Masters • 10815 Bodine Road • Clarence, NY 14031-0406phone: 716.759.2600 • fax: 716.759.2329 • www.markcustom.com 7070-MCD

� 2007

* Suite for Tuba --- Don Haddad[1] Allegro maestoso (3:21)[2] Andante espressivo (3:21)[3] Allegro con brio (2:58)

* Andante and Rondo --- Antonio Capuzzi[4] Andante {4:46)[5] Rondo (4:48)

* [6] Concerto in One Movement (7:04) --- Alexei Lebedev* Sonata in F Major --- Benedetto Marcello

[7] Largo {1:41)[8] Allegro (1:35)[9] Largo (:56)[10] Allegro (1:06)

* Six Studies in English Folksong --- Ralph Vaughan Williams[11] Lovely on the water {1:43)[12] Spurn Point (1:20)[13] Van Diemen's Land (1:42)[14] The lady and the dragoon (1:46)[15] She borrowed some of her mothers gold (1:53)[16] As I walked over London bridge (:56)

* Suite for Unaccompanied Tuba --- Walter S. Hartley[17] Inrada: Alla marcia (:58)[18] Valse: Allegro non troppo (1:03][19] Air: Andante (1:49)[20] Galop: Presto (1:11)

* Air and Bouree --- Johann Sebastian Bach[21] Air (1:20)[22] Bouree (1:38)

Tuba HelperTuba HelperDavid Zerkel, tubaPaolo Gualdi, pianoDavid Zerkel, tubaPaolo Gualdi, piano

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 1

Tuba HelperDavid Zerkel, Tuba

Paolo Gualdi, PianoSince I’ve been teaching, I have consistently used the same pieces when working on solo literature

with younger players. I use these pieces not only because they are appropriate to the skill set ofdeveloping players, but also because they are good music, fun to play, and enjoyable to listen to. When Iwas thinking about a new CD project, I thought that it might be a good idea to record all of these piecesso that a student could find all of these tunes in one place.

I chose to record all of these pieces on my C tuba for a couple of reasons: First, the players thatare most likely to be working on these pieces are likely to be “one tuba” kind of people. They may nothave a demonstrated need or financial wherewithal to own an F or E-flat tuba at this point in theirdevelopment. (I didn’t own an F tuba until I was 30 years old, not because I didn’t want one, butbecause I couldn’t afford one!) Secondly, in this era of incredible selection of tuba CDs, there are veryfew recordings that are all on the big tuba. While it is really cool to listen to what is possible on themore nimble F or E-flat tuba, it is frustratingly difficult to reproduce the timbre of those horns if youhave a B-flat tuba in your lap. I hope that this recording will provide the listener with a model of soloplaying with a characteristic big tuba sound.

I hope that you will enjoy listening to this recording as much as I have enjoyed recording it!

David ZerkelDavid Zerkel is Associate Professor of Tuba and Euphonium at the

University of Georgia, leading an active career as both a performer andeducator. Before his arrival at UGA, he taught in a similar position atIllinois State University. His students have distinguished themselves bywinning international and national competitions and attaining positionswith professional performing organizations.

David has performed as a featured soloist at many workshops andsymposia, including the Leonard Falcone Festival, several InternationalTuba Euphonium Conferences, and the United States Army Band TubaConference. In addition, he has performed as a solo recitalist at many ofthe leading colleges and conservatories in the United States. His soloCD, American Music for Tuba: Something Old, Something New, was

This recording was generously supported by a research grant from theUniversity of Georgia Research Foundation.

Special Thanks to:• Paolo Gualdi, for his outstanding musicianship, spirit of collaboration and genuine

friendship.• Mark Morette, for his expertise and guidance from beginning to end.• Fred Betschen, for making the editing process both fun and painless.• Mark “Chewie” Chalabala, for the cover design and booklet artwork. Chew is truly one

of the most talented people I know. Please see more of his work at www.tubahouse.com• Sara, Alex, Maddie and Jack for their patience and for attempting to understand my life

as a tuba player.• Greg Zerkel, whose generosity allowed this project to conclude sooner than later.• Don Lowe, for his steadfast support of my artistic endeavors at UGA.

