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THE USE OF THE EUPHONIUM IN SELECTED WIND
BAND REPERTOIRE SINCE 1980
by
DAVID W. STERN, B.M.Ed., M.M.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY
Approved
Co-Chairperson of the Committee
Co-Chairperson of the Committee
Accepted
Dean of the Graduate School
December, 2001
Copyright 2001, David W. Stem
ACKNOWLEDGEMENTS
I would like to thank the following people for their assistance in this process and
my career: my wife, Doima Maher, my family, most especially my mother, Peggy Stem,
my friends and inspirations, Timothy F. Peterson, Clifton D. Stargardt, Dr. Anthony P.
Spano, Jr., and Dr. Ariel A. Downing, my mentor. Dr. Wayne A. Bailey, my colleague in
this imdertaking. Dr. Robert Tucker, the advisor of record for graduate music students at
Texas Tech University, Dr. Michael Stoune, the Director of Jazz Studies at Texas Tech
University, Mr. Alan Shinn, the Professor of Trombone at Texas Tech University, Mr.
Don Lucas, the Director of Bands at Texas University, Dr. John Cody Birdwell, my good
friend and literate reader, Mrs. Alice Haagen, and the euphoniumists who continue to
provide all of us with inspiration and graciously agreed to be interviewed, Roger
Behrend, Dr. Brian Bowman, Dr. Paul Droste, and John Mueller.
11
TABLE OF CONTENTS
ACKNOWLEDGEMENTS 11
ABSTRACT VI
LIST OF TABLES
vu
LIST OF EXAMPLES Vlll
CHAPTER
I. PURPOSE OF STUDY 1
Organization of Study 2
Definition of Terms 3
Limitations of Study 7
II. REVIEW OF RELATED LITERATURE 8
History of the Instmment 8

Baritone Versus Euphonium 10
Historical Treatment of the Euphonium 13
Arranging and Composing Texts 16
Present Day Analyses 23
III. METHODOLOGY 25
rv. SCHERZO FOR A BITTER MOON- GREGORY YOUTZ 28
V. WINDS OFNAGUAL - MICHAEL COLGRASS 37
VI. ILLYRIAN DANCES-QXPiÔQiLYY^^Y^ 55
VII. IN THE SPRING, A T THE TIME WHEN KINGS GO OFF TO WAR -
DAVID HOLSINGER 72
VIII. PIECE OF MIND - DANA WILSON 87
IX. FANTASY VARIATIONS ON A THEME BY NICOLAIPAGANINI - 102

JAMES BARNES
X. SINFONIA V - TIMOTHY BROEGE 114
iii
XL FOR PRECIOUS FRIENDS HID IN DEA TH'S DA TELESS NIGHT -
MARTIN MAILMAN 121
XII. SYMPHONY NO. I - JOHANN DE MEU 128
XIII. HEROES, LOST AND FALLEN- DAVID GILLINGHAM 149
XIV. OF SAILORS AND WHALES - W. FRANCIS MCBETH 15 8
XV. FOLKSONGS FOR BAND SUITE NO. 3 - DAVID STANHOPE 169
XVI. GA VORKNA FANFARE - JACK STAMP 187
XVII. A MOVEMENT FOR ROSA-MAKiLCAM?nOUS>^ 192
XVIII. THREE CITY BLOCKS - JOHN HARBISON 202
XIX. P^5'5'.^C4GZZ4-RON NELSON 214
XX. Z/OA^-DANWELCHER 221
XXI. BUM'S RUSH- DONALD GRANTHAM 231
XXII. DANCE MOVEMENTS-VnihW^VASCKE 239
XXIII. BL UE SHADES - FRANK TICHELI 248
XXIV. SUMMARY AND CONCLUSION 261
Summary 261
Conclusions 266
BIBLIOGRAPHY 269
APPENDICES
A. PERMISSION FOR COPYRIGHT 281
B. LIST OF COPYRIGHT PERMISSIONS 283
C. INTERVIEW WITH ROGER BEHREND 286
D. INTERVIEW WITH BRIAN BOWMAN 288

iv
E. INTERVIEW WITH PAUL DROSTE 298
F. INTERVIEW WITH JOHN MUELLER 307

ABSTRACT
During the early to mid-twentieth century, the euphonium was frequently scored
in wind band works as the solo tenor instmment. Since that time, there has been a
general decline in the euphonium's usage as a solo instmment and in being scored with
melodic lines. The purpose of this study is to determine if that trend continues.
This dissertation is a survey of the treatment of the euphonium in twenty works
for wind band composed since 1980. Several orchestration and arranging texts offer
suggestions for scoring for the euphonium, and those authors' suggestions are included in
the study. Although none of the works are composed for brass band, the use of the
euphonium in brass bands and its influence on wind band scoring techniques is also
discussed. Four noted authorities in euphonium performance were interviewed and their
comments are included.
The twenty selected works are analyzed for each composer's imique and
traditional scoring of the euphonium. A short biographical sketch begins each chapter
and a brief summary is provided at the end of each analysis. There are many musical
examples for each work that demonstrate the composers' scoring practices. Comments
from the euphonium pedagogues are incorporated into the analyses.
The conclusion summarizes the observations found in the twenty analyses and
provides suggestions for continued education and advocacy.
VI
LIST OF TABLES
2.1. Baritone Horn/Euphonium Reference Chart. 12
2.2. Dimensions of several popular baritones and euphoniums. 12
2.3. Qualities of sound of instmments. 17
Vll
LIST OF EXAMPLES
2.1. Euphonium Ranges. 18
2.2. Miller Instmmentation. 18
2.3. Lang Instmmentation 100. 19
2.4. Lang Instmmentation 101. 20
2.5. Lang Instmmentation Ex. 103. 20
4.A. Scherzo for a Bitter Moon, expanding wedge. 29
4.1. Scherzo for a Bitter Moon, mm. 42-43. 30
4.5. Scherzo for a Bitter Moon, verm. X'i^-XAQ. 33
4.6. Scherzofor a Bitter Moon, vam.\9\-\9A. 34
4.7. Scherzofor a Bitter Moon, mm. 233-234. 35
4.8. Scherzofor a Bitter Moon, mm. 261-262. 35
5.1. Winds ofNagual, mm. 26-27. 39
5.3. Winds ofNagual, m. 126. 40
5.4. Winds ofNaguaL m. 138. 41
5.5. Winds ofNagual, m. 15 5. 42
5.6. Winds ofNagual, mm. 2Ae-2A9. 43
5.7. Winds ofNagual, mm. 21A-215. 44
viii
5-8. Winds of Nagual,m.2Sl. 45
5.10. Winds of Nagual,m.AOO. 47
5.11. Winds ofNagual, m. 439-441. 48
5.13. Winds of Nagual, m. 503. 49
5.14. Winds ofNagual, mm. 511. 50
5.17. Winds of Nagual, mm. 543-544. 52
5.18. Winds ofNaguaL mm. 549-550. 52
5.19. Winds of Nagual, m. 580. 53
6.1. ///>'Wa«Z)ance5, Mvt. l,mm. 8-10. 57
6.2. Illyrian Dances, Mvt. I, mm. 12-lS. 58
6.3. Illyrian Dances, Mvt. I, mm. 21-30. 59
6.4. Illyrian Dances, Mvt. 1, mm. 41-44. 60
6.6. ///ynflnZ)a«ce5, Mvt. 1, mm. 48-53. 62
6.7. Illyrian Dances, Mvt. I, mm. 61-61. 63
6.9. Illyrian Dances, Mvt. \, mm. 103-101. 65
IX
6.12. Illyrian Dances, Mvt. 2, mm. 4\-43. 68
6.A. Rhythmic motive ofthird movement of///yrmn Dancer. 68
7.1. In the Spring..., mm. 2-3. 73
7.2. In the Spring..., m. 21. 74
7.3. In the Spring..., mm. 32-34. 75
7.4. In the Spring..., mm. 43-44. 76
7.5. In the Spring..., m. 76. 77
7.6. In the Spring..., mm. 97-101. 78
7.7. In the Spring..., mm. 116-118. 79
7.8. In the Spring..., mm. 145-146. 79
7.9. In the Spring..., mm. 160-164. 80
7.10. In the Spring..., mm. 111-118. 81
7.11. In the Spring..., mm. 192-193. 82
7.12. In the Spring..., mm. 198-199. 83
7.13. In the Spring..., mm. 226-227. 84
7.14. In the Spring..., mm. 251-254. 85
7.15. In the Spring..., m. 268. 86
8.1. Piece of Mind, Mvt. 1, mm. 37-38. 88
8.2. Piece ofMind,Mvt.\, mm. 66-61. 89

8.4. PieceofMind,Mvt.\, mm. 83-85. 91
8-6. Piece of Mind, Mvt. 2, mm. 46-47. 93
8.9. Piece of Mind, Mvt. 3, m. 41. 96
8.14. Piece of Mind, Mvt. 4, m. 101. 101
9.1. Fantasy Variations..., mm. 41-58. 103
9.2. Fantasy Variations..., mm. \33-\41. 104
9.4. Fantasy Variations..., vam. 355-310. 108
9.6. Fantasy Variations..., verm. 413-416. 110
9.8. Fantasy Variations..., rrrm. 525-528. 112
10.1. Sinfonia V, mm. 6-8. 115
10.2. Sinfonia V,m.\5. 116
XI
10.3. Sinfonia V, mm. 19-20. 117
10.4. Sinfonia V, mm. 46-41. 118
10.5. 5m/oma F, mm. 102-103. 119
10.6. Sinfonia V, mm. 123-126. 120
111. For Precious Friends..., m. 1. 122
11.2. For Precious Friends..., mm. 22-25. 123
11.5. For Precious Friends..., Mvt. 2, mm. 203-205. 126
12.1. Symphony No. 1, Mvt. 1, mm. 6-8. 129
12.2. 5j;w/>/20«>;Aô. ;, Mvt. 1, mm. 15-16. 130
12.4. Symphony No. 1, Mvt. \, verm. 59-65. 132
12.6. Symphony No. 1, Mvt. \, verm. \40-\43. 134
12.7. Symphony No. 1, Mvt. 2, m. 53. 135
Xll
12.15. Symphony No. 1, Mvt. 4, mm. \0-\2. 143
12.18. Symphony No. 1, Mvt. 5, mm. \-5. 146
13.1. Heroes, Lost and Fallen, mm. 6-7. 151
13.2. Heroes, Lost and Fallen, mm. 9-11. 152
13.3. Heroes, Lost and Fallen, mm. \6-25. 153
13.4. Heroes, Lost and Fallen, m. 43. 155
13.5. Heroes, Lost and Fallen, verm, \09-\ll. 156
13.6. Heroes, Lost and Fallen, mm. 205-2\3. 157
14.1. Of Sailors and Whales, Mvt. 1, mm. 1-2. 159
14.2. Of Sailors and Whales,Mvt. I, rrrm. 28-30. 160
14.3. Of Sailors and Whales, Mvt. 2, m. 9. 160
14.4. Of Sailors and Whales,Mvt. 2, mm. \8-\9. 161
14.6. Of Sailors and Whales,Mvt. 2, vemi. 43-46. 163
14.7. Of Sailors and Whales, Mvt. 2, verm. 51-6\. 164
14.9. OfSailors and Whales, Mvt. 4, m. 3. 166
14.10. OfSailors and Whales, Mvt. 4, mm. 23-24. 166
Xlll
14.11. OfSailors and Whales, Mvt. 5, mm.
mm. 2-4.
2-4. 168
15.1. Folksongs for Band Suite No. 3 ,Mvt. 1, mm. 5-8. 170
15.2. Folksongs for Band Suite No. 3 ,Mvt. l,mm. 11-14. 171
15.3. Folksongs for Band Suite No. 3 ,Mvt. l,mm. 16-17. 171
15.4. Folksongs for Band Suite No. 3 ,Mvt. l,m. 32-34. 172
15.5. Folksongs for Band Suite No. 3 ,Mvt. l,m. 72. 173
15.6. Folksongs for Band Suite No. 3 , Mvt. 2, m m . 8-9. 174
15.8. Folksongs for Band Suite No. 3 , Mvt. 2, m. 56. 176
15.9. Folksongs for Band Suite No. 3 ,Mvt. 2, m m . 59-61. 177
15.11. Folksongs for Band Suite No. 3 ,Mvt. 2, m. 83. 179
15.13. Folksongs for Band Suite No. 3 ,Mvt. 2,m. 118. 181
15.14. Folksongs for Band Suite No. 3 , Mvt. 3, m. 64. 182
16.1. Gavorkna Fanfare, mm. 1 -2. 188
16.2. Gavorkna Fanfare, mm. 9-10. 189
XIV
17.1. AMovementfor Rosa, mm. 16-11. 193
17.4. AMovementfor Rosa, m. 30. 195
17.5. AMovementfor Rosa, verm. 33-35. 196
17.6. A Movement for Rosa, m. 41. 197
17.9. AMovementfor Rosa, rrrm. 66-61. 199
17.10. ^Movewe«^/ori?05a, mm. 127-132. 200
17.11. A Movement for Rosa, mm. \62-l66. 201
18.1. TTzree City Blocks, Mvt. 1, m. 1. 204
18.2. Three City Blocks, Mvt. 1, mm. 21-22. 205
18.7. Three City Blocks,Mvt. 2, mm. 153-154. 210
18.10. Three City Blocks, Mvt. 3, 104-105. 213
19.1. Passacaglia,m.\. 215
19.2. Passacaglia, verm. \0-\2. 216
XV
19.3. Passacaglia, mm. 73-75. 217
19.4. Passacaglia, mm. 151-153 218
19.5. Passacaglia, mm. 157-160 219
19.6. Passacaglia, mm. 220-221 220
20.1. Zion, mm. 49-51. 222
20.2. Zion, m. 132. 223
20.3. Zion,mm. 139-150. 224
20.4. Zion, mm. 191-193. 225
20.5. Zion, mm. 222-223. 226
20.6. Zion, mm. 229-231. 227
20.7. Zion, mm. 247-248. 228
20.8. Zion, mm. 253-255. 229
20.9. Zion, mm. 273-274. 230
21.1. Bum's Rush, mm. 21-22. 233
21.2. Bum's Rush, m. 39. 233
21.3. Bum's Rush, mm. 48-49. 234
21.4. Bum's Rush, mm. 77-78. 235
21.5. Bum's Rush, mm. 114-116. 236
21.6. Bum's Rush, mm. 123-124. 236
21.7. Bum's Rush, mm. 136-138. 237
21.8. Bum's Rush, mm. 240-242. 238
22.1. Dance Movements, Mvt. 1, 240
XVI
22.2. DanceMovements,Mvt. I, m. 35. 241
22.3. Dance Movements, Mvt. I, mm. 4\-43. 242
22.4. Dance Movements, Mvt. I, mm. 60-62. 243
22.5. Dance Movements, Mvt. I, mm. \02-l04. 244
22.6. DanceMovements,Mvt. 3, mm. 428-440. 246
22.7. DanceMovements,Mvt. 4, mm. 599-601. 247
23.1. Blue Shades, m. 5. 249
23.2. Blue Shades, mm. 21-30. 250
23.3. Blue Shades, mm. 40-43. 251
23.4. Blue Shades, mm. 58-59. 252
23.5. Blue Shades, mm. 94-95. 253
23.6. Blue Shades, mm. 118-120. 254
23.7. 5/Me5/zaJe5, mm. 141-142. 255
23.8. Blue Shades, mm. 221-222. 255
23.9. Blue Shades, rrrm. 242-245. 256
23.10. 5/Me 5/?aJe5, mm. 249-250. 257
23.11. Blue Shades, m. 298. 258
23.12. Blue Shades, m. 303. 259
23.13. Blue Shades, mm. 384-385. 259
xvu
CHAPTER I
PURPOSE OF STUDY
In recent years, a sizeable amount of wind band repertoire has been composed to
accommodate the increasing number of public school band programs. Although a
majority of these works have been written for younger bands, a proportional amount of
music is being composed of a higher degree of difficulty for mature bands. As this
outpouring of new music increases, so does the interest of scholars, conductors and
researchers to study and perform this repertoire. Scholarly works continue to be
published that discuss the general and the specific areas of the wind band repertoire. This
study will contribute to the growing body of research dedicated to the improvement of the
quality of wind band and will stimulate research in the area of euphoniiun advocacy.
The purpose of this dissertation is: (a) to examine the historical background of the
role of the euphonium in the wind band setting, and (b) to demonstrate the use of the
euphonium in wind band repertoire during the last twenty years. These will be
exemplified through the analysis of twenty wind band compositions that have been
vmtten since 1980. This study will provide band conductors and researchers with a
resource for understanding the use of the euphonium in these selected works.
In his 1980 Doctor of Music dissertation from Indiana University, Robert
Reifsnyder concluded that the role of the euphonium in wind band repertoire was a
declining one. Reifsnyder asserted that composers were not writing melodically for the
euphonium because of a lack of familiarity with the instmment. Furthermore, in a nation-
wide survey of high school band directors, Reifsnyder found that these educators were
1
not as familiar with the euphonium or its capabilities as they were with other instmments
such as clarinet or tmmpet, and subsequently were not performing literature that featured
this instrument. Since the time of Reifsnyder's publication, many significant composers
have vmtten for the wind band and indications are that their understanding and
appreciation of the euphonium has changed. This study will determine if Reifsnyder's
conclusions still hold tme through the analysis of twenty significant wind band
compositions written since 1980, and through interviews with significant euphonium
scholars and performers.
Organization of Studv
This study is divided into two parts. The second chapter is part one of the study
and consists of two sections. The first section is a brief discussion of the history of the
euphonium and the physical and acoustical differences between the euphonium and the
baritone horn. The second section of Chapter II is dedicated to the historical treatment of
the euphonium in both the wind band and brass band settings with an emphasis on the
texts available to composers and arrangers. Chapter III will present the methodology
used to analyze the twenty works in Chapter IV. Chapter FV begins the second part of
this study and consists of analyses of twenty specific works composed since 1980 and
their treatment of the euphonium in the wind band setting. Chapter XXIV provides
conclusions and suggestions for future study.

Definition of Terms
Band is considered to be any group of instmments combined for musical
performance. For the purposes of this study, a wind band shall be a minimum of twenty
performers on wind, brass and percussion instmments who are led by a conductor. Many
terms are in use for such an ensemble which include "wind symphony," "symphonic
band," "military band," "concert band," "chamber band," "wind symphony orchestra,"
and "wind orchestra." Some of the works analyzed may carry some of these indications.
The Baritone Hom is a brass instmment approximately nine feet in length and
pitched in B-flat, one octave above the tuba. This conical instmment is traditionally
wrapped in a form similar to the tuba and is typically constmcted with three to four
valves. It differs from the euphonium in timbre and produces a brighter sound due to its
constmction which includes a slower taper to the bell section. A hybrid instmment
between the baritone hom and the euphonium manufactured by the C. G. Corm Company
is used in the public schools in the United States. Much debate exists as to whether this
instmment is tmly a euphonium or baritone hom. This instmment is traditionally what
contemporary band composers have in mind when writing for the euphonium.
Brass Band is a group of wind instmments traditionally found in European
settings and consists of a variety of brass instmments and percussion.
Brass Quintet is a chamber ensemble of brass instmments traditionally consisting
of two tmmpets, a hom, a trombone, and a tuba.
Choir is the nomenclature used to describe an assortment of instmments with
similar names or characteristics but that are built in different pitches and sizes such as the
clarinet choir.
3
C°"^cal brasses are those brass instruments that are constmcted with gradual
increases in bore width beginning from one-third of the length of the instmment and
ending at the bell section. These instmments include the comet, flugel hom, hom,
baritone hom, euphonium and tuba and are described as having a darker sound.
Cylindrical brasses are the brass instmments that are constmcted with a consistent
bore width over two-thirds of the length of the instmment and have a flare near the end at
the bell section. These instmments include the tmmpet and trombone and are described
as having a brighter sound.
Density or thickness is used to describe the number of instmments which sound
simultaneously.
Doubling is defined as "To perform or to specify the performance of the same
note or notes by two parts, either at the same pitch level or in octaves."'
The Euphoniiun is a brass instmment approximately nine feet in length and
pitched in B-flat, one octave above the tuba. This conical instmment is fraditionally
wrapped in a form similar to the tuba and is typically constmcted with two to five valves.
In double-bell euphoniums, common in the early twentieth century, one bell produces a
typical euphonium soimd, whereas the other bell soimds closer to a valve trombone.
Family is the term used to describe any of the three basic groups of instmments
used in the band: woodwind, brass, or percussion.
Harmony is, "the relationship of tones considered as they sound simuUaneously,
and the way such relationships are organized in time; also any particular collection of
' Don Randel, ed., "Double," in The New Harvard Dictionary of Music. (Cambridge, MA: The
Belknap Press of Harvard University Press, 1986), p. 240.
4
pitches sounded simultaneously, termed a chord."^
Horn (also French hom.. .f refers to the conical instmment pitched in F that is
shaped in a circular fashion. The International Hom Society has adopted the term "hom"
or "hom in f as the correct designation for this instrument.
Interval is the vertical distance between pitches. For example, the distance
between C and D is defined as the interval of a second or 2; C and E would be a third or
3. Intervals are more specifically described as minor, major, diminished, augmented and
perfect. The interval of an octave is the distance in a diatonic system (12 chromatic half-
steps) from a pitch to the next occurrence of that pitch, i.e. the distance between C and c.
Meter indicates the pattern in which the rhythmic aspect of music is organized.
Traditionally, this is either a Duple or Triple pattern.
A Mute is a device that is inserted or attached to a musical instmment to alter the
instmment's timbre.
An Ostinato is a repeated melodic, rhythmic or harmonic pattem.
The Range of an instrument refers to the highest through the lowest pitches
produced on a particular instmment.
A Score is defined as, "The notation of a work, especially one for ensemble,
presented in such a way that simultaneous moments in all voices or parts are aligned
vertically."^ The score contains the accurately rendered intentions of the composer in a
^ Ibid., "Harmony," p. 366.

^ Ibid., "Hom," p. 380.
"ibid., "Score,"p. 735.
written format for an aural production. "In a full score, each voice or part is notated on
Its own staff In a short or condensed score, related parts (e.g., woodwinds, brass) may be
combined on a single staff "^
Scoring is interpreted as the act of combining instmments in a work to create a
desired blend and tonal balance. The term "scoring" is used in this study in reference to
band compositions rather than the term "orchestration" which pertains to orchestral
music.^
Sonority is a general comparative term for the quality of the composite sound
heard from the tonal colors, chord stmcture, pitches and textures that are performed by a
musical ensemble.
The Tessitura refers to the portion of the range of an instmment or voice that is
most commonly used, often referred to as high, middle, or low.
Texture is the culmination of the vertical and horizontal activity in a musical
composition at a given moment. A textural change is the event of a change in the
rhythmic or melodic relationships between instmments or voices.
Timbre is that particular tonal characteristic that is indicative of a specific
instmment or voice. Two instruments, such as bassoon and euphonium, may produce the
same pitch, but each has a unique sound characteristic; the combination produces a
different, unique sound also known as timbre.
Voice refers to a melodic range of an instmment or group of instmments and is
commonly used to group together instmments of like ranges.
' Ibid., "Score," pp. 735-736.

^ Ibid., "Scoring," p. 736.
Woodwind Quintet is a chamber ensemble which traditionally consists of flute,
oboe, clarinet, hom, and bassoon.
Limitations of Study
This document is a selective study of the treatment of the euphonium in wind-
band music of the last twenty years. It is intended to demonstrate the use of the
euphonium in selected works of a higher-degree of difficulty and identify any significant
trends that may result from the analyses.

CHAPTER II
REVIEW OF RELATED LITERATURE
History of the Instmment
In his Doctor of Music Dissertafion, An Historical Lineage of the Modem
Baritone Hom and Euphonium, Earle Louder traces the history of the baritone hom and
the euphonium from their common roots. Louder concludes that these instruments are
the result of a dual heritage from the tuba and bugle famihes and retain qualities of each
instmment to include bore taper and bell width. This lineage possibly explains some of
the present-day confusion with terminology. Louder states:
The Baritone Hom and Euphonium (the names have become

almost synonymous in the United States) have assumed one voice in the
band of today. The English; however, still produce the wide bore
Euphonium in a four valve compensating system which enables the
instmment, in the hands of a competent performer, to play approximately
four and one half octaves. (An octave below the fundamental up to f ) .
This instmment can still be considered as a wide bore valved baritone
bugle.'
According to Harvey Phillips,
The lack of a common nomenclature or definitive identification of

the many designs, bore sizes, and configurations of low brass instruments
produced by the different manufacturers between 1830 and 1900 has
caused considerable confusion among both composers and performers. To
this day, there are often differing opinions as to precisely what specific
instmment any given composer may have intended for a particular
composition.^
' Earle L. Louder, An Historical Lineage of the Modem Baritone Hom and Euphonium (Doctor of
Music Dissertation, Florida State University, 1976), p. 32.
^ Harvey Phillips and William Winkle, The Art of Tuba and Euphonium (Secaucus: Summy-
Birchard, 1992), p. 8.
8
In The Art of Tuba and Euphonium. Phillips, and coauthor William Winkle,
discuss the evolution of the modem day tuba, euphonium and baritone hom. They
contend that there is significant confusion in labeling present-day instmments and that an
actual date for the invention of the euphonium is difficult, if not impossible, to determine.
They offer three different categories of baritone homs and euphoniums which are based
upon their physical shape: upright instmments, bell-front instmments, and oval-shaped
instmments. Of particular interest are the illustrations found in Appendix B of their text
which show the history and evolution, as well as some interesting variations, of the
modem versions of the baritone hom and euphonium.
Clifford Bevan's The Tuba Family discusses the evolution of the euphonium and
baritone hom in similar context.^ Bevan provides an exhaustive list of alternative names
for the baritone hom and euphonium based upon geography and historic period. He
discusses some of the confusion with the mid-19* century labeling by the Germans. The
synonyms include Baritonhom, Bariton, Baryton, Tenorbasshom, and Tenorbass. In
1823, William Wieprecht, master of bands for the King of Pmssia, used an instmment
called the Tenorbasshom which is quite similar in constmction to the present-day
euphonium. In 1838, a patent was filed by Carl Moritz of Berlin for what he describes as
a "tenor" tuba. Between 1842 and 1845, Adolphe Sax created a family of valved brass
instmments called Saxhorns which included B-flat baritone and bass instmments
comparable to the present day baritone hom and euphonium. In the late 1840s, Vaclav
Cerveny introduced an instmment called a Phonikon which had the same mechanics
(length, bore size, valves) and range as an euphonium but had a bulb-shaped bell. At the
' Clifford Bevan, The Tuba Familv. (New York: Charles Scribner's Sons, 1978).
9
1851 Great Exhibition in London, F. Sommer produced an instmment called the
Sommerophone which was judged, "an instmment of great power, as well as sweetness
of tone." All of this confusion created the necessity for standardizing the instmment;
therefore, a conference of the music directors of the British Army, Navy, and Air Force
was convened in London's Kneller Hall in 1921, at which time the present day
dimensions were established as a standard for the baritone hom and euphonium in the
British Military.'' Furthermore, it was decided that the baritone hom should be removed
from the wind band and be primarily used in the brass band. Since a substantial amount
of wind band repertoire had been written by 1921, this led to even more confusion on
behalf of wind band directors and music publishers as to how to label the instmment and
parts.
Baritone versus Euphonium
In John Floyd's article, "The Baritone Hom Versus the Euphonium," he states,
"According to some instmment manufacturers, the difference between these instmments
is so insignificant that they are listed as one instmment nowadays."'^ In his 1978 article,
"Baritone Hom versus Euphonium," Wilbert Smith Jr. states: "Here in the United States
'° Great Exhibition (pub.), Reports by the Juries, London, 1852, in The Tuba Familv by Clifford
Bevan, (New York: Charles Scribner's Sons, 1978), p. 92.
" Stephen P. Winslow, "Historical Comparisons of the Euphonium and Baritone Hom," T.U.B.A.
Journal 5, no. 3 (Spring/Summer, 1978), p. 8.
'^ John R. Floyd, "The Baritone Hom Versus the Euphonium," Woodwind World - Brass and
Percussion 20, no. 3 (May-June, 1981), p. 8.
10
these two names have become synonymous and are readily interchanged, but in Europe
they are still treated as distinct, individual instmments."'^
In performance, the baritone hom has been identified with tonal characteristics
using the terms "bright," "brilliant," and "penetrating," while the euphonium has been
called "mellow," "rich," and "full." Floyd states, "I like to compare the two instmments
- the baritone hom and the euphonium - with the tmmpet and comet respectively."'''
There has been much discussion on the exact nature of the instmment presently
called the euphonium. It is defined in The New Harvard Dictionary of Music as:
A valved brass instmment in B-flat, an octave lower than the

comet or tmmpet. It has about 2.75 m. (9 ft.) of tube length, usually
folded in tuba or upright form with the bell straight up or tumed partly
forward. The euphoniiun has a large bore of bugle or flugelhom
proportions in contrast to the otherwise similar English baritone, which
has more modest cometlike dimensions. Both the euphonium and the
baritone have been used extensively in military, community, and school
bands since the middle of the 19* century. In bands of the late 19*
century, the euphonium became a featured solo instmment with many fine
band parts and virtuoso solos written for it.'^
This definition lists some of the debatable features about the instmment, the first
is the valve system. Many manufacturers have indicated that the euphonium is different
from the baritone hom because the euphonium has four valves, as compared to the three
valves of the baritone hom. This is an inaccurate description, since both instmments can
have anywhere from one to five valves.'^ The invention of the double-bell euphonium at
the tum of the century contributed to this confusion. Typically, this instmment was made
with four or five valves; the last valve was used to interchange the sound between the
'^ Wilbert Smith, "Baritone Hom Versus Euphonium," Woodwind World - Brass and Percussion
17, no. 4 (July-August, 1978), p. 30.
'"* Floyd, "The Baritone Hom Versus the Euphonium," p. 8.
" Randel, ed.. The New Harvard Dictionarv of Music, p. 294.
'* One and two valve euphoniums are traditionally found in dmm corps.
11
bells. The larger bell created a tme euphonium sound, whereas the smaller bell elicited a
sound characteristic of a valved trombone. The following chart lists references and their
comparisons of the two instmments (see Table 2.1).'^
Table 2.1. Baritone Horn/Euphonium Reference Chart.
Source Baritone Horn Euphonium

The New Grove narrow bore (accurate wide bore; warm, large
Dictionary of Music and photo) tone; deep-cup mouthpiece;
Musicians tenor of tuba family
Intemational Cyclopedia smaller bore & tone; semi- larger bore & tone; semi-
of Music and Musicians conical cup mouthpiece; 3 conical bore; deep-cup
valves mouthpiece; 3 to 5 valves
New Harvard Dictionary smaller bore; tapered like a larger bore; tapered like a
of Music comet flugelhom
New Oxford Companion narrower bore wider bore; called baritone
to Music in USA
As indicated above, the bore size is a significant aspect for disceming the
difference between the two instmments. As listed in the table below, the bore sizes differ
among manufacturers helping contribute to the confiision (see Table 2.2).
Table 2.2. Dimensions of several popular baritones and euphoniums:
COMPANY BARITONE EUPHONIUM

bore bell taper bore bell taper
Yamaha 0.504 8.25 narrow 0.571 11 wide
Besson 0.515 8.38 narrow 0.580 11-12 wide
Willson 0.512 10.00 narrow 0.592 11.5 wide
Sterling 0.522 9.60 narrow 0.592 12 wide
Amati 0.488 8.75 narrow 0.559 11.75 wide
Conn American-style 0.563 11 wide
euphonium
.-,-• . !«
The American-style euphonium made by the C. G. Conn Company of Elkhart,
Indiana, is traditionally built with a bell-front, upright shape. The valves are traditionally
" David Werden, <www.dwerden.com/bareuph.asp>

'* Werden, <www.dwerden.com/bareuph.asp>
12
set at an angle, and the timbre is somewhat brighter than a tme euphonium, perhaps
owing to the lighter metal of which the instmment is typically constmcted. Conn usually
lists their most expensive model as a "euphonium" and their less expensive model as a
"baritone." This illustration provides a visual demonstration of the difference in size,
shape, and constmction among these instmments (see Figure 2.1).'^
I. 5r
,%
1 ^
i 1
•%fej.i!< I V ^ . .
Euphonium Baritone Hom

Notice the relative sizes of the bottom
A. r- ^ P ^ ^ - ' ^ x . bows and the "throat" of the bell; notice

also the continuous taper of the tubing of
the two euphoniums.
(upper photos used with permission of

American-style euphonium Yamaha Corporation of America; lower
photo used with permission of The Selmer
Company)
Figure 2.1. Visual Comparison of Euphonium, Baritone Hom, and Corm Euphonium.
Historical Treatment of the Euphonium
In the brass band tradition, two separate instmments, the baritone hom and the
euphonium, have clearly defined roles. As found in Denis Wright's book. Scoring for
Brass Band, two baritone homs and two euphoniums are traditionally scored in this
ensemble:
" Werden, <wvi^w.dwerden.com/bareuph.asp>
13
The first baritone will often double the solo comets' melody at the
octave below; the second baritone can often be usefully employed
doubling the bass at the octave above in quiet passages where the
euphonium is either engaged on other work or might be considered too
heavy on the bass in that particular passage. The doubling of the bass
must not; however, be considered the chief ftmction of the second
baritone.
The use of two euphoniums and two baritone homs in brass bands can be seen in
some wind band works where the euphonium part is divided between two or more
players. When commenting upon the use of the euphonium in the English setting, J. J.
Naylor indicates that there are three roles for the instmment: "1. As an auxiliary bass. 2.
Melody and countermelody in the tenor register. 3. As a virtuoso soloist."^'
Frederick Fermell's Time and the Winds provides an excellent overview of the
evolution of the wind band. Fennell traces the history from several countries and regions
and through several composers' works. Included in this book is an outline of this
historical development of the wind band in the United States. He begins with the
establishment of the United States Marine Corps Band in 1798 and traces the wind band's
progression through time to the founding of the Eastman Wind Ensemble in September of
1952. With each ensemble, Feimell lists the instmmentation used. Significantly, each
ensemble never used fewer than two euphoniums during this 154-year history. In one
instance, the 1938 University of Illinois Concert Band under the direction of Albert
Austin Harding, used three euphoniums and two baritone homs. Many consider this
ensemble the predecessor to the modem-day university/college wind band.
^° Denis Wright, Scoring for Brass Band (London: Studio Music Company, 1986), pp. 24-25.
^' J. J. Naylor, "The English Euphonium: Its Development and Use," T.U.B.A. Joumal 9, no. 4
(Spring, 1982), p. 17.
14
C. Coland Summers' 1986 dissertation. The Development of Original Band
Scoring from Sousa to Husa. is an excellent source for statistical data regarding the use of
each instmment in the wind band with regard to melody, harmony, and doubling.^^
Summers analyzes the scoring practices that led to the establishment of the
instrumentation in the Sousa Band. From this historical point, he continues by analyzing
the works of such noted march composers as Edwin Franko Goldman, Kenneth J. Alford,
Henry Fillmore, and Karl L. King. The next three sections explore scoring practices of
the English tradition wind band composers, American school-band composers and
American professional-band composers. These composers are considered some of the
most important in the history of the evolution of the wind band and include Ralph
Vaughan Williams, Gustav Hoist, Percy Grainger, Gordon Jacob, Vaclav Nelhybel,
Alfred Reed, Clifton Williams, John Bames Chance, Robert Russell Beimett, William
Schumaim, Morton Gould, Vincent Persichetti, and Karel Husa.
In 1930, the American Bandmasters Association established a standard concert
band instmmentation, partly to satisfy publishers' repeated requests. Included in this list
are two euphoniums. In spite of that effort, many significant ensembles and conductors
commissioned composers to write works for their wind bands which often include non-
standard instmmentation. Some of these works call for harp, double bass, piano, and
exotic percussion such as gourd or crotales. In some instances, such as in Johan de
Meij's Symphony Number One, the composer calls for additional parts such as fourth
tmmpet and fourth trombone. In Ron Nelson's Passacaglia, the composer wrote twelve
^^ C. Oland Summers, The Development of Band Scoring from Sousa to Husa. (Doctor of Arts
dissertation. Ball State University, 1986).
15
separate clarinet parts. Works written specifically for wind ensemble, such as John
Harbison's Three City Blocks, require fewer instmments than the standard concert band.
Arranging and Composing Texts
A composition student who is first exploring the arranging of music for wind
band might consider an ensemble of young performers for her or his first project.
Philippe Oboussier offers his text. Arranging Music for Young Players, as a handbook on
basic instiiimentation. In explaining the role of the euphonium in the brass band,
Oboussier states, "The euphonium is usually considered as a bass-line instmment and,
when fitted with a fourth valve, is particularly suited to this role. However, the
euphonium's superior tone quality has made it the principal tenor solo instmment in the
brass band, to which it relates as the cello does to the orchestra of Dvorak and
Tchaikovsky." As doubling becomes a concem when writing for larger ensembles,
Oboussier offers this observation when writing for large wind bands: "Inevitably, there
will be much doubling of voices in tutti passages, since it is unwise to write in more than
four or five real parts." He recommends doublings for the tenor range of the wind bzmd
to include 3'^'' clarinet, tenor saxophone, 1^' and 2"*^ frombone, and euphonium. The bass
range should be doubled by the bassoons, bass clarinets, baritone saxophone, 3^''
trombone, euphonium, and tuba. Alfred Blatter states:
In many student groups, or nonprofessional adult groups, one finds

no oboe and/or no bassoon. For this reason, one should always cue
important oboe solos in the first flute or first clarinet part and important
^^ Philippe Oboussier, Arranging Music for Young Players (London: Oxford University Press,
1977), p. 72.
^^ Ibid., p. 135.
16
bassoon passages in the bass clarinet, euphonium or tenor or baritone
saxophone parts, hi elementary schools, one finds no bass clarinet, tuba,
or baritone saxophone. Thus one needs to score music for this type of
ensemble so that the bass line is provided by the tenor saxophone,
frombone, and/or euphonium regardless of the availability of a tuba or
other bass instmment.^^
Blatter provides a chart which lists the instmments of the wind band by section
(soprano, alto, tenor, bass) and recommends the doublings for grade school band or for
the average high school band. The euphonium is listed with the bass instmments and
includes bass clarinet, bassoon, baritone saxophone, 2"'' trombone, and tuba. It would
seem logical that a young composer would retain this instmmentation selection while
maturing in her or his compositional career and that this selection would further serve to
explain doubling choices in advanced wind band literature.
Blatter presents categories of timbre and directs the arranger; "(to) consider the
whole ensemble as being composed of various subgroups of instmments which can be
combined and recombined in many ways."^^ Table 2.3 recommends the euphonium be
used in the following groups^^:
Table 2.3. Qualities of sound of instmments.
Group's Description Group's Composition
Dark and mellow comets, flugelhoms, homs, euphoniums, tubas, marimba,

and vibraphone
Dark and reedy homs, euphoniums, tubas, saxophones (at softer dynamics),
bassoons, marimba, vibraphone, and tam-tam
Neutral and full all flutes in low register, clarinets, comets, muted homs,
euphoniums, and tubas
These doublings are very common in contemporary wind band compositions.
^' Alfred Blatter, Instmmentation and Orchestration (New York: Schirmer Books, 1997), p. 368.
^* Ibid., p. 420.
^'Ibid., pp. 420-421.
17
For the euphonium, ranges are divided into three distinct categories: beginner,
intermediate, and advanced (see Example 2.1). The bottom range is limited by the
physics of the length of the instmment; however, the higher range is limited by the ability
of the performer.^^
Example 2.1. Euphonium Ranges.
Euphonium Ranges
Beginner
Advanced
Roy Miller indicates for the baritone hom, "Extremely difficult passages should
be avoided."^^ Yet in the following example, he gives the instmction, "The baritone part
must be interesting; almost a melody in itself (see Example 2.2)."
Example 2.2. Miller Instmmentation.

