Although not unique to the tuba and euphonium, the size and presence of these instruments lend them a certain gravitas in a staged setting. This can be seized upon by the composer, especially when combined with theatrical stage directions (discussed in the next entry).
When working with younger performers (and even some experienced performers), it can be difficult to coax the proper theatrical effect out of their performance. The standard instruction for developing performers emphasizes a relatively staid and fixed stage presence, in part to help the young musician to develop a consistent approach to performance. When followed over many years, it can be difficult for the performer at first to add in any variations to this mode of performance.
There are a number of ways to notate variations on stage presence and/or theatrical movements, so any reasonable method of notating these effects is sufficient. Because of the nature of this technique, there is no notation example given. The sample work given below, Introspection d’un Tubist by Vinko Globokar, is an extremely thorough and representative example of this type of technique.
Intermediate to Professional
Works to consider (bolded titles are particularly representative examples of this technique)
Tuba Mirum – Trevor Wishart
Mirum – Mauricio Kagel
Introspection d’un Tubist – Vinko Globokar