A Getchell Companion for the Beginning Tubist

By

Jacob Michael Grewe

A dissertation submitted in partial fulfillment of

the requirements for the degree of

Doctor of Musical Arts

(Music Performance)

at the

UNIVERSITY OF WISCONSIN-MADISON

2018

Date of final oral examination: May 1, 2018

The written project is approved by the following members of the Final Oral Committee:
Dr. Tom Curry, Adjunct Professor, Music
Mark Hetzler, Professor, Music
Scott Teeple, Professor, Music
Dr. Charles Dill, Professor, Music
 © 2018
Jacob M. Grewe
All Rights Reserved
 i

Contents

I. Introduction ........................................................................................................................ 1

• Biography of Robert W. Getchell .......................................................................... 4

II. Recommended Pedagogical Approach of Duet Practice for the Young Developing Tubist

............................................................................................................................................ 6

III. Discussion of Original Etudes and Duets ........................................................................ 12

• Etude and Duet Counterpart 1.............................................................................. 12

• Etude and Duet Counterpart 2.............................................................................. 12
• Etude and Duet Counterpart 3.............................................................................. 13
• Etude and Duet Counterpart 4.............................................................................. 13
• Etude and Duet Counterpart 5.............................................................................. 13
• Etude and Duet Counterpart 6.............................................................................. 14
• Etude and Duet Counterpart 7.............................................................................. 14
• Etude and Duet Counterpart 8.............................................................................. 14
• Etude and Duet Counterpart 9.............................................................................. 15
• Etude and Duet Counterpart 10............................................................................ 15
• Etude and Duet Counterpart 11............................................................................ 15
• Etude and Duet Counterpart 12............................................................................ 16
• Etude and Duet Counterpart 13............................................................................ 16
• Etude and Duet Counterpart 14............................................................................ 16
• Etude and Duet Counterpart 15............................................................................ 17
• Etude and Duet Counterpart 16............................................................................ 17
• Etude and Duet Counterpart 17............................................................................ 17
• Etude and Duet Counterpart 18............................................................................ 18
• Etude and Duet Counterpart 19............................................................................ 18
• Etude and Duet Counterpart 20............................................................................ 19
• Etude and Duet Counterpart 21............................................................................ 19
• Etude and Duet Counterpart 22............................................................................ 19
• Etude and Duet Counterpart 23............................................................................ 20
• Etude and Duet Counterpart 24............................................................................ 20
• Etude and Duet Counterpart 25............................................................................ 20
• Etude and Duet Counterpart 26............................................................................ 21
• Etude and Duet Counterpart 27............................................................................ 21
• Etude and Duet Counterpart 28............................................................................ 22
• Etude and Duet Counterpart 29............................................................................ 22
• Etude and Duet Counterpart 30............................................................................ 22
• Etude and Duet Counterpart 31............................................................................ 23
• Etude and Duet Counterpart 32............................................................................ 23
 ii

• Etude and Duet Counterpart 33............................................................................ 23

• Etude and Duet Counterpart 34............................................................................ 24
• Etude and Duet Counterpart 35............................................................................ 24
• Etude and Duet Counterpart 36............................................................................ 24
• Etude and Duet Counterpart 37............................................................................ 25
• Etude and Duet Counterpart 38............................................................................ 25
• Etude and Duet Counterpart 39............................................................................ 26
• Etude and Duet Counterpart 40............................................................................ 26
• Etude and Duet Counterpart 41............................................................................ 26
• Etude and Duet Counterpart 42............................................................................ 26
• Etude and Duet Counterpart 43............................................................................ 27
• Etude and Duet Counterpart 44............................................................................ 27
• Etude and Duet Counterpart 45............................................................................ 27
• Etude and Duet Counterpart 46............................................................................ 28
• Etude and Duet Counterpart 47............................................................................ 28
• Etude and Duet Counterpart 48............................................................................ 29
• Etude and Duet Counterpart 49............................................................................ 29
• Etude and Duet Counterpart 50............................................................................ 30
• Etude and Duet Counterpart 51............................................................................ 30
• Etude and Duet Counterpart 52............................................................................ 31
• Etude and Duet Counterpart 53............................................................................ 31
• Etude and Duet Counterpart 54............................................................................ 31
• Etude and Duet Counterpart 55............................................................................ 32
• Etude and Duet Counterpart 56............................................................................ 32
• Etude and Duet Counterpart 57............................................................................ 32
• Etude and Duet Counterpart 58............................................................................ 33
• Etude and Duet Counterpart 59............................................................................ 33
• Etude and Duet Counterpart 60............................................................................ 34
• Table 1: Etude and Duet Information .................................................................. 35

IV. Duet Companion .............................................................................................................. 36

• Duet 1 ................................................................................................................... 37
• Duet 2 ................................................................................................................... 37
• Duet 3 ................................................................................................................... 38
• Duet 4 ................................................................................................................... 38
• Duet 5 ................................................................................................................... 39
• Duet 6 ................................................................................................................... 39
• Duet 7 ................................................................................................................... 39
• Duet 8 ................................................................................................................... 40
• Duet 9 ................................................................................................................... 40
• Duet 10 ................................................................................................................. 40
• Duet 11 ................................................................................................................. 41
 iii

• Duet 12 ................................................................................................................. 41
• Duet 13 ................................................................................................................. 42
• Duet 14 ................................................................................................................. 42
• Duet 15 ................................................................................................................. 43
• Duet 16 ................................................................................................................. 43
• Duet 17 ................................................................................................................. 44
• Duet 18 ................................................................................................................. 44
• Duet 19 ................................................................................................................. 45
• Duet 20 ................................................................................................................. 45
• Duet 21 ................................................................................................................. 46
• Duet 22 ................................................................................................................. 46
• Duet 23 ................................................................................................................. 47
• Duet 24 ................................................................................................................. 47
• Duet 25 ................................................................................................................. 47
• Duet 26 ................................................................................................................. 48
• Duet 27 ................................................................................................................. 48
• Duet 28 ................................................................................................................. 48
• Duet 29 ................................................................................................................. 49
• Duet 30 ................................................................................................................. 49
• Duet 31 ................................................................................................................. 49
• Duet 32 ................................................................................................................. 50
• Duet 33 ................................................................................................................. 50
• Duet 34 ................................................................................................................. 50
• Duet 35 ................................................................................................................. 51
• Duet 36 ................................................................................................................. 51
• Duet 37 ................................................................................................................. 52
• Duet 38 ................................................................................................................. 52
• Duet 39 ................................................................................................................. 52
• Duet 40 ................................................................................................................. 53
• Duet 41 ................................................................................................................. 53
• Duet 42 ................................................................................................................. 54
• Duet 43 ................................................................................................................. 54
• Duet 44 ................................................................................................................. 55
• Duet 45 ................................................................................................................. 55
• Duet 46 ................................................................................................................. 56
• Duet 47 ................................................................................................................. 56
• Duet 48 ................................................................................................................. 57
• Duet 49 ................................................................................................................. 57
• Duet 50 ................................................................................................................. 57
• Duet 51 ................................................................................................................. 58
• Duet 52 ................................................................................................................. 59
• Duet 53 ................................................................................................................. 59
• Duet 54 ................................................................................................................. 59
• Duet 55 ................................................................................................................. 60
 iv

• Duet 56 ................................................................................................................. 60
• Duet 57 ................................................................................................................. 60
• Duet 58 ................................................................................................................. 61
• Duet 59 ................................................................................................................. 61
• Duet 60 ................................................................................................................. 61

