TTTE 40th Anniversary
by David Chamberlain
The Tennessee Tech Tuba Ensemble 40th Anniversary All–Star Alumni Ensemble
40th Anniversary Celebration of the TTTE: A Carnegie Hall Concert Review
TTTE 40th Anniversary Personnel
Program Notes from the 40th Anniversary Celebration of the Tennessee Tech Tuba Ensemble
The internationally acclaimed Tennessee Tech Tuba Ensemble celebrated its 40th anniversary during the academic year 2006–2007. Founded by its current director, R. Winston Morris in the fall of 1967, the ensemble has set the bar in terms of accomplishment in these forty years. Under Morris, the TTU ensemble is the most recorded ensemble of its kind in the world, has toured throughout the eastern half of the United States for 40 years, and is the only music group in the state of Tennessee to receive the Tennessee Board of Regents “TBR Academic Excellence and Quality Award.”
The TTU Tuba Ensemble has been responsible for the creation of hundreds of new compositions, has been listed on the Grammy Entry List for its recordings, and is the only tuba ensemble to have performed multiple concerts in New York’s famous Carnegie Recital Hall.
A number of activities celebrate this unique history. On November 5, 2006, over 200 former members of the TTTE were invited back to campus to bring their horns and participate in the 40th Anniversary Reunion Celebration. A special twenty–piece 40th Anniversary All–Star Alumni Ensemble was also organized, and the all–star group recorded and presented world–premiere performances of nine major new compositions (David Baker, John Cheetham, Gregory Danner, Martin Ellerby, Eric Ewazen, Aldo Rafael Forte, Adam Gorb, Tony Plog, and Gunther Schuller) that have been commissioned specifically for this event. The works were featured as part of a four–concert tour that included performances at Tennessee Tech on November 5, 2006, as part of the MidWest Clinic on December 23, 2006, the United States Army Band “Pershing’s Own” Tuba–Euphonium Conference on January 27, 2007, and concluding, very appropriately, on January 28, 2007 at the Weill Recital Hall at Carnegie Hall, New York City.
David Chamberlain, founder of the Hora Decima Brass Ensemble, graciously authored a concert review of the reunion ensemble’s performance at Carnegie Hall for the ITEA Journal . Concluding this article is a listing of the ensemble’s personnel, which further attests to the consistency and quality that Morris has establish in the forty years, in addition to program notes for each of the new major compositions contributed by each respective composer.
TTU All-Star Ensemble at Carnegie Hall
On Sunday January 28th, I attended a concert at the Carnegie Recital Hall in New York that was billed as the “40th Anniversary Celebration of the Tennessee Tech Tuba Ensemble,” directed by its founder, R. Winston Morris. I must admit that I had never before heard such a large group of tubas, and my expectations were fueled more by curiosity about this “novelty ensemble” than anything else. This was an “All-Star Alumni Ensemble” chosen from among the hundreds or so students who have gone through the Tennessee Tech program over the years: seasoned professional performers and educators, not just a college group. It also was not clear to me at first just what a landmark event it was (there would be nine world premiers). I got quite an education that afternoon! First of all, the performance was stunning in its musical impact, flawless in its execution, and of major importance in adding to the repertoire of music for tubas.
When Winston Morris founded the ensemble in 1967, it was a new concept. There had been other like-instrument ensembles (such as Emory Remington’s trombone choir at Eastman), but the TTTE was new to the tuba world…a real pioneer. There was little repertoire available, and Morris began the task that has led to the commissioning of hundreds of original compositions and arrangements for multiple tubas.
Since its inception, the TTTE has performed “from New York to Chicago, from Florida to Texas, and about everywhere in between.” They have over twenty recordings to their credit, have expanded the opportunities for tubists and euphoniumists, and have created a new musical sound for the world to experience—”not a novelty but an ensemble with a unique sound.”