This CD was recorded on location in Ramsey Hall at the Performing Arts Centerat the University of Georgia.

The recording sessions took place on May 6 and 7, 2007.The entire CD was recorded on a B&S Perantucci PT-6P with a

Marcinkiewicz Rose Model mouthpiece.

Recorded with AKG C-414 TL-II microphones into a modified Yamaha O1v 96 mixer,directly into an Alessis Masterlink ML-9600 in 24 bit. The CD was edited in high resolution

using Sony Sound Forge and mastered with Pro-Tools and Waves Platinum plug ins.

Also on Mark Records:

David Zerkel’s debut CD, American Music for Tuba: Something Old,Something New, was the winner of the inaugural Roger Bobo Awardfor Excellence in Recording. This album features performances onthe F Tuba, CC Tuba and Euphonium and includes Sonata for Tubaby John Cheetham, Serenade no 12 by Vincent Persichetti, DiversiveElements by David Gillingham, Walter Hartley's Sonata no. 1 forTuba and Piano, and the James Woodward Tuba Concerto.

2 7

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 2

selected as the recipient of the inaugural ITEA Roger Bobo Award for Excellence in Recording at the2006 ITEC in Denver, Colorado.

David has performed with many orchestras, to include the Philadelphia Orchestra, ChicagoSymphony Orchestra, Atlanta Symphony Orchestra, National Symphony Orchestra, BaltimoreSymphony Orchestra and the Kennedy Center Opera House Orchestra. He is a member of the BrassBand of Battle Creek and is a frequent performer with The New Sousa Band. He began his performingcareer as a member of the United States Army Field Band and The United States Army Band, bothlocated in Washington, D.C.

David lives in Bogart, Georgia with his wife, Sara, their three children, Alex, Maddie, and Jack,and their big dopey dog, Wrigley.

Paolo André GualdiPaolo André Gualdi began studying piano with his

father at the age of five, and continued at the Conservatoryof Santa Cecilia in Rome, Italy. He received his diploma cumlaude from the Conservatory Arrigo Boito in Parma, underthe tutelage of Roberto Cappello, and in 2002 he obtained aMasters Degree in Piano Performance at Carnegie MellonUniversity, under the guidance of Enrique Graf.

He has participated in master classes with GyörgySandor, Earl Wild, Menahem Pressler, Sergio Perticaroli andCarlo Maria Dominici. Mr. Gualdi has won the top prize innumerous piano competitions, including the EuropeanCompetition of Ostuni, the Altruda National Competition of Vasto and the Françoise Grimaldi NationalCompetition of San Polo. Winning the “De Martino Award” at the Ibla International Piano Competitionenabled him to study at Elon University with Dr. Victoria Fischer. During this period he won the FirstPrize in the Southeastern Piano Competition of Whiteville, North Carolina, and the 15th Bartók-Kabalevsky International Competition in Virginia. Thanks to these achievements, Mr. Gualdi has playedrecitals in Italy and the United States, both as a soloist and chamber musician. He has been a featuredsoloist with the Wind Orchestra of Parma, the Warren Civic Orchestra, and the UGA SymphonyOrchestra. In Italy he has given recitals for the A.Gi.Mus. (Associazione Giovanile Musicale),Accademia Ori, Amici del Conservatorio di Parma, Accademia Amadeus and others. He has alsoperformed at the Piccolo Spoleto Festival USA, Cincinnati Conservatory, Eastman School of Music inRochester, Macon Concert Association, and at Elon University, North Carolina, where he also taughtpiano for a semester. He is presently pursuing a Doctorate in Piano Performance at the University ofGeorgia with Dr. Evgeny Rivkin. He is a resident of Athens, Georgia, and is currently a faculty memberat Emmanuel College.

sound. If the performer is able to give each brief movement its own distinct identity, this is a wonderfulwork for a recital program.