Miller Instmmentation Example ""'"
Tbns 1-3
Biriione
© 1948 W. Brown
^* Wayne Bailey, ed.. Teaching Brass: A Resource Manual (New York: McGraw-Hill, Inc., 1992),
p. 72.
^' Roy Miller, Practical Instmmentation for die Wind Band (Dubuque: W. Brown, 1948), p. 14.
ô Ibid., p. 46.
18
Except in measures seven and eight, the pitches of the baritone part are doubled
by the trombones. In measure seven, the C in the euphonium part would be considered
the root of the second inversion C7 chord. In measure eight, the E-flat in the euphonium
part would be the seventh of the F7 chord and the C would be the fifth of the F7 chord.
The passage also contains some rhythms which are confrary to the trombone part. Miller
defines this type of scoring for baritone as "satisfactory."
Philip Lang states, "Gay, bright, melodies are a happy assignment for the baritone
and the following example illustrates its robust charm (see Example 2.3)."^'
Example 2.3. Lang Instmmentation Example 100.

Lang Instrumentation Ex. 100, p.61
Hns, tbns
, B cl, Bass
>_ , > > >

T/Bsx,
© 1950 Mills
The thematic material for the euphonium is doubled by the tenor and baritone
saxophones. Lang goes on to state, "The baritone, with its flexibility and dynamic
control, is equally well suited to passages of a lyrical nature (see Example 2.4)."
^' Philip Lang, Scoring for Band (New York: Mills, 1950), p. 61.
"Ibid.,p. 61.
19
Example 2.4. Lang Instmmentation Example 101.
Lang Instrumentation Ex. 101, p. 61
Muled Bca&B
© 1950 Mills
Again, the melodic material is doubled among the bassoon, bass clarinet, baritone
saxophone and baritone. In the next example, Lang states, "The baritone and tuba, both
valved instmments, and equally facile, are an ideal combination for the performance of
octave bass passages (see Example 2.5)."^^
Example 2.5. Lang Instmmentation Ex. 103.

Lang Instrumentation Ex. 103, p. 62
©1950 Mills
With regard to the issue of doubling for effect, Lang offers the following
observations:
In unison with the trombones, the baritones add breadth of tone,

and the resultant combination is slightly mellower in timbre. Saxophones
and low clarinets, when supported by baritones, (in unison or the octave)
"Ibid., p. 62.
20
have a bigger and fuller quality of tone. The baritone is often used to
reinforce the comet an octave lower. This scoring is very fluid and
expressive due to the close affinity of these instmments. hi full band
scoring the baritone is used to either support the comet in the lower
octave, or double the tuba in the upper octave.^''
Joseph Wagner offers his observations of the function of the euphonium in wind
bands, "(to) support other instmments with melodic phrases, obbligatos, and scale
passages; sustaining harmonic elements; carrying the bass parts, with or without the tuba;
and filling in harmonic gaps with arpeggiated chords."^^ In defining the preference of the
euphonium over the trombone, Wagner states, "the valve technique of the baritone makes
it a preferred instmment in its range for flowing legato phrases, harmonic figurations
with large chromatic skips (notes in a single harmonic series), and staccato passages in
many forms."^^ In suggestions for scoring the brass as an independent section, Wagner
indicates that the baritone is free to move between the tenor and bass ranges and gives the
composer a certain flexibility with the tenor and bass registers.
Chapter 28 of Wagner's Band Scoring is devoted to the transcription of orchestral
works for wind band. In considering voice range (soprano, alto, tenor, bass), Wagner
indicates that the tenor voice of the orchestra consists of 2"'' clarinet, 2"^ and 4* hom, 2"*^
frombone, viola and violoncello. The wind band counterpart of these instmments
includes English hom, 3'"'' clarinet, alto clarinet, tenor saxophone, 3'"'' comet, 2"^
flugelhom, 3'^*' and 4"^ homs, 1^' and 2"** trombones and baritone. This combination of
instmments in wind band scoring provides some of the common doublings. The bass
voice in the orchestra consists of bass clarinet, bassoons, 3"' trombone, tuba, violoncello.
^^ Ibid., p. 63.
^^ Joseph Frederick Wagner, Band Scoring (New York, NY: McGraw-Hill, 1960), p. 179.
^* Ibid., pp. 178-179.
21
and bass. The orchestra's wind band counterpart, also commonly used in wind band
doublings, is made up of the bass clarinet, contrabass clarinets, bassoons, baritone
saxophone, bass saxophone, 3"' frombone, baritone, euphonium, tubas and string bass.
The euphonium has been characterized as the "cello of the band" by numerous
authors. Kent Kennan and Donald Grantham give the following instmction to composers
and arrangers regarding the use and function of the cello:
The cello has a reputation, amply deserved, for mellowness and

warmth of tone... Much of the time, the cellos constitute the bass voice of
the stiing group (often with the double basses sounding an octave lower).
However, they may be used as a tenor or baritone voice or even on the
melody if it does not go too high.^^
With this instmction, it is not surprising that the euphonium typically doubles the
tuba at the octave. Bevan states that when the euphonium is used in the orchestra, "it
frequently doubles the tuba at the octave."^^ Furthermore, "the euphonium plays a
predominantly tenor part in the band, and we must conclude it fulfills both tenor and bass
ftmctions." It is not uncommon for a cello part to be split or divided among the players
in order to fill harmony or perform a solo part with accompaniment. Similarly,
euphonium parts are often divided in wind band literature.
In 1980, Reifsnyder asserted that the significant use of the euphonium in wind
band literature was not as prevalent as it had been during the first half of the twentieth
century. Through the use of a survey among public school educators across the nation,
Reifsnyder discovered that a lack of familiarity with any particular instmment typically
indicated that literature which featured that instmment would not be performed by the
^' Kent Kennan and Donald Grantham, The Technique of Orchestiation. 3d ed (Englewood Cliffs,
New Jersey: Prentice-Hall, 1983), pp. 23-24.
^* Bevan, The Tuba Familv. p. 91.
^'Ibid., p. 9.
22
educators. Additionally, a survey to composers indicated that composers' unfamiliarity
with a particular instmment was usually reflected by a lack of melodic parts for that
instmment in their wind band works. Except for melody, Reifsnyder gives very little
attention to any other aspects of the use of the euphonium in wind band literature in his
dissertation. Furthermore, Reifsnyder does not discuss any of the composition and
arranging textbooks available or their author's discussion of the treatment of the
euphonium. He provides a survey of many of the significant wind band composers from
the early twentieth-century to include Percy Grainger and Gustav Hoist.
Present Day Analyses
In addition to Reifsnyder's dissertation, a number of dissertations exist which
discuss the use of specific instmments in the wind band. Among these dissertations are,
The Use of the Alto, Bass and Contrabass Clarinets in Selected Wind Band Compositions
Written Between 1951 and 1972 by Robert A. Flum, Jr. (1985), Trombone Excemts from
the Concert Band Repertory by Paul Martin Hageman (1999), A Discussion and Analysis
of Percussion Writing Trends in Select Wind Ensemble Literature by Francis McBeth,
James Cumow, and David R. Holsinger by Matthew Durance Fallin (1997), and
Performance Tasks Encountered in Selected Twentieth-Century Band Excerpts for Tuba:
Their Identification, Categorization, and Analysis by Eric Berman (1981).
The fourth volume of a series entitled Teaching Music Through Performance in
Band, Richard Miles and Thomas Dvorak, editors, has recently been released. Each
volume is made up of two halves. The first half consists of articles written by respected
educators and scholars on the philosophy, education, and administration of wind bands.
23
These articles provide a good source of practical information for the management of the
school music program and include repertoire selection, curriculum, and application of
teaching concepts. The second half of each volume consists of analyses of selected,
quality works for wind band. These works are analyzed for form, melody, harmony,
texture, etc. and include historical perspectives on the works and on their composers. A
suggested listening and reading list is provided at the end of each analysis. All of the
works included in this study can be found in the Teaching Music Through Performance in
Band series.
Although a significant amount of literature has been written regarding the wind
band and its repertoire, a need for research remains which can be provided to educators,
composers, scholars and conductors. This research can be used to encourage composers
to create new works that will challenge the performers, educate conductors, and continue
the evolution of the wind band.
The first half of the following study examines the available arranging,
instmmentation, and orchestration texts and provides suggestions for writing for the
euphonium. The second half of this study examines twenty works and identifies the
applications of the concepts discussed in the textbooks. It also identifies innovations not
commonly found in traditional wind band scoring practices.
24
CHAPTER III
METHODOLOGY
Twenty compositions determined according to several criteria were selected for
inclusion in this study. Primary consideration was given to compositions and composers
recognized as wirmers of major band composition awards to include the American
Bandmasters Association Ostwald Award, the John Philip Sousa Foundation Sudler
Award and the National Band Association William D. Revelli Memorial Band
Composition Contest. Consideration was also given to composers who had won prizes
outside of the wind band field to include the Pulitzer Prize in Composition or the Barlow
Composition Contest. Availability of musical scores was a consideration, as some scores
were available for rental purposes only and copyright permission could not be obtained.
Performance frequency analyses were compiled through First Search World Catalog and
the College Band Directors National Association (CBDNA) Reports of programs from
1980 to 2000. Recording frequency analyses were done through recording catalogs
available from Shattinger Music Company in St. Louis, MO, compiled by Jim Cochran.
These catalogs are widely accepted by CBDNA as some of the most comprehensive lists
of published recordings.
The works are presented in chronological order of publication, with no preference
given to composer or quality of euphonium part. A brief discussion of each composer's
background and contribution to the wind-band repertoire serves to inform the reader of
the relevance of the composers and of their works to this study. Each analysis cites
specific musical examples and will describe the treatment of the euphonium with respect
25
to harmony, timbre, and melody. Additionally, evaluations of the techniques required to
property perform the selected excerpts will be considered. Areas of discussion will focus
on several questions including the following: (1) Is the melody in the euphonium part -
solo or tutti (more than one instmment scored with the same material, i.e. euphonium and
trombone)? (2) Is there a countermelody in the euphonium part - solo or tutti? (3) In the
tutti sections, is the timbre traditional? (4) If not, what makes it nontraditional? (5) In
harmonic functions, is the use of the euphonium important to the harmony, i.e. root, third,
seventh, etc.? (6) Does the euphonium part significantly contribute to the rhythm of the
work? (7) Is the euphonium part significant to the work? (8) Does the part offer
opportunities to demonstrate the ability of the instmment and of the performer?
A brief summary of each work will conclude each section. Musical score
excerpts have been compressed while retaining an adequate representation of the
composer's work. Because of this compression, traditional score-order listing of
instruments in some examples is not as tme as it would be in afiiUscore. However,
every attempt to stay tme to fraditional score order has been made. It would be redundant
to list an identical E-flat alto saxophone part and hom in F part on two separate staves;
therefore, scores are shown in concert pitch so that multiple instmments can be listed on a
single staff
Abbreviations have been made using standard instmmental designations (for
instance, flutes - fl, clarinets - cl, alto saxophones - a. sx, etc.). If more than one
instmment is scored for a particular part, abbreviations are used (for example, alto and
tenor saxophones - A/T saxophones, first, second, and third tmmpets - Tpts 1-3 or Tpts
1/2/3). In some cases, the examples will illustrate an instmment being scored to
26
discontinue playing a line. In this instance, a "-" followed by the instmment's
abbreviation is used. Similarly, if an instmment is scored to enter in the middle of an
excerpt, the "+" indication will be used, followed by the instmment's abbreviated
designation. The designation for euphonium in each example is indicated with "EU." In
the cases where there is more than one euphonium part, "EU 1" and "EU 2" are used. In
some scores, the composer used the designation "baritone" for the intended euphonium
part. In these instances, the excerpts used in this document revert to the "EU"
designation.
Additionally, information gathered from selected interviews were used in this
study. These interviews were conducted in December of 2000 and included Roger
Behrend, principal euphoniumist with the United States Navy Band, Paul Droste,
emeritus professor of euphonium at the Ohio State University, John Mueller, principal
euphoniumist with the United States Army Band, and Brian Bowman, professor of
euphonium at the University of North Texas.
The author has been playing euphonium in wind bands since 1981, has directed
bands at the elementary, secondary, college, and community levels, and holds the Master
of Music in Euphonium Performance from Texas Tech University.
27
CHAPTER W
SCHERZO FOR A BITTER MOON (1984) - GREGORY YOUTZ
Originally from Beimt, Lebanon, Gregory Youtz (b. 1956) received his Bachelor
of Music Degree in composition from the University of Washington in 1980 and his
Doctor of Musical Arts in composition from the University of Michigan. His primary
composition teachers have included Leslie Bassett, William Bergsma, William Bolcom,
and William Albright. In 1984, Youtz received the Charles Ives Award from the
American Academy and Institute of Arts and Letters. Also in 1984, Youtz's
composition, Scherzofor a Bitter Moon, earned him the National Bandmasters
Association Composition Contest, and Fire Works eamed Youtz the 1990 American
Bandmasters Association/Ostwald Award. He presently serves on the faculty at Pacific
Lutheran University where he teaches composition, music theory, history and
ethnomusicology.
The composer provides the following program note:
Scherzofor a Bitter Moon was inspired by the sensitive virtuosity

of the University of Michigan Symphony Band and its director, H. Robert
Reynolds. It is transparently scored, allowing a great deal of soloistic
playing particularly for the woodwinds. Brass and percussion are used
sparingly in orchestral fashion, held in check until moments of dramatic
intensity.''^
"" Gregory Youtz, Scherzofor a BiUer Moon (Ruidoso, New Mexico: TRN Music Publisher,
1984), note to the conductor.
28
"The entire piece is based on a single motive - an expanding intervallic wedge
(C-B-C#-Bb-D-A-Eb) from which are derived melodies, harmonies and large stmctural
,41
sections.
Example 4. A. Scherzofor a Bitter Moon, expanding wedge.
Expanding Wedge
The work is composed in a large bridge form, ABA Coda, and explores a variety of
timbres and harmonies.
The first entrance of the first euphonium part (two euphonium parts are written)
occiu-s in measure 42 and is marked "1 only." The pitches of the euphonium part are
doubled in many other parts including bass clarinet, first bassoon, baritone saxophone,
and first trombone; however, the rhythm is written in unison with the double bass which
is marked "pizzicato." Given the staccato markings of the euphonium part, Youtz had in
mind a sound complementary to the pizzicato double bass and wanted an overall
resonance effect to be achieved with the two instmments. The selection of double bass
with euphonium in a similar articulation style is interesting, especially since they are
scored an octave apart. Although double bass is commonly found in wind-band scoring,
a more traditional scoring practice would have been the use of tuba (see Example 4.1).
'" Ibid., note to the conductor.
29
Example 4.1. Scherzofor a Bitter Moon, mm. 42-43.
Scherzo for a Bitter Moon Example 1
J. = 140
Ob. «/t ss, tpis
B cl. bsn.
hns. ibns
© 1985 TRN Music

Used with Permission
Six measures later the tuba joins the euphonium and double bass in unison; then
the euphonium sounds in unison with the tenor saxophone, while the tuba and double
bass sustain a C# pedal. The pitches provided for the tenor saxophone and euphonium
parts match the notes of the triplet groupings in the upper woodwinds and provide
harmonic emphasis on the downbeats. The contribution of the euphonium in this
situation is essentially that of volume augmentation (see Example 4.2).
Cls 1/2.1 sx
©1985 TRN Music

30
The next entrance of the euphonium occurs as a solo in measure 76 accompanied
by bassoons and saxophones. The mezzo forte dynamic markings in the saxophones and
bassoons combined with the softer mezzo piano marking in the solo euphonium part
seems somewhat incongmous. Apparently Youtz was looking for another tenor or bass
voice to fill out the harmony and chose to use the euphonium at a softer dynamic to
ensure a good blend. Beginning in measure 76, the euphonium part is not doubled and in
the next measure the part is doubled by the tenor saxophone an octave higher. Neither
the tessitura, the dynamics nor the articulations pose a challenge to the euphoniumist;
however, the challenge is to blend with the woodwinds as the euphonium is the only
brass scored in this texture. In measure 81, the euphonium part divides and provides an
important harmonic foundation for the clarinets and flutes as these instmments present
the melodic wedge in a pointillistic fashion (see Example 4.3).
Example 4.3. Scherzofor a Bitter Moon, verm. 76-81.

©1985 TRN Music

31
Beginning in measure 103, the woodwinds are scored with a melodically
expanding figure and are given the instmction to, "play at a steady tempo, but each
player's tempo is different than that of any other player, (varying from q=100 to
q=l 80)." This ostinato-type pattem continues for some time. The low brass enter in
measure 111, scored in a fraditional manner with the euphoniums doubling the first and
second trombones and the tuba doubling the third trombone. The role of the euphonium
in this excerpt would seem to be one of enhancing the volume of the trombone section
(see Example 4.4).

Youtz
J = 80
Each player plays at a steady tempo, but his tempo is different than that of any any other player. (var>'ing fironi q=IOO to q=t80)
©1985 TRN Music

After the varied tempo woodwind section, Youtz scores a brass choir in the
transition that retums to the mysterious woodwind sounds. Beginning in measure 138,
42
Ibid., note to the conductor.
32
the euphoniums function as a tenor voice in a traditional wind-band brass setting. The
euphonium part is not technically challenging. Since the part is doubled by similar-
sounding instmments the euphonium's primary role, assumedly, is to support the tenor
voice in this texture (see Example 4.5).
Example 4.5. Scherzo for a Bitter Moon, mm. 138-140.

Youi
J-ffO
©1985 TRN Music

Beginning in measure 145 and continuing for the next 40 measures, Youtz scores
the euphonium to double the tuba an octave higher and to sustain a C-sharp pedal, while
the woodwinds continue with melodic development. Begiiming in measure 191 amidst a
sequence of articulated eighth notes in the woodwinds, the euphonium and frombone,
along with the tmmpets and homs, are scored with melodic material. From measures 187
through 206, three entrances of melodic material appear, the first being scored in the
homs in measure 188. Four measures after the hom entrance, the trombones and
euphoniums begin (measure 191), and three measures later the tmmpets enter. The
euphoniums and trombones function as the lowest voice in this three-voice texture.
When the tmmpets enter in measure 193, all of the winds are scored with loud dynamic
33
markings. Volume of the three-voice group becomes important over the rest of the
ensemble's eighth note sequence and each player's participation (including the
euphoniums) is essential (see Example 4.6). This developmental section arrives at a
climactic moment in measure 206 when the entire ensemble performs a short, accented
sound that uses eleven of the available twelve chromatic pitches.
Example 4.6. Scherzo for a Bitter Moon, mm. 191-194.
B cl. bsn, i/h sx,
©1985 TRN Music

Youtz retums to the brass choir and to a very thin texture in a transition from a
woodwind texttu-e to a frill wind-band sound. Begirming in measure 233 and continuing
for three measures, staggered entrances in the brass occur which eventually evolve into a
D-flat major chord over an E-flat pedal. In terms of melody and harmony each of the
brass entrances beginning in measure 233 is important to the effect of this sequence. The
euphoniums and trombones are identically scored and provide a solid introduction to this
harmonic activity (see Example 4.7).
34
© 1985 TRN Music

In the penultimate measure of the work, the euphonium is scored with perhaps its
most important part for the entire work. The woodwinds are scored to sustain an E-flat'-'
chord, and as the lone brass, the euphoniums enter on count two with a B-flat below the
woodwinds. This pitch is also scored two octaves higher in the chimes. Scherzofor a
Bitter Moon ends with the tritone motion from the euphonium B-flat to the low wind and
timpani E, reflecting the "bitter moon" in the title (see Example 4.8).

Ymjiz
©1985 TRN Music

35
Youtz's use of the euphonium in Scherzofor a Bitter Moon reflects many of the
traditional approaches to scoring for wind-band. The parts are often doubled by other
instmments and are frequently scored in textures of similar timbres, such as tenor
saxophone, bassoon, and trombone. Scherzofor a Bitter Moon is an excellent example of
works that fhistrate present-day euphoniumists as the parts provide few technical
challenges or opportimities for solo expression. However, a very interesting aspect of
Youtz's scoring for euphonium lies in the penultimate measure of the work when the
instmment is scored in an almost solo capacity with the chimes.
36
CHAPTER V
WINDS OF NAGUAL (1985) - MICHAEL COLGRASS
Percussionist and composer, Michael Colgrass (b. 1932) received the 1978
Pulitzer Prize for Music for the New York Philharmonic commission and performance of
his Deja vu. He won the 1982 Emmy Award from the National Academy of Television
Arts and Sciences for the Public Broadcasting System documentary entitled, Soundings:
The Music of Michael Colgrass. He has been awarded two Guggenheim Fellowships, a
Rockefeller Grant, a Fromm Award, and a Ford Foundation Award. He received first
prizes in both the Barlow and Sudler Intemational Wind Ensemble Composition Contests
and the 1988 Jules Leger Prize for New Chamber Music. He is often sought
internationally as a composer and guest clinician.
Colgrass received his undergraduate training at the University of Illinois where he
studied percussion with Paul Price and composition with Eugene Weigel. Additional
composition instmctors for Colgrass include Darius Milhaud, and Lukas Foss,
Wallingford Riegger, and Ben Weber. Colgrass' noted compositions for wind band
include Dejd vu (1977) (transcribed for wind ensemble by the composer), Arctic Dreams
(1991), and Urban Requiem (1995).
Winds ofNagual was commissioned by Frank Battisti and the New England
Conservatory Wind Ensemble and eamed Colgrass the 1985 National Bandmasters
Association/William D. Revelli Composition Award. In the words of the composer:
Many band pieces are by nature outgoing, but Winds ofNagual

is music, I'd like to suggest, you go inside to listen to, the way a
composer might listen while composing. Sometimes when I'm
37
composing I see music like it's a film. This piece was inspired by the
writings of Carlos Castaneda and the takes of his experiences in Mexico
with a Yaqui Indian sorcerer named Don Juan Matisse. Carlos
experiences a fantastic 13-year apprenticeship where he leams secrets
of pre-Columbian wisdom that develops his personal creativity...what
Don Juan calls the Nagual.
Each of the characters in the fable has a musical theme: Juan's is

dark and ominous, yet gentle and kind; Carlos' is open, direct and naive.
We hear Carlos' theme throughout the piece from constantly changing
perspectives, as Juan submits him to long desert marches, encounters
with terrifying powers and altered states of reality. A comic aspect is
added to the piece by Don Genaro, a sorcerer friend of Juan's, who
frightens Carlos with fantastic tricks like disappearing and re-appearing
at will.
The listener need not have read Castaneda's books to enjoy the
work, and I don't expect anyone to follow any exact scenario. My
object is to capture the mood and atmosphere created in the books and
to convey a feeling of the relationship that develops as a teacher of
ancient wisdom tries to cultivate heart in an analytical young man of the
technological age.
Colgrass divides the work into 26 sections, each based upon an event in the lives
of Carlos and Juan. The first entrance of the euphonium occurs in measure 26 in the
beginning of the second section marked, "Don Juan emerges from the Mountains." The
euphonium is traditionally scored in unison with the homs, and these players have the
melodic material for this section. The part is not technically demanding, but the
opportunity for the euphoniumist to perform the melody at the beginning is noteworthy
(see Example 5.1).
"^ Eugene Corporon, conductor. Hearts Music (The Cincinnati College-Conservatory of Music
Wind Symphony. San Juan Capistrano, Cahfomia: Klavier Records, 1995), liner notes by Michael
Colgrass.
38
Example 5.1. Winds ofNaguaL mm. 26-27.
Winds ofNagual Example
Colgrass
Used with permission.

© 1985 Colgrass Music
The second statement of this theme begins four measures later. In this excerpt,
Colgrass scores for the conical brass, which include the comet, flugelhom, homs and
euphonium, to restate the thematic material. The theme is traded among the parts as a
subtle shifting of timbre occurs. In measure 34, under the tempo marking "poco meno
mosso," the homs and euphonium are scored with an increasingly difficult rhythm.
While the tessitura and articulations do not require a substantial amount of skill from the
performer, the accuracy of performing this complex rhythm while playing with "a little
less motion" requires advanced musical skills (see Example 5.2).
Example 5.2. Winds ofNagual, mm. 30-34.

Winds ofNagual Example 2
J - 76 Bro«dly
Ibn S/6, lu. d bs

39
In a two-measure fransition between the "Genaro satirizes Carlos" and "Genaro
laughs, and leaps to a mountain top, and disappears" sections, the euphonium is scored in
rhythmic unison with the bass clarinet and trombones. The timbre contribution of each
instmment is important to the harmonic constmction as no pitches are doubled in this
entrance. On the next downbeat, Colgrass scores the bass winds to continue with the
creation of this cluster chord followed by a final entrance of the homs and clarinet before
the next section begins. Properly blending with these instmments at the extremely soft
dynamic marking is difficuh (see Example 5.3).
Example 5.3. Winds ofNagual, m. 126.

Reflecting the "leaping" motion referred to in the title of this section, Colgrass
scores the winds to perform rhythmically active ascending lines. In measure 138, the
euphonium begins the same pattem with the E-flat contra-alto clarinet and contra-
40
bassoon following a percussion interiude. The euphonium part is scored in the lower
tessitura and is doubled for the first three notes. The last three notes are for euphonium
alone and no other instmment is playing. Given the dynamic and rhythmic complexity of
these six notes, the part is technically demanding and requires advanced musical skill to
be performed correctly (see Example 5.4).


In measure 155, just before the indication, "Genaro disappears," Colgrass scores
the euphonium in a traditional manner in unison with the tuba. The instmction "growl
tone" is given with a flutter tongue marking. This effect is very unusual in traditional
wind band writing. An advanced performance technique of combining flutter tongue and
vocalization is required to produce the proper effect. The lower tessitura and dynamic
markings create additional challenges for the performer (see Example 5.5).
41
Winds ofNagual Example 5 Colgrass

The section marked "Something moves in the dark" is introduced with the
trombones, (measure 241). A glissando effect in the trombones with flutter tongue and
"wah" sounds is answered by the homs and euphoniums in measure 246. Colgrass
traditionally scores the euphoniums as the bottom voices of a hom choir. As the
euphonium parts are not doubled, they significantly contribute to the harmony and texture
of this excerpt. The tuba, with bass clarinet and bassoon, is scored altemately with the
homs and euphonium and aids in the production of the "dark" effect stated in the title
(see Example 5.6).
42

The tale continues with "A terrifying creature leaps at Carlos" indicated in
measure 271. "Carlos mns" follows, indicated in measure 273. "It chases Carlos" is
indicated in measure 275. Between measures 274 and 275, the low winds are given a
unison figure that is very difficult to perform. A septuplet is scored in unison among the
bass clarinets, euphonium, and tuba and is preceded by another complex rhythmic figure
in the percussion thereby compounding the difficulty of performing this excerpt. The
ascending motion of the septuplet is followed by a descending thirty-second-note hne that
is also difficult to accurately perform. With five instmments performing, this passage is
very difficult to execute with clarity and requires advanced technical skill from all of the
performers. The addition of bass clarinets to the euphonium-tuba timbre is not unusual
and, given the number of low wind instmments scored, the euphonium's contribution to
the texture is to enhance the volume. The part provides sufficient difficulty to challenge
43
the euphoniumist and enables the performer to demonstrate the flexibility of the
instmment (see Example 5.7).

Timp, b d , rj

Five measures after the indication, "It grabs his throat" and one measure before
the indication, "Carlos exerts his will," the euphonium is the only low brass instmment
scored in the texture and is the only instmment scored with the designated rhythmic
figure and pitch. In measure 281, no other instmments in this range are performing;
therefore, the euphonium part is essential to the texture (see Example 5.8).
44

In the section marked, "Carlos exerts his will," Colgrass uses a brass choir
begiiming in measure 282. In a setting for brass and chimes, Colgrass scores the first
euphonium in unison with the fourth trombone; however, the second euphonium is not
doubled by another instmment and therefore significantly contributes to the harmony and
texture (see Example 5.9).
45

J. 160
Carlos exens his Mill
broadly pcsante
Fl hn, hr.1 1/2,

The brass choir ends in measure 297 and the euphoniums are not heard from again
imtil measure 400. During these 103 measures, Colgrass explores different tone colors
including woodwinds with harp and marimba, and soprano saxophone with tmmpet and
trombone accompaniment. In measure 400, the low winds are joined by the flugelhom
and homs to create a harmonic cluster. Colgrass scores the bass clarinet, E-flat contra
aUo clarinet, and double bass with the euphonium in the low register. It should be noted
that there are no tubas scored in this texture and that the euphonium is eventtially doubled
by the sixth hom (see Example 5.10).
46
C bsr, d bs ^3ir
e-fc alio cl
Harp • p
• »
* i CJ

In the section marked "Juan Clowns for Carlos," Colgrass creates his impression
of a Mexican dance that uses elements of each character's theme. Beginning in
measure 439, the euphonium is scored as a solo instmment significantly contributing to
the texture as the primary melodic voice. The first note of each three eighth-note
grouping in the euphonium part is doubled by contrabassoon, trombones and double bass.
The last two notes are set alone for the euphonium. Two measures later, the notes of the
same figure in the euphonium part are doubled by the fifth comet. The combination of
comet and euphonium in an octave-doubling setting is not unusual and reflects a
traditional brass band scoring practice (see Example 5.11).
^ Richard Miles, ed., Teaching Music Through Performance in BandYol. 2 (Chicago: GIA
Publications, 1998), p. 650.
47
Example 5.11. Winds ofNagual, m. 43 9-441.

A one-measure intermption occurs in measure 498 amidst a rhythmic flute and
clarinet duet. Colgrass uses two piccolos and a flute to create a C major chord on beat
two which is answered one beat later on beat three by the euphoniums performing a
unison C. This pitch is imusually scored in the low tessitura of the euphonium - a pitch
that would traditionally be performed by the tuba. As a solo instmment in this texture,
the euphonium part is essential to the proper execution of this moment in the work (see
Example 5.12).

J = J84
Colgrass

48
The contrapuntal nature of this excerpt continues for some time and utilizes the
complete ensemble instmmentation. Two examples of this style of composing which
utilize the euphonium occur in measures 503 and 511. Colgrass apparentiy has in mind a
melodic line that changes timbre for each note. This style of composition is similar to
Schoenberg's Klangfarbenmelodie.'*^ In measure 511, Colgrass gives the instmction,
"These high pitches are intentional, but need not be bull's eyes. The idea is a 'breathy'
pitch." This is an unusual instmction and should be interesting for interpretation by the
performers and conductor (see Examples 5.13 and 5.14).

