This book contains all of Concone's famous Solfeggi: 30 Daily Exercises - Basic Legato Studies The first section-30 Daily Exercises-contains short studies to help improve legato sound. Exercise number 9 was a favorite of Mr. Arnold Jacobs, the famed former tubist of the Chicago Symphony Orchestra. When practiced in all keys and in both the upper and lower registers this exercise will improve control, intonation and tone color. 50 Lessons - The musical Vocalises of Concone Beginning with the section 50 Lessons, and continuing with 25 Lessons, 15 Vocalises and finally with the section 40 Lessons, Concone paints a compelling musical landscape. Learn to phrase properly, add dynamic contrast (dynamics are not printed in this book) and make each of the vocalises your own unique musical presentation. 25 Lessons - More complex melodies The 25 Lessons present slightly more complex and colorful musical ideas. Rhythms are more challenging, key signatures more varied and range is expanded. Still, the performer will have to interpret the dynamic contour of the music.

Guide to the Tuba Repertoire is the most comprehensive investigation ever undertaken into the literature and discography of any single musical instrument. Under the direction of R. Winston Morris and Daniel Perantoni, this publication represents more than 40 years of research by dozens of leading professionals throughout the world. The guide defines the current status of the tuba and documents its growth since its inception in 1835. Contributors are Ron Davis, Jeffrey Funderburk, David Graves, Skip Gray, Charles A. McAdams, R. Winston Morris, Mark A. Nelson, Timothy J. Northcut, Daniel Perantoni, Philip Sinder, Joseph Skillen, Kenyon Wilson, and Jerry A. Young.

The chapter entitled "Recommended Basic Repertoire" is subdivided by level, from high school through professional, and "Orchestral Excerpts," in addition to listing 146 works that every tubist should know, includes advice on how to audition.

This study begins with a brief history of the tuba, focusing on its development from its instrumental precursors, as well as the development of solo and ensemble literature for the tuba. The second chapter contains an in-depth study of pedagogical techniques and materials required for the implementation of a college level tuba program. It contains essential technical information such as tone production articulation concepts, etc., as well as essential administrative information such as grading procedures, equipment choices, etc. The final section contains annotated tuba literature lists, divided into solo, orchestral, band, and etude works, and a listing of solo tuba recordings.