V. Suggestions for Further Areas of Study and Afterthoughts ............................................. 62

Bibliography .......................................................................................................................... 63
 1

Chapter I

Introduction

The goal of this document is to create a duet companion for the young developing tubist

using Robert W. Getchell’s First Book of Practical Studies for Tuba as the basis.1 I have found a

deficiency of duet material available for young and beginning tuba students which stays in a

manageable range without progressing in difficulty too quickly. This study focuses on the

Getchell based on the etude book’s limited written range and gradual introduction of new

rhythms and keys. As read in the forward to Getchell’s First Book of Practical Studies:

This FIRST BOOK OF PRACTICAL STUDIES is designed to develop chord

consciousness and to provide additional experience in the fundamental rhythms, key
signatures and articulations and to improve ACCURACY IN READING through the use
of interesting and melodic studies. It may be used either to supplement or to follow any
beginning method book.2

Following this initial idea of supplementing a beginning method book, the duet companion

included in this document is intended as a resource that the teacher and student or two (or more)

students could play and perform together. Music educators, private lesson instructors, and

students may utilize this resource. To this end, this document serves to reinforce the scope of the

original etudes while incorporating important aspects of ensemble playing such as tempo,

intonation, balance, blend, and matching tone, dynamics, and style. This practice is beneficial to

young players to further develop their ears, musicality, and awareness while also being useful to

more advanced players as sight-reading studies.

1Robert W. Getchell, First Book of Practical Studies for Tuba, ed. Nilo N. Hovey (Van Nuys,
CA: Alfred Publishing Co., 1983).
2 Getchell, 1.
 2

Currently, little instructional duet material exists for the young developing tuba student.

Much of the duet material for this age and ability tends to progress in difficulty too quickly, thus

expending its utility early on. Exceptions to this are the duets located in the beginning band

method books such as the Standard of Excellence,3 Essential Elements 2000,4 and other

beginning band methods used in schools. However, the duet material located in these books is

sparse. Other materials available which are similar in intent to this project are Tom Ervin’s

Twenty Counterparts 5 for the Melodious Etudes for Trombone by Joannes Rochut6 as well as a

duet companion created by Daniel Clouse7 for Vladislav Blazhevich’s 70 Studies for BBb Tuba.8

These materials, however, are generally geared toward a more advanced level of student. These

resources are valuable as counterparts to the original etudes and serve as useful models for this

project.

Other duet materials for the beginner-level tuba student are not compiled in a large

enough quantity to match the scope of this project. A search of Chapter 7, “Music for Multiple

3 Bruce Pearson, Standard of Excellence (San Diego: Neil A. Kjos Music Company, 1993).
4 Tim Lautzenheiser, et al. Essential Elements 2000, book 1 (Milwaukee: Hal Leonard, 1999).
5Tom Ervin, Twenty Counterparts: Duet Accompaniments to the Bordogni-Rochut “Melodious
Etudes for Trombone” #1–20, book 1 (Tucson: Tom Ervin, 2006).
6Joannes Rochut, Melodious Etudes for Trombone: Selected from the “Vocalises of Marco
Bordogni,” book 1, ed. Alan Raph (New York: Carl Fischer, 2011).
7Daniel Emerson Clouse, “Forty-Two Counterparts for Vladislav Blazhevich 70 Studies for BBb
Tuba Vol. 1” (DMA diss., University of North Carolina at Greensboro, 2011) 42–92.
8Vladislav Blazhevich, 70 Studies for BBb Tuba, vol. 1 (Paris: Alphonse Leduc Editions
Musicales, 1950).
 3

Tubas,”9 and Chapter 8, “Methods and Studies,”10 of the Guide to the Tuba Repertoire yielded

the following duet resources: Method for BBb Tuba: Book 1 by Walter Beeler,11 Fun with

Fundamentals by Bill Lass and Fred Weber, 12 Tone and Technique Through Chorales and

Etudes by James Ployhar and George Zepp, 13 and Easy Classics for Two by Paul Stouffer.14

Entries in the Guide for each of these materials indicated a difficulty grade (as established and

defined in the preface of the text) of a “I” for beginners or “II” for intermediate level students. 15

The Ployhar/Zepp is mostly designed as a full band method book, though teachers could utilize

the six duets in private study. The Beeler, Lass/Weber, and Stouffer each contain more duet

materials useful for private study. The above list excludes out of print books referenced in the

Guide to the Tuba Repertoire.

The compositional process of the duet counterparts began with an analysis of the etudes.

The table included in Chapter III of this document presents information compiled during this

process, including the key and range of each etude, rhythmic constraints, and the introduction of

new notes, symbols, and other markings. The duet counterpart is designed to be melodically

9 Kenyon Wilson and Charles A. McAdams, eds., “Music for Multiple Tubas,” in Guide to the
Tuba Repertoire: The New Tuba Source Book, 2nd ed. by R. Winston Morris (Bloomington:
Indiana University Press, 2006), 257–433.
10 David D. Graves and Jerry A. Young, eds., “Methods and Studies,” in Morris, 435–461.
11 Walter Beeler, Method for BBb Tuba, book 1 (New York: Remick Music Corp., 1946).
12 Bill Lass and Fred Weber, Fun with Fundamentals (Van Nuys, CA: Belwin-Mills, 1963).
13
James Ployhar and George Zepp, Tone and Technique Through Chorales and Etudes (Van
Nuys, CA: Belwin-Mills, 1985).
14 Paul Stouffer, Easy Classics for Two (Delevan, NY: Kendor Music, 1993).
15 R. Winston Morris, “Preface,” in Morris, xiv.
 4

interesting as a standalone etude while also serving and reinforcing the original etude’s melodic

and harmonic structure. The duets are similar in style, range, and difficulty to the original etudes.

The compositional guides referenced for this project comprise 18th Century Counterpoint,16 by

James Greeson and The Study of Counterpoint17 by Johann Joseph Fux.

The formatting of the duet counterparts follows the formatting of the original etude book

to retain a similar visual representation between the two texts. The duets include tempo and style

directions, if printed, from the original etudes. The corresponding duets fall on the same page

number as the etudes and retain the same number of measures per line and lines per etude,

facilitating ease of reading between the two parts as well as the ability to locate moments to stop

and start in the middle of a duet.

Biography of Robert Getchell

Robert Ward Getchell, Jr. was born on June 11, 1916 in Cedar Falls, IA. His father

served on the chemistry faculty of the Iowa State Teachers College, where Robert Getchell, Jr.

enrolled in 1932. Commonly referred to as “Bob,” he played trumpet with Richard Sucher’s

Campus Playboys locally and during several trips abroad to Europe.18 Dr. Getchell held degrees

from the Iowa State Teachers College (now the University of Northern Iowa), Eastman School of

Music, and the State University of Iowa (now the University of Iowa). Weston Noble, a teacher

16 James Greeson, 18th Century Counterpoint (Fayetteville, AR: University of Arkansas, 2006).
17Johann Joseph Fux, The Study of Counterpoint: From Johann Joseph Fux’s “Gradus ad
Parnassum,” rev. ed. trans. and ed. by Alfred Mann and John Edmunds (New York: W. W.
Norton, 1971).
18 Gerald L. Peterson, “Campus Playboys Band Members and Second Trip Abroad,” University
of Northern Iowa Rod Library, last modified February 13, 2015, accessed November 12, 2016,
https://library.uni.edu/collections/special-collections/university-archives/campus-playboys-band-
members-second-trip-abroad.
 5

and conductor at Luther College in Decorah, IA, hired Dr. Getchell in 1955 to teach all brass

lessons at Luther College. 19 During his time at Luther College, he published several beginning

method books for trumpet, cornet, and tuba as well as the Teacher’s Guide to the Brass

Instruments.20 Robert W. Getchell, Jr. passed away in Corpus Christi, TX in 2002.