Suite for Unaccompanied Tuba, by Walter S. HartleyPublished by Elkan-Vogel Inc. www.presser.com. (610)592-1222

Walter Hartley (born in 1928) has been a champion of the tuba, composing works for ourinstrument for nearly fifty years. His output includes more than twenty works for tuba and has earnedhim the prestigious Lifetime Achievement Award from the International Tuba Euphonium Association. Heis Professor Emeritus of Composition at SUNY-Fredonia, where he spent the bulk of his teaching career.

The Suite for Unaccompanied Tuba was composed in 1962, at about the same time that VincentPersichetti was working on his Serenade no. 12 for Solo Tuba. Even though these works were amongthe very first serious works for unaccompanied tuba, they have both stood the test of time and remainstaples of the repertoire. Hartley’s Suite serves as a great bridge between the more conservativearrangements that many students begin with to the more advanced solo literature. Although themelodic language may seem daunting to the developing player, the music is quite traditional in formwith each movement maintaining a distinctly unique style.

Air and Bouree, by Johann Sebastian BachArranged by William J. Bell

Published by Carl Fischer. www.Johann Sebastian Bach (1685-1750) is one of the most prolific composers in the history of

western music. His output of work is astounding, numbering well into the thousands. So, it’s littlewonder that Bill Bell couldn’t narrow his arrangement down to just one piece, but selected parts of twoof Bach’s works to create his famous Air and Bouree. The Air is a setting of BWV 478, the choraleKomm Susser Tod (Come Sweet Death). The Bouree comes from BWV 1002, the Second ViolinSonata. It is worth noting that the harmonization of the Bouree is likely that of Bell, as only the figuredbass is provided in the original violin sonata.

This piece is frequently the first solo that a young tubist might be assigned, which mystifies me inmany ways. The physical requirements required to sustain a full sound and still make the phrasingwork in the Air are significant. The Bouree, on the other hand, is a work that requires great agility in thestaff and a very light touch-- qualities that are rarely encountered in a very young player. I find thatmany young players fight just to keep up with the technical requirements found in this work and thatthe idea of making music in a way that would make Johann smile is beyond their grasp. The work isrewarding to perform, but is no walk in the park!

6 3

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 3

Suite for Tuba, by Don HaddadPublished by Shawnee Press. www.shawneepress.com (800)962-8584

Don Haddad (born in 1935) is an American composer and hornist who received his training atOhio University and the University of Colorado. His Suite for Tuba is among the most popular solos forthe tuba student due to its engaging rhythmic energy, appealing melodies and clear formal structure.The piece is constructed in three movements.

The first movement is comprised of two contrasting melodies- one heroic and the other lyrical.Following the lovely andante melody, the heroic, syncopated material returns in a slightly altered formand leads to a rousing conclusion. The second movement features a lovely lilting melody with a hint ofthree against two feel in the middle. The original material returns and the movement ends as quietly asit begins. The final movement is very rhythmic in nature, alternating between 3/4 and 4/4 time. Therhythmic energy is interrupted briefly by a cadenza for the soloist, only to have the original materialreturn again in earnest.

Andante and Rondo, by Antonio CapuzziArranged by Philip Catilinet

Published by Hinrichsen Edition. www.edition-peters.com (718)416-7800Antonio Capuzzi (1755-1818) was an Italian violinist and composer whose work was quite

popular in his day. He composed his Concerto for Double Bass in the key of D Major and from thiswork comes Philip Catelinet’s arrangement of the final two movements, Andante and Rondo (in thebrass friendly key of E-flat).

Andante and Rondo affords the tubist the opportunity to perform a work from the Classical erathat is technically more intriguing than the overtone series driven brass concerti of Mozart and Haydn.The Andante movement derives its beauty from the elegant simplicity of the melodic line and harmoniclanguage. The Rondo is a more spirited romp in the home key of E-flat Major with a brief (andchallenging) foray into e-flat minor. The piece finishes with an extended coda section and an excitingflourish from the soloist.

