Pantomime Euphonium Solo Pdf [2021] Download

Pantomime was commissioned by euphonium virtuoso Nick Childs in 1986. Designed to show off both the lyrical and technical prowess of the instrument, the piece draws on the varied characters of the Italian Commedia dell'Arte tradition for its wide emotional range.

One of the most popular and engaging solos written for the euphonium. It features soaring melody and virtuoso technique. The 10/8 dance section conjures iamges of West Side Story and the Coda technique will offer you hours of delightly practice.

Pantomime Euphonium Solo Pdf Download

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The UA School of Music and Dance launches OcTUBAfest, a series of six concerts celebrating music primarily performed on the tuba and euphonium. The series includes five concerts presented by selected graduate and undergraduate students performing as soloists. A Faculty Artist Series concert (Tuesday, Oct. 29) features UA music professors Kelly Thomas, tuba and euphonium, and Keith Johnson, horn, and marks the debut performance of the Arizona Brass Quintet. The newly established ensemble is comprised of Thomas and Johnson, as well as Ed Reid and Julie Patton, trumpet; and Tom Ervin, trombone.

The first concert in the series is a solo student recital on Wednesday, Oct. 23, featuring Mike May, euphonium. The series continues on Saturday, Oct. 26, with a performance featuring

undergraduate students Heather Noyes and Scott Barker, tuba, and Andrea Brokaw and Doug Camp, euphonium.

Scott Barker is a member of the UA Wind Ensemble and has played in various ensembles in the Catalina Foothills School District as well as regional bands and orchestras, All-State Band and UA Honor Bands. His solo is Ralph Vaughan Williams' "Six Studies in English Folksong," a piece, based on traditional English folksongs, that is popular among tuba players although originally written for cello and piano.

Andrea Brokaw, who began playing the euphonium in the fifth grade, plays in the

UA Wind Symphony. She performs "Concert Piece" by P.V. De La Nux, a composition usually played as a trombone solo that lends itself nicely to the euphonium. "Concert Piece" has varying moods, starting off with a mellow, melodious sound and finishing with a flourish.

On Sunday, Oct. 27 euphonium players Audria Connelly, Jeff Goldstein, Amber Harryman, Matt Stout and Daniel Johnson, and tuba players James Sepulvado and Stuart Shulman perform.

Daniel Johnson a doctoral candidate and a graduate of the St. Louis and New England conservatories, performs "Pantomime" for solo euphonium with piano accompaniment. Written by English brass-band composer Philip Sparke, "Pantomime" was the standard in euphonium performance literature when it was first published in 1988. For his solo, James Sepulvado will play "Introduction and Dance" by J. Ed. Barat. Stuart Shulman, a freshman, has selected as his solo Alexandre Guilmant's "Morceau Symphonique," adapted for the tuba.

"Gallatin Fanfare for Eight Hunting Horns" by Lowell Greer, and "Sonata for Horn and Piano" by Margaret Brouwer are among the highlights of the program, which also includes "Concerto" by Derek Bourgeois; "Four Duos for Horn and Trombone" by Verne Reynolds; "Tuba Suite" by Morton Gould; and "Canzona Bergamasca" by Samuel Scheidt; and Eugne Bozza's "Sonatine."

On Sunday, Nov. 3, the QuintEssential Brass Quintet, comprised of Brian Brazier, euphonium; Matt Harris, Tim Chen and Stephen Kunzer, tuba, performs music of Anthony Plog and "Flight of the Tubabee." Kunzer, a sophomore, will perform "Three Miniatures," written by Anthony Plog.

The euphonium repertoire consists of solo literature and parts in band or, less commonly, orchestral music written for the euphonium. Since its invention in 1843, the euphonium has always had an important role in ensembles, but solo literature was slow to appear, consisting of only a handful of lighter solos until the 1960s. Since then, however, the breadth and depth of the solo euphonium repertoire has increased dramatically.

Upon its invention by Ferdinand Sommer of Weimar, it was clear that the euphonium, compared to its predecessors the serpent and ophicleide, had a wide range and a consistently rich, pleasing sound throughout that range. It was flexible both in tone quality and intonation and could blend well with a variety of ensembles, earning it immediate popularity with composers and conductors as the principal tenor-voiced solo instrument in brass band settings, especially in Britain.[1] When British composers who had written for brass bands began to turn their attention to the concert band in the early twentieth century, they used the euphonium in a very similar role. Gustav Holst, for example, wrote very important solos for the euphonium in his first (1909) and second (1911) suites for band, and similar lyrical solos appear in many pieces from the 1920s and '30s by Percy Grainger and Ralph Vaughan Williams.