Winds ofNagual Example 13 Colgrass
J. 184

"^ Klangfarbemnelodie is a succession of tones that are treated as a melody. Schoenberg explored
this concept in his publication Harmonielehre of 1911.
49
Example 5.14. Winds ofNaguaL mm. 511.
' These high notes are Jnienlional, bul need not

be bull's eyes The idea is a "brcalhy" pitch

In measure 518, the "Last Conversation and Farewell" begins with a variation of
Don Juan's theme presented in the euphonium. The soloistic nature of this line for the
euphoniiun lends significance to the passage. Although the part is not technically
challenging, the need to perform the melody in a lyrical manner is essential and requires
musical maturity (see Example 5.15).

Winds of Nagual Example 15
Last Conversalion and Farewell
canubile J, 72-76
C. bsn, tbns 4-6
d bs, harp,

Marked "Cantabile," Colgrass retums with low wind scoring of the Don Juan
thematic material in harmony. The theme is scored among the trombones, euphonium
and tuba, with low clarinets, bassoon, trombone and tuba providing harmonic support.
50
As a traditional scoring practice, the first euphonium is scored one octave higher than the
tuba. The second euphonium is scored in parallel third motion with the first euphonium
and is not doubled. Neither euphonium part is technically difficult but each significantly
contributes to the texture of this excerpt through the performance of the melody (see
Example 5.16).
uttabile J.66.69
E-l'calloc1. ^^)^

In the next two-measure excerpt, Colgrass demonstrates a need for flexibility in
the euphonium to begin in one context and immediately shift to another with little effort
from the player. Beginning in measure 543, the euphoniums are scored with trombones
and tuba with an ascending quarter-note line that serves as a transition to a new tempo.
The traditional low brass scoring is immediately followed with a thirty-second note figure
in the euphonium that is similar in style to a flute passage from the previous measure.
The harmonic and melodic contributions of the euphoniums during these two measures
are significant and the lip flexibility needed to accurately perform the repetitive thirty-
second note figure requires advanced performance skills (see Example 5.17).
51
Wmds ofNagual Example 17

Five measures later, beginning in measure 549, Colgrass uses the euphoniums as
members of the tuba family. Although the euphoniums are traditionally scored one
octave higher for each tuba pitch, the tuba part moves in quarter notes while the
euphoniums are split and sustain each tuba pitch for two counts. This scoring creates a
sound similar to the sustain pedal of a piano and is unusual for the tuba family. While the
euphonium parts are not technically challenging, the ability to create an in-tune harmony
is difficuh. Given the thin texture for this excerpt, each instmment significantly
contributes to the overall sound (see Example 5.18).
52
Colgrass

Nine measures before the end of the work, Colgrass provides very soft dynamic
indications to enhance a bitonal harmony with staggered entrances among the winds. The
euphonium part is not rhythmically or melodically doubled and no other instmments
perform in the same tessitura with a similar timbre. The contribution of the euphonium is
again significant in terms of timbre, rhythm and harmony (see Example 5.19).

Bs. cl.
e-fc a l t o c i .
S/Asx,
ipis 1-3

53
Programmatic in nature. Winds ofNagual reflects a diversity of characters
through different environments and activities. To present his interpretation of these
experiences, Colgrass utilizes unusual sound masses and colors for the traditional wind-
band. His understanding of the various traditional and nontraditional uses of the
euphonium provides the performers with unique opportunities to demonstrate the
capability of the instmment and of themselves.
54
CHAPTER VI
ILLYRIAN DANCES (1986) - GUY WOOLFENDEN
Having written more than 150 scores for the Royal Shakespeare Company at
Stratford-on-Avon, Guy Woolfenden (b. 1937) is considered by many to be a significant
contemporary European composer. As a conductor, he is credited with performances in
Russia, France, Germany, England, and Canada and has also toured with productions by
the Australian Ballet and the Kirov Ballet. He received his education from Christ's
College in Cambridge and the Guildhall School of Music in London. He is founder of
Ariel Music Publishing Company and his chamber works, including concertos for oboe
and clarinet, have been frequently performed.
Illyrian Dances was the result of a commissioning from the British Association of
Symphonic Bands and Wind Ensembles (BASBWE) and was premiered at Warwick
University in 1986 during the fifth annual BASBWE Conference. The title of this work
comes from Shakespeare's Twelfth Night. Illyria is a mythical country in which the
action occurs. The three movements are based on material previously written by
Woolfenden for performance during the play by the Royal Shakespeare Company.
Movement one. Rondeau, is based upon the 17* century rondeau form. By the
17* century, this form had evolved to become a refrain altemated with contrasting
episodes in related keys. In Woolfenden's work, the eleven-measure infroduction is
followed by a seven-measure refrain that is stated five times. Each statement of the
refrain explores a different timbre. Three episodes follow which also explore different
55
timbres. The episodes retain the seven measure stmcture, yet the melodic material is
varied. The overall form of this movement, in seven measure statements, is as follows:
Introduction;
R(efrain)-1, R-2, R-3, R-4, R-5
E(pisode)-l, E-2, E-1
R-6
E-l,E-2, E-3, E-4, E-5
Coda
R-l,R-7
The numeric designations refer to variations in the melody of the refrain or
episode. In some cases, the refrain has been changed through the use of a different
timbre, rhythmic variation, or accompaniment. In other cases, the melodic material has
been varied. In the cases where the same alphanumeric designation has been given, the
melody was not changed enough to warrant a different designation.
The phrase stmcture is interesting in that the use of the seven-measure phrase is
imcommon. Most musical phrases are four or eight measures in length. Also, the sixth
measure of each phrase is in a contrasting meter (6/8) to the other six measures (2/4)
which provides additional elements of interest to the melody.
The first entrance of the euphonium is in measure 8 and is scored as one of two
brasses playing. The other brass are trumpets. The euphonium part is doubled in the bass
clarinet and an octave higher in the second oboe. Because the texture is thin, each
individual's contribution is important. While the technical demands of these two
measures are not particularly noteworthy, the euphonium part does require some
advanced rhythmic ability because of the ahemating 2/4 and 6/8 measures (see Example
6.1).
56
Example 6.1. Illyrian Dances, Mvt. 1, mm. 8-10.
Illyrian Dances Example 1
Fl 1/2. Ob 1,
cl 2/3, ip l.'2
oirl
^ ^
5 ^
m ^
^
mf
'^m ^
^ ^ # ^ ^ ^ ^ ^ ^ ^
© 1986 Ariel Music

Used by permission
After one and one-half counts of rest, Woolfenden scores for a full brass choir.
Beginning in measure 12 and continuing through measure 18, the euphonium part is not
doubled. The rhythmic and melodic contributions of the euphonium part in this excerpt
are significant and the tessitura and stylistic demands challenge the player. The
altemation of the brass choir with woodwind choir in a complex rhythmic stmcture is
uncommon in traditional wind band scoring (see Example 6.2). Immediately following
this statement of the thematic material, the seven measure theme is repeated with the
woodwinds doubling the brass parts.
57
Movement I
Allegro moderaio
Tp 3. hn 2, ibns. I
© 1986 Ariel Music

Used by permission
The next entrance of the euphonium begins in measure 27. In this instance, the
melody is scored in the first clarinet with a complimentary harmonic and rhythmic part
scored in the oboes, low clarinets, homs, euphonium, and tambourine. This is a
nontraditional mixture of timbres in the wind band setting. The use of hom with a
woodwind ensemble is a typical woodwind quintet instmmentation, but given the low
clarinets and euphonium with tambourine, the lower register of this sound might be
louder than the typical woodwind quintet. The role of the euphonium in this excerpt
might be considered that of a third hom. hi fact, the homs and euphonium parts are
doubled in all of the woodwinds during these four measures, so it would seem that
Woolfenden is using these instmments to enhance the volume of the harmonic and
rhythmic accompaniment (see Example 6.3).
58
© 1986 Ariel Music

Used by permission
The next entrance scored for the euphonium begins in measure 41 and is doubled
one octave higher in the oboes. Each of the pitches scored in the euphonium part is
doubled elsewhere, but the combination of pitch, rhythm, duration, and articulation
marking is only tmly doubled in the oboes at the octave. The bass clarinet, bassoon, and
tenor saxophone are scored in the same tessitura; however, their parts are different from
the euphonium part. The only other brass scored for these four measures are muted
tmmpets; therefore, the timbre of the euphonium is very important. The range and
articulations of the euphonium part also technically challenge the performer (see
Example 6.4).
59
Allegro moderaio
cls. a/b cl. bsn.

a/isx
tnp dolce
© 1986 Ariel Music

Used by permission
The only instmment scored with sixteenth notes in measure 45 is the euphonium.
The next three measures, measures 45-47, encompass the sixth measure of the melodic
phrase, with the 6/8 measure in the middle. All of the winds are scored to perform at this
moment and each part is doubled by other instruments. An important part is the two
sixteenth note pick-up notes scored only in the euphonium part in measure 45 leading
into measure 46. All of the other winds are indicated with a staccato eighth note,
indicating a small separation, which assists the euphoniumist in projecting this sixteenth
note pick-up rhythm. Additionally, Woolfenden has indicated a crescendo during these
two notes (see Example 6.5).
60
allegro moderaio Movement I
ns, a sx,
tps 1/2. hns 1/3/4
© 1986 Ariel Music

Used by permission
For the next six measures, contrapuntal exchange is scored among the tmmpets,
euphonium, and tuba. In this instance, Woolfenden appears to have used the tuba family
as one voice and the tmmpets as another. Through this section, the bass part is split
between the euphonium and tuba, and each contributes to the overall rhythmic integrity
of the work. While the technical challenges for these six measures are not difficult, the
contiibution of each part to the rhythmic stability of the passage between the tmmpets
and tuba family is important (see Example 6.6).
61
allegro moderato
© 1986 Ariel Music

Used by permission
Beginning in measure 62, the euphonium is scored with a melodic idea that is
handed off one measure later to the tuba player, and is then retumed to the euphonium
player in measure 67. It is noteworthy to recognize that this passage is cued as one part
in the baritone saxophone with the indication "Tuba" and "solo." It might be inferred
from this marking that Woolfenden considered the euphonium to be a member of the tuba
family and scored this solo part to allow for one continuous passage without
consideration of pauses for breathing. Example 6.7 shows the beginning of this excerpt.
62
Obs, cls. b cl,

bsn, hns, lbs
© 1986 Ariel Music

Used by permission
In measure 86, Woolfenden scores a low brass choir with the melodic material.
Three measures later, he adds homs for countermelody and some low woodwinds to
augment the tuba part. The euphonium part is scored as the tenor voice in the opening
trio and complements the tuba and trombone parts. The rhythms and articulations of the
euphonium part are doubled in other parts; however, most of the pitches are not. While
the part is not technically challenging, the performance of a non-doubled part is important
to the texture (see Example 6.8).

•^ ^ Woolfenden
Movement t
Allegro moderato
poco /
© 1986 Ariel Music

Used by permission
63
Beginning in measure 101, the fifth variation of the theme is stated in the flutes
and oboes. Three measures after their initial statement, the euphonium enters with an
accompaniment figure that is initially doubled by the bass clarinet. The subsequent
pitches and rhythms can be found in other parts; however, the euphonium part is not tmly
doubled by another single instmment for the next two measures. The combinations of
instmments used to double the pitches in the euphonium part are fascinating. The first
three notes of measure 103 in the euphonium part are doubled by the bass clarinet, and
two octaves higher in the first flute. The A-flat on count two is doubled by the bass
clarinet and second alto saxophone, one octave lower in the second bassoon, and one
octave higher in the first hom and second oboe. On the next eighth note pulse, the
doubling of the euphonium A occurs in the first bassoon, second alto saxophone, and
third hom. This type of timbral combination continues for the next several measures and
is not typical in traditional wind band scoring. The melodic challenges of the euphonium
part during this section are interesting and provide some technical considerations for the
performer, specifically the articulation and rhythm challenges (see Example 6.9).
64
Example 6.9. Illyrian Dances, Mwt, l,mm. 103-107.
Movement I
Allegro moderate
© 1986 Ariel Music

Used by permission
The last six measures of the first movement (measures 133-138) provide the
euphonium player with another technically challenging and important part. Doubled by
the bass clarinet and bassoons, the euphonium is scored to perform a sixteenth note mn
that rhythmically confrasts with the remaining winds. Possibly to ensure that the rhythm
is heard, Woolfenden has scored the four sixteenth notes in the snare dmm part. The
euphonium part must move through the interval of an octave and a minor sixth in a very
brief period of time which requires flexibility on behalf of the performer. While this part
is doubled elsewhere, it provides a significant challenge to the performer (see Example
6.10).
65
Example 6.10. Illyrian Dances, Mvt. l,mm. 133-138.
T/B sx, Ibn 3, lu
© 1986 Ariel Music

Used by permission
The second movement entitled, Aubade, is described by the composer as "A
genfle dance in ternary form featuring the flutes, with a hint of the dawn choms at the
close.""*^ In contrast to the first movement, Woolfenden begins the second movement
with a slower tempo and a lighter texture. The first entrance of the euphonium occurs 18
measures into the movement and is scored with an important melodic line that is doubled
in part or whole by the tuba and baritone and tenor saxophones. The part requires the
euphoniumist to demonsfrate flexibility over a range of an octave within the rhythmic
space of three counts. Additionally, the complexity of the articulation pattem (slur three,
slur two, tongue two) combined with the rhythmic complexity (duple versus triple),
balance, blend, and intonation issues with the doubled instmments, make this one
measure excerpt a substantial challenge to the performer (see Example 6.11).
"* Guy Woolfenden, Illyrian Dances (Ariel Music, 1986), note to the conductor.
66
© 1986 Ariel Music

Used by permission
The next entrance of the euphonium in the second movement is near the end of
the B section of the temary (ABA) form. The meter indication in measure 41 is 3/4, but
the rhythms in the winds are beamed as if written in 6/8, while the tom-tom continues a
simple quarter note pulse. A three-part texture exists with the first part in the upper
tessitura with tmmpets, the second part in the lower tessitura with tuba and bass clarinet,
and the third part in the percussion with tom-tom. As the transition evolves, the trio is
retained but with more forces added. The euphonium part is traditionally scored to
augment the bass clarinet and tuba parts. The unusual pitch choices of F-flat and C-flat,
the compound meter ideas of 3/4 to 6/8, and the articulation and dynamic considerations
make this a challenging three measure excerpt for the euphoniumist (see Example 6.12).
The remainder of the second movement is repeated material with the return of the A
section completing the temary form.
67
tempo TKmico
© 1986 Ariel Music

Used by permission
"A rondo in 6/8 time, with the recurring theme also used in counterpoint to the
many subsidiary themes," is the opening comment Woolfenden writes for the third
movement entitled, Gigue!^^ For the first two measures, the snare dmm introduces the
rhythmic motive which will be the basis of the melodic material for this movement (see
Example 6.A).
Example 6. A. Rhythmic motive of third movement oi Illyrian Dances.
t: ^ r r r 'r r r r '
The first entrance of the euphonium in the third movement occurs in measure 6.
Three parts are scored among the winds at this moment in the work. The melodic motive
is scored in the flutes and oboes in measures 7 through 8. A lyrical accompaniment is
scored in the first clarinet, bass clarinet, and euphonium. The remaining clarinets and
percussion are scored with a rhythmic accompaniment. Because of the delicate nature of
this texture, the euphonium player is required to perform with a disceming style taking
*' Ibid., note to the conductor.
68
care not to play so loud that the other parts cannot be heard. The combination of the
timbres of euphonium and bass clarinet is not necessarily a new idea, but using
euphonium outside of the brass family illustrates the instmment's versatility (see
Example 6.13).

o giocoso J,
m ^
"•/
j J J ^J-^-^
© 1986 Ariel Music

Used by permission
In measure 13, the euphonium doubles the tuba one octave higher with a
statement of the melodic motive. Soli is indicated, directing the players to ensure that
their parts complement each other and combine to soimd as one passage performed by
two instmments. This is traditional euphonium scoring and the importance of the part is
very significant as no other instmment is scored to play during this measure. The
melodic motive contains rhythmic and articulation challenges (see Example 6.14).
69
Allegro iôcoso
© 1986 Ariel Music

Used by permission
Beginning in measure 41, Woolfenden indicates "bring out" in the third clarinet,
tenor saxophone, and euphonium parts for the performance of their unison line. The
joining of euphonium, tenor saxophone, and bass clarinet is somewhat traditional;
however, the substitution of clarinet for bass clarinet is not uncommon. In this excerpt,
the euphonium is the only brass used and the low clarinets and bassoons are performing a
different part. Given the instmction "bring out," a reasonable assumption can be made
that this passage should be emphasized. While the technical challenges are not
demanding, the act of performing the melodic material is significant and provides another
opportunity to demonstrate the instmment's ability (see Example 6.15).
70
fî^=q"^ mm g=f=^ i
m^=^^^^=^ ^ ^ #=p=
n Iroppo y^
sf / r r r r If /r r r r if /r r r r ^ — T T — T T '
© 1986 Ariel Music
Used by permission
For the remainder of the movement, the euphonium is scored in similar situations
as the previous examples. Illyrian Dances enables the euphoniumists to demonstrate her
or his abilities as well as to demonstrate the capacity of the instmment to perform
important melodic, harmonic, and rhythmic passages. As shown in the previous
examples, Woolfenden has composed a euphonium part which challenges the performer
and demonstrates an understanding of the flexibility of the instmment to ftmction in a
variety of contexts.
71
CHAPTER VII
IN THE SPRING A T THE TIME WHEN KINGS
GO OFF TO WAR (1986) - DAVID HOLSINGER
Commissioned by the chapters of Kappa Kappa Psi and Tau Beta Sigma at
Stephen F. Austin State University, David Holsinger (b. 1945) eamed the 1986 American
Bandmasters Association/Ostwald Composition award for his wind band composition, In
the Spring at the Time When Kings Go Off to War. This programmatic work is based on
the text from Chronicles 20:1-3 (NIV translation) which is a description of the assauk on
the Ammonites by King David's army and of the king's retum to Jemsalem.
Holsinger is currently a member of the faculty at Lee University in Tennessee and
serves as the Director of Bands. Holsinger's many awards include the Doctor of Humane
Letters for lifetime achievement in composition from Gustavus Adolphus College. He
has received the American Bandmasters Assocation/Ostwald Composition Award twice,
the first time for his 1982 composition. Armies of the Omnipresent Otserf. Other notable
works for wind band include On a Hymnsong of Philip Bliss (1989), To Tame the
Perilous Skies (1991), and Consider the Uncommon Man (1992). Holsinger indicates he
played baritone through his public school education experiences.
In the Spring at the Time When Kings Go Off to War contains numerous metrical
changes and calls for a variety of non-standard performance techniques including
vocalizations by the ensemble, flutter tongueing, glass tumbler on piano strings, random
rhythmic events, and random pattem repetitions, just to name a few. Each of these
72
effects IS designed to instill in the audience a particular scene or character or event from
the text. The euphonium player participates in most of these activities.
The first entrance of the euphonium is in measure 2 as part of a unison low brass
texture. Although the use of trombones, euphonium, and tuba as one voice is a traditional
wind band scoring practice, it is noteworthy that Holsinger chooses the low brass for the
first statement of the melodic material. No serious technical challenges are involved in
playing this measure; the euphonium's contribution to the texture is merely one of
volume augmentation (see Example 7.1). This type of scoring continues through the
introduction of the work.
Example 7.1. In the Spring..., mm. 2-3.

In the Spring... Example 1
Holsinger
J = /7B
P c ns. d s . a. ss.
cots. tpLs. hns
Bs cl, bsn. l/b sx
pno, timp
© 1988 Southem Music

Beginning in measure 20, the woodwinds, piano, and mallets are scored to
perform a repeated pattem ad lib. The euphonium enters in measure 21 in support of the
men's voices vocalizing "a-e-i-o-u" in a non-metric repeated pattem. The use of the
euphonium in the support of vocal parts is not uncommon, but it does challenge the
performer with a different blending requirement. Should the player be required to sustain
73
this pitch for the duration indicated (36 counts), the skill of circular breathing^^ would be
required; however, Holsinger offers help by indicating "Breathe and re-attack when
necessary," (see Example 7.2).
Example 7.2. In the Spring..., m. 21.

Holsinger
a.*-i-o-u fortissimo attacks on sustained pitch/ad lib

ff order of vowd sounds in repetition
Keep intensity and dvnamic constant throut^hout
(breathe and rcattack when necessary)

This material continues to be developed until a unison silence occurs in measure
31. This is immediately followed in the next measure by a full wind statement of a
"* Circular breathing is a technique whereby the performer fills her or his cheeks with air and
expels the air from the cheeks, while simultaneously cutting off the mouth from the wind passage and
breathing in through the nose. This is an advanced performing technique.
74
chorale. The euphonium is traditionally scored in the bass range of this texture one
octave above the tuba (see Example 7.3).

In the Spring... Example 3 Holsinger

Functioning as a transition to a faster section, the melodic material in measure 43
is scored in the soprano voices and performed by the piccolo, flutes, oboes, tmmpets, and
bells. This is doubled in the tenor voices by the tenor saxophone and euphonium. The
use of euphonium one octave lower than the tiiimpet is a traditional brass band scoring
practice. The choice of tenor saxophone with these woodwinds is somewhat uncommon;
the bass clarinet or bassoon or both would normally be scored to fill this role. The
mixture of duple and triple rhythms in measure 43 requires advanced skill from the
performers (see Example 7.4).
75
Example 7.4. In the Spring,.., mm. 43-44.
Pc.fls.ob,
IpLs \ri. bells

Between measures 60 and 76, Holsinger has scored for 17 meter changes. While
the euphonium player does not play during all of these measures, the ability to
successfully navigate through these changes and play when directed requires a high
degree of proficiency, hi measure 76, Holsinger scores the winds to augment a rhythmic
figure in the trombones. This is interesting scoring because the trombones are rarely
featured in traditional wind band scoring as an independent section, ft is typical for the
trombone part to be doubled in some part by the euphonium player, but in this case
Holsinger scores the euphonium separate from the trombones and one octave above the
tuba (see Example 7.5).
76
Example 7.5. In the Spring..., m. 76.
In the Spring... Example 5 Holsgincr

Begiiming in measure 95, a unison rhythmic passage is scored in the winds and is
immediately followed with a switching of roles between the euphonium and third
trombone. This passage enables the euphonium player to demonstrate the flexibility of
the instmment by scoring the melodic material in the euphonium part immediately after
playing the unison rhythmic figure. This is doubled in the tenor voices of the wind band
by the saxophones and homs. The intervallic skip in the euphonium part from the end of
measure 97 to the beginning of 98 is very difficuh to perform smoothly. Furthermore,
during the six measures between measures 98 and 103 six meter changes occur that
require advanced musical skills if the measures are to be counted correctly. The
euphonium part has additional range and articulation difficuhies. This is a difficult
passage to perform property and should challenge the euphoniumist (see Example 7.6).
77
Holsinger
J. 176-18-4
) cl, bsn, b s.\,

tbns. lu

This rhythmic activity continues until measure 114. Beginning in measure 114,
Holsinger scores the timpani with an ostinato eighth-note pattem for two measures. The
euphoniums and second and third trombones enter two measures later (m. 116) with an
augmented treatment of the theme. This is unusual because the part is only for these
three instmments and does not use the first trombone or any other low wind instmments.
While the part is not technically challenging, it is important as the melody is in this
excerpt (see Example 7.7). The first trombone along with the third and fourth homs enter
eight measures after the euphonium and they double the euphonium and trombone part an
octave higher.
78
Timpani
© 1988 Southern Music

A repeated ground bass pattem begins in 144. One measure later, Holsinger
introduces a war-like theme in the bass/baritone voices of the wind band. Scored in the
tenor and baritone saxophones, first trombone, and euphonium, the theme is indicated
with a loud dynamic and aggressive articulation markings. Given the texture, the
euphonium timbre will unlikely be heard; however, supplementing the volume of the
melody for the appropriate style of this passage is important (see Example 7.8).

Inthe Spring... Example 8
B cl,bsn,lu,
pno, timp, Im-tm

79
An unusual event occurs in measure 161. The articulated timbre of the
combination of clarinets, low clarinets, bassoon, saxophones, tmmpets, homs, trombones,
euphonium, tuba, timpani, and chimes is followed by a unison sustained E in the second
and third clarinets, first and second homs, euphonium, tuba, and chimes. This creates an
articulation with one timbre and a sustained pitch of a different timbre, similar to the
residual tone technique used by Stravinsky in his Octet for Wind Instruments (1923 rev.
1952). The combination of instmments sustaining the unison L i s a non-traditional
mixture of timbres in the wind band. This is also the point where Holsinger changes the
war-like feel to a calmer texture. Two measures later, the pitch changes to an F and is
joined by the bass clarinet and bassoons. The euphonium part is not technically difficult,
but significant in this light texture (see Example 7.9).

Holsinger
0-184
slap sik
cowbell /'"»P

"" Stravinsky is the first composer to make use of the residual tone technique in a work for winds.
80
In the beginning of measure 177, the euphonium is traditionally scored with the
winds in a unison rhythmic figure. At the end of the measure, the euphonium joins the
homs and saxophones with the beginning of the melodic material, but by the end of the
next measure the euphonium has retumed to the winds texture (see Example 7.10). In
this two-measure excerpt, the euphoniumist is able to demonsfrate the instmment's
flexibility to move from one texture to another without requiring the performer to make
any significant adjustments.

Holsinger

Beginning in measure 192, Holsinger directs the members of the ensemble to sing
"short staccato indeterminate pitches (Low to High) with syllabic change [from mu to
mee] at individual mid-range, ad. lib." A sustained subtle woodwind drone is pitched in
E. The euphonium and marimba intermpt this activity with a percussive sixteenth note
81
figure. The combination of euphonium and marimba is unusual in wind band scoring.
This rhythmic figure does not pose a technical challenge and enables the performer to
demonstrate her or his virtuoso performance ability (see Example 7.11).

^=tH4
Sinri suctaio inddcinunaic pilches

|i)2 wiihs\'ltjbi<:changeatindni<luc]lnud.rangc,K] lit 193
X'oices
mu—> mee—>
Cls. vibes
f1 • '
P
cl, bsn, b sx
o
+ marimba ^
EU
^v..r r r _r %^ , •

Seven measures later, Holsinger scores a series of sixteenth notes that unusually
covers a variety of timbres. Because of the rhythmic stmctures in each part, the overall
timbre changes on every sixteenth note during this measure, similar to Schoenberg's
"klangfarbemnelodie" technique.^" This makes each part's contribution significant to the
texttire. The euphonium player has a part that is different from all of the others and
although the part is not technically challenging, the opportunity to perform an
independent part in this rhythmic activity is significant (see Example 7.12). Holsinger
continues to use this alternating timbre as the rhythmic undercurrent through the
remainder of this section of the work.
'" See "klangfarbemnelodie," footnote 42, Chapter V, Example 5.13.
82

Holsinger
B cl,bsn,
b sx, R], pno

Holsinger scores all of the winds to perform a complex rhythmic passage in
measure 227. One measure before measure 227, the clarinets, bassoons, piano,
xylophone, and piano are joined by the tmmpets and euphonium in a triplet figure that is
contrary to all of the other wind parts. As in traditional brass band scoring, the
euphonium is one octave below the tmmpet; however, the use of tmmpet and euphonium
in conjunction with woodwinds while there are different brass and woodwind parts
scored is uncommon. These two measures technically challenge the euphoniumist with
ahemating articulations, complex rhythmic figurations, and range issues (see Example
7.13).
83

In measure 251, Holsinger uses a brass choir to perform a rhythmically intricate
part while the clarinets, with staggered entrances, are creating a sustained cluster sound.
The only part doubling the euphonium is the second hom, which is not unusual; that the
part is not doubled elsewhere in this polytonal sonority is unusual. Furthermore, the
euphonium part is substantially higher than the first trombone and does not double the
tuba at the octave. Given the tessitura and rhythmic complexity of these four measures,
and the subsequent measures in similar style, the euphoniumist must possess advanced
performing skills if the part is to be property performed (see Example 7.14).
84

Holsinger
Cors, Ipis,
Hns 3/4, Ibns,

tu, dmp

In measure 268, voices are directed to "freely altemate improvisations on E-flat
major scale with raised 4"" degree (no 6"" degree)," while the timpani begins a steady
quarter note pulse that is complemented by a repeated sixteenth note ostinato figure in the
euphonium. This significant euphonium role has some technical challenges with
articulations, but the volume and tessitura are well within most performers' abilities (see
Example 7.15).
85
Example 7.15. In the Spring.,., m. 268.
All groups (individuals) freely alternate inipmvisalions on E-flat major scale with raised 4lli degree (no 6th degree)
Timpani t^

The work ends on an E-flat major chord with all winds and percussion
participating. From measure 268 to the end, the euphonium player repeats many of the
motives already mentioned and in similar scoring fashion. Holsinger has written a
euphonium part that is technically challenging and allows the performer to demonstrate
the instmment's ability to function in a variety of timbre combinations. Opportunities
exist to exhibit the flexibility of the instmment to move in and out of melodic and
harmonic roles without any unusual effort on behalf of the euphoniumist.
86
CHAPTER VIII
PIECE OF MIND (1987) - DANA WILSON
Composed in 1987, Piece of Mind by Dana Wilson (b. 1946) eamed the composer
the 1987 Sudler Intemational Wind Band Composition Prize and the 1988 American
Bandmasters Association Ostwald Prize, hi addition to his numerous compositions for
wind bands, Wilson is co-author of Contemporary Choral Arranging. Wilson holds the
B.A. from Bowdin College, the M.A. from the University of Connecticut, and the Ph.D.
from the Eastman School of Music. He continues to receive grants and commissions
from ensembles throughout the world.
The title, Piece of Mind, is a witticism reflected in a work of four movements:
Thinking, Remembering, Feeling, and Being. As the titles suggest, these are Wilson's
aural impressions of mental activities. Owing to Wilson's jazz piano training, the work
contains complex rhythmic stmctures and stylistic considerations with markings of
"Dixieland," "Swing," and "Samba."
The first movement is in three part song form, ABA, and is constmcted arotmd a
four-note cell using the pitches C, A, B and E. The opening 36 measures are pointillistic
in nature with intricate sixteenth note rhythmic activity in the woodwinds, tmmpets,
homs, and percussion. The first entrance of the euphoniums (there are two parts) is in
measure 37 and is joined by all of the brass and some woodwinds. While the pitches are
doubled at the octave in other parts, the density of the texture reflects the importance of
the harmonic contribution of the two euphonium parts in the polytonal stmcture (see
Example 8.1).
87
Example 8.1. Piece of Mind, Mvt. 1, mm. 37-38.
Piece of Mind Example 1

1 Thinking
©1988 Ludwig Music

Beginning in measure 66 and continuing through measure 69, the euphoniums are
doubled by the tubas an octave lower. Three measures prior to this euphonium entrance,
staggered entrances occur in the homs, oboe, and English hom, with an opening interval
of a sixth. This interval of a sixth will become the opening motive for the third
movement. Because the euphonium and tuba parts are not doubled anywhere, and since
they serve a melodic ftmction, these instruments are essential in the constmction of the
canon-like form at this point in the movement. The tuba part is marked mezzo piano
while the euphonium part is somewhat louder at mezzo forte. This orchestration is quite
typical, doubling the euphonium at the octave with the tuba. Given the importance of the
motive during these measures, the euphonium part is significant (see Example 8.2).
88
I Thinking
©1988 Ludwig Music

From measures 69 through 80, staggered entrances begin in the first tmmpet part,
descend through the brass, and end with the two euphonium parts. The parts enter
successively at a rhythmic distance of one eighth note with an important melodic motive.
Each entrance provides a new pitch for the harmonic cluster-chord. The euphonium part
not only contributes a significant rhythmic entrance but also serves an important
harmonic fiinction (see Example 8.3).
89

I. Thinking
TpCl
Tpc2
Tpl)
©1988 Ludwig Music

Beginning in measure 83 and continuing through the end of the movement,
Wilson ahemates the use of the euphonium between the traditional tuba octave doubling
on the upbeat of count two and a trombone choir scoring on the upbeat of count four.
While neither of these entrances is melodically important, the parts provide a rhythmic
challenge and contribute to the rhythmic drive of the piece at this point (see Example
8.4).
90

1. Thinking
©1988 Ludwig Music

From Dana Wilson:
Remembering, the second movement, is stmctured in a manner similar to

the way memory serves most of us - not as complete, logical thought, but
as abmpt flashes of images or dialogue. In this case, the flashes provide a
view of the original four-note idea through various musical styles
entrenched in the composer's own memory and hopefully that of much of
51
the audience.
The first entrance of the euphoniums in the second movement is in measure 36,
and they are scored as the fifth and sixth parts of a hom choir. The timbre and rhythmic
contributions of the euphonium part are not significant; however, the harmonic
contribution to the polychordal stmcture in the form of the foundation of this tonality is
^' Dana Wilson, Piece of Mind, (Cleveland, Ohio: Ludwig Music, 1988), note to the conductor.
91
relevant. Given the timbre of the hom choir and the crescendo marking, the euphonium
part is important and challenges the performer to provide the harmonic support necessary
for the compositional effect (see Example 8.5).

n. Remembering
9'60 Willi dreiim-like stasis
Pc, lis, obs,

cls, bsn
©1988 Ludwig Music

A contrasting section begins in measure 44. The piano part is marked, "'Stride
piano' solo, but as if from the next room." Stride is a style of jazz piano performance
from the 1920s which modifies the "two-beat ('oom-pah') style of ragtime, the left hand
flows between bass note and chord in swing rhythms."" The euphoniums, trombones,
and tubas enter in measure 46. The cluster chord is created with successive entrances at a
rhythmic distance of two eighth notes among the low brass parts. As two members of a
sextet, the divisi euphoniums not only contribute to the rhythm but also contribute to the
harmonic integrity of the chord cluster. The final pitches in this measure are sustained
through the next three measures. The high brass join the low brass in measure 47 with a
" Don Randel, ed., "Stride," in The New Harvard Dictionarv of Music. 1986, p. 808.
92
rhythmic constmct similar to the low brass in measure 46, yet with different pitches,
thereby compounding the chord cluster effect (see Example 8.6).

II, Remembering
©1988 Ludwig Music

The final contribution of the euphonium part in the second movement occurs in
measures 60-63 with a retum of the "stride piano" idea which most likely reflects the
composer's intent to provide "flashes" from memory. In this instance, the entire chord
cluster created in measures 46 and 47 retums with a very sustained, soft sound and
without all of the rhythmic activity.
In a highly complex rhythmic environment, the euphoniums, one octave above the
trombones, enter in the third movement in measure 29 with a new statement of the four-
93
note motive. As this part consists of never-before-heard timbres in this movement, the
entrance is significant, as is the melodic material being performed. While the use of
trombone and euphonium as a unison voice is a traditional scoring practice, the scoring of
the euphonium one octave above the trombones is not. The lyrical contour of the melody
is consistent with solo writing for the tenor voice as well as solo writing for the
euphonium. The new treatment of the four-note motive is important in the context of the
movement and provides a contrast to the previous stated material (see Example 8.7).