Concerto in One Movement, by Alexei LebedevArranged by Allen Ostrander

Published by Edition Musicus. Alexei Lebedev (1924-1993) was a Russian tubist and composer. He was a member of the Russian

Army and was seriously injured on the front line in World War II in 1942, after which time he became abandsman. He completed his tuba studies at the Moscow Conservatory and, several years later, becamethe tuba instructor at the Conservatory, a position he held until his death in 1993. He also served asprincipal tubist of the Bolshoi Orchestra from 1950 to 1966. In 1988, he was the first composer to be

awarded the Lifetime Achievement Award from the International Tuba Euphonium Association.

His Concerto in One Movement (also known as Concerto no. 1) was composed in 1947 andpublished in 1950. It is one of the only works originally composed for the tuba that is truly in the vein ofthe Romantic era. The harmonic language is distinctly Russian, reminiscent of the works ofTchaikovsky in many ways. The work changes tempo and mood frequently, requiring a great deal ofmusical flexibility from the soloist and pianist alike.

Sonata in F Major, by Benedetto MarcelloArranged by Donald Little and Richard Nelson

Published by Southern Music. www.southernmusic.com (800)284-5443Benedetto Marcello (1686-1739) is a contemporary of Bach and Handel and composed in the

height of the Baroque era. Although Marcello studied composition with Lotti and Gasparini, his primaryvocation was as a magistrate. Even though music was an avocation for Marcello, he was highlyrevered as a composer throughout Europe, eclipsing his fellow countryman Antonio Vivaldi in popularitywhile he was living. Most of his instrumental music was composed after 1710 and were in the form ofconcertos and solo sonatas.

Sonata in F Major was originally composed for Violoncello and Basso continuo, the first in a setof six sonatas for this instrumentation. Today, transcriptions of these works are popular among lowbrass players for their melodic appeal and relatively conservative range. Donald Little, Professor ofTuba at the University of North Texas, has arranged two of these sonatas for tuba and piano. Thisparticular sonata allows the performer to work on both lyrical and technical aspects of their playing, allwithin the confines of the comfortable key of F Major.

Six Studies in English Folksong, by Ralph Vaughan WilliamsArranged by Michael Wagner

Published by Galaxy Music Corp. www.ecspublishing.com (617)236-1935Ralph Vaughan Williams (1872-1958) is a composer who is well known to tuba players by virtue

of his Concerto for Bass Tuba, which was composed in 1952. He was not especially well known as acomposer of chamber music, but in 1926 he composed a delightful set of studies based on well knowntunes entitled Six Studies in English Folksong. The work was originally composed for Cello and pianoand premiered by British cellist May Mulke in London. The piece has been arranged for many differentinstruments and this particular adaptation for tuba was made by a former section mate of mine in theUS Army Band, Mike Wagner.

The first five of these songs are all set at slow tempo indications (Adagio, Andante sostenuto,Larghetto, Lento, and Andante tranquillo). Only the last movement is quick, marked at Vivace. It isimperative that the performer has a grasp on the “food chain of slow” when studying these works, sothat all of the movements do not end up sounding the same. Like many of the great “tone pieces” inthe horn repertoire, this piece is a great vehicle for playing with one’s most beautiful and singing

4 5

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 4

Suite for Tuba, by Don HaddadPublished by Shawnee Press. www.shawneepress.com (800)962-8584

Don Haddad (born in 1935) is an American composer and hornist who received his training atOhio University and the University of Colorado. His Suite for Tuba is among the most popular solos forthe tuba student due to its engaging rhythmic energy, appealing melodies and clear formal structure.The piece is constructed in three movements.

The first movement is comprised of two contrasting melodies- one heroic and the other lyrical.Following the lovely andante melody, the heroic, syncopated material returns in a slightly altered formand leads to a rousing conclusion. The second movement features a lovely lilting melody with a hint ofthree against two feel in the middle. The original material returns and the movement ends as quietly asit begins. The final movement is very rhythmic in nature, alternating between 3/4 and 4/4 time. Therhythmic energy is interrupted briefly by a cadenza for the soloist, only to have the original materialreturn again in earnest.

