Euphonium Solo Pdf
Melanie Wendelberger
Accessible Solo Repertoire for Trombone or Euphonium contains eighteen newly composed or arranged solos with piano accompaniment written at grades 2 to 2.5. Written by one of the most popular composers of music for students, Larry Clark, and the talented up and coming composer Tyler Arcari, these solos will add something new, fresh, and different to your solo repertoire for Trombone or Euphonium. Larry and Tyler use their experience as music educators to write solos that are fun to play and musically stimulating. These solos are perfect for use at an adjudicated solo festival or recital. Each book comes with beautifully set solo parts. Piano accompaniment parts, full recordings, and piano only recordings of each piece are available for download from the Excelcia Music Publishing website.
Horovitz deliberately wrote for a three valve euphonium, aware in 1972 that not all euphoniums had four valves, and not wishing to prejudice wide selling of the sheet music (a very shrewd composer), decided to restrict the range demanded so that nothing lower than concert Bb is demanding (he could of course, even with a three valve compensating instrument has asked for low E) or higher than high concert C. It really is amazing that this, the most popular euphonium concerto, has a range of only just over two octaves, or maybe that is the reason!
In the newest edition on the Concerto, (Pub. Novello 1991), Horovitz has revised some of his tempo markings so that the outer movements do not keep changing speed quite so much, thus giving the music more flow and line. It is a good idea to follow this clearly; from my experience if you ever get the chance to perform this with the composer present he will tell you in no uncertain terms how much faster or slower you played it from what he really wanted.
The last phrase of the first movement can also cause problems, usually because the soloist has never really appreciated exactly what the pitches of the notes are, particularly the last six 1/16 notes. Practice it slowly and smoothly (without tongue) until everything is in place, then bring in the correct articulation (a controlled flat-style double tongue is probably the most efficient).
Some rubato to the music will also help the feeling so keep the music flowing gently forwards all the time, not too static. The end of the movement is quite memorable, 14 measures of middle concert A; sounds easy, but it is not. It demands total control of the tone, the ability to allow the volume to rise and fall as directed whilst keeping the tuning perfect and gently re-articulating as required. Although it is very slow, practice it slower than you intend to play it, getting used to the time passing very slowly. Not unrelated to this is the need to keep oneself in good physical condition to play a major solo piece, with the need for sustained concentration and the ability to provide a constant high-quality air supply both being dependant on reasonably good health; jogging, swimming, walking, sensible diet etc all help greatly in the preparation for musical excellence in performance.
As the music challenges are overcome with patient practice so the confidence of the performer should also grow and the psychological aspect of performing becomes one of enjoying the prospect of playing the piece to the public rather than the fear of what could go wrong. It is in this vital final step that so many students fall. Be clear in your mind that you are the master of the music, enjoying the act of giving your interpretation of the notes to an audience. The study of a major work, such as the Horovitz Concerto is a rewarding and challenging experience and after one or even ten performances the dedicated musician will still find ways of improving it, refining all aspects. I hope the above thoughts will be of benefit to all brass performers.
Panis Angelicus (Latin for 'Bread of Angels') is Cesar Franck's best known work, taken from the last two stanzas of the hymn 'Sacris solemniis' written by Thomas Aquinas, here skilfully arranged for Brass Band with Euphonium Solo.Instrumentation: Euphonium Solo Soprano, Solo, 2nd and 3rd Cornets Flugelhorn Solo, 1st and 2nd Tenor Horns 1st and 2nd Baritone 1st, 2nd and Bass Trombones 2nd Euphonium Eb and Bb Basses Percussion: 1. Timpani 2. Glockenspiel 3. Vibraphone
Written for the dedication (Christening) of the composer's two young nephews (Jake and Oliver) to celebrate their birth, this beautiful euphonium solo gives thanks for their safe arrival. Darren Bartlett writes: 'A beautiful melody transpired out of the love we all feel for our families and those who have a faith in God... At the key change the listener needs to feel the excitement and anticipation of new life and long to be a part of the celebration.' To view a video of Anthony Smith performing the version with piano accompaniment version please visit www.youtube.com/watch?v=kM9bUys27OM Sheet music available from: UK - www.brassband.co.uk USA - www.solidbrassmusic.com Difficulty Level: Third Section + Instrumentation: Euphonium Soloist Bb Soprano Cornet Eb Solo Cornet Bb Repiano Cornet Bb 2nd Cornet Bb 3rd Cornet Bb Flugel Horn Bb Solo Horn Eb 1st Horn Eb 2nd Horn Eb 1st Baritone Bb 2nd Baritone Bb 1st Trombone Bb 2nd Trombone Bb Bass Trombone 2nd Euphonium Bb Bass Eb Bass Bb Timpani Drum Kit Tuned Percussion
Previously only available in manuscript form, this euphonium solo with brass band accompaniment is now available in printed format. Euphony (meaning a pleasant, sweet sound) is based on the tunes of Sidney Cox with material taken from the songs; 'He found me', 'This one thing I know', 'You can tell out the sweet story' and 'Deep and wide'. At the time of writing, the composer remarked; 'The euphonium is often associated with melodies and harmonies that lend themselves to pleasing sounds'. That is true of this solo but it also presents considerable technical challenges for the soloist in terms of range and technique.
