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New Materials Review Guidelines

Revised November 2011

Thanks for your work as a reviewer for the ITEA Journal.Reviews received byJanuary 15, 2012 will be published in the spring, 2012 issue. Call or e-mail me if you need to negotiate the time- frame as I calculate space in each journal for the reviews. Please let me know ASAP if you cannot make deadline. The materials sent are yours to keep as a token of thanks and appreciation. Please send reviews via e-mail:

Via e-mail: please send a Word attachment or incorporate the review(s) into the text of the e-mail message via cut and paste method (or both). Please send hard copy if the italics, accents, foreign letters, and other diacritical marks do not translate to e-mail. PLEASE follow the bibliography as outlined below in each sample so I don't have to spend hours re-formatting incomplete entries! It is your responsibility to check prices online or by phone. Please include the publisher address, phone, fax, e-mail, catalogue number, date, and price.

SEND (hard copy only) REVIEWS TO:
Dr. Mark Nelson
12303 N. Echo Valley Dr.
Oro Valley AZ 85755
PREFERED: by e-mail: manelson@pima.edu

As of the winter 2012 issue, we have several changes that will be implemented. The print journal will only be carrying the bibliographical information, the range of each instrument, and with the spring 2012 issue, the difficulty rating. The online web site for the New Materials column will contain all of the above and the actual review. Please look carefully at the new standardization of how the review information is conveyed from now on. You will be supplied via e- mail with the word document of current publishers and their bibliographic information so you can copy and paste each publisher exactly the way it appears and then add in the catalogue number you use from the actual music or CD recording. The difficulty ratings guide will allow you to assign a difficulty rating on a scale of I-V based on range and difficulty of the music. Difficulty ratings only apply to sheet music. Please note the order of how the bibliographic information is put together. The scheme should read thus for each item reviewed:

Composition Name-Composer–Arranged for type of ensemble–Arranger. Publisher. Address. Phone. FAX. Email. Web site. Catalogue number. Date. Price. (For CD recordings, start with the CD title and the artist(s) and then proceed with the publisher and so forth).

Try your best to find all relevant information for the review. If a third-party vendor is the only sales point you can legitimately find, use their complete bibliographic information like CD-Baby, Amazon, Just for Brass, etc. Please use the ranges of each instrument exactly as the samples show later in this document. For all ranges requiring an accidental, use the word flat or sharp instead of Bb or F#. We are now using Roman numerals instead of Arabic numerals for part assignments. Use Tuba I instead of Tuba1, etc. Your review length should be around 200-400 words. CD recordings may take a little more space since there are multiple works to discuss.

Grammatical Considerations

You will turn in both the PRINT version and the ONLINE version of each review you are assigned. Please also follow the suggestions for wording and phrasing as listed below:

  • For consistency, please italicize CD titles or titles of new pieces. Put movement titles or track names from a CD in quotes. If you have an opera aria or similar selection from a larger work, italicize the larger work's title and put the aria or selection title in quotes (not vice-versa.) *Note that use of italics and quotes is not entirely standardized, but if we can keep our entries consistent, it makes us look better.
  • Please make sure the opening clause agrees with the rest of your sentence. Avoid the following mistake: "Born in 1872, the Tuba Concerto by Vaughan Williams was premiered by Phillip Catelinet."
  • Avoid redundancy. Eg. "Written in 1911, this piece has been around for 100 years." (That sentence says the same thing twice).
  • Keep conversational and anecdotal prose to a minimum. While not a scholarly or research-based journal, the ITEA Journal is our biggest representation of our organization and what we do. We should be proud to share it with others (deans, department heads, colleagues in other areas, etc.)
  • Avoid excess wordiness. Eg. "Paul does a good job of not scoring the work too thickly" could be "Paul scores transparently." Try to write a review of the same length you're used to, but provide a great deal more information and avoid filler.
  • Please format your heading according to the examples below.
  • When entering an even-dollar price, let's leave off the zeroes. Eg., $20. This is just for consistency.
  • Please spell out small numbers; don't use digits. For example, "This piece has four movements." (Not: "This piece has 4 movements.") If the number is 1,238,449, then it's ok to use digits. Digits are also good for metronome markings and rhythmic values- 16th notes, etc.
  • If your review includes a sum-up statement, eg. "This piece would be a great addition to a tuba-euphonium ensemble concert," put it in a new paragraph at the end of the review. Keep in mind that the sum-up or closing statement is not really necessary.