*-66 Qi>uiei, but persistent
III. Feeling
Fls. obs, bsns, pn
C bsn, lu. d bs, pn
©1988 Ludwig Music

In the second section of the third movement, marked "With anger," the
euphoniums join the trombones, homs, and tmmpets in another cluster chord. The
trombones are muted and the homs have been designated with the instmction, "brassy."
Since the rhythmic entrance and pitch of the euphoniums are not doubled by any other
instmment, the part is very important (see Example 8.8).
94

HI. Feeling
Tpts
©1988 Ludwig Music

Immediately following measure 40, the composer has written for a whole new
effect. One critic has called this rhythmic ostinato a "heartbeat."^^ Scored in the conical
brass with timpani, the euphoniums are scored between the two tuba parts, forming a C-
sharp minor second inversion tiiad. When joined with the homs, the resufting
polychordal harmony enhances the timbre of the conical brass sound. The scoring of
euphoniiun with tuba is a traditional wind band practice and the separate scoring of
conical brass is a traditional brass band practice (see Example 8.9).
" Richard Miles, et al.. Teaching Music Through Performance in Band. Vol. 1 (Chicago: GIA
Publications, Inc., 1996), p. 447.
95
Example 8.9. Piece of Mind, Mvt. 3, m. 41.
III Feeling
Tu, timp
©1988 Ludwig Music

The second section of this movement ends with a polychordal rhythmic figure that
is doubled throughout all of the parts in the wind band. In this fashion, the euphonium
contributes to the overall volume but does not significantly contribute either to the
harmony or timbre.
Since the beginning of the third movement, the second aho saxophone part has
been scored to be performed on soprano saxophone. The third section of this movement
begins with a delicate solo in the soprano saxophone part and is harmonically supported
by muted euphonium and bassoon and accompanied by rhythmic interjections in the
piano and celeste. The muted euphonium timbre has often been considered quite similar
to bassoon; composing in this manner for these two instmments might show a unique
understanding on behalf of the composer. The technical challenges of the euphonium
part through this eight-measure section are not difficuh, and given that only five parts
have been scored to be performed, the euphonium significantly contributes to the texture
in this passage. The subsequent harmony between the bassoons and euphoniums reflects
96
the four-note idea that has been consistently used throughout the work (see Example
8.10).

111, Feeling
©1988 Ludwig Music

The fourth movement. Being, begins with a rhythmic ostinato in the keyboard
instmments. A plaintive clarinet solo enters in measure six and continues until the
euphoniums enter in measure 19. At this point, the English hom takes up the melody
with harmonic support provided by the euphoniums and homs. The third and fourth
homs double the euphonium D and G pedal points. The euphonium parts serve to
support and augment the lower range hom parts which may be a challenge for the hom
performers. Overall, the part is not technically challenging, but the importance of
sustaining the pedal points through this section is noteworthy (see Example 8.11).
97

IV, Being
J = too Floating, but in strict lime
©1988 Ludwig Music

In measure 41, a rhythmic ostinato is scored in the muted trombones which is
immediately joined by a three-part contrapuntal texture in the upper woodwinds.
Beginning in measure 59, the euphonium and baritone saxophone complement the muted
trombones by performing one-note interjections during the periods of rest in the ostinato
pattem. While the addition of these interjections is not unusual, the timbre of mixing
euphonium and baritone saxophone is. Given the tessitura of the euphonium and the
timbre of the baritone saxophone, as well as the style markings of accent and staccato, the
resultant sound will have a dark brassy quality that might sound quite similar to a muted
bass trombone. The rhythmic aspect of this part is significant as it provides a confrast to
the ostinato figure (see Example 8.12).
98
©1988 Ludwig Music

As this section continues to build, the low brass retum to the D and G pedal points
while the upper woodwinds continue with their rhythmic activity. The pedal points take
a more active rhythmic character beginning in measure 90. In measure 94, the first
euphonium part is doubled in the third trombone. The melodic motive is important in
that it complements the melodic figures in the upper woodwinds, and it is scored for only
these two instmments. The second euphonium continues the sustained pedal idea in
parallel motion above the tuba. Between measures 92 and 96, Wilson uses fraditional
low brass scoring with trombones, euphoniums, and tubas. The homs are scored with
different material and provide an important countermelody to the woodwinds and
contrast to the low brass (see Example 8.13).
99
IV. Being
©1988 Ludwig Music

As the texture thickens toward the end of the second section of this movement,
the euphonium part divides and each player takes on a different function. In measure
101, the first euphonium fills in an important pitch in the polychordal harmony played in
the trombones, homs, bassoons, and clarinets. While the A-flat written in the euphonium
part is doubled in the third hom part, the euphonium's function in the lower tessitura with
the trombones and bassoons is very important. The second euphonium is in unison with
the tuba and contrabassoon. A traditional scoring would also include the baritone
saxophone - Wilson elected not to include the baritone saxophone in this measure, but he
does join these instmments in the next measure. This lower part is very important as it is
the most rhythmically and melodically active part in the texture. Significanfly noted is
the simultaneous treatment of the euphoniums in this measure (see Example 8.14).
100
Example 8.14. Piece of Mind, Mvt. 4, m. 101.

IV Being
Pc, ns,e.fcl
Obs, tpt I
Cls. bsn 2,
hns, Ibn 3
©1988 Ludwig Music

From measure 101 until the end, measure 177, the euphonium part is doubled by
the trombones. The composer retums to the rhythmic cluster-chord "heartbeat" effect
and creates a moment of seven measures where the part is melodically active yet is not
freated any differently than the previously provided examples. Wilson has composed a
euphonium part that effectively demonstrates his knowledge of the ability of the
instmment and provides numerous opportunities for the euphoniumist to demonstrate her
or his technique. Some uncommon timbre combinations exist that feature the euphonium
in different wind band settings.
101
CHAPTER IX
FANTASY VARIATIONS ON A THEME BY
NICCOLO PAGANINI(1988) - JAMES BARNES
James Bames (b. 1949) is a member of the faculty at the University of Kansas
where he teaches composition and theory and serves as the associate director of bands.
He has twice won the American Bandmasters Association Ostwald Award for his works
Symphony, Opus 35 (1978) and Visions Macabre (1981). He has received numerous
ASCAP awards and continues to receive commissions from prominent music
organizations.
Fantasy Variations on a Theme by Niccolo Paganini was composed in 1988 for
the United States Marine Corps Band and is designed in twenty variations to feature each
section of a large concert band. Bames has indicated a traditional complement of
instmments for the scoring of this work. Scoring for tmmpets and comets separately is
not uncommon, although in some of the following examples his choice of conical comet
versus cylindrical tmmpet may have bearing on considerations for timbre.
Fantasy Variations on a Theme by Niccolo Paganini opens with a six-measure
fanfare-type introduction scored for full ensemble. Beginning in measure 7, the bassoons
and homs have a 16-measure bridge before the familiar Paganini theme is stated in the
woodwinds. After the initial statement of the theme, the first variation begins with the
melody scored in the upper woodwinds, 1st comet, and euphonium (note the conical
brass instmment choices). Although the melody is being performed by many
instmments, this is an advantageous opportunity for the euphonium player to demonstrate
102
the range and flexibility of the instiiiment. In this fraditional manner, the euphonium is
scored one octave below the first comet, and the part requires advanced performance
skills to accommodate the range and rapid sixteenth note activity (see Example 9.1).
Example 9.1. Fantasy Variations..., mm. 47-58.
Fantasy Variations... Example 1

Barnes
I ^^'"' ' I Allegro nsolulo

Variations two through four provide opportunities in a variety of settings for other
sections of the wind-band to demonstrate their unique timbres. In variation five, which
features the tuba choir, the euphonium plays a very haunting obbligato over the melody
presented in the tubas. The euphonium parts split in measure 140, and the full tuba
103
quartet continues with this variation. The euphonium part is not technically challenging,
but the musical demands in terms of harmonic tuning and chamber music-making are
quite substantial and do require advanced musical skills (see Example 9.2).
Euphonium I
Euphonium 2
Euph I
Euph 2

Variation 14 begins with the cylindrical brass, tmmpets and frombones, in a
fanfare-type opening that is immediately answered with a rapid thematic sequence in the
woodwinds, xylophone, and euphonium. One unusual concept in this passage is that the
euphonium is the only brass instmment included in this sequence. In measure 338, the
homs join the woodwinds and euphonium which seems to be a more typical scoring of an
expanded woodwind quintet. Five measures after the beginning of this variation, the
104
euphonium doubles the first tmmpet one octave lower and are the only two instmments
playing the melodic variation. This is an excellent demonstration of the euphonium's
ability to double the woodwinds for three measures in a woodwind quintet scoring and
then an octave lower to double the melody in the tmmpet in a traditional brass band
scoring. Three aspects of this melody make it technically challenging: (1) the amount of
volume needed for the instmment to be heard in this thick texture is quite exhausting; (2)
the tessitura is high; and (3) the rapid changes in articulation require advanced technique
on the part of the player (see Example 9.3).
105

106
For most of variation 15, a quintet featuring bassoon, alto saxophone, hom,
euphonium, and double bass is used. This is an unusual texture which features the voices
of the wind band that frequently cross between the alto and tenor range. The inclusion in
this texture combined with a soloistic line allows the euphonium player to demonstrate
the capability of the instmment. Performing the grace notes delicately is not only
technically demanding but is necessary for the correct style to be achieved. Another
demanding passage occurs in measure 363 in which the euphonium player is scored to
enter on a high A-flat after playing a D, a tritone lower. The infrequent use of the tritone
interval in a melodic line creates another challenging aspect of this passage (see Example
9.4).
107

I Var XV I
Adagio, un poco pju ntouo

108
Variation 16 provides meter challenges as well as infrequently used wind-band
timbres. After a two measure transition, the English hom is introduced as the solo
instmment; a hom countermelody and the low voices provide harmonic support. Seven
measures into this variation, the hom and English hom are joined by the euphonium.
Although the euphonium part is not technically challenging, the thin texture and non-
doubled line enable the performer to display the lyrical ability of the instmment. Bames
adds an alto saxophone countermelody to the texture two measures after the euphonium
entrance (see Example 9.5).

Bames
Adagio, ma non troppo

:i94^^,--—— g, J 395 397
^^ ^^
E hn
cresc 3
3 3 J 3

Finally, variations 19 and 20 provide some of the most stimulating parts for the
euphonium. For most of variation 19, the euphonium is scored in a traditional manner
109
with the trombones and tuba in a fanfare-like ostinato, recalling the opening of the
composition (see Example 9.6).

Allegro itiocoso

Halfway through variation 19 in measure 488, Bames uses the euphonium to
double the clarinet and alto saxophone countermelody in a very lyrical fashion. This
passage allows for the demonstration of the euphonium's flexibihty as the player must
first perform with a brass flotuish and follow immediately with a more flowing
woodwind melody (see Example 9.7).
110
Allegro giocoso

In variation 20, Bames retums with the entire wind band concurrently performing
selections from the previous variations. Beginning in measure 525, the flutes and first
tmmpet are scored with the original melody. The clarinets and saxophones perform a
sixteenth note obbligato variation of the melody, and the homs and euphoniums are given
a countermelody. As the melody has now been presented in twenty variations, the
countermelody takes an even more important role as a new variant (see Example 9.8).
Ill

Allegro nsolulo
Pen l , l p l
Bsn2,bd, *}• j{ ||,

The work concludes with a flurry of sixteenth notes in the woodwinds, xylophone,
and euphoniiun. With the euphonium player being the only brass instmment scored with
the sixteenth notes with the woodwinds, the part seems to have some significance. The
part is technically difficuh due to the rapidity of the notes and to the rhythmic and
articulation markings. While the pitches of the euphonium part do not contribute to the
texture of the melody, as they are scored elsewhere and at various octaves, the timbre of
the only brass instmment (euphonium) scored with the woodwinds significantly
contributes to the texture (see Example 9.9).
112
Example 9.9. Fantasy Variations..., m. 540-543.

Bames provides the euphonium player with a variety of opportunities to
demonstrate the instmment's flexibility. Both Roger Behrend and John Mueller
comment that Mr. Bames has written some good euphonium parts for his band
compositions.^'* For this work, the euphonium part contains many technical challenges
that require advanced musical skill in order to be properly performed. Numerous solo
and ensemble opportunities are not doubled which allow the euphonium player to
showcase the instmment and personal performing style.
'•* Roger Behrend, interview with the artist, 12/20/00. John Mueller, interview with the artist.
12/22/00.
113
CHAPTER X
SINFONIA r(1988) - TIMOTHY BROEGE
New Jersey bom composer Timothy Broege (b. 1947) received his Bachelors
degree from Northwestern University in 1969. An avid performer on early keyboard
instmments, Mr. Broege is currently the organist and music director of the First
Presbyterian Church in Belmar, New Jersey. He is the 1994 recipient of the Edwin
Franko Goldman award from the American School Band Directors' Association for his
contribution to the wind band repertoire which includes his Sinfonia series.
Sinfonia V, Symphonia Sucre et Profana, is one of his continuing series of pieces
written for band. This work consists of seven sections: "Prelude," "Rag," "Alia Turca,"
"Chorale," "Rag," "Ragtime alia Turca," and "Chant and Pavanne." This work shows
substantial jazz influence in terms of harmony and rhythm, and movement seven utilizes
original ragtime fragments. The "Chorale" movement makes use of two chorales
harmonized by Samuel Scheldt (1587-1654), HerrJesu Christ, Du hochstes Gut, and O
grosser Gott von Macht. Scheldt is known for being one of the premiere German organ
composers of the 17* century.^^ Although the two chorales used in this work are not
original compositions by Scheldt, Broege, in a contemporary style, does use Scheldt's
harmonization.
The first entrance of the euphonium occurs at measure 6 as the tenor voice of a
hom choir. The scoring of euphonium with homs is not unusual, and the part is not
'^ Scheldt's variations on known chorales were published in large collections and made use of the
Italian practice of writing out individual parts on separate staves.
114
technically challenging; the euphonium contributes as an equal member as one of five
parts in the harmony (see Example 10.1).
Example 10.1. Sinfonia V, mm. 6-8.

Sinfonia V Example 1 Broege
Pc,fls,obs,
© 1990 Manhattan Beach Music

The texture gradually thickens until the end of the "Prelude," when Broege brings
the entire wind band in and doubles all parts except the tmmpets. Beginning in measure
15, the euphonium is traditionally scored an octave higher than the tuba and is scored in
conjimction with many of the low winds (see Example 10.2).
115
Example 10.2. Sinfonia V,m. 15.
Sinfonia V Example 2
L

"Rag" begins with a solo tmmpet supported by a traditional march rhythmic
figure in the homs and tuba. The euphonium is scored alone between these two parts.
The obbligato sixteenth notes of the euphonium part are not difficuh to perform in terms
of pitch or tessitura; however, maintaining a consistent pattem for the extended duration
is challenging. The part is not doubled which adds another level of difficulty to the
performance of this passage (see Example 10.3). This sixteenth note obbligato continues
for the next six measures.
116
Example 10.3. Sinfonia F, mm. 19-20.
Broege
11 Rag (Losiesso tempo) 0-84

«.lo "
Tpll
Euph

"Alia Turca" (measure 46) begins with a setting for brass and woodwinds
ahemating over an active rhythmic percussion figuration. In this brass scoring, Broege
uses the trombones with tuba as one combined voice alternating with tmmpets and
euphonium as a second combined voice which ends in measure 50, all of the voices
coming together in a unison rhythmic figure. The euphonium part melodically reinforces
the fourth tmmpet on the same pitches, but the timbre of the euphonium is sufficiently
different so that it will be heard in this context. The choice of trombones with the tuba
instead of the choice of euphonium is interesting because in traditional brass scoring
practices the conical brass (i.e., comet, hom, euphonium, and tuba) are usually scored
together and are opposite of the cylindrical brass (i.e., tmmpet and trombone). The meter
and rhythms are also technically challenging and provide the player with interesting parts
(see Example 10.4).
117
III Alia Turca (Lo slcsso Tempo) J = iss

Not until the last movement, "Chant and Pavanne," is the euphonium player
scored to perform again, hi measure 102, the band sings the chant using the syllable "ah"
while the euphonium plays the pitches. Although the tessitura of the melodic line is not
difficuh, the use of the euphonium in a texture with voices necessitates that the performer
blend with and support the voices. Of the brass instmments, the euphonium is noted for
its "singing" timbre and would be a good choice to reinforce the pitch stability of the
118
vocal parts (see Example 10.5).^^ Although the performers eventually retum to their
instmments, this type of scoring continues for the next eight measures until the
"Pavanne" is introduced by the tmmpet, hom, trombones, and tambourine in measure
115.
Broege
Euphonm

Broege uses a small number of instmments to perform the "Pavanne." At one
point, he uses only four wind instmments and percussion. Beginning in measure 123, the
tmmpet, hom, trombone, and euphonium are scored to perform as a brass quartet with a
tambourine accompaniment. The euphonium is given the role of bass voice and provides
the important harmonic foundation for this section (see Example 10.6).
'* David Werden, Scoring for Euphonium (New London, Connecticut: Whaling Music Publishers,
1989), p. 1.
119
Example 10.6. Sinfonia F, mm. 123-126.
Broege

The piece ends with the piano, bass clarinet, bassoon and muted trombone
sustaining a D, C# and G#. From the "Pavanne" to the end, the euphonium part is
doubled and is used in similar settings as listed in the previous examples. Throughout
this work, Broege utilizes the euphonium in both fraditional and nontradhional settings.
Each excerpt demonstrates his understanding of the flexibility of the instmment and
provides a variety of performance opportunities for the player.
120
CHAPTER XI
FOR PRECIOUS FRIENDS HID IN DEA TH'S
DA TELESS NIGHT (1989)- MARTIN MAILMAN
Martin Mailman (1946-2000) completed all of his academic studies at the
Eastman School of Music in Rochester, New York, studying composition with Louis
Mennini, Wayne Barlow, Bemard Rogers, and Howard Hanson. He is the recipient of
many composition awards, including the 1989 American Bandmasters Association
Ostwald Award for his composition For Precious Friends Hid in Death's Dateless Night,
Op. 80. This work also eamed Mailman the National Band Association/Band Mans
Company Prize for Composition in 1988. Mailman was a member of the composition
faculty at the University of North Texas in November of 1988 when the premier
performance of this work was given under the direction of Dr. Robert Winslow.
This three-movement work is based upon the composer's impressions of lines of
text taken from Shakespeare's sonnets. The second movement is entitled "broken loops
of buried memories" and is the composer's own text inspired by Shakespeare. Mailman
provides the following program notes about the work:
The first movement, 'mournful hymns did hush the night,' utilizes
powerful scoring of brass and percussion sharply contrasted with delicate
sounds of celeste, harp and woodwinds. The second movement, 'broken
loops of buried memories,' is composed of rapid and rhythmic motivic
fragments over a bass marimba ostinato. The third movement, 'Which by
and by black night doth take away,' moves from the ethereal sounds of
muted tmmpets, soprano voice solo, English hom solo, celeste, harp and
121
gong through an extended crescendo to a stunning climax utilizing a solo
soprano voice soaring above the fiill texture of the band."
The instmmentation in this work is typical for large wind-bands except for the
unusual addition of soprano voice for the third movement. After the first two pitches are
stated in the homs in the beginning of the first movement. Mailman uses the low brass
choir to answer and includes the muted trombones which sustain the final C-sharp
tiiroughout the remainder of the statement of the hom theme. The use of wa-wa mute in
the trombone combined with the open euphonium on the C-sharp is an unusual timbre.
This part is not technically difficult, but Mailman's choice to include the euphonium with
the few instmments that are scored in the introduction does seem significant (see
Example 11.1). Mailman uses this type of scoring for the next twenty measures while he
continues to introduce the thematic material in the homs.
Example 11.1. For Precious Friends...,m. 1.

For Precious Friends... Example 1
D bs, timp, b dm
© 1990 Ludwig Music

^^ Martin Mailman, For Precious Friends Hid in Death 's Dateless Night (Cleveland, Ohio:
Ludwig Music Publishers, 1988), note to the conductor.
122
Utilizing a contemporary performance practice technique. Mailman instmcts the
woodwinds in measure 21 to create "waves of sound made by briefly stopping air then
continuing sound without an attack."^^ The euphonium player enters in measure 22 with
a solo which continues until measure 30. The ahemation of duple and triple rhythms
along with a demanding range require advanced skills for correct performance. The
opportunity to perform a solo in a contemporary context such as this allows the player to
demonstrate some of the capabilities of the instmment (see Example 11.2).
Example 11.2. For Precious Friends..., mm. 22-25.
WW, harp

Beginning in measure 46, Mailman scores the thematic material to retum in a
similar fashion as stated in the beginning of the movement. The low brass players once
again complement the melody, this time scored in the tmmpets. Following this retum
58 Ibid.j note to the conductor.
123
and a rhythmically active transition, the homs retum with the melodic material and again
are complemented by the low brass. During the next several measures (mm. 71-84), the
melodic material is developed, and the euphonium is scored as part of a brass choir. The
euphonium functions not only in unison with the muted trombones but also ahemately
with the homs. The differences in timbre between the homs and euphonium in the
middle tessitura are almost non-discemable, which renders the euphonium's contribution
to the texture as one of volume augmentation. Although the contribution to the sound
may seem insignificant, the opportunities to play a melodic part along with performing
demanding technical passages provide substantial challenges for the performer (see
Example 11.3).
For Precious Friends... Examples

L
Tpts

124
Beginning in measure 86 as the tenor voice of a four-part brass choir, the
euphonium is joined by the first and second trombones. This traditional scoring reveals
Mailman's understanding of the function of the euphonium in the brass choir texture.
Mailman uses the third trombone as the instmment to double the tuba part up an octave
(see Example 11.4). The movement ends with a muted hom recall of the first two pitches
of the work.
Mailman
Tpts

In the second movement, the euphonium is not called for until measure 88.
Lending harmonic support, the euphonium part sustains a pianissimo d-flat for 22 counts
while the woodwinds continue with their melodic activity. A challenging aspect of this
part for the performer is to sustain this pitch with intensity for its duration at the indicated
dynamic level. The next entrance for the euphonium is in measure 150 as part of a low
wind percussive articulation. The euphonium's contribution to this short, loud accent is
one of enhancing the volume and does not demand advanced skill from the performer.
125
Beginning in measure 195, Mailman retums to the brass choir with homs,
trombones and euphoniums. Tmmpets are added at measure 203 and the trombones drop
out. Beneath a woodwind ostinato, the euphonium altemately doubles the homs one
octave lower. Given the thin texture and the bass role of the euphonium, the part seems
interesting and challenges the performer to provide the harmonic foundation for the
texture (see Example 11.5). For the remaining 40 measures. Mailman continues to use
the euphonium in capacities similar to the previously mentioned examples.
Example 11.5. For Precious Friends..., Mvt. 2, mm. 203-205.

For Precious Friends... Examples
Mailman
Movement 2
• = /32
TpIs
^P>J J J>^
>

As in the second movement, the euphonium is sparingly used in the third
movement. It either doubles the homs as before or participates as part of a loud sound
mass with all of the winds and timpani. Although much of the work relegates the
euphonium player to counting rests, the eight measure solo passage in the first movement
indicates that the euphonium is indeed significant to this work. Mailman demonstrates
his knowledge of traditional brass choir scoring with the four-part excerpts and in this
126
capacity does utilize the euphonium. As evidenced by the awards for this work. Mailman
is a significant twentieth century composer of wind band works and his music continues
to be performed regularly.
127
CHAPTER XII
SYMPHONY NO. I (1989) - JOHAN DE MEU
Symphony No. 1 by Johan de Meij (b. 1953) is based on scenes and characters
from J. R. R. Tolkein's Lord of the Rings. This work was selected as winner of the 1989
Sudler hitemational Wind Band Composition Contest, de Meij studied trombone
performance and conducting at the Royal Conservatory of Music in The Hague, Belgium,
and has distinguished himself as a premier trombone performer and wind band composer
and arranger. Having been exposed to the European brass band tradition, de Meij in his
music demonstrates that he is keenly aware of the abilities of the euphonium and perhaps
many of the euphonium's premier performers. In his score, he indicates that the
euphonium or baritone player is to perform the same part. This indication acknowledges
that either of these different instmments is capable of performing the part.
de Meij uses a traditional complement of wind instmments in his scoring, and
additionally scores parts for fourth tmmpet, fourth trombone, and three tubas. In the
wind and brass band setting this practice is not uncommon. In his second symphony. The
Big Apple, he calls for the same instmmentation.
Gandalf is one of the title characters in Tolkien's The Hobbit^^ and is the title and
inspiration for the first movement of de Meij's work. The movement is stmctured in an
arch form, ABCBA, and begins majestically with a brass fanfare. The low winds answer
with an equally majestic fanfare which is scored in a traditional manner for the bassoons.
^' The Hobbit is the first book in a series of four which comprise The Lord of the Rings. The title
character, Bilbo Baggins, is a Hobbit, and Gandalf, is a wizard who guides Bilbo through his adventures.
128
bass clarinet, baritone saxophone, low trombones, euphonium, tuba, and timpani. This
five-measure fanfare becomes the A section in the arch form and subsequently retums to
announce the conclusion of this movement. The B section begins in measure 6 with a
unison solo line between the euphonium and bassoon, hi this passage, de Meij makes use
of the lower tessitura of the euphonium's range by starting below the bass clef staff. This
use of the lower tessitura requires some advanced ability so that the tone can be projected
with control and clarity. Although the combination of euphonium and bassoon is not a
new idea, the use of euphonium to augment the bassoon provides a richer timbre in this
melodic line. The thematic use of the euphonium immediately after the introduction
highhghts this instmment early in the work (see Example 12.1).
Example 12.1. Symphony No. 1, Mvt. 1, mm. 6-8.

Symphony No. 1 Example 1
de Meij
J. 63-66
souore, canlabile
© 1988 Amstel Music

Beginning in measure 15, the tmmpet melody is supported by the euphonium and
by other low winds in the role of bass line accompaniment. In this capacity, de Meij
seems to demonstrate his knowledge of the euphonium's ability to blend with the low
woodwinds and to augment the bass line sounds. This idea continues for the next several
measures (see Example 12.2).
129

de Meij
Bsn, lu. limp

Measure 28 illustrates de Meij scoring of a sequence in which the euphonium
joins with the hom and seems to emphasize and enhance the presence of the counter-
melodic statement. Three measures after the euphonium entrance, the euphonium part
subsequently divides into two parts indicating de Meij's expectation for more than one
player. The number of players on any given part is important when evaluating the
balance considerations for performance. This scoring enables the performer to
demonstrate the ability of the insfrnment to blend with the homs in a technical passage
(see Example 12.3).
130
Example 12.3. Symphony No. I, Mvt. 1, mm. 28-31.

de Maj
Pc. ns, obs.

e-f d. tptt
Bsn. b cl,
b sx. tu

The third section of the movement, portraying the spirit of Gandalf s horse,
Shadowfax, commences with a significant tempo change. Given the nature of this
supematural steed, the allegro vivace tempo marking and the fast melodic lines seem to
provide an appropriate musical spirit. After a 14-measure introduction, the euphonium
enters in measure 59 with an ascending rhythmic motive. The first note of this melody is
enhanced with two grace notes that are doubled in the saxophones and renders a
saxophone-euphonium timbre. Immediately following, the melody is scored in the
clarinets and renders a different timbre (euphonium-clarinet) within the rhythmic distance
of one quarter note. While many composers would have likely chosen bass clarinet, de
Meij selected the euphonium for this part, perhaps owing to the euphonium's abihty to
131
project sound much better than the bass clarinet. The part is technically difficult in terms
of register, dexterity and flexibility and provides another opportunity for the player to
demonstrate her or his ability as well as the ability of the instmment (see Example 12.4).

de Meij
Movement I
Bsn, b sx
.Sxs, hns
B. cl. lu,
timp

In the transition from the C section to the second B section of the arch form, the
euphoniums participate with the other brass voices in a repeated rhythmic figure that
slows down into the retum of the second B section. Beginning in measure 107, the
euphonium is scored in unison with the third and fourth trombones as part of a brass
choir. One of the technical demands of this excerpt involves accurately performing the
rhythm with the ensemble while slowing down (see Example 12.5).
132
Example 12.5. Symphony No. i, Mvt. l,mm. 107-110.

deMcij
Hn Vi. ip 5/4
Tpl 1 1
fl i i i i i iii i Oil i i iii

The final example from this movement comes at measure 140 just before the
retum of the introductory fanfare and of the completion of the arch form. The euphonium
part is divided and is doubled in part by the saxophones and provides a countermelody to
the homs and tmmpets. After eight measures of rest, the euphoniums enter on a high B-
flat. This pitch is in the upper tessitvira and difficuh to accurately perform, especially
after having the performers rested for an extended duration. This excerpt enables the
euphoniums to demonstrate first, the lyric nature of the instmment through the
performance of the counter-melody, second, the technical facility of the performer by
securely entering in the upper tessitura, and third, the sonority of the instmment by the
need to blend with the saxophone choir timbre (see Example 12.6).
133
Example 12.6. Symphony No. i,Mvt. l,mm. 140-143.

de Meij
Andante maestoso
Hns, tpts

Lothlorien, the location of Elvenwood, the homeland of the elves in The Lord of
the Rings, is the title and inspiration for the second movement, which has a large formal
stmctiire of ABABCB-Coda. de Meij has given titles to different sections of this
movement to correspond to objects and locations from Tolkien's book. The movement
begins with a rhythmically complex woodwind passage that is accompanied at times by a
shimmering texture of low woodwinds along with piano or at other times with a low
voiced drone. The euphoniums participate in the drone at various times before a more
substantial passage begins in measure 53. The euphoniums are scored with a rhythmic
figure in 12/8 meter for the first half of the measure and a two-eighth note figure over the
134
three eight-note pulse during the second half of the measure. This part is not doubled and
is dynamically indicated to be one volume step louder than everyone else thus indicating
that this is an important part at this point the movement (see Example 12.7).
Example 12.7. Symphony No. 1, Mvt. 2, m. 53.


Beginning in measure 69, an introduction to the retum of the second B theme is
begun by a combination of solo tmmpet and euphoniums. While the tmmpet is
sustaining a G, the euphoniums enter in measure 71 with a rhythmic figure that is
repeated for five measures and prepares the way for the melodic material in the clarinet
and flutes just three measures later. De Meij scores for three parts to be performing at
this moment. Two of the three parts are euphonium parts (see Example 12.8).
135

de Meij
Allegretto grazioso

In the final retum of the B section beginning in measure 106, a playful theme is
scored in the first aiid second tmmpets and euphoniums. The material in this excerpt is
rhythmically complex and requires advanced musical skill for the part to be properly
executed. The second euphonium part splits from the rhythmic activhy of the melody in
measure 108 and joins the trombones with harmonic pulses on the downbeats. The use of
trumpets with trombones in the context of a brass band scoring is not unusual as they are
both considered cylindrical instmments. However, the addition of the euphonium to the
melody enhances the lower tessitura and softens the timbre (see Example 12.9).
136

deMejj
Allegrelto grazioso
Tpil
Tpl 2
Tpl 3/4

In the style of Beethoven, de Meij begins a developmental section near the end of
the movement just before the coda. In measure 130 under a rhythmically active
woodwind part, the euphoniums join the homs and the first and second trombones with a
statement of one of the rhythmic motives from this movement. Perhaps to enhance the
projection of this motive, de Meij has scored similar sounding instmments together in a
comfortable tessitura. The part provides rhythmic, articulation and melodic challenges.
This motive is continued in the following two measures, this time in a lower tessittira and
doubled by the bassoons. Similar rhythmic and articulation challenges are presented;
however, this time the tessitura is not as high (see Example 12.10). The movement ends
137
on a soft pedal point in the timpani and in the flutes, possibly reflecting departure from
the Elvenwood.

dc Meij

In the next movement, de Meij captures the various levels of sanity of "GoUum,"
the creature who, in Tolkien's story, is currently in possession of one of the powerful
rings, de Meij does this with a modified rondo form (Introduction, A, B, C, A, D, A,
Coda). The A sections are a humorous little march. Each of the non-A sections has little
bits of the A theme included in the melodic material, perhaps reflecting Gollum's moving
in and out of sanity. Altemately titled "Smeagol," the movement begins with a sweeping
sextuplet figure followed by a sustained cluster chord in muted homs and mallets. This
eerie timbre is followed by another sweeping complex rhythmic figure in which the
euphoniums participate. The players are scored to enter on a high A and to crescendo on
a descending line to the octave in the space of half a beat. This is a very difficuh
technical passage which is followed by a two eighth note rhythmic motive. With the
flutes, piccolo and third and fourth tmmpets, the euphoniums are directed to flutter
tongue the first of the eighth notes. This is done at the same time as the trombones are
138
directed to gliss between their two eighth notes. The resultant sound is a gutteral smear
type of sound indicative of the slimy nature of the creature. The instmction of flutter
tongue for effect is unusual and requires mature skills to be properly performed (see
Example 12.11).

de Meij
Pc, ns, obs, cl 1/2,

a. cl. s/a s.\. tpt 1/2
Bsn, b cl, b sx,

ti>iis 3/4, lu

Until measure 106, the euphonium part consists either of large numbers of rests or
is scored in a traditional format as an upper tuba or lower trombone in a low brass setting.
Just before measure 106, a rhythmic ostinato is established in the woodwinds which is
intermpted by "dmnken" glissando smears from the first trombone and by ahemately
staccato interjections by the first tmmpet, perhaps to reflect the dysfimctional nature of
Gollum. A larger intermption occurs in measure 105 with a fast sixteenth note figure in
the woodwind and euphonium parts. The rapid nature of this figure and the entering on a
high F after 15 measures of rest make this excerpt technically demanding. The first
139
tmmpet is the only other brass scored at this point which gives the euphonium part
another important role of enhancing the volume of the lower tessitura (see Example
12.12). These types of interjections continue for the next several measures and are
similarly scored.

