable thing by creating this learning opportunity for euphonium players. He gave exciting performances all week long. He also taught a variety of “focus classes” on specific topics that would appeal to different aspects of euphonium playing and made sure every student understood.

Every teacher at the IEI was both a stunning performer and a seasoned educator. Gail Robertson provided an excellent class on arranging as well as her own recital of her favorite solos while Marc Dickman entreated everyone to a night of jazz standards and new tunes including the final song Doxy where he invited any one in the audience to come on stage and join in and take a ride if they wanted. Marc also gave great master classes with a teaching style that made improvising seem effortless and easy for anyone to learn. Every student had the opportunity to learn something from each teacher.

We also had many opportunities for great chamber playing and listening. There were two quartets, one sextet, and one massive euphonium ensemble. This gave us a chance to learn from other students and work on fun pieces together. We were exposed to all sorts of great pieces and what the euphonium is capable of.

We had several opportunities to perform at the IEI. There was a community outreach concert at Alpharetta First United Methodist Church where several students were able to perform solos, perform with their chamber ensembles, and perform in the mass ensemble for a huge crowd of gracious listeners (more than 200). Later in the week there were two separate internal recitals where everyone performed at least one solo, but some performed two solos or duets. The quartets and mass ensemble then had another concert to perform the next day. We were able to take what we had learned and immediately use it in performances.

We were all truly blessed to have Caryl Conger as our staff accompanist. Caryl is “The” accompanist at the recent ITEA conferences and the annual U.S. Army Band Tuba-Euphonium Conferences. We were spoiled rotten to have such an incredible and dedicated accompanist playing for us and making us sound our best. Not only did she work diligently on our pieces as soon as they were handed to her, (which could often be the day before the performance), but she would go out of her way to make sure the pieces were well rehearsed as many times as needed before the performance. She even accompanied us throughout master classes – Mrs. Conger truly was an angel both musically and personally.

The International Euphonium Institute is the perfect summer camp for euphonium players. We learned so much every day and we did it all while laughing till our sides hurt. Every single student left there sounding twice the player they were when they arrived. This week worked so well because there was no competition – everyone was having a blast and learning. Participants had the chance to make lifelong friends and create opportunities that would change their lives. There were students of all ages and all backgrounds with all different kinds of horns, mouthpieces, and teachers ranging from high school freshman, to college students, masters students, doctoral students, and more mature students of life just there to learn and have fun. We all learned together and left inspired and motivated. Am I going back? Absolutely!!

Jazz at the IEI

By Marc Dickman – Professor, University of North Florida

I would like to thank Adam for organizing the first annual IEI and inviting me to teach and perform. ALL of the students were interested in learning more about the euphonium and its jazz potential and also how they could apply contemporary improvisation to the euphonium. The finale of the jazz concert featured 8 euphoniums playing Doxy! Rich Matteson would have been proud. I also learned a lot at the conference. The other instructors were absolutely out of sight.

The IEI is a unique and valuable event. Make plans attend next year!!!

Orchestral Studies with Someone Who Might Hire You

By Adam Frey

The IEI was very pleased to have as a sponsor and Guest Artist Mike Moore, Principal Tuba with the Atlanta Symphony Orchestra and head of Atlanta Brass Society, present a class on Tenor Tuba orchestral excerts. Many times it can be difficult to get the perspective of the person that will actually make the hire. As far as orchestral opportunities (that are very limited for the euphonium), Mr. Moore mentioned that the tubist in the orchestra normally makes the call. So try to get some lessons with that person if one can.

Mr. Moore presented the participants with a superb handout of the majority of the euphonium excerpt parts as well as an excellent highlights recording of the most important bits and pieces of the orchestral repertoire featuring multiple orchestras and conductors. Listening to them and discussing various differences really added insight into understanding just how different various orchestras sound and play and even the differences that various conductors have on the same orchestra. He also stressed the importance of knowing what role you play at different moments in the orchestra works, such as blending with the horns, or the double basses, adding strength to the bass clarinet, exchanging fanfares with the trumpet, or playing a major solo line. A unique learning experience.

Insight into my daily activity…practice

By Robert Pendergast - DMA Candidate, Florida State University

The International Euphonium Institute was an intense week of master classes, concerts ,and recitals especially for the euphonium. Adam Frey’s class on practicing, “How to Practice – A Public View of a Private Practice Session,” piqued my interest because of its organized and methodical approach to an otherwise mundane topic.

Mr. Frey began his lecture by acknowledging that there are several types of practicing, i.e., maintenance practicing, practicing for improvement, and practicing performance. For this class, Mr. Frey’s primary focus was practicing for improvement, of which he stressed four main points. Good practice habits include making a detailed plan, being efficient, practicing the music that has not been mastered, and having a smart approach to unruly technical passages.