“The ensemble’s greatest legacy, however, lies in the nurturing of dozens of professional music teachers and tuba/euphonium performers who actively teach and perform throughout the world, and other members who have pursued and excelled in many other professions.” One small measure of the success and respect that Morris and the TTTE have achieved is the fact that the President of Tennessee Tech University, Dr. Robert R. Bell, traveled to New York to attend the concert. How many university presidents even attend concerts on their own campus?
The performers of this 40th Anniversary concert traveled from as far away as Arizona, Colorado, Louisiana, and Washington, D.C. to participate. It must have been no small task to coordinate schedules and make travel arrangements. I think the players’ admiration for and loyalty to Winston Morris made that task much easier.
And now, back to the concert. I’ve attended more than a few premiers, but I have never heard NINE on the same program. Furthermore, ALL nine compositions are quality works that will become mainstays of the repertoire. Morris says that they all will be published in the near future, making them available to other ensembles. Of course each composer has a personal style, but I was impressed that their inspiration, or purpose, was also varied so that each piece was truly unique. I came expecting a “novelty sound,” and instead I discovered exciting, important music played by a virtuoso ensemble that happened to include only tubas, euphoniums, and the occasional percussion. We need to promote our instruments, but our real goal should be to present concerts like this one, in which the strength of the music is paramount. We need to attract an audience that goes beyond fellow brass players, teachers, and students. The TTTE has taken a giant step in that direction!
The concert opened with Bassa Nobile by John Cheetham who attended the Carnegie performance. Dr. Cheetham should be well known to brass players. His Scherzo and Brass Menagerie for brass quintet are staples of the repertoire, and his large brass ensemble works include Keystone Celebration , Commemorative Fanfare , and Eclectix. Dr. Cheetham was born in Taos, N.M. in 1939 and is Professor Emeritus at the University of Missouri-Columbia. In 2001 he started his own publishing company, Booneslick Press. The title Bassa Nobile refers to the tuba and its “noble family.” It opens with a rhythmic ostinato of punctuated repeated notes “seasoned” by the tambourine. This ostinato, with its unexpected offbeat accents, supports the melody of the low tubas. A more lyrical middle section features a tuba quartet with vibraphone. Two solo tubas and two solo euphoniums are featured in short cadenzas that give individual players a chance to shine. There is a return to the ostinato followed by a brief coda. Of all the composers on this program, Dr. Cheetham is the only one who has first-hand knowledge of the instruments…he actually has been a euphonium player! It was my pleasure to be his guest at this concert. We had wanted to meet in person, and, as he was in New York for this concert, it was the perfect time and place.
Anthony Plog has spent many years as a trumpet player (L.A. Philharmonic and a founding member of Summit Brass), teacher, and composer. He now lives in Freiburg, Germany. Among his many compositions for brass are Scherzo , Concerto No. 1 for Trumpet and Brass Ensemble, and Animal Ditties . His purpose in writing Three Profiles was “to highlight the attributes of some of the great players I have known.” The first movement, “Mr. P.,” dedicated to Daniel Perantoni, is light, energetic, and slightly angular. Plog was “awed by how elegantly [Perantoni] could play.” The lyrical and flowing second movement, the “New Breed,” is dedicated to the new generation of tuba players. In the final movement, “T.J. Bozo” dedicated to the late Tommy Johnson and Roger Bobo, Plog “tries to capture the thrill of hearing the sound of aggressive tuba playing.” All three movements include episodes in which Plog employs short points of sound that remind me of the pointillistic painting of Georges Seurat.
Greg Danner, who also attended the New York performance, is a professor at Tennessee Tech and an active French horn player. Pinnacle is his “tribute to the achievement of Winston Morris.” Although it begins with a foreboding mood in the low tubas, its peaceful, liquid beauty at times reminds me of Bruckner’s motets. Morris has tried to find music that “focuses on the potential and the many musical possibilities of the tuba.” In Pinnacle, Danner emphasizes the incredible beauty in the sound of the tuba family.
