by Keith Robinson
Keith J. Robinson juggles, reads, runs, composes, sings in the shower, smiles and laughs a lot in Seguin, Texas. Since 2000, he has loved his wife Nelwyn very much. And since 2003, they have loved their daughter Jillian very much; a beautiful busy gift from God, brought to them from India as a toddler.
Keith Robinson with his wife Nelwyn and daughter Jillian.
Born in Michigan, transplanted to the Lone Star State, Keith attended high school and college in Kingsville, Texas, graduating from Texas A&I University in 1985. He teaches all levels of music, ranging for pre-kinder to college, teaching general music and directing choirs and bands. He currently teaches in the Seguin Independent School District at Jefferson Avenue Elementary School and at Texas Lutheran University, also in Seguin.
Keith was introduced to his first tuba by Roger Lund in Ann Arbor, Michigan in the seventh grade cadet band. From his public school band beginnings, he has gone on to become an active professional tubist, educator, and motivational clinician, performing in Texas, Mexico, Oklahoma, Louisiana, New Mexico, Michigan, the Pacific Northwest, and the Azore Islands. He has performed with the Air Force Band of the West, the San Antonio Symphony, the San Antonio Brass, the San Antonio Festival Orchestra, the 49th Armored Division Band, the Laredo Philharmonic, the Laredo Brass Quintet, the Blue Lake Fine Arts Band, and the Corpus Christi Wind Symphony (Charter Member). Currently, Keith performs freelance work and holds the position of tubist with Hill Country Brass.
His teachers include Joseph Blaha, Paul M. Hageman, Michael Sanders, Lee Hipp, and Steven Bryant. He has also studied with Sam Pilafian, Warren Deck, and Pat Sheridan.
His compositions can be purchased at www.tubaeuphoniumpress.com, as well as “direct from the source,” by contacting Keith via email at email@example.com. Two of his compositions and a story of his own creating can be heard on tubist Deanna Swoboda’s recording entitled Deanna’s Wonderland, available at www.summitrecords.com.
12-Tone Rondo is, just as the clever title suggests…a work built in rondo form utilizing a twelve tone row. The order of the twelve tones is A, D-sharp, B, D, F, G-sharp, A-sharp, F-sharp, G, C-sharp, E, and C. The rondo form, ABACADAEA, provides aural structure to the non-tonal nature of the tone row. It may be noticed that the tone row never is varied throughout the piece. Which is to say it is always presented in the prime series, (P0) as spelled out above. Interest and variety are generated through rhythmic and dynamic manipulation. The A sections of the rondo form could be thought of as aAaAa, with the upper case A representing the primary theme sounding an octave lower. Also of interest, is the “visual modulation” of the final sounding of the A theme at measure 92, following the caesura.
In performance, great care should be taken to give each section its own character, its own personality. For instance, the B section seems to flow with intentional grace. Whereas the E section crashes and tumbles with great strength into the caesura. Each time it occurs, the A section should dance, exploding from the bell with a depth of energy, whether in the initial octave or the lower octave. The exception being when the A section returns for the last time, starting softly and slowly. Here, a sense of expectation grows in both the listener and the performer as the tempo and dynamic build and build, racing forward, culminating in an unexpected gentle pizzicato low C to finish the tone row and the piece.