When American composers also started writing for the concert band as its own artistic medium in the 1930s and '40s, they continued the British tradition of using the euphonium as one of the principal solo voices. Arnold Schoenberg's Theme and Variations and Samuel Barber's Commando March, both from 1943, have extremely prominent, lyrical solos for euphonium; Robert Russell Bennett's Suite of Old American Dances (1949) has brief solos and very active technical writing, and "When Jesus Wept," the second movement of William Schuman's New England Triptych (1956) is largely a euphonium solo and lyrical duet for euphonium and cornet (arranged by the composer from the orchestral original which features bassoon and oboe). All of these pieces are still in the core repertoire of the concert band today, and these solos comprise the core body of euphonium excerpts.

This is not to say that composers, then and now, valued the euphonium only for its lyrical capabilities. Indeed, examination of a large body of concert band literature reveals that the euphonium functions as a jack of all trades, at times doubling the tuba in octaves, at times adding warmth to the trombone section, at times adding depth to a horn line, and at times adding strength to rapid woodwind lines. In general, idiomatic euphonium parts tend to be very active, resting little and covering a wide range.

In many ways, the role of the euphonium in concert band writing has not changed very much in the last several decades; as a solo instrument, it is still as popular with composers as ever, and it still continues in its versatile, jack-of-all-trades role. The influence of the brass band tradition in euphonium writing is evident in the many euphonium solos in both brass band and concert band pieces by British composers Peter Graham, John Golland, Martin Ellerby, Philip Sparke and Gareth Wood; among contemporary American band composers, Robert W. Smith, David Maslanka, David Gillingham, Eric Whitacre, and James Curnow especially seem to enjoy using the euphonium as a solo instrument. The Gareth Wood concerto can be heard at archive.org.

Although the deficiencies of the ophicleide gave rise to both the euphonium and the tuba in the mid-nineteenth century, the tuba has long since been accepted as an orchestral instrument, while the euphonium never has been. Though the euphonium was embraced from its earliest days by composers and arrangers in band settings, orchestral composers have generally not taken advantage of its capabilities. Nevertheless, there are several orchestral works, a few of which are in the standard repertoire, in which composers have called for a tenor tuba, a German Tenorhorn,[a] a Wagner tuba, or a French tuba in C.

In contrast to the long-standing practice of extensive euphonium use in wind bands and orchestras, until approximately forty years ago there was literally no body of solo literature written specifically for the euphonium, and euphoniumists were forced to borrow the literature of other instruments. Fortunately, given the instrument's multifaceted capabilities discussed above, solos for many different instruments are easily adaptable to performance on the euphonium.

The most common sources of transcriptions for euphonium are the cornet, vocal, cello, bassoon and trombone repertoires. In each case, one can see the common threads of ease of reading and performance: cello and bassoon both customarily read in bass clef, making them easily adaptable; vocal solos are naturally suited to the singing quality of the euphonium; and in playing cornet solos the euphonist may use the same fingerings that a cornettist would.

Probably the earliest solos played on euphonium were cornet transcriptions, especially variations on popular airs, such as those found at the back of Jean-Baptiste Arban's Complete Method for Cornet. A little later, in the early twentieth century, the American cornettist Herbert L. Clarke wrote a body of virtuosic solos, including Carnival of Venice, Bride of the Waves, and From the Shores of the Mighty Pacific, that were and still are often performed on euphonium. In such cases, no adaptation or arrangement is necessary; a euphoniumist reads the original notation in B-flat treble clef, transposing down a major ninth, and performs the piece exactly as written, merely sounding an octave below the cornet.

The large body of operatic arias, especially those for tenor or baritone, also provides an ideal source of literature for euphoniumists. Puccini's Vissi d'Arte and Nessun Dorma are often performed on euphonium, and Germanic art songs, such as Schumann's Dichterliebe or Brahms's Vier ernste Gesnge, are also popular transcriptions, as is Rachmaninoff's Vocalise Op. 34 no. 14. In performing vocal transcriptions, some adaptation may be necessary, either because the tessitura is uncomfortably high or because the original key may present fingering or intonation problems.

Despite the prevalence of vocal transcriptions for euphonium, there remains much vocal work that is rarely, if ever, performed on euphonium, including Spanish, French, and German opera arias. The possibility of performing choral music in a euphonium ensemble is also intriguing, but not often seen. be457b7860