Works

ITEA Journal (Fall 2025, used by permission)

Ranges:
Euphonium I: B-flat – b-flat1
Euphonium II: B-flat – a-flat1
Euphonium III: F-sharp – a-flat1
Euphonium IV: C – a-flat1
Tuba I: EE – e1
Tuba II: CC – e1
Tuba III: CC – e1
Tuba IV: CC – e1
Difficulty Level: IV

If you are not familiar with the term “apéritif”, it refers to an alcoholic beverage served before a meal to rouse one’s appetite. What a fitting name for this short, exciting work, that would be a fantastic opener to a tuba euphonium ensemble program.
The award-winning composer Paul Hayden wrote this work in 2024 for the Louisiana State University (LSU) Tuba Euphonium Ensemble, which is directed by Charles Goodman. Hayden is an alumnus of LSU as well as a graduate of the University of Illinois, with degrees in composition from both institutions. In addition to composing numerous works, he has taught at Eastern Illinois University and LSU.
Apéritif is a lively but brief piece with three distinct sections. The work is quite varied, beginning with an exciting intro using mouthpiece pops and fast syncopated rhythms throughout all eight parts. The intro sets the stage with an edgy atmosphere, as the work continues with a series of running sixteenth notes passed back and forth from the euphonium to the tuba, creating a sense of musical dialogue. After the opening, the work slows and turns contemplative. Hayden uses hemiolas of eighth-note patterns with the melody in quarter-note triplets, evoking a mysterious and dreamlike atmosphere. A quick transition brings the piece back to a broad and fulfilling conclusion, making use of the depth of sound available to an eight-part low brass ensemble.
Apéritif is [six] minutes in length and is classified as Level IV in difficulty due to range and rhythm complexities. The rewards of this demanding work are well worth the effort, offering an electrifying journey that captivates both performers and audience from start to finish.
Dr. Steven Maxwell, Kansas State University

The Tuba Journal (Fall, 2000, used by permission)

“The second piece, which can best be described as lyrical and explosive, was Paul Hayden’s ‘Chaconne’. This was a world premiere as well, and is an exceptional work based on [a polychordal] chord progression.” —Kenyon Wilson (reviewing the premiere)

The Tuba Journal (Summer, 2002, used by permission)

“The note g1 occurs several times, as does the note CC. Hayden does a wonderful job of utilizing this extremely low note not just as a novelty, but rather as a recognizable part of the harmonic structure of the composition. ‘Chaconne’ is clearly a 20th century work in terms of compositional devices, yet Hayden manages to maintain a sense of melodic contour and thus the attention of the listener. The use of octave slurs, repeated notes, and the regular harmonic pattern of the chaconne form all contribute to a sense of musical coherence that provides the player with an opportunity to clearly communicate with the audience.” —Dr. Thomas Bough (reviewing the printed score)

The Tuba Journal (Summer, 2002, used by permission)

“Joseph Skillen plays with so much life and energy on ‘Chaconne’ that it is my favorite selection on the disc.” —Dr. Thomas Bough (reviewing the compact disc recording)