19 Benjamin Yates, “One Hundred Years of Band Tradition at Luther College” (DMA diss.,
University of Iowa, 2016) 62–63, accessed October 4, 2017,
https://ir.uiowa.edu/cgi/viewcontent.cgi?article=6567&context=etd.
20Robert W. Getchell, Teacher’s Guide to the Brass Instruments, (Elkhart, IN: H. & A. Selmer
Inc., 1959).
 6

CHAPTER II

RECOMMENDED PEDAGOGICAL APPROACH OF

DUET PRACTICE FOR THE YOUNG DEVELOPING TUBIST

Tone and Intonation

Playing duets with their teacher will help develop a student’s concept of sound. Modeling

is one of the strongest means by which a teacher can demonstrate musical technique and convey

proper tone qualities to a student. Additionally, Pierson Wetzel claims in his doctoral

dissertation, The Pedagogical Benefits of Duet Playing: A Vannetelbosch Companion that

“students choose their instructor based upon their admiration of the instructor’s sound and

musical style. By playing with the student, the instructor can begin to get their sound in the

student’s ear.” He goes on to say that “playing duets of varying styles gives the student an

opportunity to experience the gamut of tone qualities.”21 Furthermore, modeling proper breathing

can enhance the student’s tone. Under “Tone Production” in the transcribed edition of Arban’s

Complete Method for the Tuba, Jerry Young states that “the breath is of central importance in

tone production.”22 Modeling proper sound and breathing for the student when performing duets

together will encourage the student to match tone quality. Through performing duets, the teacher

can demonstrate proper breathing technique and tone, and challenge the student to match those

qualities.

21Pierson A. Wetzel, “The Pedagogical Benefits of Duet Playing: A Vannetelbosch Companion”

(DMA diss., Ohio State University, 2007), 5.
22Jean Baptiste Arban, Complete Method for the Tuba, trans. and ed. Jerry Young and Wesley
Jacobs (Troy, MI: Encore Music Publishers, 2000), 9.
 7

In relation to tone and pitch on wind instruments, Michael Worthy states that “in addition

to the physical and perceptual demands for good intonation, many pedagogues suggest that good

tone production and characteristic tone quality are required of individual players before good

intonation can occur.”23 By recommending playing the etudes in unison, singing them, and

practicing buzzing them on the mouthpiece, the teacher will promote improved intonation. Using

a tuner will also improve intonation, though the development of the ear will be most beneficial.

When practicing these etudes as duets, players should spend time tuning individual notes and

intervals to establish an awareness of what playing in tune sounds like. Etudes and duets Nos. 1–

9 are best suited for the development of the student’s basic concept of tone and intonation, as the

simple rhythm, slow development, and long notes allow for ample time to listen and adjust. With

regularly shifting dynamic and style, No. 35 will challenge the student to maintain proper tone

throughout.

Rhythm

Duet practice will benefit accuracy and confidence of rhythm. Many of the duet pairings

in this document are in unison rhythm, allowing the student to focus on accuracy of rhythm

while also addressing other concepts. Duet practice reinforces learning to accurately count

through long notes and subdivide, helping to solidify this skill by keeping the student

accountable for playing with correct rhythm. As Wetzel acknowledges, “playing a duet with a

student will reveal precisely where there is a tendency to rush or slow down.”24 Learning to trust

their counting while subdividing, and not simply attempting to follow, will aid students in

23 Michael Dale Worthy, “Effects of Tone Quality Conditions on Perception and Performance of
Pitch Among Selected Wind Instrumentalists” (PhD diss., University of Texas at Austin, 1997),
5.
24 Wetzel, 5.
 8

developing this skill. The dotted quarter-note and eighth-note rhythms in No. 23 apply this

concept, as this rhythm may prove difficult for young students. Nos. 48 and 50 also present

challenges, as the placement of the sixteenth notes change with regularity. Maintaining focus and

attention on the rhythm will be important in these pairings.

Additionally, Getchell’s First Book of Practical Studies for Tuba systematically

introduces new rhythms throughout the course of the book. This book introduces these new

rhythms as follows: Nos. 1–9, quarter notes; Nos. 10–22, eighth notes; Nos. 23–39, dotted

quarter notes; and Nos. 40–60, sixteenth notes. This progression, which is mirrored in the duet

counterpart, allows for a methodical approach to studying these rhythms.

Ensemble Skills

Developing a sense of ensemble is important to the growth of a young student. In many

ensemble situations, students are likely to remain hyper focused on their own parts and not listen

to others with whom they are playing. This can prove problematic, as the student will then have

difficulty matching tone, articulation, dynamics, intonation, and rhythm. Developing the ability

to communicate through non-verbal gestures is essential to learning how to lead and follow in an

ensemble. These skills may be difficult to teach and will take time to develop. However, playing

duets will introduce the concept of non-verbal gesturing and teach matching tone, articulation,

dynamics, intonation, and rhythm as basic components of ensemble playing.

Learning to lead may be a difficult concept for a tuba student. By performing the duet

line beneath the student, the teacher can promote the student’s ability to lead and encourage

confidence in the student’s playing. Denise Gallaway and Joann Marie Kirchner state that

“students need to analyze the music to determine exactly where the melody occurs, versus the

accompaniment… and they must decide what musical element is driving a phrase or section and
 9

establish who will bring out that part.”25 Additionally, the student must learn to follow and listen

for when they may play a secondary role to the other voice. Etude No. 9 and the corresponding

duet presents this concept. Here, the etude voice is not always the primary line, assuming a

secondary role to the duet voice partway through the pairing. The student should listen for this

and strive to take on a supportive function in those measures.

Another concept of ensemble playing addressed through duet playing is the ability to

breathe and move together. By beginning each duet with a well-prepared breath, students can

practice non-verbal communication. Wetzel states that “the way a person breathes before a

phrase can communicate a lot about the dynamics, articulation, and the mood of the entrance.” 26

Learning to convey tempo and style via the breath will take time and practice, but is a useful

means of non-verbal communication. Likewise, coordinating written tempo changes, as in Nos.

29 and 49, necessitates non-verbal communication and attentive listening. Navigating the pauses

in Nos. 34, 35, and 39 will also provide ample opportunity for the student to practice their non-

verbal cuing.

Confidence

Another significant benefit of duet playing is the development of individual performance

confidence within the student. Gallaway and Kirchner explain:

The enjoyment provided by playing duets increases a student’s motivation. A positive

learning environment is established and the student develops an increased interest in
continuing to play music. The presence of another individual motivates students to play
their very best, and they begin to feel good about what they are doing. 27

25 Denise Gallaway and Joann Kirchner, “Dynamic Duos: Energize and Synergize While
Teaching Piano Duets,” American Music Teacher 61, no. 5 (2012): 17, accessed March 14, 2018,
http://www.jstor.org.ezproxy.library.wisc.edu/stable/43539979.
26 Wetzel, 10.
27 Gallaway, 16.
 10

In large ensemble settings, the student may be a part of a section playing within the larger group.

Duet practice allows the student to play in a more exposed role while still playing with others.

This can be an encouraging and motivating experience, as the student learns how to play out in

addition to balancing and blending with others. Furthermore, the student will learn the

importance of playing with confidence as a useful tool in their ensemble playing.