Andante and Rondo, by Antonio CapuzziArranged by Philip Catilinet

Published by Hinrichsen Edition. www.edition-peters.com (718)416-7800Antonio Capuzzi (1755-1818) was an Italian violinist and composer whose work was quite

popular in his day. He composed his Concerto for Double Bass in the key of D Major and from thiswork comes Philip Catelinet’s arrangement of the final two movements, Andante and Rondo (in thebrass friendly key of E-flat).

Andante and Rondo affords the tubist the opportunity to perform a work from the Classical erathat is technically more intriguing than the overtone series driven brass concerti of Mozart and Haydn.The Andante movement derives its beauty from the elegant simplicity of the melodic line and harmoniclanguage. The Rondo is a more spirited romp in the home key of E-flat Major with a brief (andchallenging) foray into e-flat minor. The piece finishes with an extended coda section and an excitingflourish from the soloist.

Concerto in One Movement, by Alexei LebedevArranged by Allen Ostrander

Published by Edition Musicus. Alexei Lebedev (1924-1993) was a Russian tubist and composer. He was a member of the Russian

Army and was seriously injured on the front line in World War II in 1942, after which time he became abandsman. He completed his tuba studies at the Moscow Conservatory and, several years later, becamethe tuba instructor at the Conservatory, a position he held until his death in 1993. He also served asprincipal tubist of the Bolshoi Orchestra from 1950 to 1966. In 1988, he was the first composer to be

awarded the Lifetime Achievement Award from the International Tuba Euphonium Association.

His Concerto in One Movement (also known as Concerto no. 1) was composed in 1947 andpublished in 1950. It is one of the only works originally composed for the tuba that is truly in the vein ofthe Romantic era. The harmonic language is distinctly Russian, reminiscent of the works ofTchaikovsky in many ways. The work changes tempo and mood frequently, requiring a great deal ofmusical flexibility from the soloist and pianist alike.

Sonata in F Major, by Benedetto MarcelloArranged by Donald Little and Richard Nelson

Published by Southern Music. www.southernmusic.com (800)284-5443Benedetto Marcello (1686-1739) is a contemporary of Bach and Handel and composed in the

height of the Baroque era. Although Marcello studied composition with Lotti and Gasparini, his primaryvocation was as a magistrate. Even though music was an avocation for Marcello, he was highlyrevered as a composer throughout Europe, eclipsing his fellow countryman Antonio Vivaldi in popularitywhile he was living. Most of his instrumental music was composed after 1710 and were in the form ofconcertos and solo sonatas.

Sonata in F Major was originally composed for Violoncello and Basso continuo, the first in a setof six sonatas for this instrumentation. Today, transcriptions of these works are popular among lowbrass players for their melodic appeal and relatively conservative range. Donald Little, Professor ofTuba at the University of North Texas, has arranged two of these sonatas for tuba and piano. Thisparticular sonata allows the performer to work on both lyrical and technical aspects of their playing, allwithin the confines of the comfortable key of F Major.

Six Studies in English Folksong, by Ralph Vaughan WilliamsArranged by Michael Wagner

Published by Galaxy Music Corp. www.ecspublishing.com (617)236-1935Ralph Vaughan Williams (1872-1958) is a composer who is well known to tuba players by virtue

of his Concerto for Bass Tuba, which was composed in 1952. He was not especially well known as acomposer of chamber music, but in 1926 he composed a delightful set of studies based on well knowntunes entitled Six Studies in English Folksong. The work was originally composed for Cello and pianoand premiered by British cellist May Mulke in London. The piece has been arranged for many differentinstruments and this particular adaptation for tuba was made by a former section mate of mine in theUS Army Band, Mike Wagner.