This short, light-hearted solo has been described as The Salvation Army's answer to 'The flight of the bumble bee' and requires facility from the soloist and accurate accompaniment from the band. The solo opens and closes with whimsical references to Erik Leidzen's famous euphonium solo 'The Song of the Brother' and includes the tunes 'A robe of white' and 'I'll serve Thee'.
DURATION: 4 minutes. DIFFICULTY: 1st+. 'Eternal Source of Light Divine is a new Euphonium solo in the style of a set of theme and variations on the famous aria by Handel. The song was most recently performed to a global audience at the Royal Wedding of Prince Harry and Meghan Markle in May 2018, which ties into Foden's Band's 'Kings & Queens' theme for Brass in Concert. The solo itself is a virtuosic showpiece for the soloist, showcasing extremes of range throughout, technical flexibility and dexterity and a demanding yet lighthearted cadenza passage - all based on melodic fragments from the original Handel theme.'. .
Originally written for the BBC Choirboy of the Year 2002, James Eager, who was a Chorister at Llandaff Cathedral and attended the Cathedral Choir school. The concept for the song was to combine classical music with a contemporary flavour including a subtle Celtic influence. After being recorded by Llandaff Cathedral Choir and the BBC National Orchestra of Wales, Richard Phillips arranged it for the world famous Brass Band, YBS. It is hoped that this version as a Euphonium Solo will breathe new life into this ethereal melody. - Darren Bartlett
An arrangement for Euphonium solo with brass band accompaniment of surely one of the world's greatest melodies. Its wide-ranging intervals and exquisitely shaped climax near the end give it a natural line that is truly memorable.
The popularity of this modern song is evidenced by the frequent use it enjoys during Sunday worship in many different denominational churches. The strength and solidity of the song is reflected in this triumphal arrangement, written at the request of Derick Kane and as a sequel to the earlier euphonium solo, 'There Will Be God'.
The song 'Spirit of life' was written in the 1980s for the Ireland Divisional summer music school at which Derick Kane was the Musical Director. The song was later arranged as this sensitive euphonium solo with brass band accompaniment.
*When playing music from another category, the director must change the category of the entry in MPA Online. For example, if a Trombone is playing a piece from the Euphonium Solo list, after you enter it in MPA Online it will think it's a Euphonium solo so you must manually change the "Category" to "Trombone Solo." Or, if you are doubling parts of a quartet, quintet, or sextet to make it a choir, you must change the category of the MPA Online entry to the appropriate type of choir.
This solo is a dance - a waltz to be specific - so be sure to keep a flowing, dancing feel throughout. Even in the marcato sections there should still be the dance element present. Make particular note of where the accents are and be sure to bring them out.
There needs to be a distinct difference in mood and style from the opening Andante cantabile section to the Poco agitato. While the changes in key and tempo does some of that work, the difference in articulation and direction still needs to be added to accentuate the difference. Also be sure to return to the original feeling for the last four measures, especially when playing ending b. Keep the fast notes even and smooth throughout, being sure not to rush.
What will make this solo really stand out is exaggeration. Keeping a wide range of dynamics and focusing on the varied articulations will bring it to life and create excitement throughout. Be sure to keep the tempo steady through the whole piece, not rushing in the fast passages or taking too much time in the lyrical passages.
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