Musicality

Duet practice is helpful for working on a student’s musicality, as it can encourage a

student to play “outside of the box” and exaggerate musical directions. As Wetzel explains, “The

primary benefit of playing duets is that they allow the instructor to model technique and

musicianship without using words and without having to stop playing.” 28 While playing in

unison or in duet with their teacher, students acquire musical concepts by mirroring the use of

dynamics, vibrato, and overall style. Etude No. 18 focuses on the concept of playing in a lyrical

style. The long notes and phrases, along with the long crescendos and decrescendos, will

challenge the student to maintain a flowing, connected, style. The duet reinforces the ability to

make a discernable difference in dynamics over the course of the crescendos and decrescendos.

No. 56 is another pairing which will challenge the student’s ability to play with different

dynamics and articulations while allowing for the creation of different characters of sound for the

f and p sections.

Sight-reading

Duet practice reinforces and develops sight-reading ability by teaching students to

continue playing despite inaccuracies. This practice “increases sight-reading skills, not only

28 Wetzel, 5.
 11

because participants try very hard to ‘keep the beat going,’ but also because errors in note

reading are immediately apparent.” 29 Initially, the student should focus on maintaining tempo

and playing the correct rhythm; then learning to quickly adjust for intonation and matching style

will be essential. For more advanced students, reading Nos. 1–9 at quicker tempos or in cut time

will provide formidable sight-reading challenges. Nos. 40–60 will promote sight-reading fluency

in more challenging keys, especially the etudes in Db major. The increased variation of rhythm

in No. 50 may also present challenges in sight-reading, as the student learns to adjust and recover

from mistakes.

29 Dallas Weekley and Nancy Arganbright, “The Piano Duet: A Medium for Today,” American
Music Teacher 56, no. 5 (2007): 20, accessed March 14, 2018,
http://www.jstor.org.ezproxy.library.wisc.edu/stable/43539239.
 12

CHAPTER III

DISCUSSION OF ORIGINAL ETUDES AND DUETS

This section of the document provides a discussion of the etudes found in the First Book

of Practical Studies by Robert Getchell as well as a discussion of the duet counterparts that

accompany them. The etude book follows a progressive study in the introduction of new pitches,

keys, and rhythm. The following discussion will focus on these larger developments within the

book. Included also is a chart displaying each etude’s key, time signature, range, and a list of

terms and styles introduced by the etude. Range is notated using scientific pitch notation. The

individual etudes originally from Getchell’s First Book of Practical Studies will henceforth be

referred to as “etude” and the composed duet counterparts will be referred to as the “duet.”

Etude and Duet Counterpart 1:

This etude, in the key of Bb major, is in common time and utilizes mostly stepwise

motion in the melody. The occasional interval of a third interrupts the stepwise motion, as found

in mm. 4, 12, and 16–17. The range of the etude is D2–Bb2. The duet counterpart has an

extended range of A1–Bb2, which may make the duet too low for some players to play initially.

Therefore, the teacher should play this line until the student establishes such range. The unison

rhythm established in the beginning helps to set the tempo. In m. 17, the offset quarter-note and

half-note rhythms create constant quarter note motion between the voices, necessitating

independence and confidence on the student’s part.

Etude and Duet Counterpart 2:

Like etude No. 1, etude No. 2 is in Bb major, in common time, and in the range of D2–

Bb2. This etude uses the interval of a third more often throughout. The duet part extends down to

Bb1, again potentially making the range too low for some players. The duet is often in unison
 13

rhythm with the etude, though it subdivides the quarter note during the pairs of half notes and

whole notes found in the etude. This subdivision enables the etude voice to maintain tempo

through the sustained notes while encouraging accuracy of rhythm.

Etude and Duet Counterpart 3:

This etude, in Bb major and in common time, introduces two new notes. First, the range

extends down to C2 while maintaining an upper range of Bb2. Measure 13 also introduces E2 as

a chromatic passing tone. Again, this etude is mostly stepwise, with the occasional use of

intervals of a third and fourth. The duet counterpart mirrors this motion, though the range

extends down to Bb1, again potentially making it too low for the beginning player. E2 appears in

the duet part one measure after the etude introduces the note. Much like No. 2, this pairing is in

unison rhythm throughout, except where the duet voice subdivides the quarter note through half

notes and whole notes in the etude. In m. 17, constant quarter notes should occur between the

two parts. This alternating rhythm may assist developing independence and confidence on the

student’s part.

Etude and Duet Counterpart 4:

Like No. 3, etude No. 4 is in Bb major, common time, and in a similar range of C2–Bb2.

The range of the duet extends down to Bb1. This pairing maintains unison rhythm more closely

throughout, though the half notes and quarter notes in the duet subdivide through the whole notes

in the etude to encourage proper counting and subdivision through the long notes.

Etude and Duet Counterpart 5:

Etude No. 5 is similar in key, time signature, and range to No. 4, and the duet part again

extends down to Bb1. The beginning establishes unison rhythm before the two parts deviate from
 14

each other beginning in m. 9. Here, the duet part plays the same material as the etude in m. 8 but

offset by one measure. The two lines reconverge in m. 13

Etude and Duet Counterpart 6:

This etude is in the key of Bb major, in common time, and uses the range of C2–Bb2.

The range of the duet is Bb1–C3, which slightly extends both above and below the overall range

of the etude. Quarter notes in the duet subdivide the half-note pairs in the etude. An extended

string of quarter notes in the duet begins in m. 11, which deviates from the mostly unison rhythm

that has been established. At this point, the two parts become more independent rhythmically for

the remainder of the pairing. The etude line should maintain a prominent role while the duet line

assumes the role of accompaniment.

Etude and Duet Counterpart 7:

This etude, in the key of Bb major and in common time, introduces a new note: C3. The

range of this etude extends C2–C3, and this new note occurs only in the penultimate measure.

The etude also uses E2 as a chromatic passing tone rather than to establish a secondary key area

as in previous etudes. The duet part uses a similar range as the previous duet parts, extending

Bb1–Bb2, and only uses E2 as a chromatic passing tone once.

Etude and Duet Counterpart 8:

This etude, in the same key and time signature as previous etudes, introduces Bb1. The

range extends Bb1–Bb2. This etude also introduces the first dotted rhythm with the dotted half

note in m. 4. Both the Bb1 and the dotted half note make frequent appearances in this etude. The

duet has the same range and contains the dotted half notes in unison with the etude. As no

subdivision occurs during the dotted half notes, proper counting and internal subdividing will be

imperative to ensure the next entrances are together.

 15

Etude and Duet Counterpart 9:

This is the last etude with a rhythmic profile consisting primarily of quarter notes and

half notes, and, with an overall range of Bb1–C3, it uses the full range of notes established in the

etudes so far. The duet part has the same range as the etude, and the two parts share similar

melodic material. In m. 9, the melodic line from m. 1 of the etude repeats nearly note-for-note in

the duet. The etude player should take care to assume the role of the accompaniment during

those measures to avoid covering up the duet part’s melody.

Etude and Duet Counterpart 10:

Etude No. 10, in the key of Bb major and in common time, is the first etude to feature

eighth notes. This etude consistently places a pair of eighth notes on beats two and four, and each

eighth-note pair is slurred. This repetition may aid in establishing accuracy of the rhythm

through its predictability. The overall difficulty of the etude is minimal, as the new rhythm is the

focus. The duet part mirrors the pace of the etude, but with the eighth note pairs sounding on

beats one and three. This juxtaposition with the etude creates a constant eighth-note subdivision

throughout. This is also the first duet that does not end in unison or in octaves with the etude,

instead ending on a D2. Proper intonation is essential, paying particular attention to the major

third between the two parts at the end.

