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As tuba (or low brass) players, we are all very familiar with the symphonies of Anton Bruckner. However, many of us never delve a little deeper to discover some of his wonderful choral music. As with the de Victoria, it works well with various combinations of instruments. This setting of Locus Iste, for four tubas, was commissioned by Mr. Blair Berger for a recital while a student at the University of Wisconsin-Eau Claire.

O magnum mysterium by Tomas Luis de Victoria is one of my favorite pieces of choral music. The piece works well for 2 euphoniums and 2 tubas, three trombones and tuba, four tubas or trombone quartet. Intonation and steadiness of internal rhythm are paramount. Many thanks to Dr. Anne Heider of Roosevelt University to opening my eyes to this wonderful piece (among others!) of our musical history.

"Reflected Projections for Solo Tuba" was written for Chicago Symphony Orchestra Principal Tubist, Gene Pokorny. This is very lyrical and highly expressive piece filled with several mood changes from rage to serenity that works well as the centerpiece of the first or second half of a recital.

"The Dancing Giants" (Suite for Two Tubas) was written in 1995 to fill a void: the lack of tuba duets that people had fun playing AND people wouldn't mind LISTENING to! With movement titles like "Marching Tubas", "Waltzing Tubas", "Twinkling Tubas", "Tubas on the Sea", and "Tubas at the Circus", The Dancing Giants has a little something for everyone. The original version was written on hand made staff paper in blue ink. Fortunately, this version is much easier to read, but still just as fun to play and hear.

"I have had requests for music recorded both on "Tuba Tracks" and my "Big Boy" discs for some time. Micky Wrobleski's very clear and readable compilation of some of these arrangements are gradually being released so other tuba players may have the opportunity of playing some if this music as well." - Gene Pokorny

The complete “Visions Fugitives” is a twenty movement work written early in Prokofiev’s career between 1915 and 1917. This printed edition is a compilation of his original music, the transcriber’s (Beth A. Lodal) and the performers’ further editing. Transcriptions, as noted by trombonist extraordinaire Ralph Sauer, should bring a new light to the original music which may further enhance the deeper intentions of the composer, perhaps even further than even the composer’s original choice of medium. An effective transcription is dependent on the capabilities, insight and imagination of transcriber, performer, and listener(s). In preparing for your own performances of this music, you are highly encouraged to consult the original music and listen to several recordings of that music played on the intended instrument (solo piano). Be very open to the idea of changing the transcription if it better satisfies your vision of what the composer’s desires.