“The Euphonium and why we NEED them

in the Wind Band”

Presented by:

Dr. Gail A. Robertson

American Band College

June 29 - 30, 2019

2 Whyyourbandneedstheeuphonium:Ithasaconicalborethatproducesa“richanddark”tonethatprovidesafoundationforthetrombones,tubas,andlowerwoodwinds;theeuphoniumisoneofthemostversatileinstrumentsintheband…“thecelloofthewindband.” Alittlebitofhistory:Justpriortothedevelopmentofthewindband,theeuphoniumwasintroducedin1843 bySommer(Weimar).By1854,theeuphoniumandbaritonehornhadestablishedaleadingroleinthemilitary bandsandbrassbandsofEurope.In1872,theeuphoniumbecameastandardmemberoftheAmericanwindband whenGilmoreemployedtwoeuphoniumistsinhisband. Thecelloofthewindband:Duringwhatisknownasthe“GoldenAgeofBands,”theroleoftheeuphonium soared.Sincemostoftheearlyworksforbandwereorchestraltranscriptions,thecellopartneededahome.Dueto theeuphonium’sdeep,rich,andmellowtone,itwasthelikelychoicetoassumethisrole.Sousaalsoutilizedthe euphoniumasthestandardtenor-voiceinstrumentandalsohiredtwoeuphoniumsinhisband.

Afewoutstandingdescriptionsoftheroleoftheeuphonium:

Prof. H. Kling

Modern Orchestration

and Instrumentation

(1902) “The employment of this

beautiful instrument, which

can be fittingly compared with

the voice of a baritone singer,

is similar to the use of the

Violincello in the orchestra. Its

tone can always be plainly

distinguished from among the

greatest mass of instruments.”

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From:PracticalScoringfortheConcertBand,ClairJohnson(1961).

Mayhew L. Lake

The American Band

Arranger (1920)

“The BARITONE is the most useful

instrument in the Band, in fact the

various ways and means of employing

it are so numerous that it would

require a small volume to enumerate

them all. The smooth tone of this

instrument penetrates through the

entire ensemble and as a melody

instrument it is superb. Owing to its

sympathetic and smooth tonal quality

it is frequently alluded to as “the Cello

of the Band.”

Clair Johnson’s Outstanding Description

of the Euphonium and Its Role

!! “The Baritone: In this instrument the arranger finds one of the most versatile and useful of the band. It is adaptable to a great number of roles and capable of giving a good account of itself, whether assigned to the melody, a tenor countermelody, or the baritone voice. Its voice blends well with the lower woodwinds or with the brasses. In technical facility the baritone ranks as a near equal to the cornet. The baritone enjoys a degree of independence by not being a member of a section, as is the case with cornets, horns, and trombones. It can join with them, or go its way alone.”

4 HowtheEuphonium“chose”me:

StandardWindBandmusicthathasgreateuphoniumparts:

1. PompandCircumstance–SirEdwardElgar2. ProcessionoftheNobles–Rimsky-Korsakov3. SuiteinF–GustavHolst4. CommandoMarch–SamualBarber5. FestiveOverture–DmitriShostakovich/DonaldHunsberger6. EverythingwrittenbyJohnPhilipSousa!

Gustav Holst – Suite in F (1911)

2 USMB Euphonium Audition Excerpts

March, “The Stars and Stripes Forever” (Sousa)

March from Suite in F for Military Band, Opus 28, No. 2 (Holst)

Andante Allegro Moderato Largo

? b b b C ..˙ .œ Jœ

ƒœ ˙̂ œ œb ^ œn ^ œ̂ œn ^ œ̂ Œ ˙̂ .œ œ œ .œ œ œ

ƒ.œ œ œ œ Œ

œ œn œ. œ. œ œb

? b b bjœ œ œ œ œ .œ œ œ .œ œ œ .œ œ œ .œ œ œ œ œn œ. œ. œ œ .˙n œ Jœb .

‰ ‰ Jœ. Jœ

.‰ ‰ Jœ

.

pJœ.

‰ Jœn . ‰ Jœ.

‰ Jœ. ‰

? b b b ..Jœ̂ ‰ œ œn œ œ œf

Jœ̂ ‰ œ œn œ œ œ Jœ.

‰ ‰ Jœ. Jœ

.‰ ‰ Jœ

.

pJœ.

‰ Jœn . ‰ Jœ.