Etude and Duet Counterpart 11:

This etude is similar in key, time signature, and range to etude No. 10. However, this

etude presents two new notes, with the C#2 heard in m. 2 and the F#2 in m. 6. Used sparingly

throughout the etude, these are the first sharp accidentals found in etude book thus far. The

rhythm is also similar to that of No. 10, though slurs do not appear on the eighth notes. The duet
 16

part is mostly in rhythmic unison with the etude, creating little difficulty in coordinating the two

parts while maintaining focus on the harmonic development of the etude.

Etude and Duet Counterpart 12:

This etude, in the key of Bb major and in common time, features slurred eighth-note pairs

on beats one and three throughout. This may cause some difficulty at first in this otherwise

simple and relatively short etude. The duet part has eighth-note pairs on beats two and four,

creating constant eighth notes between the two parts. Players should focus on maintaining tempo

and matching articulations and note lengths between the two parts.

Etude and Duet Counterpart 13:

Etude No. 13 is the first etude to feature dynamics and dynamic changes. The etude

opens at mf before the printed crescendo in m. 7 brings the dynamic to f and immediately

decrescendos back to mf. Players should strive to create dynamic contrast. The duet part mirrors

these dynamics exactly, placing focus on matching the dynamic changes throughout the pairing.

Etude and Duet Counterpart 14:

This etude, still in Bb major and in common time, features more drastic dynamic changes

than the previous etude. With no printed decrescendos or crescendos, the dynamic changes

should be sudden. In mm. 9 and 17, the dynamics alternate from p to f. Players should

demonstrate dynamic control while maintaining good tone. The duet part again mirrors the

dynamic changes of the etude, playing a mostly accompanimental role throughout. The last four

measures of the duet are a direct quote of the opening of the etude, creating a synthesis between

the two parts.

 17

Etude and Duet Counterpart 15:

This etude has no dynamic changes, instead maintaining the f established at the beginning

throughout. The etude arpeggiates through the range established by the previous etudes, creating

a focus on maintaining consistency of sound and dynamics as the range changes. This same idea

unfolds in the duet part, which often progresses in contrary motion to the etude line. The

difficulty in the otherwise apparent simplicity of this etude and duet lies in maintaining a full

sound at the f dynamic.

Etude and Duet Counterpart 16:

Etude No. 16 is the final successive etude in the key of Bb major and is in common time.

It features minimal dynamic contrast, opening at f before going down to mp during the second

phrase. The etude returns to f for a direct quote of the opening melody in the final four measures.

This etude slurs four eighth notes together for the first time, necessitating accuracy in

articulations. The duet part stays in unison rhythm throughout, placing emphasis on matching

articulations, dynamics, and tone.

Etude and Duet Counterpart 17:

This etude is the first to be in 3/4 time and is in the key of Eb major. The full range is

Bb1–C3, though it mostly remains above Eb2. The duet line utilizes the same overall range as

the etude but lies mostly below that of the etude line. The etude emphasizes the Ab in the key

signature by returning to this note often, ensuring competence in reading in this key. Otherwise,

this pairing contains few difficult moments and instead focuses on establishing proficiency in the

new key and time signature.

 18

Etude and Duet Counterpart 18:

This etude, in the key of Eb major and in 3/4 time, features longer note values than

surrounding etudes. Consisting entirely of quarter notes and half notes, the etude requires players

to perform with ample length and breath support while maintaining a full sound. This etude also

contains several long crescendos which should grow in volume evenly over the length of each

crescendo. The decrescendos should diminish in a similarly even manner. The challenge thus lies

in making a discernable difference in dynamic over the course of the crescendos and

decrescendos. The duet part imitates the style of the etude, but with slightly more quarter-note

motion. The two voices play the dotted half notes together throughout, placing importance on

accurately counting and subdividing to ensure the subsequent entrance is together.

Etude and Duet Counterpart 19:

This etude, in the key of Eb major, is in common time. This is the first etude to

incorporate rests, making accuracy of counting these quarter rests important and creating an

exercise in mental focus. The etude opens with three quarter notes outlining an Eb major chord

followed by a quarter rest on beat four. This rhythmic pattern repeats in m. 3 and again in m. 5.

The ninth measure begins an extended section with quarter rests occurring on beats two and four,

further necessitating accuracy of counting and mental focus by placing the rest on an additional

beat. Similarly, mm. 17–24 change by placing the rest on beat three throughout. The last four

measures of the etude change the placement of the rest in each measure, creating an extended

exercise in focus for the player.

The duet mirrors the placement of the rests found at the beginning of the etude. However,

beginning in m. 9, the duet and etude have different rest placement, necessitating independence

in counting before the two parts realign in m. 13. From m. 21 to the end, the parts again differ in
 19

the placement of the rests before realigning in the penultimate measure. This duet and etude

pairing is an exercise in focus, counting, and independent confidence of each part.

Etude and Duet Counterpart 20:

This etude, in Eb major, is in 3/4 time. Players should observe the placement of slurs

under the quarter notes and eighth notes, as the articulation pattern changes slightly throughout.

The duet line does not mirror the same articulation pattern as the etude throughout, so each

player should adhere to their own part’s written articulation.

Etude and Duet Counterpart 21:

This etude, in Eb major and in common time, is the first to introduce a new tempo

marking, Andante. Subdividing eighth notes will help ensure the tempo does not fluctuate

throughout, and a focus on articulation is necessary. To facilitate accuracy of rhythm and tempo,

the duet often features quarter notes or eighth notes during the longer notes in the etude. This

subdivision between the parts will aid in maintaining a steady tempo.

Etude and Duet Counterpart 22:

This etude, in Eb major and in 3/4 time, is at a brisker Allegro tempo. The dynamic also

varies significantly, with extended passages at f followed by passages at p. Players should

exaggerate these dynamic differences while maintaining tone and consistency of articulation.

Also, players should refrain from foreshadowing the dynamic changes by crescendoing or

decrescendoing, instead making the dynamic changes sudden. For example, one should play the

dotted half note in m. 16 without crescendoing to the f in m. 17, instead producing the dynamic

change immediately on the downbeat. This terraced dynamic scheme establishes a call and

response relationship. The phrase beginning at m. 25 requires careful counting to avoid

encroaching on the quarter rests. The duet line matches the etude’s dynamics and often
 20

subdivides eighth notes under the quarter notes in the etude. In m. 9, constant eighth notes occur

between the two parts. Ensemble issues may emerge in m. 17, as the duet line enters with similar

melodic material to the etude but one beat later. This canonic section requires confidence and

security on the individual parts to ensure successful rhythmic alignment. In particular, accurately

counting the rests is a must, as is playing the following entrances confidently.

Etude and Duet Counterpart 23:

This etude, back in the key of Bb major, introduces the dotted quarter-note rhythm as

well as the articulation marking of legato. While playing in this connected and singing style, the

player should subdivide the dotted quarter notes to ensure accuracy in counting and proper

placement of the subsequent eighth note. In addition, the player should create a discernable

difference in dynamics between the mf and f segments. The duet is in unison rhythm with the

etude throughout, again placing emphasis on accuracy of the rhythm.

Etude and Duet Counterpart 24:

This etude, again in Eb major and in common time, is in a Grandioso style, which

indicates to play in a grand or noble fashion. At f, the notes should be full value, with a round,

not overly-accented, articulation. This etude should have forward motion with its tempo to avoid

dragging. Again, subdividing the eighth note will promote accuracy of the dotted quarter notes

and proper placement of the subsequent eighth note. The duet often plays a different rhythm than

the etude, further necessitating proper counting and subdividing to ensure proper placement of

the eighth notes following dotted quarter notes.