It is important to have goals, and one way of deciding and refining these goals is to evaluate our playing about once a month. Mr. Frey had each of the students make a list of his or her top five weaknesses. Specificity is essential. The more precise the goal, the quicker it can be accomplished. Simply stating that intonation is a weakness may be a little too broad. General goals lead to inefficiency because the focus of the practice session becomes diluted by playing things that are not the real problem. Therefore, instead of merely listing intonation as a problem, the student should work on playing an A-flat, for instance, in tune without major adjustments after the note is sounded, nine out of ten times in a D-flat major chord.

When we begin practicing a new piece of music, it is rare to have trouble with the entire work. Usually it’s only five to ten spots, depending on the length of the music. Mr. Frey emphasized the importance of not wasting too much time playing through the easy parts. It takes a certain amount of discipline to isolate and practice only the sections which need the most work. To help focus and organize practicing, Mr. Frey suggests the use of a timer. If given only 10 to 15 minutes to master a certain passage, the tendency is to really apply oneself. At first it is difficult to have the organization to play with a timer, but it is a skill that improves with repetition. The other important concept of using a timer to maximize practice efficiency is to proceed to the next topic once the timer signals the end of the session. To bring home his point, Mr. Frey invited a participant to play in the master class. After reviewing a problematic passage, Mr. Frey discovered that an octave interval in the passage was actually the troublesome spot. He had the student play the octave in a repetition loop. Within 22 seconds, the problem was solved, permanently, and the entire figure was better. The time it takes to learn a passage is shorter than one might think, but the practice time has to be focused.

Trouble spots can also be approached in a number of creative ways. Mr. Frey likes to vary the rhythms of technical passages. Two favorite rhythms are the dotted eighth, sixteenth-note, and its reverse, the sixteenth, dotted eighth-note patterns. While playing these altered rhythms, it is highly suggested to use a metronome. Other ideas from a short discussion included playing trouble spots backwards, playing them with the left hand, with different articulations, and playing the passage by adding a note with each repetition. The concept of these ideas is to make the pattern more difficult so the original becomes easy. Sometimes simplifying a passage is the most effective practice tool, however. A passage with difficult rhythms, for instance, can be play on middle F. This method keeps the notes from distracting too much attention from learning the rhythm.

Towards the end of the class, Adam demonstrated his model practice session. The example only lasted about 30 minutes, but Adam explained that the emphasis is on quality practice time, not quantity. We could really see how detailed his practice plan was, and how determined he was to stay on task. He started with breathing exercises, buzzing and five minutes of long tones with a tuner. He then played some octaves to match tone and note shape. These exercises where then followed by lips slurs with a metronome. Next were 10 minutes of single tonguing drills. Mr. Frey then began practicing specific spots in one of his pieces he was going to perform that evening.

Before the class ended Mr. Frey reminded us of the main points. First, practice should not always sound perfect. The point is to spend your time learning something new or difficult. Second, be efficient; do not waste too much time by overplaying the parts that are easy. Third, have a plan and stick with it. Finally, use a metronome and a tuner.

I would like to thank Mr. Frey for all of his hard work and vision in making this great workshop for euphoniumists possible.

The Next Mission of the IEI

By Adam Frey

We learned a lot during this week and are making plans to further enhance the IEI for the future. Participant feedback was great and we plan to incorporate many of their ideas because this camp focuses on the needs of the participants. The one thing that makes me proud revolves around the massive steps forward people made IN JUST ONE WEEK, especially over problems/issues they had been working on regularly. And of course we do not know about all the other triumphs that occurred that are not written about in this limited space. I am sure every person had quite a number, including myself.

Just to get your mouths watering, interest piqued, and marking dates on your calendars, start saving and look for these future IEI opportunities: we will have TWO Outreach Concerts in 2005, an audition for solo performance slots on the Outreach Concerts, host a recital dedicated to new works for the euphonium (start asking your friends to write you a piece now), expand to 7 days of “Euphonium Heaven,” a military band session, more chamber music opportunities, a massed Doxy performance at the end of Jazz Night, and teaching opportunities for graduate students. With anticipated participation numbers at IEI 2005, there will be two massed euphonium ensembles, three Featured Artists euphonium staff, two part time euphonium staff, two pianists, and even more fun and adventure!! Look for a feature article on our International Artist for 2005 in the next ITEA Journal!!

The specific dates in June for IEI 2005 will be released by August 1, 2004. Check the website at www.euphonium.com for updates on artists, applications, and updates. NOTE$$: We will be offering a number of scholarships in 2005, as well as a great discount for adult participants (over 18 years old) that also get a high school student to register with them. This incentive will help build strong interest at the earliest possible stages. We also plan to offer discounts to returning IEI 2004 participants that return with a friend (on both these incentives, you can bring multiple friends/students for even greater savings). Pre-registration will run from November 1 to January 1 with an optional three month payment plan for the tuition ($450). Please note that in 2004, the IEI was extremely proud to provide scholarships or reasonable payment plans (or a combination of both) to EVERY SINGLE interested student that wanted to attend.

Share the joy of the euphonium with your friends, students, and audience members.

Join us in Atlanta in June 2005. Visit the webpage for IEI 2005 here.

Adam Frey

Euphonium Soloist

Director, The International Euphonium Institute