Bsn, ds 2-3, a cl,

sjtjb sxs

Beginning in measure 253, the A (march) theme of "Gollum" retums and is
scored in the euphoniums. This 18-measure statement of the melody is technically
difficult due to tessitura, intervallic skips, and rhythmic accuracy of the grace notes.
While the rhythms and pitches are doubled elsewhere, the sequence of pitches in the
euphonium part is complex with skips upward and downward of major 7ths, octaves and
tritones. For correct performance, these technical challenges should require a substantial
amount of individual attention (see Example 12.13).
140
de Meij
J. = ftM Movement 3
Obs, bsn. e-f cl,

a/b cl. a^t sx. hns
wTv, tpl-4
r-
•w. tpM

Just before the end of this movement, de Meij scores the woodwinds against the
brass in a complex rhythmic stmcture. In measures 280-288, the euphonium is part of the
unison brass choir. The euphonium's contribution to the large sound mass is important to
the arrival of the unison E in measure 287. The rhythmic complexity of the part, to
141
include emphasis on the transition from the duple feel in measures 280-282 to the triple
feel in measures 283-286 against the woodwind duple feel in the same measures, is
challenging (see Example 12.14).
~~-—Jlf -0 r-^ 9
*8ve
> >> > > >L>.. i > > !,> I \>% b * \>l
jip f r ' '
•Ivb 1
>>
>
^P=
>>
rtji.-
—tt*-
>i —
—ffar—
i 1 H —*-^
rf- î;n,—^
—ff— J '

In the two-part fourth movement, de Meij musically portrays the adventurers in
possession of Smeagol's ring as they continue on their joumey. Entitled Journey in the
Dark, this movement begins with solo timpani beating a very steady pulse at a very soft
dynamic. This pulsing continues with soft entrances in various instmments and reflects
the shadowiness and eeriness of the characters' trek through the mines. The first entrance
of the euphonium is in measure 10 with a two eighth note pick-up into measure 11. This
part is not doubled and may be considered soloistic as it is dynamically indicated one
level louder than the other parts. The second euphonium is then scored to play below the
142
three tubas for one measure with the first euphonium doubling the pedal A in measure 12.
This is extraordinary for two reasons. First, de Meij specified three tuba players, and
second, he wrote a tenor tuba (euphonium) below the tuba parts. The ability to perform
the low A is not technically difficuh, but to be scored to play this pitch in a wind band
work is uncommon (see Example 12.15).

deMeij
Timp
PIV

In measure 28, the euphonium is scored to discontinue the steady quarter note
pulse. The homs and bassoons have been sustaining a quartal harmony during measures
26 and 27. de Meij scores the release of this harmony with two eighth notes, joined by
the euphoniums on the downbeat of measure 28. With a divided euphonium part, the
second euphonium player sustains a G in measure 29 which is doubled in the first clarinet
an octave higher. Since no other instmment is scored with the syncopation of the first
euphonium, the part is significant to the rhythmic effects created in this measure (see
Example 12.16).
143
Example 12.16. Symphony No. 1, Mvt. A, mm. 28-29.

de Meij
B cl, tbn.
tu, limp

Scored in contrast to the entire woodwind section, the euphoniums are given a
solo line in measure 49. While the technical challenges of the part are not substantial, the
performer is afforded the opportunity to demonstrate some of the lyrical ability of the
euphonium. After the first two measures of this excerpt, the euphoniums are joined by
English hom. This mixture is an unusual choice of timbres for the traditional wind band
(see Example 12.17). A very similar idea, again using the mixture of euphonium and
English hom, occurs 12 measures later, just after the introduction to the "Bridge of
Khazad-Dum."
144

For the remainder of the fourth movement, de Meij scores the euphonium players
in similar situations as previously discussed. The parts require some technical facility
and demonstrate the range and flexibility of the euphonium. The movement ends on a
very somber pedal E-flat in the timpani and piano, perhaps allowing the audience a
moment to reflect on the comrades that have fallen during the crossing of the "Bridge at
Khazad-Dum."
The fifth and somewhat lively movement is most likely meant to reflect the
celebration of the retuming home of the fravelers. Scored in a large bridge form, ABA,
the movement begins and ends relatively the same which suggests the cycle of a full day
from sunrise to sunset, de Meij begins this final movement a tritone away from the last
note of the last movement. The timbre of the unison A which traditionally scored in the
low woodwinds, fourth hom, and low brass is somewhat ominous. The first instrument
cued to break away from this drone is the first euphonium. The fanfare motive of a
perfect fifth has been used for unification throughout the work and now retums in the
145
final movement in the first euphonium. The prominence of the euphonium as the
introductory instmment for the conclusion of the work is noteworthy (see Example
12.18).
Example 12.18. Symphony No. I, Mvt. 5, mm. 1-5.
Symphony No. 1 Example 18 de Meij
I Movement 5
.\ndanie soslcnuto « = 6 J
Bsn, a'bcl, b, sx. ri\: n

P
2 1
EUl/:
-— ^^"~— —

de Meij brings back a lot of material from the previous movements, and his
treatment of the euphonium is also very similar. In the transition before the retum of the
final A section of the bridge form, de Meij scores a unison low voice line with the
melody against a rhythmically active woodwind part. Using a traditional scoring
practice, de Meij writes this part in octaves among the bassoons, bass clarinet, tenor and
baritone saxophones, trombones, euphoniums, and tubas. Again, the part is not
technically challenging, but the use of the euphonium in a comfortable register adds
resonance to the instmmental timbre (see Example 12.19).
146
Example 12.19. Symphony No. l,Mvt. 5, mm. 186-189.
fc, ns, cls
Hns, timp
Tpts
Bsns, b cl. b sx,

tbns, tu, d bs

Beginning in measure 199 under a rhythmically active woodwind passage, the
cylindrical brass retum with the majestic fanfare motive while the aho and tenor
saxophones, homs, and euphonium perform the counter-melody. Four measures later, all
of the brass are given the fanfare motive with the final statement in the homs and low
trombones coming in measures 204-205. Retuming to the introductory motive from the
first movement, the euphoniums and homs are scored in unison for the three-measure
transition beginning in measure 206. The use of euphonium with hom is a traditional
scoring practice and the part is not technically difficult. However, de Meij significantly
chooses the euphonium to participate in the final statement of the melodic material at the
end of a 40-minute work (see Example 12.20). The work ends on a C major chord with a
soft dynamic marking.
147
de Mcij
Movemeni 5
Tpls, tbns

In this full-length symphony for band, de Meij demonstrates thefiiUpotential of
the euphonium's ability to fiinction in a variety of solo and ensemble roles. This work
provides the performer with numerous opportunities to demonstrate the lyrical strength of
the euphonium as well as the flexibility of the instmment to blend with a variety of
timbres in technical, rhythmic, and melodic passages.
148
CHAPTER XIII
HEROES, LOST AND FALLEN (1989) - DAVID GILLINGHAM
David Gilhngham (b. 1947) is currently a member of the composition faculty at
Central Michigan University. He has written for a variety of media including percussion
ensemble, orchestra, and choir. Gillingham's first major orchestral work. Interplay for
Piano Four Hands and Orchestra (1996), was premiered and recorded by the Prague
Radio Symphony. He has composed a work for unaccompanied solo euphonium. Blue
Lake Fantasies (1995), which has become a standard in the solo repertoire. He has also
composed a work for solo euphonium and wind band entitled Vintage (1992). In addition
to his expertise as a composer and teacher, David Gillingham is an accomplished pianist,
organist, and euphonium player.
Having served in the military during the Vietnam War, David Gillingham wrote
Heroes, Lost and Fallen (1989) in commemoration of the heroes who lost their life in that
conflict. The work was commissioned by, and dedicated to, Victor Bordo and the Ann
Arbor Symphonic Band. Gillingham is the 1990 recipient of the Intemational Barlow
Competition prize for this work. Heroes, Lost and Fallen which can be divided into six
sections uses material from the Vietnamese national anthem and the Star Spangled
Banner and is based upon a poem written by the composer:
149
Banish our thoughts
From this gmeling war.
Let Suffering and Death
Rule no more.
Resolve this conflict

In hearts so sullen
And bring eternal peace
To the Heroes, Lost and Fallen.^"
The introduction begins somewhat mysteriously with bowed vibraphone and
marimba sustaining a hexachord with intermittent chime intermptions. This first section
reflects Gilhngham's ideas of the onset of a war. In measure 6, the tmmpets have a
complex rhythmic figure that is suggestive of muhiple tmmpet calls to war. This
measure, the first entrance of the euphonium, is in a low brass setting with all instmments
indicated to use mutes. The use of mute is not unusual; however, the timbre created by
muted euphonium is quite similar to that of a bassoon. While the actual pitches are
doubled in the marimba, the euphonium's contribution to the harmony is important
because it is the only instmment playing D-flat in the G-flat^ chord (see Example 13.1).
*" David R. Gillingham, Heroes Lost and Fallen (Milwaukee, Wisconsin: Composers' Editions,
1991), note to the conductor.
150
Example 13.1. Heroes, Lost and Fallen, mm. 6-7.
Heroes, Lost and Fallen Example 1 Gillingham
VI, Ma. Timp
Music by David Gillingham

Copyright © 1991 by HAL LEONARD COROPORATION
Intemational Copyright Secured All Rights Reserved
Two measures later, Gillingham uses a brass choir to perform a fragment of the
Star Spangled Banner. All parts are muted. Only during measure 9 is the euphonium is
doubled by the third trombone. Gillingham is still using a hexachord harmonic stmcture;
therefore, each part is of equal importance in the texture. Noteworthy is the saxophone
entrance in measure 10 which is a quote from the Vietnamese national anthem (see
Example 13.2).
151
Heroes, Lost and Fallen Example 2

Gillingham
Tpis

International Copyright Secured All Rights Reserved
Over a rhythmically active percussion texture, Gillingham scores the brass choir
to retum in measure 16. This represents the calm before the war and foreshadows the
peace yet to come.^' Each part in this chorale is equally important in terms of timbre and
sonority; however, the melody is mostly contained in the first hom with a countermelody
in the euphonium. As before, the euphonium part does not pose any considerable
technical challenges; however, the part is significant in the context of the brass choir
setting (see Example 13.3).
*' Ibid., note to the conductor.

152

Gillingham
"• legato-chorale-like
153
Example 13.3. Continued.

Through the third section of the work, Gillingham continues with the chorale idea
and uses motives based upon the Vietnamese national anthem. In measure 43,
Gillingham retums to the brass choir, only this time he scores the tuba family opposite of
the rest of the brass. The technical challenges are not significant and, in this instance, the
euphonium is traditionally scored a perfect fifth above the ttiba (see Example 13.4).
154
Example 13.4. Heroes, Lost and Fallen, m. 43.
Tpts, hns

The euphonium and tuba continue in this fashion through most of the rest of the
piece. In measure 109, Gillingham places the entire low brass section, with the low
woodwinds, in unison. This is the only part being performed, and Gillingham makes full
use of the bottom voices of the wind band. This is a more traditional scoring for young
bands; however, the rhythmic activity and large melodic skips provide challenges for the
performers (see Example 13.5).
155
> Bi > Sif > .. N

i-tt:-.. 1 ZJL
;; fl» !• j|- I I • r bj a*' *• •• V •• 1
*A
Mf 0-
> > **> > > >
— 3 —
> > > if >
J
> > >
=Jt= >
J —
>
A
> >
M

In one of the more rhythmically active sections (measure 205), Gillingham scores
the euphonium with the piccolo, first clarinet, and piano. This is a nontraditional mixture
of instmments; the only other parts performing at this point are the unison tuba and
bassoon on the downbeats. The introductory rhythmic material is in octaves. The left
hand of the piano plays the lowest; the euphonium is scored an octave higher; the clarinet
is an octave above that; the right hand of the piano is scored an octave higher than the
clarinet; finally the piccolo is an octave above the piano. This provides a span of five
octaves for a unison rhythmic figure. This is unusual for a wind band setting with such a
thin texture.
The triplet figure in measure 209 is continued in the saxophones and flutes while
the piccolo, clarinet, and euphonium are scored to continue the melody. Large melodic
skips occur in the melody between measures 205 and 208 which require advanced
technical skills to property execute. The unusual mixture of timbres, as well as the
opportunity to perform the melody, gives the euphoniumist some challenging parts to
perform (see Example 13.6).
156

Gillingham
J.-/60
Fls, i/l sx,

xylo
Pc.d I.
pno
mf non legato

For the remainder of the work, Gillingham utilizes the euphonium in similar
capacities as previously discussed. The work ends on a unison C reflecting a retum to
peace, and as Gillingham describes, reflecting the "key of the earth."^^ He intermpts the
last three measures with very loud, active percussion parts to serve as a reminder that the
threat of war is always present. Gillingham's knowledge of the euphonium's adaptability
to function in a variety of settings is demonstrated by these examples. He uses traditional
scoring with the tuba, low voices, brass choir, and, as in Example 13.6, a non-traditional
scoring with an active rhythmic figuration. The situations enable the euphoniumists to
demonstrate the lyrical and technical facility both of themselves and of the instrument.
Ibid.^ note to the conductor.
157
CHAPTER XrV
OF SAILORS AND WHALES (\990) - W. FRANCIS MCBETH
W. Francis McBeth (b. 1933) eamed his degrees from Hardin-Simmons
University, the University of Texas at Austin and the Eastman School of Music. His
influential teachers were Clifton Williams, Wayne Bariow, Kent Kennan, and Howard
Hanson. He is Professor Emeritus of Theory and Composition at Ouachita Baptist
University in Arkadelphia, Arkansas. In 1975, he was appointed Composer Laureate of
Arkansas by the Govemor of Arkansas. Among his numerous distinctions and awards
are the Howard Hanson Prize at the Eastman School of Music for his Third Symphony
(1963) and the Mid-West Intemational Band and Orchestra Clinic's Medal of Honor in
1993. His works for band include Masque (1968), Kaddish (1977), Beowulf (1986) and
Through Countless Halls of Air (1995). He has composed for many different musical
gemes and is one of the most influential wind band composers of the twentieth century.
OfSailors and Whales was commissioned by the Califomia Band Directors
Association, Inc. for the 1990 All-State Band and is sub-dedicated to Robert Lanon
White, Commander USN (ret.), who "went to sea as a simple sailor."^^ Each of the five
movements is based upon a character from Melville's novel Moby Dick (1947). McBeth
recommends that a description of each of the novel's characters written in the score be
read to the audience before each movement is performed.
" W. Francis McBeth, OfSailors and Whales (San Antonio: Southem Music, 1990), note to the
conductor.
^ Ibid., note to the conductor.
158
The first movement, entitled "Ishmael," is tonally based in the key of C and opens
with a sustained soft C major chord in the low winds. The euphonium, which participates
in this harmony, is scored with the C in unison with the third trombone and is one octave
above the tuba. This is a typical example of traditional scoring for low winds (see
Example 14.1).
Example 14.1. OfSailors and Whales, Mvt. 1, mm. 1-2.
Of Sailors and Whales Example 1
Vib, glock

The first significant rhythmic activity occurs in measure 29 in the brass and in the
alto and tenor saxophones. While the trombones and tuba are scored to continue
sustaining an A major chord, the euphonium joins the upper brass. Since the tmmpet has
the same melody one octave higher, this scoring might be considered a traditional brass
band practice (see Example 14.2). This simple harmony continues for the remainder of
the movement with no significant technical challenges or changes of setting for the
euphonium player.
159
.^'B d, bsns, b s\

The second movement is McBeth's representation of the sea creature "Queequeg."
The first entrance of the euphonium is in measure 9 and traditionally doubles the tuba one
octave higher. The euphonium part is significant to the texture as there are no other low
voices scored prior to or immediately following this measure (see Example 14.3).
Example 14.3. OfSailors and Whales, Mvt. 2, m. 9.

McBeth
S=9o Movement 2

160
In measure 18, the woodwinds are scored with an almost "rolling-sea" hke
melodic figure. The only brass scored at this moment are the tmmpets which are
sustaining a G major chord; the euphonium is doubling the woodwinds. Significantly the
only brass instmment doubling the woodwinds is the euphonium. Because of the rapid
nature of the sixteenth notes, the part is sufficiently difficuh and requires advanced
performing skills (see Example 14.4).

McBelli
I Movement 2
Tpls

Beginning in measure 34, the euphonium part is marked "solo," even though the
part is doubled by the bass clarinet and by the second bassoon, as well as by the first
bassoon, alto clarinet, and oboes one and two octaves higher respectively. This is the
first opportunity for the euphonium to participate in the performance of the melody since
the beginning of the work. The rhythmic figures in this four-measure excerpt require
advanced performance skills from all of the performers including the euphoniumist (see
Example 14.5).
161

With the melody already scored to begin in measure 39 in the high brass, the
oboes, third tmmpet, and euphonium join this melody in measure 44. The euphonium
part divides (minimum two players expected) in measure 44 to double the homs. The
euphoniums and homs are then doubled in the next measure by the aho saxophones and
trombones. The use of saxophones, homs, trombones, and euphoniums as the tenor voice
is a traditional wind band scoring practice. With the addition of all of the other winds in
measure 45, the euphonium does not significantly contribute to the texture except to
augment the volume (see Example 14.6).
162
Movement 2
J. 00
Tpts, hns
Ob, tpt 3

In the next example, the low winds are scored with the melody under a woodwind
eighth-note ostinato pattem. The use of the low winds as a unified voice in the bass
register is a traditional wind band scoring practice. The rhythmic complexity of the
melody during these measures requires mature musical skills of the euphoniumist (see
Example 14.7). For the remainder of the second movement, McBeth recalls similar
material.
163

"Father Mapple" is the subject of the third movement. The composer requires the
entire ensemble to sing, save only the euphonium, tuba, piano, and percussion. McBeth,
in his previous work Beowulf, also calls on ensemble members to sing in a similar
fashion. Beginning in measure 2, the euphonium and tuba sustain a drone that is
articulated by the piano and timpani. The choice of euphonium and tuba is significant as
they are the only wind instmments called on to actually perform. This texture is
maintained through the thirty-seven-measure movement (see Example 14.8).
164
OfSailors and Whales Example 8

Movement 3
Ship Bell .Ki Ub

The fourth movement enthled "Ahab" begins with a loud sustained F in the
woodwinds and in the high brass. Two measures later, this sound is answered in similar
fashion by the low winds. The euphonium is traditionally scored in this texture and
contributes to the overall volume effect of this movement. The only rhythmic activity is
in the timpani and in the bass dmm (see Example 14.9). This scoring practice of a low
wind drone against a rhythmic upper woodwind part continues for quite some time.
165
Example 14.9. OfSailors and Whales, Mvt. 4, m. 3.
Drammatico J- 112-116
sffz
Timp. b dm
Sff2

Beginning in measure 23, McBeth introduces a new tenor-voiced pitch in the
bassoons, alto saxophone, homs, and euphonium. This is a traditional instmment choice
for wind band scoring. The introduction of the tritone interval in which the euphonium
participates at this moment is musically significant for the creation of harmonic tension
(see Example 14.10).

Of Sailors and Whales Example 10 „^g„„
Movement 4
J. 112.116

166
McBeth utilizes the euphonium in similar fashion for the remainder of the
movement. Frequently the low voices are scored with either harmonically supportive
parts against a woodwind melody, or the low winds have the melody in unison with the
entire wind section.
Marked "Aggressively," the fifth movement is inspired by Moby Dick, and is
entitled "The White Whale." The movement begins with an assertive timpani part; a bold
brass fanfare follows in the third measure. The fanfare is scored in three parts using the
tmmpets, homs, and euphoniums. Given the higher brass tessitura, one would expect the
euphonium to function as the bass voice in this trio; however, the third and fourth homs
are uncharacteristically scored lower than the euphonium. The euphonium, which is
doubled in the first hom, is written one octave lower than the melody found in the first
tnunpet-a traditional brass band scoring technique. The timbre of the euphonium in this
tessitura is so similar to the hom that the sound of the instmments are almost
indiscemible. Although the contribution of the euphonium to the texture becomes one of
volume augmentation, the opportunity to perform the melody and the technique required
to perform the articulations enable the performer to demonstrate her or his ability (see
Example 14.11).
167
.\ggressively

For the remainder of the movement, McBeth scores the euphonium with material
that is similar to that previously discussed in this chapter. Some technical passages,
similar to Example 14.11, have rhythmic and articulation challenges, as well as
harmonically supportive scoring in unison with either the tenor or bass voices of the wind
band. The euphonium participates in 102 of the 144 total measures of the fifth
movement. McBeth has composed a euphonium part that will technically challenge the
performer. Accompanying singing, performing as the tenor voice in a brass choir, and
blending in traditional ensemble doublings are some of the tasks that the euphoniumist
must accomplish for a successful performance.
168
CHAPTER XV
FOLKSONGS FOR BAND SUITE NO. 3 (1990) - DAVID STANHOPE
Originally from England, composer, conductor and performer, David Stanhope (b.
1952) has been based in Sydney, Australia, since 1979. Stanhope began his career as a
freelance hom player but in 1984 switched to the bass trombone. He is also known for
his piano performance abilities and has several recordings to his credit. As a conductor,
he has led performances of numerous operas in Australia including Berg's Lulu and
Janacek's The Makropulos Secret.
In 1979, Stanhope won the Intemational Hom Society's composition contest for
his octet. Retreat and Pumping Song. He has subsequently expanded this work and
published it for wind band. He has composed works for many different ensembles
including an opera and a commission for the 2000 Olympics in Sydney. His brass band
works have been used as contest pieces in Britain and Australia. His wind band works
have been recorded by some of the finest wind bands in performance today.
Stanhope has composed three sets of folk songs for wind band which are
dedicated to and based upon the wind band works of Percy Grainger. Folksongs for Band
Suite No. 3 was composed in 1990 and consists of three movements. The first movement
is based upon "Droylsden Wakes," an old village in Lancashire. The second movement
is taken from the folksong about "Lord Bateman." The third movement is a mixture of
folk tunes from "Ships and Lisbon" and of an original melody by Stanhope.
After a four-measure introduction with the homs and tmmpets, the euphonium
enters in the fifth measure traditionally scored one octave higher than the tuba and in
169
unison with the first hom. In the sixth measure, the tuba moves to an independent bass
part, joined by the bass trombone and baritone saxophone, while the hom and euphonium
continue with a harmonization of the tmmpet melody. Although the euphonium part is
doubled by the first hom during these three measures, the harmonization of the melody is
important and the part is melodically interesting (see Example 15.1).
Example 15.1. Folksongs for Band Suite No. 3, Mvt. 1, mm. 5-8.
Folksongs for Band Suite No. 3 Example I
Slanhope
I Movement 1
J=e6
VT sxs, hns 3/4,

Ibns m
Tpts
© 1990 David Stanhope

Used with permission
Beginning in measure 11, Stanhope scores the euphonium with the tenor
saxophone. For one pitch in measure 12, the euphonium doubles the tuba and baritone
saxophone, then immediately after the euphonium retums to the tenor saxophone
doubling. This doubling practice with tenor saxophone, and then with tuba, is common
and demonstrates the flexibility of the instmment. Because the dynamic marking
indicated is very loud and the part is doubled, the euphonium does not significantly
contribute to the texture except to augment volume. However, the challenge in this part
170
is to perform at the louder dynamic with a characteristic sound and good intonation (see
Example 15.2).
Folksongs for Band Suite No. 3 Example 2
Sl^hope
J_ Movement I
Tpll
dim poco a poco

In measure 16, the euphonium is scored in unison with the first hom and is one
octave higher than the third trombone and baritone saxophone. The part is not
technically challenging; however, scoring the euphonium above the first trombone in a
brass choir-type setting is uncommon (see Example 15.3).
Example 15.3. Folksongs for Band Suite No. 3,Mvt. l,mm. 16-17.
Folksongs for Band Suite No. 3 Example 3 ^^^

171
Stanhope scores the tenor saxophone and second clarinet to double the euphonium
in measure 32 for a very important harmonic motion. Over an F pedal point, these
instmments begin a suspension on an F and move to E, filling the third of a C dominant
seventh chord. While the combination of tenor saxophone and euphonium has been used
earlier in this piece, the addition of the clarinet is of interest for a new combination of
timbres. In contrast to all of the winds being scored in measure 32, few instmments are
used for this important harmonic motion making each performer's contribution
significant to the texture (see Example 15.4).
Example 15.4. Folksongs for Band Suite No. 3, Mvt. 1, m. 32-34.

Stanhope
i- about 66
A s-T, tpls
t cls. bsn. b sx,

tbns, tu

The very last chord of the first movement is an F major chord which consists of
the pitches F, A, and C. This is scored at a pianissimo dynamic marking. Stanhope
scores the one non-chord tone, a concert G, to the euphonium. Nothing technically
172
demanding is required to perform this pitch; however, as the lone performer of a non-
chord tone, the pitch is very significant (see Example 15.5).
Example 15.5. Folksongs for Band Suite No. 3, Mvt. 1, m. 72.

Slanhope
Movement 1
J. about 66
â
PP
PP

The second movement entitled "Lord Bateman" begins with a majestic cymbal
crash, is immediately followed by rolls in the snare dmm and timpani, and continues with
the statement of the theme by the tmmpets in the second measure. The first entrance of
the euphonium occurs in measure 8. Stanhope scores the performer to come in on an F
and trill at a very loud dynamic level. While the technique of ahemating a valve for a
trill effect is not difficuh, the range and volume of this enhance provide the player with a
technical challenge. Given that all of the brasses are playing some form of the melodic
material and most of the woodwinds are trilling, the euphonium's contribution to the
texture at this point is one of reinforcing the excitement of the sustained trill (see
Example 15.6).
173

Slanhope
Cls 2 0 ,
s/a/t sxs
) cls. bsn.
tbn j . t u
4V molto rit

The bold introduction of this movement is followed by an elegant solo statement
of the theme by the tmmpet. This is repeated four more times by the clarinet, oboe, and
alto saxophone before the euphonium is scored to perform the theme. Beginning in
measure 43, the use of the euphonium as a solo instmment recalls Grainger's treatment of
the melodic material in Lincolnshire Posy. The solo part is not technically challenging in
terms of pitch, range, or duration; however, the ability to render a stylistically accurate
performance of this solo is difficult. Furthermore, the opportunity to perform a solo with
the delicate woodwind support requires mature musical sensitivity on the part of the
performer (see Example 15.7).
174

Slanhope
J. about 126

As part of an ascending eighth note figure that begins in the saxophones in the
measure before, the euphonium is given the task in measure 56 of continuing this motion
in harmony with the piccolo and flute. This motion is passed on to the homs in the
following measure and generates interest through the use of changing timbres. As the
euphonium part is not doubled and as no other instmments are scored in the tessitura, the
part is important to the overall texture (see Example 15.8).
175
Sun hope
Movement 2
J- 126
Tpt, Ibn 1

Two measures later. Stanhope employs the euphonium as a tenor tuba and scores
the isntmment in parallel and unison motion with the tubas while the rest of the ensemble
continues the ascending eighth-note passages. Given the "furioso" marking and the
sound mass, the euphonium's contribution to the texture is akin to one voice in a crowd.
Recognizing the traditional scoring of the euphonium as a member of the tuba family in
the wind band setting is important (see Example 15.9).
176

Stanhope
Movemeni 2
Pc. n, Ob
cl 1-3,s sx
A. sx. tpis,
hns 1/3

Beginning in measure 72 in the clarinets. Stanhope scores rhythmically complex
ascending and descending chromatic scales as accompaniment. In measure 78, the
euphonium is scored with part of this motion and is joined by the trombones one beat
later. Two measures after this entrance, the euphonium moves in parallel motion with the
tuba in a descending scalar passage. The first instance of this scalar activity is not
doubled; however, in measure 80, the part is doubled by the bass clarinet and is doubled
at the octave by the homs. While many instmments are performing at this point, the
euphonium ftanctions as an important lower register sound. Measures 78 and 80 are
difficult for the euphonium player because of the rhythmic and technical demands
required to properly perform these scales (see Example 15.10).
177
Example 15.10. Folksongs for Band Suite No. 3,Mvt. 2, mm. 78-80.
Slanhope
Pc. (1. ob.

cls, s s\
Tpts

In support of the melodic material in the clarinets and tmmpet at measure 83, the
euphonium is scored with the harmonic foundation of an E-flat minor chord. The
euphoniumist is able to demonstrate one of the abilities of the instmment - functioning as
a lower voice in a hom choir. While not technically difficult, the part is important to the
harmony as it is not doubled, and it is the root of the chord. Interestingly, Stanhope
marks "solo" for three of the parts, which includes the euphonium part, and indicates one
person to perform each of these parts (see Example 15.11).
178

Stanhope
Movement 2
Tpt I

Begiiming in measure 97, Stanhope scores the euphonium in solo motion one
octave below the first tmmpet which is a common brass band scoring technique. This
continues for the next fifteen measures through a series of meter changes. The
euphonium part is further complicated with unusual rhythmic durations during these
meter changes. The texture is very thin with only seven instmments scored to play at this
point. Therefore, each part is essential (see Example 15.12).
179

Stanhope
Movement 2
lOj '-about 12b

1112 107
'jt~b''r ft f^ ^* • m— ' '\ n '
IIP 1 k ^ . \ "
o
^_^<__^ «'
Q 1, „ I — 1
{\ —[•-.. r -I 1 1
" -0-^ —*
i^ J f—y
solo - t p t S v a
0 M - '
_
'^' ^\ H I ^' '' ' ^ (^ l^ 1 V V f p

Immediately following the duet passage with the first tmmpet. Stanhope scores
the euphonium to be doubled with the frombone beginning in measure 117. This scoring
change reflects the capability of the euphonium to altemate roles with ease within the
context of the wind band. These measures are the melodic material and enable the
euphonium player to demonstrate the lyrical ability of the instmment (see Example
15.13).
180

Stanhope
Movement 2
Fls. e-f cl,

cls
Tpts
© 1990, David Stanhope

The last twelve measures of the second movement consist of a unison treatment of
the melodic material among all of the instmments of the wind band. Difficuh meter
changes and syncopated rhythms exist. The euphonium part contains hs own challenges
with articulation, range, and rhythmic difficulties; however, the part is doubled by the
tenor voices of the wind band including the clarinet, alto saxophone, and hom, and,
therefore, the euphonium's contribution is merely participation in the overall sound mass.
The third movement begins with the chimes, as if "the bells of a distant town"
grow louder "with the listener and his party approaching."^^ The first entrance of the
" David Stanhope, Folksongs for Band Suite No. 3 (Australia: Action Music, 1990), note to the
conductor.
181
euphonium occurs in measure 64 and is scored to begin on a relatively high pitch and
with a somewhat difficult rhythmic figure. This part is doubled in the alto and tenor
saxophones and the euphonium provides an important supportive role in assisting with
the volume of the rhythmic figure (see Example 15.14).
J.174-1

Beginning in measure 74, Stanhope scores the euphonium and alto saxophone
with the melody. The accompaniment is sparse, therefore, each instmment significantly
contributes to the texture. The melody includes some range challenges which come later
in the passage. A-flats occur in the upper register of the euphonium range. Playing these
in tune with another instmment is difficult. Also, being called upon to perform the
melody in such a thin texture is substantially challenging. Finally, the lyrical nature of
the melody enables the euphoniumist to demonsfrate the sfrength of the instmment (see
Example 15.15).
182

Slanhope
Movemeni 3
J. 174-1

In measure 85, the euphonium and homs are scored with the melody. Placing the
melody in these brass instmments with a woodwind accompaniment is a somewhat
unusual choice. This instmmentation could be considered an expanded woodwind
quintet. Again, the euphonium blends well with the homs in this tessitura and contributes
to the rich sonority. The euphonium's contribution to the volume of the melody is
important in this passage (see Example 15.16).
183
Folksongs for Band Suite No. 3 Example 16 Stanhope
J. 174-1
Fl.d.
s/a s.\
^detached

For the next several measures, the euphonium ahemates doubling with either the
trombones or with the tubas at the octave. In measure 140, Stanhope uses the euphonium
with the tenor saxophone to begin an ascending scalar passage that is a continuation from
the flute and e-flat clarinet. The part moves quite rapidly and requires some technical
ability on behalf of the euphoniumist (see Example 15.17).
184
Stanhope
J. 174-198
B cls.
bsn, tu
Tpll

For the remainder of the movement, the euphonium part consists of harmonically
supportive pitches doubled in other parts, including the continuous bell-chime effect.
The work ends on a plaintive D-flat major chord in the woodwinds, homs, and chimes.
Perhaps owing to Stanhope's experience as a brass band composer and brass
performer, the euphonium player has some very important roles in this work.
Additionally, as the work is heavily influenced by Percy Grainger's settings of folk
songs. Stanhope may have relied on some of Grainger's ideas and practices for his
scoring choices. In either case, the euphonium part in this work provides a variety of
opportunities for the player to demonstrate the lyrical and technical capabilities of the
185
instmment. As demonstrated in examples five and eleven, the euphonium can be
dedicated to providing important harmonic support in different textures. Solo
opportunities do exist, and the euphonium part, along with other instmments in a similar
tessitura, is dedicated to performance of the melody, which enables the performer to
exhibit her or his musical talent.
186
CHAPTER XVI
GAVORKNA FANFARE (1991) - JACK STAMP
Jack Stamp (b. 1954) received his Bachelor of Science degree in Music Education
from Indiana University at Pennsylvania in 1976 where his major instmment was
percussion. His Master's degree is in Percussion Performance (1978) from East Carolina
University and he holds the Doctor of Musical Arts in Conducting from Michigan State
University (1988). His primary teachers in composition were Robert Washburn and
Fisher TuU. He is founder and musical director of the Keystone Winds, a semi-
professional wind band dedicated to the performance of American band music. Stamp's
music is regularly performed at state and national music conventions and can be found on
numerous professional CD recordings. He continues to receive commissions from
prominent wind bands.
Gavorkna Fanfare was composed and dedicated to Professor Eugene Corporon
and the University of Cincinnati College - Conservatory of Music Wind Symphony.
Corporon was Stamp's primary conducting teacher while Stamp was in attendance at
Michigan State University. The work is divided into three sections: opening, fugato, and
retum with coda.
In the first measure, the euphonium is scored with an important rhythmic and
harmonic part. The first sounds heard are scored in the timpani and are followed by the
low voices (bass clarinet, bassoon, baritone saxophone, and tuba) which sustain a loud
and accented E-flat. The euphonium enters on the upbeat of count one with an E and is
in unison with the first and second trombones but is a minor ninth above the low voices.
187
The euphonium is the only part sustaining this pitch through the harmonic pyramid
constmction of the first two measures. The same treatment is given for the next two
measures as well. This part is important for two reasons. First, the accented eighth note
rhythmic activity established in the beginning provides a "fanfare-type" introduction in
which the euphonium has a significant role. Secondly, the harmonic integrity of the
cluster-sound is dependent upon all parts sounding simultaneously; the euphonium is the
only instmment used to sustain this pitch (see Example 16.1).
Example 16.1. Gavorkna Fanfare, mm. 1-2.

Gavorkna Fanfare Example 1
Stamp
With dnve and mtensin- J. 144-170
© 1992 Neil A. Kjos Music Co.

Used with permission 2000
Immediately following these first two measures, the low voices including
euphonium, sustain a pedal C while the tmmpets continue the fanfare idea with a series of
188
repeated sixteenth notes. Reflecting a traditional scoring practice. Stamp sets the
euphonium one octave above the tuba and in unison with the third trombone and bass
clarinet. In measure 9, the euphonium and first and second trombones join the repeated
sixteenth note figure in the tmmpets while the euphonium doubles the third tmmpet one
octave lower. Harmonically, the euphonium part becomes especially important in
measure 10 due to the cluster combination of B-flat, B and C established in the low brass
parts (see Example 16.2).

Tpti
B cl, bsn, b sx,

tbn 3, limp

The same type of rhythmic material continues until measure 15 when a chorale-
type section begins in the brass. In this scoring, the euphonium doubles the first
trombone, which is moving at the same time as the other low brass parts. The second and
third trombone parts are identical, and the tuba part is doubled by the baritone saxophone.
The timbre of the combination of trombone and euphonium is somewhat different than
189
trombone alone. In this instance, the euphonium seems to be used to ensure the volume
of the part for the overall balance (see Example 16.3).