Etude and Duet Counterpart 25:

This etude, in Bb major and in 3/4 time, is at a quicker Allegretto tempo. While playing

this at a fairly brisk tempo, the players should place emphasis on accurately counting the dotted
 21

quarter-note rhythms and differentiating between the tongued and slurred passages. In m. 17, the

dynamic changes to p and slowly grows to mf in m. 21 before reaching f in m. 25. Players should

take care to demonstrate this gradual dynamic change. Also, this passage may present some

difficulty as the rhythmic pattern changes, placing the dotted quarter note on beat two instead of

beat one. Ensuring accuracy of the rhythm requires focused practice. The duet opens in unison

rhythm with the etude before deviating in m. 9.

Etude and Duet Counterpart 26:

This etude introduces the key of F major and has the tempo and style indication of

Leggiero. The player must subdivide the dotted quarter notes to ensure accuracy of the rhythm

and proper placement of the subsequent eighth notes. Also, players should attend to the

articulations and placement of slurs on the eighth notes and demonstrate a discernable difference

in articulation between the slurred and tongued notes. The duet opens with a similar rhythm to

the etude, necessitating accuracy of the dotted quarter-note rhythms and placement of the eighth

notes. The duet rests on beat four of m. 4, leaving the etude player to perform the anacrustic

eighth notes alone. Similar instances occur in mm. 12 and 16. Performers should play notes

which are followed by a rest for their full value.

Etude and Duet Counterpart 27:

Like No. 26, this etude is in F major and has Leggiero indicated as the tempo and style

marking. After opening with mp, the etude alternates between f and p for several measures before

returning to mp for the final phrase. Players should emphasize these dynamics while maintaining

the light, buoyant, style of the etude. The etude contains many leaps in the melody, requiring

flexibility by the player to maintain an even tone and consistent articulations through the varying

range. Written in a similar manner as the etude, the duet also employs many leaps in the melody
 22

while unfolding mostly in rhythmic unison with the etude. Players should focus on matching

style, articulations, and dynamics throughout.

Etude and Duet Counterpart 28:

This etude, in F major and in 3/4 time, introduces the new tempo and style marking of

Andantino. This etude repeats the same rhythmic pattern throughout, making consistency and

accuracy of the rhythm essential. The duet features a different rhythm from the etude, instead

subdividing eighth notes during the etude’s dotted quarter notes. This will ensure accuracy in

counting the dotted quarter notes and properly placing the following eighth notes. The duet

repeats this same rhythmic pattern throughout.

Etude and Duet Counterpart 29:

This etude, in the key of F major and in 3/4 time, introduces three new concepts: a repeat

sign, ritardando, and a tempo. This etude is also rife with dynamic changes, frequently changing

from p to mp and f. The printed ritardando in m. 15 indicates the tempo should gradually slow

until the a tempo in m. 17. Here, the music should return to the previously established tempo

from the beginning. Another ritardando under the last two measures of the etude indicates the

music should gradually slow into the final note. The duet is in near unison rhythm with the etude

throughout. The ritardandos and a tempo may present issues when attempting to coordinate the

two parts, so both players should actively listen and follow each other. Likewise, players should

prepare the a tempo with a group breath to reestablish the tempo and ensure the entrance is

together.

Etude and Duet Counterpart 30:

This etude, in the key of F major and in common time, introduces several new notes as

well as the style indication of Marcato. The performers should play with a full tone while
 23

avoiding a harsh or brash sound and articulation. The range extends down to A1 and only up to

G2, focusing on the register below the staff. The several accidentals that occur throughout the

etude may present some difficulty in the early stages of practice or when used as a sight-reading

exercise. The duet primarily unfolds in a range above the etude, only briefly extending down into

the lower range in m. 9. Otherwise, the duet, written in unison rhythm with the etude and with

similar styling, adopts a mostly harmonic role.

Etude and Duet Counterpart 31:

Like No. 30, this etude is in F major and indicates Marcato at the beginning. It also

presents two new concepts: the fermata and D.C. al Fine. Understanding the “road map” of the

etude may present confusion at first for a beginning student. The range of the etude also extends

up to D3, though only approaching the note once in m. 11. The eighth notes on beats three and

four in the duet should assist in the accuracy of the dotted rhythms in the etude. The duet

proceeds in constant eighth notes beginning in m. 13, which should again aid in the accuracy of

the dotted rhythms in the etude.

Etude and Duet Counterpart 32:

This etude, in D minor and in 2/4 time, has a similar road map to No. 31. The D.C. al

Fine in m. 32 directs the music back to the beginning, and the etude ends at the Fine in m. 16.

Performers should play the repeated section at mm. 17–32 in a contrasting manner to the

beginning, as the opening f decreases to p here. The duet offers little melodic material, instead

mostly establishing the chords implied by the melody.

Etude and Duet Counterpart 33:

This etude, in D minor and in common time, uses the full range of A1–D3 presented so

far. Accents appear for the first time over every note, and the simile in m. 5 indicates this style
 24

should continue for the remainder of the etude. The D.C. al Fine in m. 16 directs the music back

to the beginning before ending at the Fine in m. 8. The f dynamic sustains through the entirety of

the etude. The duet opens in unison rhythm with the etude before deviating in mm. 9–16. The

pair should focus on balancing dynamics and matching articulations and note length throughout.

Etude and Duet Counterpart 34:

This etude, in F major and in 3/4 time, introduces a new tempo and style marking as well

as first and second endings. The Tranquillo at the beginning indicates to play in a tranquil or

calm manner. The first phrase repeats, as indicated by the first and second endings, and a D.C. al

fine directs the second phrase back to the beginning. Subdividing is crucial to ensure proper

placement of the eighth note on the upbeat. The duet has a similar rhythm to the etude but plays

half notes under the quarter notes in the etude during the first phrase. In measures with an eighth-

rest on beat three, it is essential that the release on beat two is together.

Etude and Duet Counterpart 35:

This etude, in D minor and in common time, gives the style marking of Pompously. It

changes dynamics frequently, moving from f articulated statements immediately into slurred p

statements. In order to maximize the contrast of these lines, the dynamic changes should be

sudden. This etude also utilizes a D.S. al Fine, which sends the music back to the sign at m. 9

rather than to the beginning as in previous etudes. The etude then concludes at the Fine in m. 16.

The duet is in unison rhythm with the etude for the majority of the work, and the players should

match dynamics and maintain tempo and style throughout.

Etude and Duet Counterpart 36:

This etude, in F major and marked Allegro, has a constantly-changing rhythm focused on

the placement of the dotted quarter note on different beats. Also, m. 23 introduces a new note,
 25

E3, thus extending the collection’s range. The opening phrase places the dotted quarter note on

beat one in m. 1, beat two in m. 2, and beat three in m. 3. This same idea occurs three more times

before reversing order in the second half of the etude. Subdividing eighth notes will ensure

rhythmic accuracy and proper placement of the eighth notes which follow. The duet begins by

placing the dotted quarter note on beat three in m. 1, beat two in m. 2, and beat one in m. 3. This

differing pattern repeats throughout the pairing until the two parts converge rhythmically in m.

25.

Etude and Duet Counterpart 37:

This etude, in Eb major, indicates that the player should perform in a Cantabile, or

songlike, style. The performers should play eighth notes followed by eighth rests full value to

avoid clipping them and to maintain forward motion within the phrase. Also, m. 13 introduces a

new note, Eb3, at the peak of the crescendo to f. The D.S. al Fine in m. 16 repeats back to m. 9.