Adam Gorb, from Manchester, England, was a composer-in-residence at Tennessee Tech in November 2006. Born in 1958, he has written for wind band, chamber ensembles, and numerous solo works. Fasolt’s Revenge was the most programmatic piece on the program. It also includes the bass drum as an important element of the musical structure. The piece depicts a fictional battle between two titans from the legend of Das Reingold from Wagner’s Ring Cycle . One can easily picture these giants lunging, stalking, lurching, and striking each other. This is a soundtrack in reverse. The listener creates an imaginary visual experience based on the sound of the piece. Gorb flew to New York just for this performance returning immediately in time for his 8:00 a.m. composition class at the Royal Northern College of Music.
Coventry, England and Dresden, Germany were both devastated by bombings in World War II. They both suffered loss of life and the destruction of great cathedrals during air raids. The English composer Martin Ellerby has written a series of pieces as memorials to events in WW II. Epitaph VI focuses on Coventry and Dresden. Ellerby describes it as an “act of reconciliation…that illustrates the futility of all wars, both ancient and modern…not intended to be representative of historical events, but rather reflections upon them.” The word “reflection” is a perfect description of the mood of Epitaph VI . Bell chimes and glockenspiel are used effectively. At the performance, Winston Morris dedicated this piece to the memory of his friend, the late Don Butterfield.
Eric Ewazen has written extensively for low brass. He has a recording called Bass Hits that features several prominent bass trombone soloists. Frost Fire and Colchester Fantasy are frequently performed brass quintets, and his Symphony For Brass has become a standard. Basso Cantante emphasizes the lyrical possibilities of the ensemble. It alternates in moods from chorale-like passages to Renaissance-dance-like sections. Ewazen, who was in attendance at the New York performance, says he “wanted the work to be a celebration of the great sonorities of the tuba/euphonium world, to have moments of introspection and quiet beauty, but ultimately to be uplifting and joyful.”
Gunther Schuller is known as the inventor of Third Stream Music—a fusion of jazz with music derived from the classical tradition. He began his career as a French horn player (Cincinnati Symphony at age 17 followed by fifteen years with the Metropolitan Opera Orchestra) and has devoted himself to composition since 1959. He is now 82. He says, “I like to challenge musicians in my compositions— a little bit beyond what they can already do.” This approach goes hand-in-hand with Winston Morris’ goal of increasing the possibilities of music for tubas. Refrains is in four movements, has twenty-four independent parts (!), and is the most atonal of the works presented in this program. It is dedicated by both the composer and ensemble to Harvey Phillips. The title refers to the fact that “a certain arabesque-like figure appears a number of times and in all the movements.” The music is swirling, apparently un-metered, takes no prisoners, and is filled with sudden bursts and eruptions and undoubtedly constitutes one of the most difficult pieces ever composed for the tuba/euphonium ensemble.
I first became aware of David Baker in the late 1960s through his recordings with George Russell. He has since become one of the “founding fathers” of jazz education in America. Blues Odyssey is his “attempt to showcase the brilliance and the magic” of the TTTE. The drummer laid down some nice grooves, and the ensemble swung its way through six episodes depicting the blues in various styles and settings, culminating with a burning unison bebop chorus.
All good things must come to an end, and Dynamo! by Aldo Rafael Forte was the final piece on the program. Forte was a Tennessee Tech student beginning in 1971 and recently completed a 26-year career as composer/arranger for the U.S. Air Force band program. The title Dynamo! reflects “the constant energy that R. Winston Morris has exhibited in his pursuit of the development and advancement of the TTTE.” The piece’s five movements also depict some of the history of the ensemble: “Beginnings” represents the unfocused early days, “Fanfares” “announces and celebrates the full flowering,” “The Ogre” is brash, vulgar, and menacing…it is “Winston himself as the demanding director,” “Tropical Tubas” shows how versatile the ensemble can be and uses Latin percussion to create a Caribbean flavor, and finally “Energized” is “a musical tribute to Winston’s boundless and ceaseless energy.”