Stamp
Tpis
.*

Near the end of the fugue section, the low voices enter "majestically" as indicated
in their parts. The euphonium part is melodically interesting and is essential in the
stiTictiue of the fugue. This part is unison among the bass clarinet, bassoon, baritone
saxophone, third trombone, euphonium, and tuba. The euphonium part is doubled in
unison by the tuba, a somewhat unusual scoring as they are usually scored an octave
apart. It is logical to conclude that the euphonium should sound as similar as possible in
timbre to the tuba in this register (see Example 16.4).
190

Stamp
J- 144-170
Jjf^ majiwlically

Gavorkna Fanfare provides the euphonium player with some substantial
challenges both technically and harmonically. The part is significant to the overall
constmction of the piece. Not only do fraditional voicings exist, such as the low voice
ensemble in Example 16.4, but important harmonic parts occur, such as demonstrated in
Example 16.1. This short work enables the performer to showcase some of the technical
abilities of the instmment.
191
CHAPTER XVII
A MOVEMENT FOR ROSA (1992) - MARK CAMPHOUSE
Mark Camphouse (b. 1954) is presently Associate Professor of Music and
Director of Bands at Radford University in Virginia. He received his formal education at
Northwestem University studying composition with Alan Stout, conducting with John
Paynter, and tmmpet with Vincent Cichowicz. He has been commissioned by such
prestigious organizations as The United States Marine Band, The United States Army
Band, Her Majesty's Royal Marine Band, The Dallas Wind Symphony, and the
Northshore Concert Band. He has won numerous composition awards and distinctions
including the 1991 National Band Association Composition Contest and the Radford
University Dedmon Award for Professorial Excellence. John Mueller stated, "Mark
Camphouse, he's pretty euphonium-friendly, I'd have to say."
Commissioned by the Florida Bandmasters Association and dedicated to Esther,
his mother, A Movement for Rosa is divided into three sections:
Section I evokes Rosa's early years, from her birth, Febmary 4,

1913 in Tuskegee, Alabama, through her marriage in 1932 to Raymond
Parks in Pine Level, Alabama. Section II portrays years of racial stiife in
Montgomery and her quest for social equality. The third section is one of
quiet strength and serenity. The hymn. We Shall Overcome
(foreshadowed in sections I and II by motivic fragmentation), is heard in
its entirety near the end. The work's final measures serve as an ominous
reminder of racism's lingering presence in modem American society.
** John Mueller, interview with the artist, December 22, 2000.

" Mark Camphouse, A Movement for Rosa, (Ruidoso, New Mexico: TRN Music, 1992), note to
the conductor.
192
The first entrance of the euphonium in section one of A Movement for Rosa
occurs in measure 16 as part of a brass choir. Traditionally scored in parallel motion with
the tuba, the euphonium part is not doubled by any other instmment therefore
significantly contributing to the harmony (see Example 17.1).
Example 17.1. A Movement for Rosa, mm. 16-17.
A Movement for Rosa Example 1

Camphouse
J-
© 1992 TRN Music

At the end of the brass choir phrase and beginning in measure 23, the euphonium
is scored with a melodic motif that is doubled by the second clarinet. These parts are
written in unison and utilize the lower register of the clarinet. This is an unusual choice,
as the bass clarinet could more comfortably perform in this register with a similar timbre.
Given the uncharacteristic mix of instmments, the euphoniumist is challenged to blend
with the clarinet in the context of the brass choir (see Example 17.2).
193

Camphouse
©1992 TRN Music

Four measures later, the euphonium is traditionally scored an octave above the
tuba in a descending melodic passage. Beginning in measure 27, the low brass are scored
with the melody and are marked "espressivo." The opportunity to perform the melody as
a bass instmment is significant, and the euphonium part provides a rhythmic challenge
for the performer with the change from duple to triple and back to duple in the space of
three beats (see Example 17.3).

Cls 1/2, tpts.
©1992 TRN Music

194
Four measures later, Camphouse scores for the euphonium in a traditional manner
with a melodic motif that is doubled by the bassoon, hi measure 30, Camphouse again
uses the "espressivo" marking and challenges the euphoniumist to accurately perform a
sixteenth note passage and to blend with the bassoon. The bassoon and euphonium are
scored with the harmonic resolving pitch in measure 31. The motion from the B-flat to A
is not doubled by another instmment. hi this instance, the composer has marked "divisi"
and scores the second euphonium part with the harmony which is being sustained by the
bass voices. The first euphonium part is not technically difficult, but the part is
significant for the proper performance of this excerpt (see Example 17.4).
Example 17.4. A Movement for Rosa, m. 30.

Camphouse
B ct, bsn 2, t/b sx.
©1992 TRN Music

Beginning in measure 33, the melody is scored in the third clarinet, homs, and
euphonium. The homs and third clarinet are in unison, and the euphonium is scored one
octave lower. As the euphonium is the lone bass instmment for the melody, the part is
195
important. Camphouse uses the "cantabile" marking to denote the importance of the
melodic parts at this point in the work. The euphonium part becomes technically
challenging in measure 25 with the duple figuration immediately followed by a triplet
figure. The octave skips are in a comfortable tessitura, but are such large skips that they
will require some advanced performance skills (see Example 17.5). In the space of
twenty measures during the introduction, Camphouse utilizes the euphonium in a variety
of textures, enabling the performer to demonstrate her or his performance ability and
demonstrate the flexibility of the instmment.

Camphouse
I cl, bsn, l/b sx.

tbns, tu
©1992 TRN Music

Marked "espressivo," Camphouse uses the tenor voices of the wind band to
perform an excerpt of the counter-melody in measure 47. Scored in unison, the bass
clarinet, tenor saxophone, and euphonium perform a mnning eighth note sequence while
the remainder of the ensemble sustains an E-flat major chord. The rhythmic contiibution
of the part is significant as no other parts are moving at this point. The harmonic
196
contribution of this line is not significant, as the part outlines the E-flat major chord that
the rest of the ensemble is sustaining; however, the melodic contour of the line provides
interest during this excerpt. While arpeggios are not technically demanding to perform,
the players are required to move melodically through the interval of an octave and a
fourth in the space of two beats which can be difficuh (see Example 17.6).
Example 17.6. A Movement for Rosa, m. 47.

Camphouse
Pc n. obs, cls,
a sx, tpts, hns
i,.J'"
^ g ^ kjj ^=zr: •
Bsn, b sx,
espressivo
+ b-cl. t sx
\< tj
F r f ~~~~^^
EU
r 1
©1992 TRN Music

Beginning in measure 55, the euphonium is again scored with the melody and in
unison with the clarinets. The homs are the only other brass scored to perform at this
moment, and therefore the euphonium timbre contribution is significant. As the melody
continues through this section, the euphoniumist is challenged with some range issues
(the part reaches A-flat), and the melodic line requires the performer to demonstrate the
lyrical strength of the instmment (see Example 17.7).
197
Camphouse
© 1992 TRN Music

Beginning in measure 59, the clarinets continue with the melody, and the
euphonium is joined by the homs with an important counter-melody, hi measure 58, the
euphonium doubles the clarinets and immediately following in measure 59, the
euphonium doubles the homs. This type of scoring demonstrates the flexibility of the
euphonium. The melodic aspect of the euphonium part is somewhat challenging as it
moves into the higher tessitura, and the rhythms become much more difficult as this part
continues (see Example 17.8).
Cl 3, b cl, bsn,
©1992 TRN Music

198
All of this activity culminates in a climactic moment at measure 67. In measure
66, the euphonium separates from the counter-melody with the homs and is scored in
imison with the bassoons and third trombone, and one octave above the tubas.
Noteworthy are the continuous timbre changes in the short amounts of time. Further
noteworthy is the flexibility of the euphonium to blend in each of these situations (see
Example 17.9).

Camphouse
molloallarQando a tempo 0-96
Pc, fls ob, ds,

asx, tpls. hns 1/2
hns 3/4, tbn 1/2
©1992 TRN Music

Between measures 67 and 127, the euphonium is ahemately scored in unison with
the bassoon or with the low brass similar to the examples presented earlier. Beginning in
measure 127, Camphouse scores the bass voices of the wind band with piano and
marimba to establish a highly complex and rhythmically active bass figure. This
rhythmic drive continues until measure 159. This excerpt requires the euphoniumist to
demonstrate a high level of technical skill in counting, rhythms, articulations, and
199
blending. To enforce the paramount nature of rhythmic accuracy of this part, Camphouse
directs the players to observe the "preciso" marking (see Example 17.10).

Camphouse
pno, mba
Bsn, lu, pno
©1992 TRN Music

Demonstrating the flexibihty of the instmment and beginning in measure 161,
Camphouse scores the euphonium to function in a variety of roles in the span of six
measures. Initially, the euphonium is scored with the bass clarinet and tenor saxophone
in an eighth-note accompanimental arpeggio figure which evolves directiy into a
countermelody marked "sonoramente" with the homs and third tmmpet. Three measures
later, the euphonium is initially scored in unison with the bass clarinet, baritone
saxophone, and tuba in an accompanimental figure, and then in the next measure with a
low wind a minor rhythmic figure. These successive textures demonstrate the ability of
the euphonium to perform in a multiplicity of musical roles including melodic, harmonic,
and accompanimental (see Example 17.11).
200
Tpls 1/2. Ibns
©1992 TRN Music

Camphouse provides a diversity of opportunities for the euphonium players to
demonstrate the capability of both themselves and of the instilment. Melodies and
countermelodies are scored in the euphonium in traditional and nontraditional settings,
and these parts supply the performer with many challenges. Several moments are
provided for the euphoniumist to display the lyrical strength of the instmment.
201
CHAPTER XVIII
THREE CITY BLOCKS (1993) - JOHN HARBISON
The cantata. The Flight Into Egypt, for which John Harbison (b. 1938) received
the 1987 Pulitzer Prize for music, which along with his many additional distinctions, has
eamed Harbison a reputation as one of America's leading contemporary composers. The
Metropolitan Opera commissioned him to compose The Great Gatsby (1997) which was
premiered in December, 1999. Additionally, Harbison has been composer-in-residence
with the Pittsburgh Symphony, the Los Angeles Philharmonic, the Tanglewood, the
Marlboro, and the Santa Fe Chamber Festivals, and the American Academy in Rome.
Harbison eamed the Bachelor of Music degree from Harvard University and the
Master of Fine Arts from Princeton University. .Among his works for winds are a
commission by the National Band Directors Association, Olympic Dances (1996), which
is scored for wind ensemble and dance troupe. He has also composed solo wind works
including Sonata for Saxophone and Piano (1994), and Flute Concerto (1993),
commissioned by the American Composers Orchesfra, the St. Paul Chcmiber Orchestra,
and the Oregon Symphony. Three City Blocks (1993) was commissioned by a
consortium of ensembles including the United State Air Force Band, the New England
Conservatory, the Cincinnati College-Conservatory of Music, the University of
Michigan, the University of Southem Califomia, The Ohio State University and The
Florida State University.
202
Three City Blocks is the composer's second^^ work for wind ensemble and reflects
his impressions of New York City. The composer offers the following program note in
the score:
Over the radio, in the early fifties, came sounds played by bands in
hotels and ballrooms; now distant memories that seemed to a seventh-
grade, small-town, late-night, listener like the tme pulse of giant
imagined cities.^^
The composer writes elsewhere:
There are three blocks, each at a faster speed, each at a hotter

temperature. The language is urban, the architecture is blunt and sharp.
For many years the romanticism of the mral ideal dominated American
arts, even as fewer and fewer people actually experienced the
countryside, or pursued its labors or its pleasures. Though it still exists,
out there somewhere, as a source of renewal or regeneration, or sheer
escape, the mral vision has been replaced by another reality. We are
mled, politically, by the suburbs, which are neither here nor there. But
we are haunted, challenged, terrorized, and energized by the city.
So the composer who wants to deal with live material opens his ears to
the sounds of downtown. These sounds cannot simply be transcribed,
they must be somehow essentiallized, made to stand for more.
The grand expanses of the American wind orchestra, one of our most
abundant and flexible resources, seems a good place to explore both the
jangle and clarity of this powerful urban experience. Three City Blocks
should suggest places we have been, places we would like to be, places
we might be afraid to be.'°
The first block of Three City Blocks, marked "Fervent and resolute," begins with
an octave skip in the low winds. The score calls for two euphonium parts as well as for
two tuba parts. In the first measure, the euphonium parts are split into octaves and
** His first work was written in 1986, Music for 18 Winds

*' John Harbison, Three City Blocks (New York: Associated Music Publishers, 1993), note to the
conductor.
™ Eugene Corporon, conductor, Paradigm (The Cincinnati College-Conservatory of Music Wind
Symphony, San Juan Capistrano, Califomia: Klavier Records, 1994), program book insert, notes by John
Harbison.
203
traditionally scored one octave higher than the tuba. Significantly, the euphonium is
scored as one of the first instmments to begin the work. The octave skip and rhythm
require advanced technical skill to perform accurately. While the pitches are doubled
elsewhere, the euphonium contributes to the texture in terms of timbre and harmony (see
Example 18.1).
Example 18.1. Three City Blocks, Mvt. 1, m. 1.
Three City Blocks Example 1

Harbison
I Moxement I
Fervent and resolute
rrpi—
A s-xs. hns, t. sx
Tu, limp
THREE CITY BLOCKS

Copyright © (renewed) by Associated Music Publishers, Inc. (BMI)
Intemational Copyright Secured. All Rights Reserved.
Used by Permission.
Beginning in measure 21, Harbison uses a traditional scoring of euphonium with
tuba; however, the parts are not in octaves and the rhythm and harmony are unusually
combined with flutes, oboes, and homs. The complexity of the rhythm is such that
advanced musical skills are required to properly perform the euphonium part. The part is
also important to the textiire as the pitches are not doubled and no other similar timbre
instmment is scored in the tessitura (see Example 18.2).
204
Example 18.2. Three City Blocks, Mvt. 1, mm. 21-22.
Movement 1
THREE CITY BLOCKS

Used by Permission.
Beginning in measure 57, Harbison scores the low brass as an emphasis to the
trombone line and as a complement to the saxophone line. The euphoniums are
fraditionally scored in unison with the first and second trombones in the upper tessitura.
The third and fourth trombones are doubled by both of the tubas, also a traditional
scoring practice. The rhythmic, articulation, and tessitura demands are challenging for
the euphonium player (see Example 18.3).
205

Movement I
Tbns 1/2, pno
c bsn, pno
THREE CITY BLOCKS

Used by Permission.
Beginning in measure 110, Harbison emphasizes a repeated eighth-note triplet
figure in the bassoons, harp, and piano with the euphonium and tuba. The low winds are
dynamically indicated to dominate the texture of clarinets and percussion. As the only
brass scored in this excerpt, the euphoniums and tubas significantly contribute to the
textiire. Some of the pitches are not doubled between the tuba and euphonium, so both
instmments significantly contribute to the harmony. The rhythm in the scored tessitura,
which repeats two measures later, is difficuh to perform on euphonium (see Example
18.4). This movement ends with a similar scoring to the beginning with the low winds
playing two short accented notes answered by the upper brass.
206
^ ^
^^
^
m ^ ^ ^
har. pno ^ i>j J ^^ J J i ^ ^

#
nilu. ^ §
har, pno
THREE CITY BLOCKS

Intemational Copyright Seciured. All Rights Reserved.
Used by Permission.
Continuing the "hotter" concept, the second movement marked, "Tough, driving,"
begins with a unison wind statement of a rhythmic figure. The euphoniums are
fraditionally scored in unison with the bass voices consisting of bass clarinets, bassoons,
third and fourth frombones, and tubas. The saxophones do not play the opening figure
but are scored as the only instmments to perform in the second measure in response to the
opening wind motive. This pattem repeats eight times (see Example 18.5).
207
Fls, pc, obs,

e-f cls
Cls I/}, hns 1/3,

ibn I, pno
Cls 2/4, hns 2/4,

ibn 2 pno
t cl. bsn tbn 3/4,

tu, d bs
THREE CITY BLOCKS

Used by Permission.
Traditionally scored one octave above the tuba, the euphoniums perform an
important harmonic function beginning in measure 22. The part does not place any
significant technical demands upon the performer; however this excerpt demonstrates a
characteristic treatment of the euphonium in the wind band setting (see Example 18.6).
208
Movement 2
ff /
THREE CITY BLOCKS
Used by Permission.
The next portion of this movement is scored for the saxophone section and is
immediately followed with a restatement of the introductory material. The clarinets then
take charge with the percussion section and provide a new texture. This is followed by
another fraditional scoring of the euphonium in the context of a brass ensemble.
Beginning in measure 77, the euphoniums are again scored in unison with the first and
second trombones; the third and fourth trombones are joined by the tubas. The rhythms
are unison among all of the brass and percussion. Harbison's treatment of the euphonium
in this texture is very similar to that in Example 18.3.
Not until measure 153 in the second movement does Harbison score the
euphonium in a different context than before. While the trombones have the melodic
material, the saxophones are scored in an accompanimental fashion. The euphoniums are
scored as a fifth part with the two alto and two tenor saxophones. The scoring is
interesting as one might expect the baritone saxophone to be placed in this role.
209
Although the pitches in the euphonium part are doubled in the piano, the timbre is not
doubled elsewhere, thus contributing to the ensemble sonority. The part is not
technically challenging, but the contribution to the harmony is important and inclusion in
the saxophone family in this manner is unusual (see Example 18.7). The movement ends
with metallic percussion scored pianissimo.
B cl, bsn, tpis,

hns, lu, hp, pno
ff secco staccato
THREE CITY BLOCKS

Used by Permission.
As the work grows even faster, the third movement marked, "With relentless
energy," begins with the melodic material in the flutes, supported by clarinets and homs.
In measure 5, the low winds establish a rhythmic groove that continues through the next
35 measures. The pitches in the euphonium part are doubled by the bass clarinets, but the
rhythmic accents of the euphonium part are not doubled. This treatment effectively leads
to the estabhshment of the style in this passage (see Example 18.8).
210
= 208 With relentless enerjjy
THREE CITY BLOCKS

Used by Permission.
The euphoniums enter in measure 43 as part of the conical brass choir. The
pitches are not doubled, and the scoring of homs with euphonium and tuba is a traditional
brass band practice. The texture is somewhat lighter than a full wind band and each
individual part is important to the whole (see Example 18.9).
211

Movement 3
Tpts
THREE CITY BLOCKS

Used by Permission.
Retuming to the rhythmic drive established in measure five, Harbison changes the
texture by using the euphoniums and tubas as one instmment. Beginning in measure 104,
the euphonium starts the eighth note line which is then ahemated with the tiiba. The
euphonium part requires advanced performance skills to accommodate the syncopation
and articulation. The part is important to the texture and style being established for the
remainder of the movement and again the euphonium participates in the establishment of
this rhythmic drive (see Example 18.10).
212
Example 18.10. Three City Blocks, Mvt. 3, 104-105.

Movement 3
THREE CITY BLOCKS

Used by Permission.
The work ends with a loud climactic cluster chord built on G. Even though
Harbison's use of the euphonium in this work does not afford the player many
opportimities to demonsfrate the lyric sfrength of the instmment, the parts are technically
challenging and do explore the full range of the instmment. The low winds begin the
many styles used in this work, and the euphonium plays an active part in this process.
The euphonium is regularly used in traditional wind band block scoring textures. An
unusual opportunity exists, as previously illustrated in Example 18.7, to perform with the
saxophones in lieu of the baritone saxophone.
213
CHAPTER XIX
PASSACAGLIA (HOMAGE ONB-A-C-H) (1993) - RON NELSON
Ron Nelson's (b. 1929) 1993 work, Passacaglia (Homage on B-A-C-H), has won
all of the major band composition awards-The National Band Association Competition,
the American Bandmasters Association Ostwald Award, and the Sudler Intemational
Wind Band Competition. He was awarded the Medal of Honor of the John Philip Sousa
Foundation in 1994. A native of Johet, Illinois, and a Fulbright Scholar, Nelson eamed
all three of his degrees from the Eastman School of Music where he studied composition
with Howard Hanson and Bemard Rogers. Some of his other band compositions for
which he is known include Rocky Point Holiday (1969), Fanfare for a Celebration
(1982), and Medieval Suite (1982). Nelson comments that Bach's Passacaglia in C
minor is his own all-time favorite work, and that he stmggled to use the form in a work
for wind band.^' This work was premiered at the American Bandmasters Association
Convention in Hawaii in 1994.
In the German nomenclature, the letters spelling Bach's name represent the
pitches B-flat, A, C and B-natural, respectively. In this work, Nelson uses this Bach-
name ostinato 27 times. Bach introduced this "name motive" in the unfinished Art of the
Fugue and many other composers have subsequently used this theme in their own works.
The first occurrence of the euphonium is in measure one. The score calls for two
euphonium parts which is not uncommon in wind band scoring practice. Nelson
" Steve Grimo, conductor, Heritage II The Music of Ron Nelson. (Randolph A.F.B., Texas:
AETC Band of the West, 1994), Track 11 - Ron Nelson's Comments.
214
composes for the euphonium in its bass register and doubles the homs in the extreme low
end of their register. With the soft dynamic marking and very low tessitura, this part is
very challenging. Additionally, created the cluster chord is very difficult to hold in tune
because of the close proximity of pitches (see Example 19.1).
Example 19.1. Passacaglia, m. 1.
Passacaglia Example 1
B cl. bsn b sx.

=8^
"fcs-
Improv slowly on pitches
Do not play as chords

Beginning in measure 10, Nelson scores the euphoniums to perform in the bass
end of their tessitura, a register rarely written for in wind band music. During the next
seven measures, the second statement of the passacaglia is scored in unison with the
homs. This traditional scoring practice is unusual given the low range of both
instmments. The homs are also scored to play at the very bottom of their register.
Interestingly, the second euphonium part is playing a rarely scored pedal C, doubled in
the tuba. Given the tessitura of the first two measures of this theme, advanced technical
skill is required to properly perform this material (see Example 19.2). As the title
215
suggests, the form of this work is held together by the passacaglia, and Nelson scores the
euphonium to perform the passacaglia for the next eight repetitions.
Example 19.2. Passacaglia, mm. 10-12.
PassacagUa Example 2
Tpl 3
Timpani

At the ninth repetition, the euphoniums are given a harmonic role in the brass
chofr. Beginning in measure 73, the passacaglia is scored in the tiiba part, and the two
euphonium parts join the third and fourth trombones as the bass voices of this brass choir.
The euphonium does not significantly contribute to the sonority of the choir; however,
the need to double the third and fourth trombone parts is important as the four trombone
parts are scored against six tmmpet parts. Splitting three tmmpet parts to make more
parts is not uncommon in wind band writing. By doubling the third and fourth trombone
parts, a more desirable balanced sound naturally occurs (see Example 19.3).
216
Tpls 3-t)
Bsn. tu,
d bs. limp

Beginning in measure 150, the thematic material is scored in the homs while the
high woodwinds and low brass sustain a harmonic pedal. The low D-flat is somewhat
difficult as this pitch does not project well on the euphonium. This part is typically better
suited for the tuba (see Example 19.4).
217
I. Passacaglia Example 4
Vibraphone

Immediately following this section and beginning in measure 157, the low brass
are given a rhythmically active accompaniment to the passacaglia in the upper
woodwinds. While the euphonium part does not significantly contribute to the percussive
aspect of this material, the instmment does provide significant harmony and-sonority to
the ensemble sound. The pitches in the euphonium part are not doubled; the dynamic
markings are extreme for the lower range, and the complex rhythmic figurations require
the euphonium player to possess a developed musical skill for proper performance (see
Example 19.5).
218
Example 19.5. Passacaglia, verm. 157-160.
Tpl J
B cl. bsn. d bs

Nelson retums to the low winds for the final two statements of the passacaglia.
The work ends on an interval of an open fifth between G and C, and the euphoniums are
scored with both of these pitches. Since every wind instmment, except tuba, is playing
with a "Cresc. To maximum" indication, and the actual pitches are doubled by all of the
trombones, the audience, doubtfiiUy, would perceive the euphonium part in the massed
texture. However, every part is equally important in the creation of the mass sound effect
(see Example 19.6).
219
upper winds
Euphoniufiis
Cresc ToMiMmum

Nelson's work requires the euphonium player to perform in a nontraditional
tessitura for wind band scoring. This is an excellent opportunity for the euphonium
player to demonstrate a frequently unheard aspect of the instmment's capabilities while
performing parts significant to the constmction of this work. Some technical passages
require advanced counting and technique, such as shown in Example 19.5, and these
passages enable the euphoniumist to demonstrate her or his proficiency on the
instrument.
220
CHAPTER XX
ZION (1994) - DAN WELCHER
Currently serving on the music theory and composition faculty at the University
of Texas at Austin, Dan Welcher (b. 1948) has built a reputation as a highly regarded
composer who has three Pulitzer Prize nominations to his credit. Welcher, who began his
career as a bassoonist and pianist, eamed degrees from the Eastman School of Music and
from the Manhattan School of Music. From 1980-1990 he served as the assistant
conductor of the Austin Symphony Orchestra and was Composer-in-Residence for the
Honolulu Symphony Orchestra from 1990-1993. Welcher's music covers a wide variety
of instmmentation and ensembles, including solo instmmental, orchesfra, chamber
ensemble, voice, keyboard, and opera, Delia's Gift (1986).
Combined with two other pieces, The Yellowstone Fires and Arches, Zion is the
third in a series of works for wind band inspired by Welcher's visits to national parks in
the westem United States. When combined, the three pieces are entitled Three Places in
the West. Zion refers to Zion National Park in Utah and, as with the other two pieces, is
an attempt to convey feelings and impressions of the area. Due to the large Mormon
population in Utah, Welcher elected to use two Mormon hymns as the basis of this work,
Zion's Security and Zion's Walls. These two hymns were taken from a well-known
collection of American hymns entitled The Sacred Harp. Zion was commissioned in
1994 by a consortium of wind ensembles from the University of Texas at Arlington, the
University of Texas at Austin and the University of Oklahoma. This work is dedicated to
the noted American composer Aaron Copland.
221
Using materials from the two hymns, either in fragments or as the entire hymn,
Welcher composed this work so that the two hymns eventually "vie for attention" toward
the end of the piece with Zion's Walls being the last hymn heard in its entirety. The work
begins with three full statements of the first hymn, Zion's Security. The euphonium is
not scored to play until the second full statement of the hymn. Beginning in measure 50,
the euphonium entrance is doubled by the woodwinds and the first tmmpet until the
fourth pitch of the melody is sounded. At this point, the euphonium sustains the concert
C with the second and third flutes and piano while the other instmments continue with
the melody. Given the two-octave difference between the euphonium, flute and piano
parts, the C in the euphonium part is important to the overall harmonic stmcture of this
section (see Example 20.1). This four-note motive continues as an ostinato for the next
ten measures. In measure 60, the same idea at a new interval is heard, this time with the
sustained pitched doubled an octave lower by the bass clarinet, bassoon, and first and
second trombones.
Example 20.1. Zion, mm. 49-51.

Zion Example 1
Ob, E H . Cls,
A;S S\, Tpls, Hn I
FROM: ZION
© 1997 Theodore Presser Company
Used By Permission
222
Beginning in measure 132, a sixteenth-note accompanimental figure is introduced
in the low woodwinds, bass clarinet, bassoon and confrabassoon, and is doubled by the
euphonium. Welcher has indicated a dynamic level of fortissimo for the woodwinds,
with the euphonium one level lower at forte. Possibly at this point the composer wants to
hear the woodwind timbre with reinforcement from the euphonium part. Even though the
euphonium is doubled, the part provides a challenging technical passage for the player
and is important to the texture of the piece at this point. This motivic idea is repeated
several times in the following measures (see Example 20.2).
Example 20.2. Z/o«, m. 132.

Zion Example 2
FROM: ZION
Used By Permission
A "senza misura" section begins in measure 139 with a melodic figure based on
materials from Zion's Walls appearing in the flutes, followed by a military-type snare
dmm figure. This establishes a background for the muted tmmpet, trombone and
euphonium to perform Zion's Security with instmctional markings of "ghostly" and "a
reminiscence." The use of mutes, combined with the instmctional markings, creates a
223
nontraditional timbre. The timbres of muted trombone and euphonium are quite similar;
therefore, the euphonium serves to supplement the volume of this material. Significantly,
the euphonium part is melodic and is doubled by only two other instmments (see
Example 20.3).
Example 20.3. Z/o«, mm. 139-150.
Zion Example 3
PP n u l . r.tJ,l-
FROM: ZION
Used By Permission
Welcher makes use of a legato trombone choir timbre in measures 191-193 as a
contrast to the previous and subsequent staccato woodwind and tmmpet sounds. In these
three measures and repeated seven measures later, the euphonium doubles the first
trombone with melodic material based on Zion's Security, while the second, third, and
fourth trombones provide harmonic support. As before, the timbres of the euphonium
and trombone are similar in this tessitura; therefore, the euphonium does not significantly
224
contribute to the timbre of the melody but is important to the projection of the melody
(see Example 20.4).
Example 20.4. Z/o«, mm. 191-193.
Zion Example 4
Welchc
~W Jr ~
/ ' {* ™— I* f \
J. 144
">/ darkly
-3—g7
V
mf darkly
^4^
_ij—p
ttr"
i 1 .^j-l >
Itlj darkly
FROM: ZION
Used By Permission
One unusual aspect in scoring for the euphonium occurs in measures 222-224
where the part is actually written in treble clef Typically, when a part is written so high
that the use of ledger lines in bass clef is ineffective or confiising, the composer will
revert to tenor clef Since the score is written using non-transposed parts and all parts are
hsted either in treble or bass clef, the composer and publisher possibly wanted to keep a
consistent format. The euphonium, English hom, soprano and aho saxophones, trumpets,
and first and third homs are scored with the rhythmically challenging duple versus triple
melody. This combination of instmments performing a unison passage is a nontraditional
grouping in that it doesn't conform to any of the fraditional families of instmments and
should provide interest to the audience and ensemble. Given the density of the scoring in
this section, the euphonium's contribution to the texture is to augment the volume of the
225
melodic line. The technical demands to perform effectively in this tessitura are quite
challenging (see Example 20.5).
Zion Example 5
'^ We
J. 144
E H . s/a sx.
ip^ hns 1/3
1 cl, bsn. hns 2/4.

tbns. ni
FROM: ZION
Used By Permission
Again with the treble clef indication six measures later, the euphonium melody is
doubled with aho and tenor saxophones and with first and third homs. An even more
difficuh challenge is presented to the euphonium player in measure 229 with a leap of an
octave and a fifth. Given the similarity of timbres in this tessitura between the homs and
euphonium, the euphonium ftmctions to enhance the volume of the melodic material (see
Example 20.6).
226
Zion Example 6
pc.ns.
b cl, bsn, hns 2/4

tbns 1/2/3, limp
FROM: ZION
Used By Permission
Measures 239-252 reflect a traditional scoring practice for euphonium. In this
instance, the euphonium is doubling the tuba one octave higher in a harmonically
supportive role for the remaining instmmental ensemble. Measures 247-249 provide a
clear example of this doubling, which is also scored in the bass clarinet, bassoon,
confrabassoon, and in the first, third, and fourth trombones. As support for the moving
eighth and sixteenth note activity, the euphonium participates in the e minor harmonic
pedal and contributes to the texture as one voice in a crowd (see Example 20.7).
227
Zion Example 7
E H, Cls,
s;\sx
Tpls, hns
TbI
bsn I, tb 2
Bsn 2, c bsn.
lb 4. ni. s bs
FROM: ZION
Used By Permission
The retum of Zion's Security in measure 253 illustrates Welcher scoring of the
melody in the tmmpet, trombone, and euphonium. Given the dense texture, conceivably
Welcher chose this instmmentation to ensure the volume of the theme and to remind the
listener of the previous statement by these instmments which began in measure 139. This
statement of the melody is without mute and is in a comfortable tessitura. This part
provides rhythmic and melodic challenges that are contrary to the previous harmonic role
and offers different challenges to the euphonium player (see Example 20.8).
228
Zion Example 8
Tps. lb 1/2,
Eli
bsn, b sx, lb 3/4,

lu. s. bs, pn
FROM: ZION
Used By Permission
Fifteen measures before the end of the work, the euphonium is once again scored
in treble clef Of the instmments that are scored to provide harmonic support, only the
euphonium and third and fourth homs actually move in this rhythmic fashion. More
important in this passage is the harmonic activity defined by the euphonium and homs.
The augmented fourth tension created by the F# over C is resolved by motion downward
to E in the context of a C^ chord (see Example 20.9).
229
Zion Example 9
ibns. tu. s bs XJ
FROM: ZION
Used By Permission
The work ends on a unison C for all parts including the euphonium. Welcher's
scoring for the euphonium in this work provides experiences that are interesting and
challenging. As demonstrated in example 7, Welcher demonstrates that he is familiar
with traditional scoring practices for the instmment, yet he does not allow the part to
continue in this fashion. While substantial periods of rest occur in this piece for the
euphoniumist, the performer is provided with unique challenges and opportunities to
perform the melody.
230
CHAPTER XXI
BUM'S RUSH (1995) - DONALD GRANTHAM
Donald Grantham (b. 1947) presently serves on the faculty at the University of
Texas at Austin as Professor of Music Theory and Composition. He eamed the Bachelor
of Music degree from the University of Oklahoma and the Doctor of Musical Arts in
composition from the University of Southem Califomia. Grantham has studied
composition with Nadia Boulanger, Halsey Stevens, and Robert Linn. He has won
numerous composition awards including the Prix Lili Boulanger, the Nissim ASCAP
Orchestral Composition Prize - El album de los duendecitos (1983), the American
Bandmasters Association/Ostwald Composition Contest - Fantasy Variations (1997),
Southern Harmony (1998), the National Band Directors Association/William D. Revelli
Composition Contest (three times) - Bum's Rush (1995), Fantasy Variations (1997),
Southern Harmony (1998), three awards from the National Opera Association's Biennial
Composition Contest including The Boor (1988), three awards from the National
Endowment for the Arts, a Guggenheim Fellowship, and recently has been commissioned
to compose a piece for wind band and choms in celebration of the centennial of Northem
State University in Aberdeen, South Dakota. He has been cited by the American
Academy and Institute of Arts and Letters, who noted his music for its "elegance,
sensitivity, lucidity of thought, clarity of expression and fine lyricism." He is co-author
with Kent Kennan of The Technique of Orchestration, published by Prentice-Hall.
^^ Richard Miles, editor, Teaching Music Through Performance In Band. Vol. 3 (Chicago: GIA
Pubhcations, 2000), p. 666.
231
Grantham has composed numerous works for wind band including Bum's Rush, Fantasy
Variations, J'ai etc au bal (1999), and Southern Harmony.
Commissioned by the University of Texas Symphonic Band, Grantham received
the 1995 NBA/Wilham D. Revelli Composition Contest Award for Bum's Rush. The
title of this work was inspired by the novels of Raymond Chandler and by the film noir.
Grantham suggests in this work that he "attempts to musically recreate the dark,
menacing, morally ambivalent atmosphere to be found in them."^'^ Two large sections
encompass this work. The first is slow and jazzy and suggests an unresolved tension, and
the second is marked "fast and bmtal" and is very aggressive.
The euphonium's first entrance occurs in measure 21 and is scored with the
clarinets, bassoons, homs, and tuba in a unison rhythmic figure. The combination of
euphonium with tuba and hom is a natural choice as they are conical brass instmments.
The addition of bassoon in unison with the low brass is also traditional; however, the
clarinet section addition creates a new dimension to the timbre. Given the complexity of
the rhythmic figure, the euphonium part is technically difficuh (see Example 21.1).
^^ Eugene Corporon, conductor, Tributes The University of North Texas Wind Symphony, (San
Juan Capistrano, Califomia: Klavier Records, 1995). Klavier KCD-11070. Donald Grantham's comments
in the liner notes.
232
Example 21.1. Bum's Rush, mm. 21-22.
Bum's Rush Example 1
B cl,b5n
© 1995 Piquant Press

Grantham scores the entire wind band to perform an E-flat minor chord in
measure 39. The treatment of the euphonium in this instance is traditional scoring - a
perfect fifth above the tuba and doubled by some of the low winds (see Example 21.2).
Example 21.2. Bum 's Rush, m. 39.