The duet is in unison rhythm with the etude throughout a majority of the pairing, placing

emphasis on matching note lengths, articulations, and dynamics.

Etude and Duet Counterpart 38:

This etude, in F major, functions primarily as an interval exercise and introduces the term

Moderato. Intervals expand away from repeated C2s and C3s, opening with a descending fourth

at the beginning, a fifth in m. 2, a sixth in m. 3, and a seventh in m. 4. A similar pattern begins in

m. 9, though now focused on ascending intervals of a fifth, sixth, seventh, and an octave. The

last two phrases repeat this same pattern again, though this time with the long note as the

repeated pitch. When studying this etude, players should strive to demonstrate consistent tone

through the dynamics while playing with good intonation and pitch accuracy. The duet is similar

to the etude for the first sixteen measures. In m. 17, the duet plays a scale pattern beneath the
 26

interval exercise of the etude. To aid in pitch accuracy and intonation, the duet and etude proceed

in unison or octaves for all of the etude’s eighth notes.

Etude and Duet Counterpart 39:

This etude, in Bb major and in 3/4 time, is in a light style and at a brisk tempo. It is useful

as a scale exercise, and requires players to accurately execute the proper articulations. The duet,

much like the etude, is useful as a scale exercise.

Etude and Duet Counterpart 40:

This etude is the first to use the sixteenth note and the first to appear in Ab major. The

melodic simplicity of the etude places emphasis on accuracy and consistency of articulation on

the sixteenth notes. This repetitive pattern helps to solidify the newly introduced rhythm. The

duet mirrors the melodic simplicity and is in unison rhythm throughout to facilitate accuracy of

the new rhythmic pattern.

Etude and Duet Counterpart 41:

This etude is similar in style to etude No. 40 but is significantly longer. This length

assists in further solidifying the sixteenth-note rhythm while also promoting endurance. Players

should maintain consistent articulations and note length throughout the entirety of the etude.

Quarter notes should remain long, especially when followed by a breath. Like duet No. 40, this

duet mirrors the melodic simplicity of the etude and is in unison rhythm throughout to facilitate

accuracy of the new rhythmic pattern.

Etude and Duet Counterpart 42:

This etude, in the key of Ab major and in common time, gives a new tempo and style

direction, Marcia. This indicates to play in a march style and tempo. This is also the first etude to

write four sixteenth notes together which move stepwise. Stylistically, the player should maintain
 27

a light approach and forward motion to avoiding dragging the sixteenth notes. The use of ample

air behind the articulation will promote solid tone through the sixteenth notes. As in the previous

two duets, this duet is in unison rhythm throughout. When played together, it is important that

the sixteenth notes align and that players match articulation, style, and tempo.

Etude and Duet Counterpart 43:

This etude, in the key of Ab major and in 3/4 time, begins with an anacrusis on beat three

into the first full measure. In this Dolce style, notes should be played full value, while the slurred

sets of sixteenth notes remain even and in time. A sixteenth-note subdivision through the half

notes will ensure that the following sixteenth notes remain in time. The duet part does not have

the anacrusis to the first full measure with the etude line. Therefore, the etude player should enter

with confidence on the anacrusis to establish the tempo for the ensemble. The duet line often

rests on beat three, leaving the etude line to play beat three alone, except when the duet line plays

a beat three anacrusis to m. 21 while the etude line is resting. Coordinating this duet requires

individual competence and confidence in counting.

Etude and Duet Counterpart 44

This etude, in the key of Ab major and in 3/4 time, moves via thirds through the

sixteenth-note pairs. Intervallic accuracy is essential to ensuring proper tone on each sixteenth

note. The duet is in unison rhythm with the etude but is in a style more similar to the previous

etudes and duets. The simpler duet writing reinforces accuracy of pitch and rhythm in the etude

line.

Etude and Duet Counterpart 45:

This is the final etude in Ab major, and it is in common time. The rhythm occasionally

changes to place the pairs of sixteenth notes on the beat as opposed to on the upbeat, thus
 28

requiring the focus and attention of the player to accurately execute these changes. The two

rhythms alternate within the penultimate measure. Players should perform the anacruses

throughout the etude with confidence, as the duet typically rests during such figures. Otherwise,

the duet plays a different rhythmic pattern throughout, except in instances where the sixteenth

notes appear on the beat in the etude. In such measures, the two parts play a unison rhythm to

assist with rhythmic accuracy.

Etude and Duet Counterpart 46:

This is the first etude to appear in the key of Db major and is in 3/4 time. The sixteenth

notes, grouped in sets of four, move stepwise and emphasize facility in playing in the new key by

moving rapidly between notes. The player should focus on evenness and tempo of the moving

sixteenth notes. The duet part will assist in this, as, at the beginning, the duet plays in unison

rhythm with the etude but on a single pitch which changes each measure. As the duet progresses,

the duet part becomes increasingly independent from the etude. Beginning in m. 9, the duet

quotes snippets of the etude’s opening melody over new material presented in the etude. The

etude and duet end with scaler passages leading to octave D-flats.

Etude and Duet Counterpart 47:

This etude, in the key of Db major and in common time, is in a slightly quicker

Allegretto. The etude is mostly scaler through the abundant sixteenth note sections. The range

remains within the staff more than No. 46, promoting technique and reading in the higher

registers. The duet opens in unison rhythm with the etude, focusing on intonation, balance, and

blend while maintaining proper tempo and evenness of the sixteenth notes before the duet breaks

from the unison rhythm in m. 9. Here, players should perform with confidence while ensuring

that the sixteenth notes and eighth notes align.

 29

Etude and Duet Counterpart 48:

This etude, like No. 47, is in the key of Db major and is in common time. This etude

contains more dynamic variation than most of the previous etudes. The rhythm also varies

throughout, starting with a sixteenth-note pair on the beats before switching to downbeat eighth

notes with the sixteenth-note pairs on the upbeat. The player should pay close attention to these

small variations, for as soon as a pattern seems to be established, the placement of the sixteenth

notes change. Performers should also play the eighth notes followed by an eighth rest to full

value. The duet is in unison rhythm throughout, placing an emphasis on tuning, balance, and

blend while maintaining rhythmic integrity.

Etude and Duet Counterpart 49:

This etude, in Db major and in 3/4 time, begins with an anacrusis on beat three into the

first full measure. This is also the second etude in the book to feature tempo changes with several

printed ritardandos and a tempos. The printed tempo and style marking of Andante religioso

implies playing at a slower “walking tempo” and in a solemn manner. The performer should play

the anacrustic eighth notes occurring on beat three throughout the etude confidently and in time

in order to set the tempo for the dotted quarter notes on the following beat. This is most

important at the beginning and following the ritardando and molto ritardando sections. The duet

begins on beat one of the first full measure and otherwise plays in unison rhythm with the etude.

The duet does not have the eighth note anacruses with the etude throughout, so it is important for

the etude player to perform these confidently and with a full sound. The two voices play the first

ritardando and molto ritardando sections in unison rhythm, necessitating active listening and

non-verbal cuing to accurately navigate these sections. The molto ritardando section should slow
 30

noticeably more than the first ritardando section. The etude voice establishes the ritardando at

the end, as it has more moving notes than the duet voice.