The first five of these songs are all set at slow tempo indications (Adagio, Andante sostenuto,Larghetto, Lento, and Andante tranquillo). Only the last movement is quick, marked at Vivace. It isimperative that the performer has a grasp on the “food chain of slow” when studying these works, sothat all of the movements do not end up sounding the same. Like many of the great “tone pieces” inthe horn repertoire, this piece is a great vehicle for playing with one’s most beautiful and singing

4 5

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 4

selected as the recipient of the inaugural ITEA Roger Bobo Award for Excellence in Recording at the2006 ITEC in Denver, Colorado.

David has performed with many orchestras, to include the Philadelphia Orchestra, ChicagoSymphony Orchestra, Atlanta Symphony Orchestra, National Symphony Orchestra, BaltimoreSymphony Orchestra and the Kennedy Center Opera House Orchestra. He is a member of the BrassBand of Battle Creek and is a frequent performer with The New Sousa Band. He began his performingcareer as a member of the United States Army Field Band and The United States Army Band, bothlocated in Washington, D.C.

David lives in Bogart, Georgia with his wife, Sara, their three children, Alex, Maddie, and Jack,and their big dopey dog, Wrigley.

Paolo André GualdiPaolo André Gualdi began studying piano with his

father at the age of five, and continued at the Conservatoryof Santa Cecilia in Rome, Italy. He received his diploma cumlaude from the Conservatory Arrigo Boito in Parma, underthe tutelage of Roberto Cappello, and in 2002 he obtained aMasters Degree in Piano Performance at Carnegie MellonUniversity, under the guidance of Enrique Graf.

He has participated in master classes with GyörgySandor, Earl Wild, Menahem Pressler, Sergio Perticaroli andCarlo Maria Dominici. Mr. Gualdi has won the top prize innumerous piano competitions, including the EuropeanCompetition of Ostuni, the Altruda National Competition of Vasto and the Françoise Grimaldi NationalCompetition of San Polo. Winning the “De Martino Award” at the Ibla International Piano Competitionenabled him to study at Elon University with Dr. Victoria Fischer. During this period he won the FirstPrize in the Southeastern Piano Competition of Whiteville, North Carolina, and the 15th Bartók-Kabalevsky International Competition in Virginia. Thanks to these achievements, Mr. Gualdi has playedrecitals in Italy and the United States, both as a soloist and chamber musician. He has been a featuredsoloist with the Wind Orchestra of Parma, the Warren Civic Orchestra, and the UGA SymphonyOrchestra. In Italy he has given recitals for the A.Gi.Mus. (Associazione Giovanile Musicale),Accademia Ori, Amici del Conservatorio di Parma, Accademia Amadeus and others. He has alsoperformed at the Piccolo Spoleto Festival USA, Cincinnati Conservatory, Eastman School of Music inRochester, Macon Concert Association, and at Elon University, North Carolina, where he also taughtpiano for a semester. He is presently pursuing a Doctorate in Piano Performance at the University ofGeorgia with Dr. Evgeny Rivkin. He is a resident of Athens, Georgia, and is currently a faculty memberat Emmanuel College.

sound. If the performer is able to give each brief movement its own distinct identity, this is a wonderfulwork for a recital program.

Suite for Unaccompanied Tuba, by Walter S. HartleyPublished by Elkan-Vogel Inc. www.presser.com. (610)592-1222

Walter Hartley (born in 1928) has been a champion of the tuba, composing works for ourinstrument for nearly fifty years. His output includes more than twenty works for tuba and has earnedhim the prestigious Lifetime Achievement Award from the International Tuba Euphonium Association. Heis Professor Emeritus of Composition at SUNY-Fredonia, where he spent the bulk of his teaching career.

The Suite for Unaccompanied Tuba was composed in 1962, at about the same time that VincentPersichetti was working on his Serenade no. 12 for Solo Tuba. Even though these works were amongthe very first serious works for unaccompanied tuba, they have both stood the test of time and remainstaples of the repertoire. Hartley’s Suite serves as a great bridge between the more conservativearrangements that many students begin with to the more advanced solo literature. Although themelodic language may seem daunting to the developing player, the music is quite traditional in formwith each movement maintaining a distinctly unique style.