233
In measures 48-49, Grantham repeats the scoring practice from Example 21.1 by
utilizing tuba and euphonium with clarinets and bassoon; only this time he excludes the
hom. The rhythmic figures are complex and require advanced musical skills to properly
execute the passage (see Example 21.3).

L

The second section of the work, marked "fast and bmtal," begins at measure 76.
In measure 77, Grantham sets the euphonium player in a traditional rhythm and texture
situation. Scored an octave higher than the tuba and in unison with the tenor saxophone,
the rhythm, articulation, and tessitura do not require the euphonium player to possess
advanced musical skills to property perform this excerpt (see Example 21.4).
234
Hns, tpi.^ ibns.

In the first climactic moment of the second section of this work, Grantham scores
the euphonium in unison with the bassoon. The euphoniumTbassoon eighth note line is
scored under a rapid series of sixteenth notes in the upper woodwinds and amidst a brass
G-sharp minor chord. Given the thick ensemble texture, it is unlikely that the listener
would hear the bassoon; therefore, appropriately the bassoon is doubled with the
euphonium which is capable of projecting sound outside of the texture. The euphonium
part is significant in that it is the only brass instmment at this moment scored with a
moving part. The part is also important as one of three rhythmic activities occurring at
this point (see Example 21.5).
235
IN J == /.M
/.M Lis
Pc,fls,ob,
cls. &/a sx

Beginning in measure 123, Grantham scores the euphonium to sustain an E in the
stmcture of a cluster chord. The use of hom, trombone, and euphonium is not unusual,
and the timbres of these instmments are quite similar. The euphonium part is not
difficult, but it does perform an important role of sustaining an isolated tone in this
cluster harmony (see Example 21.6).

Grantham
J
123 124
= 138 • J •
4): 41 J .— . .. j|J'r~. , . ^
P legato
cresc. poco a poco
kJ ~j
p legato cresc. poco a poco
cresc poco a poco

236
Grantham removes the euphonium from the cluster texture at measure 129 and
retums it in measure 136 in unison with bass clarinet, bassoon, tenor and baritone
saxophones, and double bass. The rhythmic nature of this excerpt is typical scoring for
low winds; however, Grantham scores the euphonium to act as a member of the tuba
family by continuing the line in the upper tessitura of the tuba part and by retuming the
line to the tuba part on altemate counts. The trombones and homs are sustaining a
climactic B-flat minor chord while the low winds provide the rhythmic activity that is
setting the way for the retum of the upper woodwinds in measure 138 (see Example
21.7).

^ Grantham

Scored contrapuntally with the homs, the euphonium and tuba provide a rhythmic
foundation for a fast sequence of woodwind trills beginning in measure 240. The high
conical brass are scored against the low conical brass and, when performed correctly,
may sound like one instmment spanning a range of three octaves. The euphonium part is
237
not technically challenging but does contribute to the rhythmic stability of this excerpt
(see Example 21.8).

I Grantham
S = i38

This altemation of euphonium/tuba with homs continues through measure 290.
Immediately following in measure 292, Grantham retums to the tenor voice brass choir,
consisting of homs, trombones, and euphonium, and creates a similar harmonic
constmction as in Example 21.6. For the remainder of the work, Grantham repeats the
same treatments of the euphonium with respect to texture, timbre, and harmony. The
rhythmic challenges along with opportunities to participate in important parts during this
work are substantial for the euphonium. Advanced technical skill is required of the
performer to property complete many of the rhythmic figures. Sensitivity to the textiire is
required to ensure proper blend with the traditional and nontraditional scorings.
Although no solos or extended melodic material are scored for the euphonium, the part
enables the performer to demonstrate some of the flexibility of the instmment.
238
CHAPTER XXII
DANCE MOVEMENTS (\996) - PHILIP SPARKE
At the Royal College of Music in London, England, Philip Sparke (b. 1951)
studied composition, trumpet and piano, and eamed the Associate of the Royal College of
Music diploma. During his studies there, Sparke formed a brass band and wrote
compositions for that ensemble and for the school's wind band. Shortly after graduating,
Sparke began receiving commissions which eventually led to his invitation to compose
The Land of the Long White Cloud (1979) for the Centennial Brass Band Championships
in New Zealand. Since that time, he has written music for brass band championships in
Switzerland, Holland, Ausfralia, and the UK. Sparke eamed the 1997 Sudler
Composition Prize for Dance Movements (1996) which was commissioned by the United
States Air Force Band. He has also contributed many works for solo euphonium and
piano that are now standard in the solo repertoire. These include Pantomime (1988),
Song for Ina (1995), Concerto for Euphonium and Brass Band (1995), andi Party Piece
(1996). A piece for two euphoniums and brass band, Euphonism (1992), is also a
standard in the euphonium repertoire.
Dance Movements, set in four movements, is to be played without pause.
According to the composer, each movement is inspired by a dance feel, but no specific
dances are intended to be literally used.^'* The first and fourth movements are written for
full wind-band. Whereas the second movement is composed specifically for woodwinds,
and the third movement is composed for the brass - all of the movements use percussion.
''* Philip Sparke, Dance Movements (London: Studio Music, 1997), note to the conductor.
239
The fourth movement is the longest and according to Sparke, ".. .1 hope, cured me of a
ten-year fascination, almost obsession, with the music of Leonard Bemstein and I will
readily admit that it owes its existence to the fantastic dance music of West Side Story."'^^
The first movement is marked "Ritmico" and is a very exciting play on
polyrhythmic stmctures. In the very first measure, Sparke scores the melody in the
fraditional tenor voices of the wind band, including alto and tenor saxophones, homs,
euphonium and cello. While the use of double bass, harp, or piano is not uncommon, the
cello is rarely used in the traditional wind band scoring. These first two measures set the
tone for an engaging euphonium part. The range, dynamic level, articulations and
counting provide the performer with substantial technical challenges (see Example 22.1).
Example 22.1. Dance Movements, Mvt. l,mm. 1-2.

Dance Movements Example 1
© 1997 Studio Music

Used by permission
In measure 35, Sparke demonstrates his understanding of the tuba family by
scoring a bass line that alternates between the tuba and euphonium (as a tenor tuba), with
the higher pitches in the euphonium part. The overall effect should be that of one tuba
'^ Ibid., note to the conductor.
240
playing the line, even though the pitches of the line are ahemating between two
instmments. Possibly, Sparke considers the G outside of the comfortable range of the
tuba and has, therefore, scored this pitch in the euphonium part. This part is written out
in full in the piano and also ahemates in the alto and bass clarinets as well as the baritone
saxophone (see Example 22.2). This motive continues for the next five measures.
Example 22.2. Dance Movements, Mvt. 1, m. 35.

Sparke
Fls. ipt!
Cl 3. hn 3/4, harp

Used by permission
In measure 41, Sparke changes the bass texture to a unison scoring in the brass
with low woodwinds. The euphonium part is one of many voices and does not
significantly contribute to the texture. However, in the very next measure, Sparke scores
241
the melodic material in the euphonium part, doubled with the tmmpets and soprano and
alto saxophones. These two measures demonstrate the traditional brass band scoring
method of doubling the melodic tmmpet line one octave lower in the euphonium part (see
Example 22.3).
Example 22.3. Dance Movements, Mvt. 1, mm. 41-43.

J. 134
Cl 3, hns 3/4. harp
Tpls
^'^f?]' Li'H m i^^^^
> *_

Used by permission
The euphonium player is next greeted with a flurry of mnning sixteenth notes in
measure 60. Providing a lower sonority to the texture, this part is scored in the second
and third clarinets, alto and bass clarinets, bassoons, alto saxophone, euphonium, cello,
and piano. This is a somewhat darker timbre that is contrasted by the sustained B major
triad in the cylindrical brass. Significantly Sparke does not score this part for any other
brass instmment. Considerable technical facility is required to perform this rapid passage
at the desired tempo (see Example 22.4).
242
Dance Movements Example 4 Sparke
J. 134
Cls 2/3 a A d , bsn.

Used by permission
Once again demonstrating his knowledge of the flexibility of the euphonium,
Sparke scores the countermelody in measure 102 to begin in the tuba and then has the
countermelody continued by the euphonium as it moves into the higher tessitura.
Immediately foUwing in measure 104, the melody shifts to the tenor voices of the wind
band, including the aho and tenor saxophones, homs, cello, and euphonium. The
exchange from the bass voice timbre to the tenor voice choir is smooth and should not
require much effort on behalf of the player. The melody; however, which begins in
measure 104 and continues for the next three measures, is technically demanding in terms
of articulation, technique and range (see Example 22.5). Beginning in measure 105, a
literal retum to the opening of the work begins which then leads to the end of the first
movement.
243

Sparke
J. 134
Pc. Us, obs, E hn.

cls, I cl. s s\

Used by permission
Following the second movement, which is scored only for the woodwinds and
percussion, is the third movement, which Sparke describes as, "a love duet in a classical
ballet."^^ Beginning in the third movement in measure 428, the euphonium enters in a
traditionally scored parallel motion with the tuba. The parts eventually split in measure
432 where the euphonium takes the role of the bass voice in a hom choir and evolves to
become the lower octave of the tmmpet melody in measure 435. No great effort is
required of the player to adjust their timbre as the instmment naturally blends into each of
these settings. Throughout this passage, Sparke demonsfrates his awareness of the
flexibihty of the euphonium to function in a variety of capacities while performing a
76 Ibid., note to the conductor.
244
linear function. Some of the syncopated rhythms require advanced counting skills, such
as the offset sixteenth note rhythmic figures in measures 428 through 431; however the
tessitura and articulation demands are not too difficult. The opportunity to perform the
melody is exciting and should be of significant interest to the euphonium player and
audience (see Example 22.6). The entire third movement is only 62 measures long and
the euphonium is similarly scored for the remainder of the movement.
For most of the fourth movement, Sparke scores the euphonium in similar fashion
to the previous movements. At one point in the middle of the fourth movement, he calls
on the euphonium player to perform a miming sixteenth note passage in a solo capacity.
This is eventually joined by the tmmpets and then by the woodwinds and homs. The
rapid notes, articulations and tessitura require advanced skill to effectively perform this
part on the euphonium. The soloistic nature, as well as the technical demands, provide a
sense of satisfaction for a successfiil performance of this excerpt (see Example 22.7).
245
Sparke

Used by permission
246

Sparke
VBd,bsti.b s\.
Ibn3.tu, do, d bs

Used by permission
Sparke's familiarity with the brass band, wind-band, and euphonium enable him
to be a significant advocate for the euphonium in wind-band scoring. As his wind-band
and solo euphonium music continues to be performed, his influence as a composer will
likely grow and impact younger composers. As demonsfrated by these examples, Sparke
has written some technically challenging euphonium parts that require advanced
performing skills from the player. Roger Behrend refers to these types of parts as, "good
wind-band writing. ,77
" Roger Behrend, interview with the artist, 12/21/00.
247
CHAPTER XXIII
BLUE SHADES (\991) - FRANK TICHELI
Frank Ticheli (b. 1958) has won numerous compositional awards including the
Charles Ives Scholarship and the Goddard Lieberson Fellowship from the American
Academy and Institute of Arts and Letters. While he has not won one of the four major
band composition awards, Ticheli's contributions to the contemporary band world are
significant. Among his many works, Cajun Folk Songs (1990), Amazing Grace (1994),
and Postcard (1993), have been featured at many school band concerts and at state and
national conventions. His works for orchestra and wind band have received intemational
acclaim and have been performed on four continents. He was Composer-in-Residence
with the Pacific Symphony Orchestra in Southem Cahfomia from 1991-1998 and is
currently a member of the faculty of the University of Southem Califomia. Ticheli is
originally from Richardson, Texas. He eamed his Masters and Doctorate degrees
studying with William Albright, George Wilson, Leslie Bassett, and William Bolcom at
the University of Michigan. He is the composer commissioned to write An American
Elegy (2000) which memorializes the tragedy at Columbine High School in Colorado.
Blue Shades (1997) is the resuh of a consortium commission of 30 organizations
under the auspices of the Worldwide Concurrent Premieres and Commissioning Fund.
Ticheli comments that this work evolved from a previous work for jazz ensemble and
248
orchestra entitled Playing with Fire (1992).^^ Blue Shades is divided into six sections
and uses the typical instmmentation of the wind-band.
The first entrance of the euphonium is in measure five and is scored as part of a
low brass percussive sound. The euphonium is doubled by the tuba and by the third
trombone in a loud and aggressive rhythm. Since the timbres of these three instmments
are similar in this tessitura, the euphonium's contribution to the texture is minimal (see
Example 23.1).
Example 23.1. Blue Shades, m. 5.
Blue Shades Example 1

Ticheli
J. 160-168
Tpts, Ibns 1/2

''^ "In 1992 I composed a concerto for traditional jazz band and orchestra, Playing with Fire, for
the Jim CuUum Jazz Band and the San Antonio Symphony... I experienced tremendous joy during the
creation of Playing with Fire, and my love for early jazz is expressed in every bar of the concerto.
However, after completing it I knew that the traditional jazz influences dominated the work, leaving little
room for my own music voice to come through. I felt a strong need to compose another work, one that
would combine my love of early jazz with my own musical style."
- Frank Ticheli in Blue Shades (musical score) program notes, 1997.
249
Scored as the only low brass in measures 27-29, Ticheli uses the euphonium to
double the fourth hom and to punctuate the mnning eighth notes in the clarinets. Perhaps
providing a more balanced sound, Ticheli doubles only the bottom hom part. With only
one euphonium player indicated, the importance of the euphonium part would not seem
to be significant. Beginning in measure 30, Ticheli scores for all of the low brass to
enter. In this texture, all of the low parts are doubled, and the overall aural effect is a
traditionally low wind sound supporting the eighth note lines in the woodwinds (see
Example 23.2).
Example 23.2. Blue Shades, mm. 27-30.

Ticheli
J. 160-168
B cl. bsn, b sx,

tbns, tu
/ r
Begiiming in measure 40, the euphonium player has a rhythmically active part.
The scoring for the next four measures is unusual in that the euphonium line is doubled
by different instmments at different times but no two doublings are the same. The
entrance in measure 40 is doubled by the second clarinet, whereas in the next measure,
the second and fourth homs double the euphonium part. Immediately following in
250
measure 42, tenor saxophone and euphonium are scored in unison. The challenge to the
euphonium player is to make each of these doublings blend as smoothly as possible as the
sound of clarinet and euphonium is quite different from that of hom and euphonium or
that of tenor saxophone and euphonium. Some tonal and dynamic adjustments will have
to be made on behalf of the players to ensure these timbres mix in a desirable fashion (see
Example 23.3).
Ticheli
J. 160-168

Beginning in measure 58, the low brass are scored with the melodic material.
Again, the euphonium part is traditionally scored as part of this low wind sound and
contributes minimally to the texture. While the part is rhythmically active, the only
technical challenge offered by the euphonium part is articulation. Participation in the
performance of the melody does provide some interest for the performer (see Example
23.4).
251

J. 160-168

In the second section of the work, Ticheli traditionally scores the euphonium an
octave above the tuba, doubled by the bass clarinet and bassoon. Beginning in measure
94, a descending chromatic eighth note line is scored for the euphonium. The part is in a
comfortable tessitura and does not have any difficult articulation or dynamic markings.
The traditional treatment of the scoring provides little interest to the performer and the
contribution of the euphonium is incidental (see Example 23.5).
252
cls, aA/b sx. ipts,

hns, mallets

Beginning in measure 118, Ticheli uses the euphonium as an independent voice.
The melody is given to the homs and is complemented by the euphonium part. The part
is not rhythmically or technically challenging, but, as an independent part does provide
some challenge to the euphonium player. No other instmments are scored in this register
and the euphonium part should be audible given the rhythmic activity. This activity lasts
for two measures; then Ticheli retums the euphonium to a low wind harmonic pedal (see
Example 23.6).
253

J. 160-168
B cl. bsn.
ulisx, lu

A nonfraditional scoring occurs in measure 141. Ticheli uses the woodwinds in a
statement-answer section with the upper woodwinds and first tmmpet answered by the
saxophones, bass clarinet, second tmmpet, and euphonium. The scoring of euphonium
with tenor saxophone or tmmpet is not new; however, the combination of all saxophones
with a tmmpet, bass clarinet, and euphonium is an interesting selection. Although the
euphonium part is doubled by the bass clarinet and by the baritone saxophone, the part is
technically challenging in that the rhythmic activity is quite fast, and the performer must
move through the interval of an octave and a fifth in the space of three beats (see
Example 23.7).
254

J. 160.161

The woodwinds are given the melody in the middle of the third section of the
work. Beginning in measure 221, the low winds are scored with a rhythmic
accompaniment figure that reflects a traditional wind band scoring practice. The part is
written in bassoon, baritone saxophone, first and second trombones, and euphonium.
There are wide intervallic skips and the syncopated rhythmic activity is somewhat
challenging. A similar timbre instmment doubles each part (see Example 23.8).

Blue Shades Example 8 ^^^,.
J. 160-168
Tpls, hns

255
Later in the third section of this work, Ticheli uses the low brass section as a
melodic instmment. The euphonium is scored in unison with the trombones but one
octave above the tubas. The timbre of the euphonium and of the trombone is very similar
in this tessitura. Therefore, the euphonium's contribution to the sonority is to support the
volume (see Example 23.9).

Cls, ips, hns

The melody is scored in a round with two parts at a rhythmic distance of three
beats beginning in measure 249. The bassoons, first trombone, euphonium, and tuba
begin with the initial statement of the melody and are followed by piccolo and tmmpets
one measure later. The melodic material is interesting and provides a variety of dynamic,
rhythmic and articulation challenges for the euphonium player; however, this is an
example of a traditional wind band scoring practice with euphonium doubling the tuba
one octave higher and in unison with trombone (see Example 23.10).
256

J. 160-168
249
m\
Sxs
f S ^ sj a^ '
% % 1 i
/ f=
Bsn. tbn 1. —r 0.... ...
/ •
Pc. tpis
\i i r -

In section four, marked "Dark and Dirty," Ticheli uses a blues rhythmic feel and a
dark texture to convey this particular shade of blue. In measure 298, a very thin texture is
made up of oboe, clarinets, hom, euphonium, and tuba. The "blues" triplet feel is
prevalent in the background figures used throughout this section. Doubled in the bass
clarinet, the euphonium part is scored in a comfortable tessitura and without substantial
technical challenges. However, given the thin texture, the euphonium's timbre and
rhythmic contribution is significant (see Example 23.11).
257

Just five measures later, Ticheli uses the alto and tenor voices of the wind band to
create a different timbre. Three parts are doubled throughout the tessitura, yet each
significantly contributes to the texture and "blues" shading. In this excerpt, the triplet
figure helps to continue the rhythmic drive, and the harmonies perpetuate the blues feel.
In a traditional wind band scoring, the tenor voice is scored for the tenor saxophone and
euphonium, and these parts duplicate each other (see Example 23.12).
258
0=60
T p l l . hns 1/3

A final example of a traditional scoring practice used in this work appears in
measures 384 and 385. The low winds are again scored with a bass rhythmic figure,
typical of most jazz works, hi this instance, the harmony being created, an f minor chord,
is rhythmically spread out through the many low voices. The euphonium part is exactly
doubled by the bass clarinet and each pitch is doubled in other instmments. The part is
not technically challenging but does provide some interest because of its rhythmic
activity. Given the texture, the contribution of the euphonium part seems to be to
augment the collective volume (see Example 23.13).

'^ Ticheli
J. 160-168
2;
3M .1S5
, 0 1, ,. Ii-
Fls, cls,
Ipts. hn 1/^
fy —
• 1.. » 0 r \ts f ]0
. |T -1
"T 1
/ ^
L k.
J
259
Ticheli's use of the euphonium through this work is very typical of the wind-band
scoring practices since 1950. The euphonium parts are doubled by other instmments,
focus primarily on rhythm and harmonic support, and do not provide significant technical
challenges for the performer. Although the euphonium has little opportunity to
demonstrate the ability of the instmment, the music makes valuable use of the euphonium
in traditional ways.
260
CHAPTER XXIV
SUMMARY AND CONCLUSIONS
Summary
In discussing the evolution of the modem euphonium, many discrepancies exist as
to exact specifications of this brass instmment and are often confused with the baritone
hom. Historically, the physical differences between the baritone hom and euphonium
stem from inconsistencies among manufacturers. However, each instmment has its own
timbre and unique role in both the wind and brass bands. The euphonium seems to be the
preferred instmment in the wind band, although many composers and publishers still use
the "baritone" designation.
One of the main strengths of the euphonium is the instmment's ability to perform
lyrical melodies. In the brass band setting, the euphonium is one of the two featured
melodic instmments; the other instmment is the solo comet. Corresponding treatment for
the euphonium in the wind band setting does not seem to be as prominent.
Robert Reifsnyder concluded that composers lack familiarity with the instrument
and subsequently do not compose wind band parts that enable the performer to
demonsfrate the ability of the instmment. Roger Behrend^^ and John Mueller observe
that economic considerations decrease the lyric use of the euphonium. They indicate that
composers and publishers want their works performed by wind bands utilizing a wide
variety of instmmentation, so individual and solo/melodic parts are often doubled to help
ensure an appropriate ensemble sound.
™ Roger Behrend and John Mueller, interviews with the artists, December 21 and 22, 2000.
261
Further, conductors do not seem to be tmly knowledgeable about the euphonium,
and therefore do not perform literature that adequately demonstrates the potential of the
instmment. Reifsnyder suggests that the college/university brass methods courses
required for music education majors do not properly demonstrate the full potential of the
euphonium. Students are frequently exposed to a valved instmment such as the tmmpet,
a slide instmment - the trombone, and the hom, which often leaves little time for
attention to the low brass.
Wind band arranging and orchestration texts provide information on the range of
the instmment, but rarely do they reflect the lyrical capability of the instmment. Roger
Behrend comments that, "There is a lack of knowledge of 'how to' write for the
instmment [euphonium] and there needs to be less doubling."^" Brian Bowman believes
that even after his article in the 1975 Instmmentalist^' conditions for the euphoniumist in
the wind band "may have gotten even worse... Many times we find that euphonium parts
are played with a sound and a style that's non recognizable. It blends too much with the
trombones and the homs. [It] sounds like a big trombone or... a big hom." John
Mueller states ".. .what bothers me, is that when kids get to this higher level where the
composers understand how to use the instmment [euphonium], do they know how to play
on
the melodies and solis lyrically within a band context?"
Composition students are regularly trained in the orchestral tradition of
instmmentation. One of the recurring themes in the instmmentation texts is that the
*° Behrend, Interview with the artist, December 21, 2000.

*' Brian Bowman, "The Euphonium-Extinct or Extant?" The Instrumentalist, no. 29 (December,
1975), p. 40.
*^ Bowman, Interview with the artist, December 21, 2000.
*^ Mueller, Interview with the artist, December 22, 2000.
262
euphonium's role in the wind band akin to the cello's role in the orchestra, hi the eariier
years of wind bands, orchestral transcriptions were very popular, and the euphonium was
prominently featured as the wind instmment which was most capable of reproducing the
cello sound. Bowman indicates, "There's still a tendency for composers to write for the
orchestral brass situation, in wind situations as well."^'' Paul Droste comments.
My latter years of teaching at Ohio State, when I would be helping

my students with the literature that they would be playing in band, that's
when I really noticed the shift from what I thought was the melodious
approach to the euphonium - the cello approach - to something that's more
rhythmic, percussive, tuba-like. I say these in a negative way because
those aren't interesting parts to play, and that's what soured me on concert
band trombone in the beginning. It was not lyrical, we were filler stuff,
that's what we were playing. ^^
The lack of melodic presentation of the euphonium is obvious in many earlier
works. That assertion lead to this study which explores representative works by
prominent composers of the last twenty years and seeks to identify trends in the treatment
of the euphonium in the wind band setting. Further, this study questions whether the
works that are receiving intemational recognition and significant performances and
recordings still reflect an unmelodic treatment of the euphonium.
Each composer chosen for this study provided traditional wind band scoring
practices in their use of the euphonium. One of these consistent practices is the inclusion
of the euphonium with a combination of wind instmments such as bass clarinet,
trombone, or tenor saxophone in the same tessittua. Another is the doubling of the bass
line at the octave for reinforcement. David Werden indicates that the secondary use of
the euphonium is to function as a tenor tuba and is "effective when carrying the upper
*'' Bowman, Interview with the artist, December 21, 2000.

*' Paul Droste, Interview with the artist, December 20, 2000.
263
octave of the bass line..." Oftentimes, the euphonium was scored one octave above the
tuba and in unison with one or more bass instmments of the wind band. In some of the
selected works, short and extended melodies were composed for the euphonium and
enabled the performer to showcase the instrument.
The euphoniumists interviewed for this dissertation indicated that those
composers with some exposure to or training in the European brass band tradition tended
to write more melodically oriented parts for the euphonium. Brian Bowman states,
"They [European composers] aren't as bound by the orchestral tradition - this phobia of
having to fit in with or compete with the symphony orchestra."^^ Several composers that
fit into this category and were referred to as being "euphonium friendly^^" include Johan
de Meij, Philip Sparke, and David Stanhope. Other composers mentioned by the
interviewees include W. Francis McBeth, James Bames, Timothy Broege, David
Gillingham, and Mark Camphouse. In each of the works selected from these mentioned
composers, the euphonium was prominently featured in a solo capacity. Welcher's Zion,
Bames' Fantasy Variations, Stanhope's Folksongs for Band Suite No. 3, Camphouse's
Movement for Rosa, de Meij's Symphony No. 1, and Woolfenden's Illyrian Dances are
but a few of the works with well-written melodies that enable the performer to showcase
the lyrical ability of the euphonium.
In some of the selected works for wind band, the euphonium was also scored in
traditional brass band settings. The third movement of Sparke's Dance Movements was
especially written for the brass with percussion. Variation five of Bames' Fantasy
** Werden, Scoring for the Euphonium, p. 1.

'^ Bowman, Interview with the artist, December 21, 2000.
** Mueller, Interview with the artist, December 22, 2000.
264
Variations is specifically composed for two euphoniums and two tubas. Mailman
uses
the brass choir altematively with woodwind timbres in For Precious Friends Hid in
Death's Dateless Night.
Some unusual scoring for the euphonium was also shown in several of the
selected works. Use of the instmment by McBeth, Holsinger, and Broege to support and
augment singing from the ensemble is a scoring practice that has only recently come into
usage. The combination of instmments in the fifteenth variation of Bames' Fantasy
Variations enables the performer to further demonstrate the flexibility of the euphonium
to function with a variety of timbres. Harbison's use of the euphonium as the bass voice
of a saxophone choir in Three City Blocks is another reflection of the capacity of the
instrument.
Many technical passages that require a high degree of facility on the euphonium
include the rhythmic challenges presented in Colgrass' Winds ofNagual and in de Meij's
Symphony No. 1. Extreme tessitura demands are required in Nelson's Passacaglia and
Welcher's Zion. Gillingham's Heroes, Lost and Fallen enables the euphoniumist to
demonstrate many of the strengths, including lyrical melody and counter-melody, of the
instmment through one work. Examples of well-constmcted compositions that do not
necessarily feature the euphonium but do provide opportunities to exhibit secondary
abilities (including technique, blend, and sonority) include Stamp's Gavorkna Fanfare,
Grantham's Bum's Rush, and Wilson's Piece of Mind.
Two of the selected works. Blue Shades by Frank Ticheli and Scherzofor a Bitter
Moon by Gregory Youtz, have the euphonium scored in situations that reflect many of
the concems suggested by Brian Bowman and Leonard Falcone. The euphonium parts in
265
these two works are rhythmic, percussive, doubled by other instmments, and offer little in
the way of technical challenge. The contribution of the euphonium to the timbre of the
ensemble becomes minimized and there are no opportunities for soloistic or melodic
performance.
Conclusions
After a review of selected literature composed for advanced-level ensembles, ft
appears that the euphonium has received a more prominent role in wind band literature
during the last twenty years. Eighteen of the selected twenty compositions provide
significant challenges to the euphoniumist and enable the performer to demonstrate the
capabilities of the instmment in an ensemble setting. This seems to be a positive trend
and would indicate new directions from Reifsnyder's conclusions in 1979. This trend
may have been influenced by, and can be continued by, the following events and ideas.
Composers who have been trained in or exposed to the brass band tradition have
provided challenging euphonium parts in their works for wind band. Some, such as
Gillingham and Sparke, have gone on to compose significant solo works in the
euphonium repertoire. Many state, national, and intemational conventions, including the
Midwest Intemational Band and Orchestra Clinic, allow euphoniumists to demonstrate
the capabilities of the instmment to composers. The establishment and growth of the
Tubists Universal Brotherhood Association (T.U.B.A.), now the Intemational Tuba and
Euphonium Association (I.T.E. A.), enable performers and teachers to engage in dialogue
and research of the instmment through an intemational venue.
266
Ensembles and organizations that have the resources to commission new works
for wind band should consider approaching composers to include significant euphonium
parts in thefr projects. Bowman observed, ".. .Boudreau's group, the American Wind
Symphony, still does not use the euphonium at all."^^ This ensemble regularly
commissions many fine composers for new works.
Composers and publishers must be made aware of the need for challenging parts
through articles in professional joumals, presentations at conferences, and continued
research. Commissioning projects could seek to include inviting significant wind band
composers to write solo works for the euphonium. Encouraging student composers to
write new works for euphonium on student recitals will also assist in this advocacy.
College educators, including applied low brass instmctors, must demonstrate to
music education majors the capabilities of the euphonium with the hope that they will
develop young players in their own ensembles. These same educators must lobby
composers to write melodic parts for the euphonium so that students are encouraged to
leam, and are able to perform, more than simple rhythmic accompaniments. In order to
foster a greater degree of familiarity with the ensemble, composition instmctors should
be encouraged to have their students arrange and compose for the wind band as well as
for the orchestra.
A general concem was expressed by Behrend, Bowman, and Mueller regarding
the state of affairs of band music for young players. Mueller states, "What I'm a littie
more concerned with are the lower grades of music, especially ones you see in middle
*' Bowman, Interview with the artist, December 21, 2000.
267
school that are - the composition isn't so melodically driven."^" There seems to be a
need to research this area in more depth and lobby with publishers and composers for
better parts in young band music.
Bowman observes during his time at the University of North Texas:
.. .since I've been there [University of North Texas] the last couple
of years and have worked with enhancing the sound of the euphonium.
Gene Corporon and others have said that the band sounds quite different
now. And, so, I think that's the value to the wind area. The euphonium is
so underrated and not understood because of its ability to change the
whole sound of the organization. And not through overtness, but because
of this warmth, because of this ability to blend with a variety of different
sections, woodwind and brass, and add a richness and depth to the sound
and a color that I think composers would find very desirable if they were
aware of those capabilities. And that's where our challenge is: to make
them aware of the capabilities and to make everything else work
effectively that way.^'
Composing melodic parts for the euphonium in wind band literature must
continue if the strength, versatility, and lyric nature of this instmment is to abound.
Research must be done, and support must be realized, from all people who can assist in
the advancement of the instmment. Performers, scholars, educators, and conductors must
encourage composers to consider the multi-faceted nature of the euphonium as they
continue to write for wind ensembles. This trend is clearly moving toward a more
significant and substantial use of the euphonium. This trend must continue until the
euphonium reaches its fiill prominence as the strongest solo tenor/bass voice in the
contemporary wind band.
^ Mueller, Interview with the artist, December 22, 2000.