A few final observations:
Congratulations to the performers who played a lengthy and demanding program to perfection with no intermission and no signs of fatigue.
Congratulations to the conductor (what’s his name?) who made crescendos thrilling and had the ensemble respond to the slightest nuance.
Congratulations to the composers who created wonderful music for this ensemble.
While there were many instances of beautiful solo playing within the ensemble, ALL the compositions focused on the ensemble as a whole. There was no showboating, no thousand-notes-a-second flurries, no sense of “look, Ma, no hands!” Each solo line was a logical part of the ensemble…like the flute melodies in a Brahms symphony.
Let me repeat: this performance was stunning in its musical impact, flawless in its execution, and of major importance in adding to the repertoire of music for tubas!
David Chamberlain, Director
Hora Decima Brass Ensemble
Chestnut Ridge, NY
David Baker: Blues Odyssey
Blues Odyssey is a single movement work based on the blues, perhaps the oldest and most durable construct in the history of jazz. As the title suggests, this piece portrays a journey, which visits the blues in a number of its varied manifestations. In Blues Odyssey , the blues is presented not only as a conventional twelve-measure form but also as a series of stylistic representations that draw on specific scales, chords, and musical gestures characteristic of different eras. There is an opening romantic theme, exemplifying the lyrical quality of the blues; a quasi modal theme reminiscent of jazz icon Miles Davis’ “All Blues,” a passing reference to the boogie woogie of the 1930s and ‘40s, a salute to the New Orleans marching bands and their second lines, a nod to the affectations of Louis Jordan and to rhythm & blues, and, finally, a respectful bow to bebop and the big bands. Above all, Blues Odyssey is my attempt to showcase the brilliance and the magic of this remarkable assemblage of euphoniums and tubas.
John Cheetham: Bassa Nòbile
Bassa Nòbile is cast in a large ternary form. Bassa Nóbile (referring to the tuba and its “noble” family) opens with a punctuated repeated-note ostinato that is tossed back and forth antiphonally between various groups. Against that device, the principal melodic idea of section 1 is presented in the low tubas. The ostinato, with its repeated notes and rhythmic shifts, persists throughout the entire first section, finally giving way to a contrasting idea scored for tuba quartet and vibraphone. Here, the music becomes more lyrical as the vibraphone provides a kind of rhythmic counterpoint against what is going on in the rest of the group. This second section ends with four short cadenzas that first feature two tubas, then two euphoniums. At the conclusion of the cadenzas, motives from the first section are developed and restated. A brief coda ensues, as the piece quietly comes to an end. This composition represents the second collaboration between the composer and the Tennessee Tech Tuba Ensemble. The first work, entitled Consortium , was premiered 30 years ago by the TTTE in 1976 and subsequently published by Shawnee Press.
Greg Danner: Pinnacle
Some forty years ago Winston Morris began a quest to satisfy an artistic and pedagogic need for his students to perform music that focused on the potential and the many musical possibilities of the tuba. The result was that a new type of ensemble was born. Over the years, the Tennessee Tech Tuba Ensemble has become world renowned through their many performances, recordings, and commissions. Pinnacle is this composer’s tribute to the achievement of Winston Morris and the many students who have participated in the TTTE over the years. The word “pinnacle” is defined as “the highest point, the culmination.” I can think of no more appropriate musical allegory to offer for this 40th anniversary celebration.