‰ Jœb . ‰ Jœ ‰ œn œ œ œ œf

1.œ Œ ˙ 2.œ Œ .œ̂ Jœf

? b b b ˙ .œ̂ Jœ ˙ ˙ ˙ ˙ ˙ .œ Jœ œ ˙̂ œ ˙ ˙

ƒw ˙ .œ̂ Jœ ˙ .œ> Jœ ˙ ˙ ˙ ˙ ˙ .œ Jœ

? b b bœ œ .œ

Jœ œ œ .œ Jœ w œ Œ Ó

h = 120

? b 22 Ó .œ JœF

solo ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙

? bœ œ œ œ w ˙ ˙ .˙ œ .˙ œ ˙ ˙ ˙ .œ Jœ

˙ ˙ ˙ ˙

? b w ˙ .œ Jœ ˙ ˙ ˙ œ œ ˙ ˙ ˙ .œ Jœ ˙ ˙ œ œ œ œ w ˙ ˙

? b.˙ œ .˙ œ ˙ ˙ ˙ œ œ .˙ œ œ œ œ œ w

cresc.

˙

E

F

h = 120

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ReasonswhystudentsshouldplaytheEuphonium:

A. Middle/Jr.HighandHighSchoolBand:(Youcanrentaschoolinstrument;notasmanypeopleplayit.There’snotasmuchcompetitionsoplayersaremorelaidback).

B. College/UniversityBand:(Scholarshipopportunitiesareoftengreaterandtherecanbelesscompetition).

C. Postcollegeopportunities:(CommunityBands,BritishBrassBands,andchurches).D. UniqueEuphoniumrelatedeventsthatoccureveryyear:(TUBACHRISTMASandOCTUBAFEST).E. ProfessionalPerfomingPositions:(MilitaryBands,ThemeParks,BrassBands,andConcertBands).

Reasonswhynewstudentsdon’tpicktheeuphoniumandwhywearesometimes“bored”inband:

A. Lackofqualityschoolinstruments.(Whowantstoplayabeatuphorn?).B. Lackofchallengeinthebandsheetmusic.(Nothingtopracticeandthereisonlyoneeuphoniumpart).

*seeattachedexampleC. Lackofattention.(Wesitintheback).D. Lackofvisibility.(NotfoundonMTVandinPopMusic).E. Lackofpostersandpicturesofprofessionalplayers.F. Theeuphoniumisnotafull-timeinstrumentintheJazzBandorOrchestra.G. Lackofqualityinstruments,CD’s,andsheetmusictoselectfrominlocalmusicstores.

John Philip Sousa (1854 – 1932) Sousa played: Violin, Voice, Piano, Flute, Cornet,

Baritone Horn, Trombone, and Alto Horn

The Invincible Eagle (1901) Bullets and Bayonets (1919)

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SuggestedsolosforstudentstouseatSoloandEnsembleFestivals:SolosthatareBestfor6thGraders:(1styearplayers)AirNoble JacquesRobertConqueror LeonardB.Smith/LeonardFalconeHappySong EdmundJ.SiennickiPiedPiper ForrestL.BuchtelTheRooster EdmundJ.SiennickiSolosthatarebestfor7thgraders:IntheHalloftheMountainKing EdvardGrieg/G.E.HolmesMinuetinG J.S.Bach/RonaldC.DishingerMinstrelBoy ForrestL.BuchtelPolovetsianDances AlexanderBorodin/ForrestL.BuchtelSparkles FloydO.HarrisTheYoungPrince FloydO.HarrisSolosthatareBestfor8thGraders:AsleepintheDeep HenryW.Petrie/HaroldL.WaltersBrassBangles FloydO.HarrisCarnivalofVenice HenryW.DavisEveninginthecountry BelaBartok/FloydO.HarrisHonorandArms FrederickHandel/AllenOstranderTheJollyPeasant RobertSchumann/G.E.HolmesMarchoftheMarionette CharlesGounod/HaroldL.WaltersOceanBeach FloydO.HarrisPavanePourInfanteDéfunte MauriceRavel/RonaldDishingerRedCanyons ClairW.JohnsonToreador’sSongformCarmen GeorgesBizet/G.E.HolmesSolosthatareBestforadvanced8thgradersand9thGraders:Arioso(FromCantataNo.156) JohannSebastianBach/H.R.KentConcertAria W.A.Mozart/H.VoxmanConcertRondo(k.371) W.A.Mozart/JayErnstFancyFree ClaySmithFantasyforTrombone JamesCurnowMirrorLake EdwardMontgomeryMyRegards EdwardLlewellynPreludeandMinuet ArcangeloCorelli/RichardE.PowellRhapsodyforEuphonium JamesCurnowRondo W.A.Mozart/RonaldDishingerRomanze GustavCordsTheBrideoftheWaves HerbertL.ClarkeTramp,Tramp,Tramp EdwinFrankoGoldman/TheoM.Tobani

