The words "tuba" and "solo" are, and never have been, mutually exclusive. If anything, they are redundant. Composers from Brahms to Bernstein have recognized that the lone chair in a symphony orchestra defined the tuba as not only the bass voice of the orchestral brass choir but a solo instrument of power and grace. The awkward revelations of "Tubby the Tuba" in which Tubby undergoes musical puberty and eventually plays a melody serve to evangelize young people and the general public to the knowledge with which Patrick Sheridan made his career - the words "tuba" and "solo" are synonymous.
Lollipops of the musical variety are crowd-pleasing tidbits designed to please the audience. It is impossible to know who first used the term to describe tuneful encores but British conductor Sir Thomas Beecham was the master of the genre. Beecham successfully interspersed shorter works -both sweet and savory - to refresh the musical palate of his audiences. Such treats were not nutritionally empty but were as enjoyable as they were satisfying. Most importantly, each possessed beautiful, infectious melodies which made them perennially welcome in concert and recital halls.