Martin Ellerby: Epitaph Vi: Phoenix Rising (Coventry/Dresden)
I commenced my Epitaph series in 1986 and have from time to time written further additions to the set. All the works are memorial pieces to events in the Second World War. They are not intended to be representations of historical events but rather reflections upon them, in particular the sites and locations as they exist today. In many ways the message of remembrance is of greater importance to me than the actual music—these things should not be forgotten lest we, the Human Race, descend to such depths again. Sadly, we all too often have. I have restricted the subjects to one such war, the one that shaped my own nation as a young boy. The physical reminders of which are littered around the world in many shapes and forms, particularly in Western Europe. Therefore, I have avoided the act of reportage and concentrated on commemoration. These works are not political statements—in fact, I hope them to be acts of reconciliation, surely the best outcome for a war that cost the lives of over 55 million combatants and civilians alike. These offerings, therefore, are one artist’s reaction to what he has seen, read, and heard. On the evening of November 14th, 1940, the British city of Coventry, in a raid code named Operation Moonlight Sonata, was attacked by the German Luftwaffe. The following morning a total of 568 civilians lay dead, and historic Cathedral of St Michael’s was a burnt out shell. A new Coventry Cathedral was built and consecrated in 1962. The remains of the former still stand today as a constant reminder to all who venture around its now calm and peaceful grounds. On the evening of February 13th, 1945, the British Royal Air Force led an attack on the German city of Dresden. This was followed up by the American Air Force the following day. Dresden was known as the Florence of the Elbe and was an “unprotected” city. The firestorm unleashed on her was one of the most devastating ever known. It is impossible to clarify the loss of life in numbers: estimates vary, but at least 25,000 inhabitants lost their lives. The Frauenkirche in Dresden is still being rebuilt to this day. Coventry and Dresden are “twin cities” sharing a terrible fate delivered from the skies in the mayhem and madness that illustrates the futility of all wars both ancient and modern. This binds and bonds them. And so I deliver my sixth Epitaph in memoriam of both Coventry and Dresden. I share both their griefs—I celebrate their reconciliation and reunion—I pray Earth will never see the like of it again.
Eric Ewazen: Basso Cantante
I first got to know Winston Morris when I was a guest at Tennessee Technological University in November 2004. I went to a rehearsal of his tuba-euphonium ensemble, hearing them play an arrangement of a piece of mine originally for trumpet choir. The sound his ensemble achieved was so glorious, and Winston’s interpretation of the music was so dynamic and expressive. I was delighted when he subsequently invited me to compose a work for this special event, which essentially honors the world of low brass music, and the great tradition of the ensemble at TTU and Winston’s extraordinary contributions to the advancement of performance and composing of new music for tuba and euphonium. I wanted to write a piece that explores the wide range of expressive possibilities inherent in his ensemble—consequently the work alternates in moods with rich, sonorous, and stately chorale passages leading to energetic, rhythmic gestures, which are playfully tossed from instrument to instrument, culminating in genuinely songlike material. The emphasis is on the lyricism—hence the title of the piece. The 12-voice piece is basically divided into two 6-part ensembles within the larger ensemble—so there is sometimes a feeling of an antiphonal approach to the music. Towards the end of the work, the piece has spinning melodies, which gives the music a sense of exhilaration. I wanted the work to be a celebration of the great sonorities of the tuba-euphonium musical world, to have moments of introspection and quiet beauty, but ultimately to be uplifting and joyful. My sincerest thanks to Winston for all he has given to the music world and for giving me this wonderful opportunity to write directly for his amazing ensemble.
Aldo Rafael Forte: Dynamo!