Air and Bouree, by Johann Sebastian BachArranged by William J. Bell

Published by Carl Fischer. www.Johann Sebastian Bach (1685-1750) is one of the most prolific composers in the history of

western music. His output of work is astounding, numbering well into the thousands. So, it’s littlewonder that Bill Bell couldn’t narrow his arrangement down to just one piece, but selected parts of twoof Bach’s works to create his famous Air and Bouree. The Air is a setting of BWV 478, the choraleKomm Susser Tod (Come Sweet Death). The Bouree comes from BWV 1002, the Second ViolinSonata. It is worth noting that the harmonization of the Bouree is likely that of Bell, as only the figuredbass is provided in the original violin sonata.

This piece is frequently the first solo that a young tubist might be assigned, which mystifies me inmany ways. The physical requirements required to sustain a full sound and still make the phrasingwork in the Air are significant. The Bouree, on the other hand, is a work that requires great agility in thestaff and a very light touch-- qualities that are rarely encountered in a very young player. I find thatmany young players fight just to keep up with the technical requirements found in this work and thatthe idea of making music in a way that would make Johann smile is beyond their grasp. The work isrewarding to perform, but is no walk in the park!

6 3

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 3

Tuba HelperDavid Zerkel, Tuba

Paolo Gualdi, PianoSince I’ve been teaching, I have consistently used the same pieces when working on solo literature

with younger players. I use these pieces not only because they are appropriate to the skill set ofdeveloping players, but also because they are good music, fun to play, and enjoyable to listen to. When Iwas thinking about a new CD project, I thought that it might be a good idea to record all of these piecesso that a student could find all of these tunes in one place.

I chose to record all of these pieces on my C tuba for a couple of reasons: First, the players thatare most likely to be working on these pieces are likely to be “one tuba” kind of people. They may nothave a demonstrated need or financial wherewithal to own an F or E-flat tuba at this point in theirdevelopment. (I didn’t own an F tuba until I was 30 years old, not because I didn’t want one, butbecause I couldn’t afford one!) Secondly, in this era of incredible selection of tuba CDs, there are veryfew recordings that are all on the big tuba. While it is really cool to listen to what is possible on themore nimble F or E-flat tuba, it is frustratingly difficult to reproduce the timbre of those horns if youhave a B-flat tuba in your lap. I hope that this recording will provide the listener with a model of soloplaying with a characteristic big tuba sound.

I hope that you will enjoy listening to this recording as much as I have enjoyed recording it!

David ZerkelDavid Zerkel is Associate Professor of Tuba and Euphonium at the

University of Georgia, leading an active career as both a performer andeducator. Before his arrival at UGA, he taught in a similar position atIllinois State University. His students have distinguished themselves bywinning international and national competitions and attaining positionswith professional performing organizations.

David has performed as a featured soloist at many workshops andsymposia, including the Leonard Falcone Festival, several InternationalTuba Euphonium Conferences, and the United States Army Band TubaConference. In addition, he has performed as a solo recitalist at many ofthe leading colleges and conservatories in the United States. His soloCD, American Music for Tuba: Something Old, Something New, was

This recording was generously supported by a research grant from theUniversity of Georgia Research Foundation.

Special Thanks to:• Paolo Gualdi, for his outstanding musicianship, spirit of collaboration and genuine

friendship.• Mark Morette, for his expertise and guidance from beginning to end.• Fred Betschen, for making the editing process both fun and painless.• Mark “Chewie” Chalabala, for the cover design and booklet artwork. Chew is truly one

of the most talented people I know. Please see more of his work at www.tubahouse.com• Sara, Alex, Maddie and Jack for their patience and for attempting to understand my life

as a tuba player.• Greg Zerkel, whose generosity allowed this project to conclude sooner than later.• Don Lowe, for his steadfast support of my artistic endeavors at UGA.

This CD was recorded on location in Ramsey Hall at the Performing Arts Centerat the University of Georgia.

The recording sessions took place on May 6 and 7, 2007.The entire CD was recorded on a B&S Perantucci PT-6P with a

Marcinkiewicz Rose Model mouthpiece.