9 SolosthatareBestfor10thand11thgraders:AllegroSpiritoso JeanBaptisteSenaille/LeonardFalconeAndanteetAllegro J.Ed.BaratAndanteandRondo AntonioCapuzzi/PhilipCatelinetAnnieLaurie ArthurPryor/RobertGeislerBeautifulColorado JosephDeLucaCarnivalofVenice HerbertL.Clarke/ArthurBrandenburgConcerto(forTrombone) NikolaiRimsky-KorsakovConcertoRondo(Bassoonconcertomvt.3) W.A.Mozart/RichardFoteDanceSuite(Unaccompanied) BrianIsrealGrandConcerto FriedebaldGrafeIntroductionandDance J.Ed.Barat/GlennSmithPhantasyPieceOp.10,#2 BurnetTuthillMinuet-Scherzo JosephDeLucaRomanzaAppassionata CarlMariavonWeber/P.X.LaubeSceneDeConcert MaxF.DenmarkSoloDeConcours PaulVerongedelaNuxSonata(anyone) JohannErnstGalliard/KarlHeinzFussl/KeithBrownSonatainFmajor BenedettoMarcello/AllenOstranderSonatainFminor GeorgPhilippTelemann/AllenOstranderSuiteforBaritone DonHaddadToccataintheStyleofFrescobaldi GasparCassado/KeithBrown(tenorclef)Starlight(WaltzCaprice) ArthurPryorVariationsonaThemeofRobertSchumann RobertSchumann/WilliamDavisSolosthatareBestforadvanced12gradersandcollegestudents:AllegroetFinale EugéneBozzaAndanteetAllegro J.GuyRopartz/A.ShapiroBelieveme,IfAllthoseEndearingYoungCharms SimoneMantia/DavidWerdenBlueBellsofScotland ArthurPryorCarnivalofVenice J.B.Arban/EdwinFrankoGoldmanConcertFantasie GustavCordsConcertinoOp.4 FerdinandDavidConcertino#1inBflatMajor JuliusKlengel/LeonardFalconeConcertoMvt.1(K.191forBassoon) W.A.Mozart/AllenOstranderEuphoniumConcerto JosephHorovitzFantasia GordonJacobFantasiadiConcerto EdoardoBoccalariIntroductionandPolonaise MaxDenmarkLyricSuite DonaldH.WhiteMorceauSymphonique,Op.88 AlexandreGuilmant/E.FalaguerraPantomime PhillipSparkeRicercare#1(Unaccompanied) AndreaGabrieliSonataforEuphonium DavidUberSonatainCMajor JohannFriedrichFasch/FrommeSymphonicVariants JamesCurnow

10 SuggestedsolosforeuphoniumsoloistandBand: AndanteetAllegro J.Ed.Barat/LorenMarstellerBelieveme,IfAllthoseEndearingYoungCharms SimoneMantia/DavidWerdenBlueBellsofScotland ArthurPryor/Pearson BeautifulColorado JosephDeLucaCarnivalofVenice HerbertL.ClarkeDannyBoy Traditional/LewisBuckleyFantasia GordonJacobFantasiadiConcerto EdoardoBoccalariFantasyforTrombone JamesCurnowIntroductionandDance J.Ed.BaratMirrorLake EdwardMontgomeryMorceauSymphonique,Op.88 AlexandreGuilmant/ShepardMyRegards EdwardLlewellynNapoli HermanBellstedtRhapsodyforEuphonium JamesCurnowSymphonicVariants JamesCurnowTheBrideoftheWaves HerbertL.Clarke

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Suggested Solos for Euphonium Auditions

Allegro Spiritoso Jean Baptiste Senaille/Leonard Falcone

Andante et Allegro J. E. Barat

Andante and Rondo Antonio Capuzzi/Philip Catelinet

Blue Bells of Scotland Arthur Pryor

The Bride of the Waves Herbert L. Clarke

Concertino Op. 4 Ferdinand David

Euphonium Concerto (mvt. 1) Joseph Horovitz

Fantasia Gordon Jacob

Fantasia di Concerto Edoardo Boccalari

Grand Concerto Friedebald Gräfe

Introduction and Dance J. Ed. Barat/Glenn Smith

Morceau Symphonique, Op. 88 Alexandre Guilmant/E. Falaguerra

Rhapsody for Euphonium James Curnow

Sonata in F major (two contrasting movements) Benedetto Marcello/Allen Ostrander

Sonata in F minor (two contrasting movements) Georg Philipp Telemann/Allen Ostrander

Suite for Baritone Don Haddad

Variations on a Theme of Robert Schumann Robert Schumann/William Davis

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Dr.GailRobertson,UniveristyofCentralArkansas–AssistantProfessorofTubaandEuphonium/Jazz,President–InternationalTubaandEuphoniumAssociation,Willson–InternationalEuphoniumArtist,Warburton–SignatureMouthpieceArtist.grobertson@uca.edu

407-970-2211