Dynamo ! is dedicated “to R. Winston Morris in honor of the 40th Anniversary of the Tennessee Tech Tuba-Euphonium Ensemble.” From the moment I first heard about this project from Mark Morette of Mark Custom Records, I stated that my contribution to this endeavor would be titled Dynamo! , after the constant energy that R. Winston has exhibited and continues to exhibit in his pursuit of the development and advancement of the Tennessee Tech Tuba-Euphonium Ensemble during the past 40 years. Even in his old age (just joking), Winston does not seem to slow down in his never-ending quest to take this medium to ever-new heights! I have known Winston since I was a freshman at Tech in 1971 and throughout the past 35 years I have been willingly conned (joking again) into writing five works for his various musical projects. I am honored to be a part of this historic endeavor! Dynamo! is about 8 minutes in duration and is cast in five sections. Each succeeding section is faster than the previous one. It is scored for 4 euphonium parts, 4 tuba parts, and 2 percussionists that play a large assortment of instruments. The piece was completed in July 2006. Dynamo ! musically depicts some of the history of the Tennessee Tech Tuba-Euphonium Ensemble. “Beginnings” opens the work with murky and dark harmonies creating an unfocused atmosphere symbolizing the first rehearsals of the tuba ensemble 40 years ago when the group was treading on largely uncharted musical territory. Tuba 1 solos lend a quasi-improvisatory feel to the opening measures of the piece. Intervals of the sixth compete with whole tone passages and heroic gestures. The music becomes more focused just as the initial idea of a tuba ensemble became more crystallized. “Fanfares” announces and celebrates the full flowering of the tuba ensemble. This section peaks out with double tonguing and dotted rhythms and ends in a fermata which cadences in E-flat major. Through its chromaticism and tritones coupled with its menacing rhythms, “The Ogre” is indeed a brash, vulgar, and menacing march. Ogre is defined as one who is felt to be particularly cruel, brutish, or hideous. Here the ogre is Winston himself as the demanding director who does not put up with mediocre playing from anyone and will go to GREAT lengths to achieve perfection! The fourth section, “Tropical Tubas,” has a decidedly Caribbean flavor and shows off the versatility that the TTU Tuba Ensemble has been known for during its 40-year history. Latin percussion adds to the flavor of this section. The final section, “Energized,” is a musical tribute to Winston’s boundless and ceaseless energy in his pursuit of the never-ending development of the tuba ensemble. Thus, the work ends on a positive and exciting note! Special thanks to R. Winston Morris for all his great interpretations of my music through the years, Mark Morette for our initial conversation about this project and for his superb production of several CDs containing my music, and to the poet Carolyn Ruth Moser for “being there” during the creation of this work.
Winston Morris and Aldo Rafael Forte
Adam Gorb: Fasolt’s Revenge
Fasolt and Fafner are the two giant brothers that appear together in Das Rheingol , the first of the series of music dramas that make up Wagner’s massive series of music dramas entitled Der Ring Des Nibelungen . They are entrusted with building the stronghold of Walhalla for Wotan, the chief of the gods. Eventually they quarrel over the means of payment for this task and Fafner beats Fasolt to death, taking the gold, and most crucially the Ring. In a later opera, Siegfried , Fafner returns as a dragon and is slain by the fearless young Siegfried, but that’s another story. For a while now I’ve been feeling a little bit sorry for Fasolt, and I thought I’d try and redress the balance in his favor. So in this work I’ve represented the two giants as two tuba quartets, each with their own bass drum; and they get a chance to slug it out, twenty first-century style! I don’t want to say too much about the structure of the piece, hoping that it will speak for itself. It follows a basic slow-fast-slow format and lasts a little over seven minutes. Harmonically and melodically each quartet strictly stays within its own particular series of pitches; and there is discreet use of leitmotifs from Wagner’s Ring , including the drum rhythm of Siegfried’s death just before the end of the piece.
Anthony Plog: Three Profiles
During the course of my professional life, first as a trumpeter and later as a composer, I have had the good fortune to know some wonderful tuba players. So when Winston Morris asked me to write a piece to celebrate the 40th anniversary of his Tennessee Tech Tuba Ensemble, I thought it would be interesting to write a piece highlighting the attributes of some of the great players I have known. The first movement, “Mr. P.,” takes as its inspiration the great player and teacher, Dan Perantoni. I played in several groups with Dan, and was always awed by how elegantly he could play. This movement is accordingly light and energetic. Several years before the writing of this piece I was at an international tuba competition and heard the young soloist Kent Eshelman. I was so impressed with his musicality that I wrote a Nocturne for him, which was later performed by Jay Hunsberger as well. And I realized that there is indeed a new generation of tuba players who will carry on the great work done by their predecessors. Accordingly, “The New Breed” is a lyrical and flowing movement. Finally, at the beginning of my career, I was lucky enough to play as an extra trumpet with the Los Angeles Philharmonic and will never forget the massive fortissimo sound of Roger Bobo and Tommy Johnson in the big orchestral works of the late romantic and early 20 th century composers. In “T.J. Bozo” I have tried to capture the thrill of hearing the sound of aggressive tuba playing. Many thanks to Winston Morris, not only for the conception of this project but for his tireless and inspiring work over the past forty years.