Etude and Duet Counterpart 50:

This etude, in Db major and in 2/4 time, is at an Allegro tempo. The quicker tempo adds

difficulty, as technique and facility in reading becomes the main focus. Even at the f dynamic,

the sound should remain light and forward-driving to avoid dragging the sixteenth notes. The

rhythm changes regularly throughout, either placing the sixteenth notes starting on the beat or

starting on the upbeat. Playing this duet requires mental focus and practice ensure accuracy of

fingerings and rhythm. The duet remains in unison rhythm with the etude throughout the

majority of the pairing. Players should perform sixteenth notes with an even tone and match note

length and articulations. The final eight bars of the duet begin with a direct quote of the opening

of the etude before returning back to an accompanimental role.

Etude and Duet Counterpart 51:

This etude, in Db major and in 3/4 time, indicates Scherzando as the tempo and style

marking, signifying it should be performed with a playful character. The range also expands to

F3, a note played several times throughout the etude and always approached by an ascending

scaler passage. This stepwise approach up to the high register helps introduce the new note. The

majority of the etude remains in the staff, promoting facility, accuracy, and endurance in the

upper register. The duet is in unison rhythm throughout and proceeds in contrary motion to the

etude. To assist with accuracy of pitch for the etude player, the duet often sounds an octave

below the etude’s Eb3 and F3.

 31

Etude and Duet Counterpart 52:

This etude, which introduces the key of C major and is in 2/4 time, is also the shortest

etude in the book. The repetitive rhythmic pattern and simple structure should present little

difficulty, allowing for extra focus on proper tuning and tone on the B2s as well as playing at a

quicker Allegro tempo. The duet, in unison rhythm with the etude, is similar in style and ease to

the etude and has potential for use as sight-reading material.

Etude and Duet Counterpart 53:

Like No. 52, this etude is in C major. However, No. 53 is longer and contains several

chromatic notes which may prove difficult for the student. The etude moves via thirds and

outlines various triads throughout. The player should carefully tune each interval and chord. The

duet plays the tonic of the chord outlined by the etude, making tuning a crucial element of this

pairing. Otherwise, this duet and etude should present few technical challenges, making

intonation and matching articulations, tone, dynamic, and note length the focus.

Etude and Duet Counterpart 54:

This etude, in C major and in 3/4 time, mixes short sixteenth-note bursts with long

quarter notes, dotted quarter notes, and half notes. This may present challenges in maintaining an

even tempo through these passages. The longer phrases in the middle of the etude may also

present a challenge in finding proper places to breathe. Performers should play the notes

preceding the breath full value and avoid drastically shortening them for the breath. Beginning in

m. 9, the placement of the sixteenth notes changes by the measure, which has the potential to

cause the player to stumble if not focused. The duet begins in unison rhythm with the etude

before deviating in m. 9. Here, the duet line shares melodic material from the opening of the

etude and should be the prominent voice before rejoining in unison rhythm with the etude four
 32

measures later. Otherwise, the duet has little melodic interest and mostly operates in a supportive

role to the etude line.

Etude and Duet Counterpart 55:

This etude, in C major and in common time, varies the articulations and style throughout.

The player should perform every odd numbered measure long, ensuring connectivity through the

slurs, while alternatively playing the even numbered measures with clear articulations on the

eighth notes and sixteenth notes. The player should emphasize this flexibility and rapid change

of style, as the rest of the etude offers little harmonic development under the simple and

repetitive melody. The duet mirrors the style of the etude, making matching style and articulation

the primary focus.

Etude and Duet Counterpart 56:

This etude begins with a quarter note anacrusis to the first full measure and is in a

Grandioso, or grand and noble, style. The style and dynamics change frequently in this etude,

alternating from f and accented to short, staccato, and p. Players should exaggerate these

differences to fully demonstrate these changes as they happen. It is also important that the player

not foreshadow these differences, instead making the dynamic and style modifications suddenly

where they are printed. The duet does not play the opening anacrusis with the etude and instead

enters on the downbeat of the first full measure. To help establish the tempo at the outset, the

duet subdivides quarter notes under the half note in the etude. Players should strive to match

dynamics, articulations, and note lengths throughout this pairing.

Etude and Duet Counterpart 57:

This etude, like No. 56, is in C major and frequently alternates style, articulation, and

dynamics. It is in a slower Andante tempo and begins with an anacrustic eighth note into the first
 33

full measure. The player should perform the opening f section in a long, sostenuto, style before

abruptly changing to the p and staccato style with the anacrusis to m. 3. Like in No. 56, the

player should exaggerate these dynamic and style changes to fully demonstrate these variations.

The two styles presented at the beginning merge starting in m. 9. This phrase opens f and

alternates long, slurred notes with short staccato notes. A similar phrase repeats four measures

later but now at p. Flexibility of the player is important to maximize the effects of these dynamic

and style changes. Like previous duets, this duet does not play the anacrusis with the etude.

Otherwise, the duet mirrors the style and dynamics of the etude throughout.

Etude and Duet Counterpart 58:

This etude, in C major and in 2/4 time, is fairly repetitive and simple in style. The main

challenge will arise from the drastic and sudden dynamic changes, as the etude regularly

alternates between p and f. The players should exaggerate these dynamic differences while

maintaining a similar articulation and tone quality throughout, especially on the sixteenth notes.

The duet is in unison rhythm with the etude and reflects the dynamic changes of the etude as

well.

Etude and Duet Counterpart 59:

This etude, like No. 52, is one of the shortest etudes in the book. The mf established at the

beginning continues throughout, and the challenge lies in the facility and accuracy of the longer

sixteenth-note passages. The duet continues the sixteenth-note lines from the etude, playing them

after the etude in the first measure. Throughout the pairing, the two lines pass the sixteenth-note

runs back and forth, creating a focus on the facility and accuracy of the sixteenth notes between

the parts. This is most apparent in mm. 2 and 4, where constant sixteenth notes occur between

the etude and the duet voices.

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Etude and Duet Counterpart 60:

The final etude, in C major and in common time, is at a slower Andante tempo. The mf

established at the beginning persists throughout, and no other style markings are present. Players

should maintain the tempo established at the beginning, especially through the quarter rests and

sixteenth notes is. Subdividing will encourage accuracy of rhythm during those passages while

also preserving a steady tempo. The duet is in unison rhythm with the etude, placing emphasis on

entering together following the quarter rests.

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Chapter IV

Duet Companion for

First Book of Practical Studies

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Chapter V

Suggestions for Further Areas of Study and Afterthoughts

The purpose of this project was to write sixty duet counterparts for Robert W. Getchell’s

First Book of Practical Studies for Tuba. This book, chosen based on its use for a young

developing tubist, remains in an attainable range while exploring different keys and rhythms.

The duet counterparts are useful in the development of ensemble playing and have utility as

sight-reading exercises.

In addition, students can record themselves playing both etude and duet part, allowing

them to practice playing in duet with themselves and explore techniques described in this

document on their own. Students can record themselves on any dedicated recording device,

though the use of the smartphone application, Acapella, which combines video recordings into

one video file, is a creative option.

Many opportunities exist for further creative work within the same principal idea of this

project. First, high quality recordings of the etudes and duets would create a resource with which

students can play along with and collaborating with other instrumentalists to create editions of

these duets for trumpet, horn, and trombone, as well as recordings made by artists of those

instruments would further expand the utility of this project. Secondly, this project only covers the

first book of a two-book series written by Getchell, allowing for the creation of an additional

resource to encompass the second etude book. There is also potential for the creation of a similar

duet companion for other etude books, such as those by Fink, Concone, and Tyrell. Duet

companions for these books would create a progressive study of duet materials that are

intermediate to the Getchell companion and the duet companions written for the more advanced

Bordogni and Blazhevich etude books.

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