Recorded with AKG C-414 TL-II microphones into a modified Yamaha O1v 96 mixer,directly into an Alessis Masterlink ML-9600 in 24 bit. The CD was edited in high resolution

using Sony Sound Forge and mastered with Pro-Tools and Waves Platinum plug ins.

Also on Mark Records:

David Zerkel’s debut CD, American Music for Tuba: Something Old,Something New, was the winner of the inaugural Roger Bobo Awardfor Excellence in Recording. This album features performances onthe F Tuba, CC Tuba and Euphonium and includes Sonata for Tubaby John Cheetham, Serenade no 12 by Vincent Persichetti, DiversiveElements by David Gillingham, Walter Hartley's Sonata no. 1 forTuba and Piano, and the James Woodward Tuba Concerto.

2 7

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 2

Masters • 10815 Bodine Road • Clarence, NY 14031-0406phone: 716.759.2600 • fax: 716.759.2329 • www.markcustom.com 7070-MCD

� 2007

* Suite for Tuba --- Don Haddad[1] Allegro maestoso (3:21)[2] Andante espressivo (3:21)[3] Allegro con brio (2:58)

* Andante and Rondo --- Antonio Capuzzi[4] Andante {4:46)[5] Rondo (4:48)

* [6] Concerto in One Movement (7:04) --- Alexei Lebedev* Sonata in F Major --- Benedetto Marcello

[7] Largo {1:41)[8] Allegro (1:35)[9] Largo (:56)[10] Allegro (1:06)

* Six Studies in English Folksong --- Ralph Vaughan Williams[11] Lovely on the water {1:43)[12] Spurn Point (1:20)[13] Van Diemen's Land (1:42)[14] The lady and the dragoon (1:46)[15] She borrowed some of her mothers gold (1:53)[16] As I walked over London bridge (:56)

* Suite for Unaccompanied Tuba --- Walter S. Hartley[17] Inrada: Alla marcia (:58)[18] Valse: Allegro non troppo (1:03][19] Air: Andante (1:49)[20] Galop: Presto (1:11)

* Air and Bouree --- Johann Sebastian Bach[21] Air (1:20)[22] Bouree (1:38)

Tuba HelperTuba HelperDavid Zerkel, tubaPaolo Gualdi, pianoDavid Zerkel, tubaPaolo Gualdi, piano

7070-MCD Tuba Helper Insert 11/28/08 3:12 PM Page 1

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Custom Recording Service, Inc. 10815 Bodine Road • Clarence, NY 14031-0406Ph: 716 759-2600 • www.markcustom.com • Support Music, Don’t Copy.WARNING: All rights reserved. Unauthorized duplication is a violation of applicable laws.

* Suite for Tuba --- Don Haddad[1] Allegro maestoso (3:21)[2] Andante espressivo (3:21)[3] Allegro con brio (2:58)

* Andante and Rondo --- Antonio Capuzzi[4] Andante {4:46)[5] Rondo (4:48)

* [6] Concerto in One Movement (7:04) --- Alexei Lebedev* Sonata in F Major --- Benedetto Marcello

[7] Largo {1:41)[8] Allegro (1:35)[9] Largo (:56)[10] Allegro (1:06)

* Six Studies in English Folksong --- Ralph Vaughan Williams[11] Lovely on the water {1:43)[12] Spurn Point (1:20)[13] Van Diemen's Land (1:42)[14] The lady and the dragoon (1:46)[15] She borrowed some of her mothers gold (1:53)[16] As I walked over London bridge (:56)

* Suite for Unaccompanied Tuba --- Walter S. Hartley[17] Inrada: Alla marcia (:58)[18] Valse: Allegro non troppo (1:03][19] Air: Andante (1:49)[20] Galop: Presto (1:11)

* Air and Bouree --- Johann Sebastian Bach[21] Air (1:20)[22] Bouree (1:38)

Tuba HelperTuba HelperDavid Zerkel, tubaPaolo Gualdi, pianoDavid Zerkel, tubaPaolo Gualdi, piano