Gunther Schuller: Refrains
After writing over one hundred-eighty compositions, in all forms, shapes, sizes, and categories, I must say that being asked to write a piece for ten euphoniums and twelve tubas was an especially intriguing—and novel—proposition. You don’t often get commissioned to write for a consort of twenty-two tubas, small and large, all of whom live and operate primarily in the lower bass clef regions of our acoustic range, generally hanging around middle C and below, and only rarely penetrating into the upper range of the treble clef. (I allowed myself one “high f”, an octave and a fourth above middle C.) The commission was additionally very dear to my heart, since as a professional horn player in my earlier life I consider euphoniums and tubas (and other inhabitants of the brass kingdom) my friends and colleagues, like dear siblings. I always like to challenge musicians in my compositions—a little bit beyond what they can already do—and I think I have done so in Refrains : technically, stylistically, and conceptually, what’s called “writing at the hilt.” The title refers to the fact that a certain arabesque-like figure, first heard in the lead euphonium near the beginning of the first movement, recurs a number of times throughout the work—in the succeeding three movements—although always slightly varied. Refrains was commissioned by Tennessee Technological University for the 40th anniversary of the Tennessee Tech Tuba Ensemble and is respectfully dedicated by composer and ensemble to Harvey G. Phillips, the major progenitor for the tuba renaissance in the twentieth century.
Cory Belvin (TTU ‘97–’03), U.S. Army Ground Forces Band
Lloyd Bone (TTU ‘91–’95), Professor, Glenville State College
Bryce Edwards (TTU ‘96–’01), Euphoniumist, “Mr. Jack Daniel’s Original Silver Cornet Band”
Seth Fletcher (TTU ‘00–’03), Doctoral Assistant, UNC/Greensboro
Carroll Gotcher (TTU ‘82–’88), Music Educator, Euphoniumist with “ Euphouria”
Joshua Hauser (TTU Faculty), Professor, Tennessee Tech University
Atticus Hensley (TTTE Member ‘98–’99), Music Educator, Euphoniumist with “ Euphouria”
Ashley Sample (TTU ‘93–’98), Music Educator, South Granville High School, North Carolina
Jimmie E. Self (TTU ‘70–’73), Professor, East Tennessee State University
Kelly Thomas (TTU ‘93–’97), Professor, University of Arizona.
Scott Beaver (TTU ‘97–’03), United States Military Academy Band
David T. Brown (TTU ‘89–’93), U.S. Army Band, Washington, DC
Jason Byrnes (TTU ‘91–’95), Professor, University of Northern Colorado
Gerald Cates (TTU ‘81–’85), United States Military Academy Band
Mike Dunn (TTU ‘78–’83), Professor, University of Colorado
Angelo Kortyka (TTU ‘98–’03), Professor, Xavier University, Cincinnati
Tim Northcut (TTU ‘79–’83), Professor, University of Cincinnati
Richard Perry (TTU ‘83–’87), Professor, University of Southern Mississippi
David Porter (TTU ‘76–’80), U.S. Air Force Band, Washington, D.C.
Joe Skillen (TTU ‘87–’91), Professor, Louisiana State University
John Visel (TTU ‘00–’05), Graduate Assistant, Indiana University
Kenyon Wilson (TTU ‘88–’92), Professor, UT/Chattanooga and Austin Peay University
Eric Willie (TTU Faculty), Professor, Tennessee Tech University
Paul Deatherage (TTU ‘01–’05), Free–Lance Percussionist, Middle Tennessee
Please visit the TTU tuba website for additional information regarding the Tennesse Tech Tuba-Euphonium Ensemble 40th Anniversary Celebration and All-Star Ensemble.