"Allegretto"from Symphony No. 7 by Ludwig van Beethoven arranged for 8 piece tuba ensemble by Zach Collins. Cimarron Music Press. 15 Corrina Lane, Salem, CT 06420. 860-536-2185. Fax: 888-235-1772. sales@cimarronmusic.com. www.cimarronmusic.com. CM 1622. 2009. $30.
Ranges: Euphonium I: B - c², Euphonium II: G-sharp - a¹, Euphonium III: A - f-sharp¹, Euphonium IV: A - f¹, Tuba I: D - e¹, Tuba II: D - d¹, Tuba III: GG - b, Tuba IV: EE – e
Difficulty: Level IV
Reviewed by Roy Crouch


"Allegretto" from Symphony No. 7 by Ludwig van Beethoven arranged for 8 piece tuba ensemble by Zach Collins. Cimarron Music Press. 15 Corrina Lane, Salem, CT 06420. 860-536-2185. Fax: 888-235-1772. sales@cimarronmusic.com. www.cimarronmusic.com. CM 1622. 2009. $30.

nd movement of Symphony No. 7 by Beethoven, the famous "Allegretto." Completed in 1812, the symphony was well received immediately and the "Allegretto" soon took on a life of its' own independent of the complete symphony.
   This arrangement for an eight piece ensemble consisting of four euphoniums and four tubas stays faithful to the original. It starts in a minor, the parallel minor to the key of the symphony, and the B section modulates to A major. The form is generally considered to be a modified binary – ABA'B and Coda. It is not meant to be played fast – some editions have the tempo at quarter note equals 76. The arrangement is very well crafted as the opening unsupported 6/4 chord is stated in the euphoniums and then the omnipresent rhythmic figure of a quarter note, two eighth notes and two quarter notes is heard in the tubas. The voicing for this ensemble is really well done and there is an equal amount of interest in every part. For example, the fugato in the second A section, originally for violins, viola and cello, is written for the tubas. This is indicative of the fact that an effective performance of this arrangement will require capable players in all eight parts. The ranges of the parts are: Euphonium I: B - c², Euphonium II: G-sharp - a¹, Euphonium III: A – f-sharp¹, Euphonium IV: A - f¹, Tuba I: D - e¹, Tuba II: D - d¹, Tuba III: GG - b and Tuba IV: EE - e. All the euphonium parts are written in bass and treble clefs. The extremes of range are brief, but do require security and a stylistic approach appropriate to the original material. Some flexibility and technique is required of every part as there are leaps, running sixteenth note passages and arpeggiated triplets.
Dr. Collins has achieved an impressive feat by effectively translating one of the great symphonic movements. It is so valuable for tubas and euphoniums to play the music of the great composers and this arrangement provides that opportunity for an intermediate to advanced ensemble.
--Roy Couch, Cameron University

Euphonium and Tuba Difficulty Ratings for ITEA Journal Reviews
Ranges correspond to the ITEA Journal pitch notation guide


I Beginner (up to one year)
II Intermediate (two to three years)
III High School
IV University
V Professional

Level I (Beginner)
Euphonium range, approximately one octave: Bb-b-flat.
Tuba range, approximately one octave: Bb-B(d)

One year of instruction. Limited rhythmic/technical requirements. No note values greater than eighth notes, no syncopated rhythms. Music of a tonal nature.

Level II (Intermediate)
Euphonium range approximately F-f1.
Tuba range approximately AA-e.
Two/three years of instruction. Rhythmic/technical requirements involve simple sixteenth note patterns. Simple, limited syncopated patterns.

Level III (High School, Secondary School, Pre-college)
Euphonium range approximately F-b1.
Tuba range approximately FF-b
Moderate tessitura. More rhythmic complexity. Extended syncopations, sixteenth note patterns, triplets, and so on. Moderate amount of multiple tonguings.

Level IV (University/College)

Euphonium range approximately Bb-c2.
Tuba range approximately (BBB) CC-f1

Higher advanced tessitura. Increased rhythmic complexity/multimetric. Angular melodic lines. Dissonant harmonies/contemporary harmonies. Endurance factors. Introduction to avant-garde techniques (flutter tongue, multiphonics, etc.). Multiple tonguings. Dynamic control and extremes.

Level V (Professional)
Euphonium range: CC-f 2.

Tuba range: (CCC) DDD-b1 (c2+)
Extended high tessitura. Rhythmic/technical complexity of highest order. Angular lines/large skips in melody. Advanced twentieth- century techniques. Extreme dynamic contrasts.