" Bovraian, Interview with the artist, December 21, 2000.
268
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Discography
Battisti, Frank, conductor. The New England Conservatory Wind Ensemble. The New
England Conservatory Wind Ensemble. Baton Rouge, LA: Centaur Records,
1994 and 1995. CRC-2288. Three City Blocks by John Harbison.
Beek, Arie van, conductor. The Amsterdam Wind Orchesfra. The Amsterdam Wind
Orchestra. The Netheriands: JE Classic Aalsmeer, 1990. JE Classic 900101 CD.
Symphony No. 1 by Johann de Meij.
274
Birdwell, John Cody, conductor. Live in Concert. The Texas Tech University
Symphonic Wind Ensemble. Clarence, NY: Mark Custom Recording Service, 1999.
3372-MCD. Niagara Falls by Michael Daugherty.
Corporon, Eugene, conductor. Deja View. The University of North Texas Wind
Symphony. San Juan Capistrano, CA: Klavier Records, 1998. Klavier KCD-11091.
Blue Shades by Frank Ticheli.
Corporon, Eugene, conductor. Dialogues and Entertainments. The University of North

Texas Wind Symphony. San Juan Capistrano, CA: Klavier Records, 1997. Klavier
KCD-11083. For Precious Friends Hid in Death 's Dateless Night by Martin
Mailman.
Corporon, Eugene, conductor. Hearts Music. The Cincinnati College-Conservatory of

Music Wind Symphony. San Juan Capistrano, CA: Klavier Records, 1995. Klavier
KCD-11064. Winds ofNagual by Michael Colgrass.
Corporon, Eugene, conductor. Made in America. The Cincinnati College-Conservatory

of Music Wind Symphony. San Juan Capistrano, CA: Klavier Records, 1993.
Klavier KCD-11051. Piece of Mind by Dana Wilson.
Corporon, Eugene, conductor. Memorials. The Cincinnati College-Conservatory of

KCD-11042. Heroes Lost and Fallen by David Gillingham.
Corporon, Eugene, conductor. Paradigm. The Cincinnati College-Conservatory of

Music Wind Symphony. San Juan Capisfrano, CA: Klavier Records, 1994. Klavier
KCD-11059. Three City Blocks by John Harbison.
Corporon, Eugene, conductor. Postcards. The Cincinnati College-Conservatory of

KCD-11058. Passacaglia by Ron Nelson.
Corporon Eugene, conductor. Tributes. TheUniversity of North Texas Wind

Bum's Rush by Donald Grantham.
Corporon Eugene, conductor. Tributes. TheUniversity of North Texas Wind
Zion by Dan Welcher.
Corporon, Eugene, conductor. Wind Dances. The University of North Texas Wind
Dance Movements by Philip Sparke.
275
^'^^^t^.T'r^T'. ^^^^^^^î^^^WjngsÂ Celebration of Freednn. The United
CO BOP Q Q T ; ^ ^ ^^^^^^^^^^^^r¥^^^^^^r Force Base, Colorado Springs,
CO. BOR 99-1. ^ Movement for Rosa by Mark Camphouse.
Graham Lowell, conductor. Fireworks for Band. The United States Ah Force Tactical
Air Command Band. Langley Air Force Base, VA. 1990. MCD-848 Fantasy
Variations on a Theme By Niccolo Paganini by James Bames.
Grimo, Steve, conductor. Heritage II. The Music of Ron Neknn The Umted States Ah
Force Band of the West. Randolph Air Force Base, San Antonio, TX. 1994
Passacaglia by Ron Nelson.
Grimo, Steve, conductor. Heritage IV. The Music of W. Francis McBetb The United
States Air Force Band of the West. Randolph Air Force Base, San Antonio, TX.
1996. OfSailors and Whales by W. Francis McBeth.
Lang, Larry H., conductor. Frontiers. The United States Air Force Heritage Band of
America. Langley Air Force Base, VA. Blue Shades by Frank Ticheli.
O'Neal, Thomas J., conductor. .. .Nite Ridin'on da Riva. The Arkansas State University
Wind Ensemble. Clarence, NY: Mark Custom Recordings, 1996. Scherzo for a
Bitter Moon by Gregory Youtz.
O'Neal, Thomas J., conductor. Visions. The Arkansas State University Wind Ensemble.
Published by Arkansas State University Band Department, 1995. OfSailors and
Whales by W. Francis McBeth.
Snell, Howard and Bjom Sagstad, conductors. Music Composed by Philip Sparke. The
Fodens (Courtois) Band, Manger Musikklag, and Eikanger-Bjorsvik Musikklag.
London: Doyen . DOY CD 049. Liner Notes by Philip Maund.
Stamp, Jack, conductor. Past the Equinox. The Keystone Wind Ensemble. San Juan
Capistrano, CA: Citadel Records Corporation, a subsidiary of Klavier Records, 1994.
Gavorkna Fanfare by Jack Stamp.
Dissertations
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Instmmentation and Their Impact upon Compositional Techniques of the Period
1920-1950. Master of Music dissertation. Bowling Green State University, August,
1981.
276
Berman, Eric. Performance Tasks Encountered in Selected Twentieth-Century Band
Excemts for Tuba: Thefr Identification, Categorization, and Analysis. Doctor of
Philosophy dissertation. New York University, 1981.
DeSamo, Ruth Ethel. An Investigation of British Brass Band Literature and Subsequent
Transcriptions for Wind Ensemble. Doctor of Philosophy dissertation. University of
Cahfomia, 1994.
Fallin, Matther Durance. A Discussion and Analysis of Percussion Writing Trends in

Select Wind Ensemble Literature by Francis McBeth, James Cumow, and David R.
Holsinger. Doctor of Musical Arts dissertation. University of Miami, 1997.
Flum, Robert A., Jr. The Use of the Aho, Bass and Contrabass Clarinets in Selected
Wind Band Compositions Written Between 1951 and 1972. Doctor of Musical Arts
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Gauldin, Robert Luther. The Historical Development of Scoring for the Wind Ensemble.
Doctor of Philosophy dissertation, Eastman School of Music, University of
Rochester, July, 1958.
Gillespie, George Dobson. Orchestration Techniques in Certain Contemporary Brass-

Choir Music. Master of Music Education dissertation at Indiana University, June,
1957.
Hageman, Paul Martin. Trombone Excemts from the Concert Band Repertory. Doctor
of Arts dissertation. University of Northem Colorado, 1999.
Hester, Michael Eric. A Studv of the Saxophone Soloists Performing with the John
Philip Sousa Band. 1893-1930. Doctor of Musical Arts dissertation. University of
Arizona, 1995.
Kirkland, Anthony Bryant. An Annotated Guide to Excemts for the Tmmpet and Comet
from the Wind Band Repertoire. Doctor of Musical Arts dissertation. University of
Maryland, 1987.
Lavoie, Karen Ruth. The Comet and Tmmpet Solos of the Goldman Band Library and
the Goldman Band. 1919 to 1976. Doctor of Musical Arts dissertation, University of
Iowa, 1994.
Louder, Earle L. An Historical Lineage of the Modem Baritone Hom and Euphonium.
Doctor of Music dissertation, Florida State University, 1976.
Mamminga, Michael Arthur. Rriti.sb Brass Bands. Thesis, Florida State University,
1973. On microfilm(gTTU.
277
Manfredo, Joseph. Influences on the Development of Instmmentation of the American
Collegiate Wind-Band and Attempts for Standardization of the histmmentation from
1905-1941. Doctor ofEducation dissertation. University of Illinois, 1993.
Mayer, Francis N. A History of Scoring for Band: The Evolution of Band Scoring in the
United States. Doctor of Philosophy dissertation at the University of Minnesota,
June, 1957.
Nagy, Michael. Difficult and Solo Passages for the Bassoon from an Established Core
Repertoire for Wind Ensemble. Doctor of Philosophy dissertation. University of
Washington, 1979.
Nash, E. W. The Euphonium: Its History. Literature and Use in American Schools.
Master of Music Thesis. University of Southem Cahfomia, 1962.
Reifsnyder, Robert. The Changing Role of the Euphonium in Contemporary Band

Music. Doctor of Music dissertation, Indiana University, 1980.
Sochinski, James Richard. Instmmental Doubling and Usage in Wind-Band Literature,

1908-1966. Doctor of Philosophy dissertation, University of Miami, July, 1980.
Summers, C. Oland. The Development of Band Scoring from Sousa to Husa. Doctor of
Arts dissertation. Ball State University, 1986.
Young, Eileen Marie. A Performing and Teaching Guide to the Clarinet Excerpts in Five
Major Works for Band. Doctor of Musical Arts dissertation, University of North
Carohna, 1994.
Interviews
Behrend, Roger. Interview with the artist, December 22, 2001, Chicago, IL.
Bowman, Brian. Interview with the artist, December 22, 2001, Chicago, IL.
Droste, Paul. Interview with the artist, December 22, 2001, Chicago, IL.
John Mueller. Interview with the artist, December 21, 2001, Chicago, IL.
Music Scores
Bames, James. Fantasy Variations. San Antonio, TX: Southem Music, 1989.
Broege, Timothy. Sinfonia V. Brooklyn, NY: Manhattan Beach Music, 1990.
278
Camphouse, Mark. A Movement for Rosa. Ruidoso, NM: TRN Music Publisher, 1994.
Colgrass, Michael. Winds of Nagual. Manuscript, Colgrass Music, 1985.
De Meij, Johan. Symphony No. L Amsterdam, Netherlands: Amstel Music, 1988.
De Meij, Johan. Symphony No. 2. Amsterdam, Netheriands: Amstel Music, 1993.
Gillingham, David. Heroes, Lost and Fallen. Milwaukee, WI: Composers' Editions,
1991.
Grainger, Percy. Edited by Frederick Fennell. Lincolnshire Posy. Cleveland, OH:

Ludwig Music, 1987.
Grantham, Donald. Bum's Rush. New York, NY: Schirmer, 1995.
Harbison, John. Three City Blocks. New York, NY: Associated Music Publishers, 1993.
Holsinger, David. In the Spring, at the Time when Kings Go off to War. San Antonio,
TX: Southem Music, 1988.
Mailman, Martin. For Precious Friends Hid in Death's Dateless Night. Cleveland, OH:
Ludwig Music, 1990.
McBeth, W. Francis. OfSailors and Whales. San Antonio, TX: Southem Music, 1990.
Nelson, Ron. Passacaglia. Cleveland, OH: Ludwig Music, 1993.
Sparke, Philip. Dance Movements. London, England: Studio Music, 1997.
Stamp, Jack. Gavorkna Fanfare. San Diego, CA: Kjos Music Company, 1991.
Stanhope, David. FolkSongs for Band Suite #3. Australia. H. L. Music, 1996.
Ticheli, Frank. Blue Shades. Brooklyn, NY: Manhattan Beach Music, 1997.
Welcher, Dan. Zion. Bryn Mawr, PA: Elkan-Vogel, hic. 1998.
Wilson, Dana. Piece of Mind. Cleveland, OH: Ludwig Music, 1988.
Woolfenden, Guy. Illyrian Dances. Oxfordshire, England: Ariel Music, 1986.
Youtz, Gregory. Scherzofor a Bitter Moon. Ruidoso, NM: TRN Music Pubhsher, 1985.
279
Websites
www.students.uiuc.edu/~dberger/history.html
A Brief History of the Euphonium and Baritone by Berger
www.cs.cmu.edu/~tilt/euphonium/bowman.html
You Play a What? by Brian Bowman
www.bobchilds.co.uk/liistorv.htm
A Short History of the Euphonium by Bob Childs
www.euphpair.com October, 1999

Historical Development of the Euphonium/Baritone Hom
www.dwerden.coni/bareuph.asp
Baritone, Euphonium, or ??? by David Werden
http://www.pulitzer.org/archive/timeline/index.html
http ://vyww.tntecli. edu/www/aba

website of the American Bandmasters Association
http://vyww.cbdna.0rg/cbd11a.repertoire.html#repertoire
280
APPENDIX A
PERMISSION FOR COPYRIGHT
281
Date, 2000
Copyright Department
Music Publisher
Dear Person,
Please consider this letter as request for permission to include excerpts from Composer's
Title in my PhD dissertation. I would like to quote measures....
I am a doctoral student at Texas Tech University in Lubbock and my graduate advisor is

Dr. John Cody Birdwell, Director of Bands. I am in hopes of graduating in May of 2001
and Texas Tech requires that all dissertations be submitted to University Microfilms, Inc.
Thank you for your consideration.
Sincerely,
David Stem
Associate Director of Bands
Northem State University
stemd@northem. edu
(605) 626-2501
282
APPENDIX B
LIST OF COPYRIGHT PERMISSIONS
283
LIST OF COPYRIGHT PERMSSIONS
(Listed in chronological order of publication.)
Scherzofor a Bitter Moon - Gregory Youtz

FAX dated January 8, 2001 from TRN Music Publishers, Jim Wiley
Winds ofNagual - Michael Colgrass

e-mail dated January 15, 2001 from Michael Colgrass, composer
Illyrian Dances - Guy Woolfenden

E-mail dated November 22, 2000 from Ariel Music, Jane Woolfenden
In the Spring, at the Time when Kings Go off to War - David Holsinger
Letter dated December 27, 2000 from Southem Music Company, Renee Higgins
Piece of Mind - Dana Wilson

Letter dated November 13, 2000 from Ludwig Music,
Elizabeth Ludwig-Fennell, President
Fantasy Variations on a Theme by Nicolai Paganini - James Bames

Sinfonia V- Timothy Broege

e-mail dated January 10, 2001 from Manhattan Beach Music,
Bob Margolis, Copyright Proprietor
For Precious Friends Hid in Death's Dateless Night - Martin Mailman

Symphony No. 1 - Johann de Meij

Letter dated December 20, 2000 from Amstel Music, Johann de Meij, composer
Heroes, Lost and Fallen - David Gillingham

Letter dated November 21, 2000 from Hal Leonard Corporation,
Julie McDowell, Permissions Administrator
OfSailors and Whales - W. Francis McBeth

Folksongs for Band, Suite No. 3 - David Stanhope

e-mail dated Febmary 27, 2001 from David Stanhope, composer
284
Gavorkna Fanfare - Jack Stamp
Letter dated November 14, 2000 from Neil A. Kjos Music Company,
Ryan Beard, Copyrights and Licensing
A Movement for Rosa - Mark Camphouse

FAX dated January 8, 2001 from TRN Music Pubhshers, Jim Wiley
Three City Blocks - John Harbison

FAX dated Febmary 6, 2001 from G. Schirmer, Inc.,
Aida Garcia-Cole, Print Licensing Manager
Passacaglia - Ron Nelson

Zion - Dan Welcher

Letter dated November 13, 2000 from Theodore Presser Co.,
Thomas Broido, President
Bum's Rush — Donald Grantham

e-mail dated January 4, 2001 from Piquant Press, Suzanne Grantham
Dance Movements — Philip Sparke

e-mail dated December 26, 2000 from Studio Music,
Martin EUerby, Artistic Director Studio Music Prestige Series
Blue Shades - Frank Ticheli

e-mail dated January 10, 2001 from Manhattan Beach Music,
Bob Margolis, Copyright Proprietor
www.dwerden.com/bareuph.asp - David Werden

e-mail dated march 23, 2001 from David Werden
285
APPENDIX C
INTERVIEW WITH ROGER BEHREND
286
INTERVIEW WITH ROGER BEHREND
December 21, 2000
Midwest Band and Orchestra Clinic
Chicago Hilton
BEHREND: The last 25 years have seen more growth and diversity. We have better
players, more concertos are being written and more composers are writing for the
instmment. There are 125 DMA's now available and faculty positions continue to be
created. There is a lack of knowledge of "how to" write for the instmment and there
needs to be less doubling. Part of the problem is "the commission" where the composer
needs to sell 1500 copies for the publisher to break even. This motivates the composer to
wnte doubled parts so that it can sell. What motivates the commission? Making money
or creating art? The wind band literature is better, but there is still this "safe writing" that
leaves the euphonium player wanting more. We have the highs in euphonium
composition with all of the solo literature being written, especially concertos, we have the
lows with the traditional stuff still being written without the knowledge of the difference
between "baritone" and "euphonium."
STERN: Are there any composers with whom you have worked that come to mind
for good wind band part writing?
BEHREND: Ahveordead? (ft doesn't matter) James Cumow, David Gillingham,

Philip Sparke, James Bames, Florent Schmitt, Percy Grainger, Gustav Hoist, Vaclav
Nelhybel, Steve Bulla. There are composers who have heard me play and then have
asked to work with me including Robert W. Smith, but none of the main stream
composers. Something to ask composers is, "How has the euphonium movement
affected your writing in the last 25 years?"
STERN: In your opinion, do wind band composers know the difference between the
baritone hom and the euphonium and how to write for them?
BEHREND: Some of them want to write divisi parts but they don't have the physical
instmments to do it, so it's doubled elsewhere. Composers are writing so that any band
will sound good. In order to accomplish this, there has to be lots of doubling.
STERN: Are there any philosophies or schools of thought that you are aware of that
reflect how to write for the euphonium in wind bands?
BEHREND: There are good and bad philosophies. The tests that I have seen are out of
date. The composers from the British brass band heritage have the right ideas and write
wonderfiil stuff The old-school composers continue to write the traditional style of
doubling the tuba or a unified bass part without any consideration for the instmment's
abilities. A source to check is the TUBA Resource Guide by Keith and someone ought to
write on the Navy Tuba/Euphonium Quartet and how that process came about.
287
APPENDIX D
INTERVIEW WITH BRIAN BOWMAN
288
INTERVIEW WITH BRIAN BOWMAN
December 21, 2000

Chicago Hihon
STERN: First of all, thank you very much. Let me tell you what I'm doing: Do you
know Robert Reifsnyder.
BOWMAN: Yes.
STERN: In 1979 he wrote a dissertation based on an article you wrote about the
euphonium and (in?) band parts, and I'm revisiting that 20 years later.
BOWMAN: Okay.
STERN: So what I've done is I've taken pieces that have won major composition
awards or composers that have gotten a lot of play time and I've narrowed my list down
to about 20 pieces and I'm looking at the euphonium parts that are in those works. I've
also looked at composition texts and arranging texts and orchestration texts to see what
the prevailing thought is on how to write for the instmment.
BOWMAN: Okay. So what have you found out?
STERN: What I've found out so far is that I think there's better parts being written
by some composers and I think other composers are still sticking to the - what you
asserted in the mid-70's. It's still kinda this rhythmic -
BOWMAN: Orchestral brass or are not parts at all (?). Writing a terrible part for the
tuba and doubling it at the octave.
STERN: Exactly. Which, the pieces that have won significant awards, I think, have
actually got quite really good parts. But, the pieces that are written by composers that
maybe the composer has a reputation in a different area, say orchestral writing or choral
writing, they're still not quite as-
BOWMAN: They're not as familiar with the instmment, so they don't know exactly
what to do about it.
STERN: How much experience have you had - this is probably a silly question - in
the last 20 years with band repertoire, because I know you've been doing different kinds
of things.
BOWMAN: I've had a chance, especially in the last few years, to see a lot of the new
recordings because at North Texas there's a recording project. They record mostly new
289
things within a couple of years of being written, and we still find that there's quite a mix.
In the top wind symphony at North Texas, for instance this next concert, there are only
two pieces that have euphonium parts. For the CBDNA concerts, the College Band
Directors National Conference, there's the Hindemith Symphony and one small piece, but
then there's four other pieces they're doing on the program that have no euphonium parts
at all. And we still find this is too much of the trend in contemporary composition.
STERN: Okay. So, do you think what you wrote in the 70's is still tme, then.
BOWMAN: I'd have to visit the article, I don't remember exactly what I said.
STERN: It essentially said that composers were not familiar with the instmment,
therefore, exactly what you said earlier, they're writing tuba parts up an octave.
BOWMAN: I think that still, in essence, hasn't changed. In fact, I think it may have
gotten even worse. Certain composers - oh, I think about, when you look at the whole
body of wind literature, some things have improved in certain areas, but generally, they're
still, I would say, half of the contemporary compositions don't exploit the ability of the
euphonium at all. And another half of those who do have parts are fairly insignificant
parts. So, that's too low a percentage of significant parts. And so I think there's a lot of
room for growth and improvement in this area. There's still a tendency for composers to
write for the orchestral brass section, in wind situations as well. Of course, of the
orchestral wind section, I haven't seen any changes. For instance, the wind symphony
that operates every summer in Pittsburgh, called the Barge Band, or Boudreau's group,
the American Wind Sjonphony, still does not use the euphonium at all. So, they do a
whole summer of music of wind music without the euphonium at all. And still
commission works that way. So, we see that there are still a lot of areas that we could
improve. I don't mean to be negative about it, I think we have had some good parts and
some good things happen, but they have to look at the whole picture, not just at the
exceptions. Go ahead with your next question.
STERN: Have you worked with specific composers in creating euphonium parts for
wind music?
BOWMAN: Not particularly, not recently. I've not been involved with the composition
of band music per se, other than just general comments.
STERN: So, there aren't composers that call you and say "What can you do? What
can't you do?"
BOWMAN: No. The only time I had that was Loren Meisel called me when he was
writing something for orchestra, when he wrote a euphonium part. It was quite
insignificant.
290
STERN. Okay. Well that would answer that question. Are you aware of any
schools of thought or philosophies on how to write for the instmment? A lot of my
research has shown it's considered the cello of the band.
BOWMAN: Right. I think that I'm not aware of what philosophies composers are
using nght now. I think that looking at the abilities of it - it has tremendous abilities, but
I don't think composers are as aware of those abilities. I think the challenge is how to
make them aware of that, of how to sell that. Again, I think it's an advocacy project that
needs to be done. And the question is: how, who, why, and when are we going to do this.
1 think that is the biggest challenge we have in the euphonium area right now. We've
made some tremendous strides in many areas in euphonium, but this is an area 1 don't
think we've made much progress.
STERN: You talked about your experiences at North Texas, do you have any
conversation or rapport with the composition faculty?
BOWMAN: Yes, a very good rapport with them - in the brief time I've been there. But
we haven't had too many times to discuss this particular faction. I think they're aware of
the fact that the euphonium studio is very strong there, and there has been some contact
about writing some other pieces, but that's still still in the future situation as there
becomes more opportunities. But I think that if you look in the -1 don't know if you have
examined some of the new texts for orchestration - what's the new Kennan books say
about euphonium?
STERN: That I don't know, I haven't seen that one.
BOWMAN: You ought to look at a lot of the new books on orchestration. I think that
would be an area of research, to find out what they say about it. Are there any books on
bandstrations, you know, on arranging or writing for band, that mention euphonium and
how to do they mention it? Maybe that would be one area to look at. And preparing,
perhaps, this would be a good research situation for the professional organizations, good
doctoral projects, other types of things to continue to look at ways to enhance the
situation as well as examine it. I think that there's no one in the euphonium field that's
really working in this area. I don't think anyone's really doing anything for the ensemble
writing. There's a lot of solo commissioning - a lot of other types of things, but very little
ensemble attention being paid to that. So, that would be a fresh area of concem, and
would be a very worthwhile project.
STERN: Would you have any suggestions on how to get involved with that?
BOWMAN: Yes! Well, you have to have someone, first of all, who has the time and
the interest. Time and interest, and then outline a procedure of how you would go about
it, which would include: examining current trends through looking at all the texts that are
used in all the schools for orchestration or for band arranging, talking to some of the
more prominent composers in the band field and with out, especially with out, and
291
finding out just going through the list of new compositions, for instance that's hsted m
this program at the Midwest, and looking at the composers and maybe doing a survey and
wnting a letter to them with respect to that, or trying to do some - presenting an advocacy
project similar to what's been done in other areas of music education and making an
outline, ft s something that no one's really had time or thought about doing, so it's a good
Idea a very good idea. And then, providing those composers with examples of
compositions that - for instance making a tape of prominent euphonium parts in context
from the recordings that are available. Many times, though, we find that euphonium parts
are played with a sound and a style that's non recognizable, it blends too much with the
trombones and the homs, sounds just like a big trombone or a small hom, or a big hom I
mean. There's very little expression or vibrato used, which make it into a whole different
instmment. h's sort of like an oboe without vibrato. A euphonium without vibrato is sort
of hke a big elephant in a small bathtub. Many times, it doesn't have that quality. There's
so many instmments in the wind area that don't vibrate now, that you look at those that
do, you know, the flute, the oboe, used to be the solo comet, and the saxophone. You
can't imagine those solo instmments playing within the wind context all the time with no
vibrato. Yet often you'll hear the euphonium played with no vibrato. And not
recognizable as euphonium because the sound quality is either too thin, or it doesn't have
the characteristic warmth or roundness, or color, it's entirely too white. With that
problem, composers aren't going to look at it as a different animal! They're going to say
"I can do with hom. I can do that with trombone. I can do that with a tuba in the upper
register." What is it that makes the euphonium a special instmment is the color of the
sound, which can be enhanced and changed by use of an effective vibrato, h doesn't have
to be an all-wabble-ato, absolutely not, but there's a chance to color the sound, and add a
warmth and a richness to the quality of the wind sound. Which is the only instmment
that does that. I think the biggest compliment I ever got - after I left the Air Force,
someone did an interview with Amald Gabriel, a conductor of the band, the Air Force
Band, and asked him a little bit about the ensemble playing that I was doing with him and
he said "The thing about it, whenever Brian Bowman was playing with the band, it was a
different sound. Not that he stuck out, but it made a different sound, to the band." I think
this is the chair that is so important in the band, to color that and to make a difference. I
know at the University of North Texas, where I am now, since I've been there the last
couple of years and have worked with enhancing the sound of the euphonium. Gene
Corporon and others there have said the band sounds quite different now. And, so, I
think that's the value to the wind area, the euphonium is so underrated and not understood
because of its ability to change the whole soimd of the organization. And not through
overtness, but because of this warmth, because of this ability to blend with a variety of
different sections, woodwind and brass, and add a richness and depth to the sound and a
color that I think composers would find very desirable if they were aware of those
capabilities. And that's where our challenge is: to make them aware of the capabilities
and to make everything else work effectively that way. I'm pontificating a little too much
here.
STERN: Oh no, you're doing wonderful. I really appreciate it. It's great! I'm
curious what you think happened after Hoist and Grainger.
292
BOWMAN: Well, what happened was sort of a natural thing as the wind band area was
trying to gam more respectability, and become more like the orchesfra. There were more
and more compansons with the orchestra, and of course, comparisons with the orchestral
brass section and the orchestral wind section. And so by getting composers who would
wnte tor orchestra work, to write for band, there was not the awareness of the non-
orchestral traditional instmments, except for saxophone and percussion. But they were
aware of them through other venues, such as jazz and pop music, which we don't have for
euphomum. So, we're sort of a back seat because of that. The other thing that happened
as music education became more and more prevalent and people started writing for
lower-level groups and good music education materials for the beginning groups, and
there was a larger trend toward playing original wind literature, they got away from
of the eariier transcriptions, some of the great music of the last two centuries, that ^^ some
played a lot in the eariy days of wind bands. And so the trend was to play only thatwas
which was originally written for the instmment. We didn't have, well, we had some good
composers, we didn't have great composers, we didn't have Verdi, we didn't have
Beethoven, we didn't have any Bach, we didn't have any of that available to us. We
didn't have any Saint-Saens, we didn't have too many of the Romantic and Classical and
early other composers - the quality of music that they were writing. And they were
getting away from playing that, so the euphonium players wouldn't develop the ability to
play things like as if they were the counterpart of the cello in those transcriptions. So as
they moved away from transcriptions and more into original music, the euphonium
became less and less significant because it wasn't playing these tremendous technical and
melodic cello parts that were in the transcribed parts. The original parts were not as
challenging or as exciting for the euphonium. So, that sort of caused the players to
become less important, and the players to develop less abilities because the abilities were
not commanded of them. So, that has - sort of which comes first, the chicken or the egg
situation - has created a problem in the development of fine players because you don't
need fine players to play those parts, when they're available. So, you find less of that.
The exception to that, of course, has been in the growth in the interest in the brass band,
where there are no woodwinds and where the euphonium then takes a very strong
melodic and technical role of playing in those areas. So that's an area where we find that
in composition and in musicality, that the euphonium parts have continued to get better
and better and better, whereas in the wind band they have not had that kind of progress.
You'll find students who once they play in a brass band have much more challenges than
anything they play in concert band, which is a shame. So maybe there should be some
comparison of compositional uses of it in the brass band literature, contemporary and
traditional, and the wind band literature, and see if there can be some crossover. Why is
it grown there? Of course, it's the only instmment in that range that has that facility.
Whereas, in the wind band, it's sort of- there's been so many other choices. The choices
have been made to give it to the saxophones, or the low clarinets, or the other brass. I
was sort of disappointed the other night when I heard the Air Force play a new
arrangement of the Roman Carnival Overture. The second theme, which has been the
transcribed - in the original orchestral which is a wonderful cello solo, was given to all
comets! in this new transcription, rather than to the euphonium. And that was a brand
293
the t h ^ T ^ ^ ' ° * ' ^ ^ ' ^ '"'^"" "^^y * ^ î"gi"8 q^^lity of the euphonium on
he theme of Roman Carnival Overture, which in the orchestral version is cello. They
iett the English hom intact, and they left the other solos intact. But in evaluating the
value of franscnbing the cello part, they left out the euphonium almost entirely except for
maybe tiiree measures or four measures in that whole area. Which, to me, is not a good
AÂI' A ^'''^^^*°" """^^^ ^bout the euphonium, he's written other parts for it - why
?xrv. ^^ u ^ ^ ^ ^'^ ^^^y '^''^'''^ * ^ ' ^ choices? That's, I guess, an area for research.
Why do they make these choices? Is it because there aren't good players? Is ft because
they don't know about the capability? Is it because they aren't interested in that color or
that sound? Or is it they're afraid there's not going to be good players out there to play
those parts? So, those are all questions and aspects that need to be examined - and
corrected. Somehow.
STERN: Absolutely. Have you had any experience with a particular composer or -
I don't want to bias the question.
BOWMAN: No, that's alright. Just blurt ft out.
STERN: I'll just ask whatever I think. I've found that European wind band
composers write absolutely wonderful euphonium parts for wind band. And American
wind band composers are not quite there.
BOWMAN: Part of that is because in Europe, there still is a very strong brass band
movement. And there's not in the States, except for a few pockets in a few areas where
the brass band has gained considerable ground considering it was no place 20 years ago.
But still, in 98 percent of the country, brass band is fairly unknown. And certainly
among serious areas of academia and the music world, with the exception of a couple of
professional groups: River City Brass Band, the Battle Creek Brass Band, and a few
amateur groups like the Columbus groups and there's a few other areas, but, generally, it's
not taken care of So, I think that's a major reason. They're more aware of the
euphonium over there because of the tradition of that. And perhaps the people who are
writing for wind band have had experience with some brass band situations. Also, they
aren't as bound by the orchestral tradition - this phobia of having to fit-in with or compete
with the symphony orchestra. I think that's a sort of a fallacy. I think the symphony
orchestra is a medium many people have been concemed that it's on it's way out anyway,
because of the tremendous cost, low attendance, and other things. For a case in point, the
River City Brass Band actually is quite a popular medium. They have a 90 percent
subscription renewal of their subscription concerts, whereas the Pittsburgh Symphony has
50 percent or less in the same area. It's sold out at almost all their concerts, whereas the
Pittsburgh Symphony has half a house at most of their concerts. So, that medium can be
very well appealing to the people. The euphonium, of course, is a kingpin of that
organization. So, those are the areas that can be examined. As far as composition,
though, and as far as your idea of the parts within the ensemble and the role in the
ensemble, there's a lot of different factors that could be looked at that could help improve
it currently. I remember one year I used to go around collecting information from every
294
booth on instmments and new music. I used to go around chiding people: "Why? Why
don't you have a new solo for euphonium?" But I don't think there's been much research
on the actual compositional techniques used in writing wind literature.
STERN: What I've found is that most of the books that are available are from the
40's and the 50's. And really nothing is very current. And that was a concem of my
committee when I presented my bibliography in my proposal, is "Why aren't there -"
BOWMAN: Have there been some revisions? Isn't there a new Kennan book on
orchestration?
STERN: That book I'm not familiar with, and I will look for that.
BOWMAN: You ought to get those, it's a real standard book. There's a couple of
others, too.
STERN: But, such as the Frank Erickson book, which I think he did in the late 60's,
was probably the most recent I could find.
BOWMAN: On arranging? What is used in the arranging - Where are you at school?
STERN: Texas Tech.
BOWMAN: Texas Tech? Check the web sites, there's a lot of new materials available.
STERN: And I have done a lot of that -
BOWMAN: But you haven't found much.

STERN: Not on wind-band arranging. I think, as I've talked to the facuhy at Texas
Tech, it's more of a situation of personal taste, and they have books that have: "Here's the
range of the instmment and some of it's technical ability," and that's about it. And not
necessarily having excerpts of
BOWMAN: Have you looked at Paul Droste's book Arranging String Lherature for
Euphonium? His dissertation?
STERN: Yes.
BOWMAN: There's one other one: Scoring for the Euphonium by David Werden. Do
you have that?
STERN: That I don't have. But I think I've ordered that.
295
BOWMAN: You should get a hold of that from David Werden and see what - he has
some very good comments about scoring for the euphonium. And that's the only
document I know of any research that has been done about scoring for the euphonium.
So, that was sort of any orientation towards ensemble work, those types of things, you
know, small ensemble things. Well, what other questions do you have that I haven't
answered?
STERN: That's ft. We're at the bottom of my list.
BOWMAN: Oh, I'm sorry!
STERN: I'm not, I really appreciate your time. This is going to be a more extensive
project than I thought and I'm still very excited about it.
BOWMAN: Yeah. Well, that's great. I think there's a lot ofwork to be done here.
And as I speak, I feel remiss that I haven't done anything about it, but there's a limit to
what we can do. But, I think as long as we have this situation, it will be difficult. But,
I'll tell you it's difficult to change minds and change opinions and change - it only can be
done through significant events. So, I think that developing - it would be a great project
to develop a little short description of what you want to do and maybe a CD that could be
sent to a lot of composers talking about it and encouraging them to write in the wind area
and maybe giving a syllabus of examples of how it has been used effectively, and
encouraging them to use it more within their compositions in the fiiture. And look at
commissioning agencies, you know, those agencies that are doing commissions and
supporting some of their activities. And, I think that would be a worthwhile project and I
would be willing to help with any of those things, too, if you decide you want to take this
on, you let me know. I would be glad to give endorsements or whatever else can be
done. I know a lot of these people in these things, and as we speak here, I know I have a
lot of ideas floating around up there that I think we could do some significant things for
the fiiture and for the next generation.
STERN: That would be great. Let me finish the dissertation, and I'll -
BOWMAN: Well, that's your first project! You want to get through that. So, that's
quite a bit. Do you have any other -
STERN: That's it. I really appreciate your time.
BOWMAN: How has your response been from other people you've talked to?
STERN: So far, very good. Roger Behrend very candidly said "If you need more
opinions, call him, because he's full of them!"
BOWMAN: He doesn't lack on opinions.
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STERN: And I visited with Dr. Droste, and he had more of a brass band angle, but
similar kinds of thoughts.
BOWMAN: Yeah. And that has validity. But mostly it's a matter of concem because
we don't have enough advocates for the euphonium. And, sure, we'd like to have
wonderful parts, but once again, how often is there a situation, even at college/university
where they are having someone double on euphonium from trombone because they don't
have a euphonium player, there's no euphonium teacher, there's no interest in it. h's still
a serious problem. Even at Indiana University, I was talking with Ray Cramer, he said
this year his best player is a trombonist who's doubling on euphonium. And there's a
large space between him and the best euphonium major. Which is appalling! in the
largest music school in the country.
STERN: That's tough.
BOWMAN: But, on the other hand, we have 23 euphonium majors at North Texas!
And we're having to rotate sections in all the bands almost because we have so many fine
players. But it has paid big dividends in sounds in the ensemble. I know of no other
instmment that has the capability of really altering the sound of the band. So, I better
quit before I start repeating myself three times.
STERN: Oh no, that's fine. I really do appreciate your time!
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APPENDIX E
INTERVIEW WITH PAUL DROSTE
298
INTERVIEW WITH PAUL DROSTE
December 20, 2000

Chicago Hilton
DROSTE: Cello of the band, actually.
STERN: Yes, cello of the band. I'm just curious what your impressions are of the
use of the euphonium in band music in the last twenty years or thirty years or - And
maybe I should preface that a little bit: Brian Bowman, and boy if you see him
DROSTE: He's here.
STERN: He said we could interview, but he never got back to me on a time.
DROSTE: He's here. I've seen him already.
STERN: Great. If you see him, tell him I'm looking for him. Both he and Dr.
Falcone wrote articles in the mid-70's indicating that the types of parts that were being
written for were not very challenging and because of that the use of the instmment was
not as featured as it was, say, during the Sousa era.
DROSTE: Yep. I think they're right on.
STERN: Absolutely. The pieces I've selected have all won band composition
awards, the composers are of intemational acclaim, and I'm finding that the parts are
actually quite interesting and offer a lot more meat than they did in the past, and I'm
wondering if- anyway, that's where I'm coming from, and if you had any thoughts on
that.
DROSTE: Okay. Are we rolling?
STERN: We're going.
DROSTE: Okay. I started on the trombone as a sixth grader, and my school was so
small that by the time I was in the seventh grade I was in the high school band. And I
loved it and I thought playing the trombone was pretty neat. And then about right around
the eighth or the ninth grade I began to hear these lovely euphonium counter melodies
and challenging parts while the trombones were playing half notes, whole notes, and after
beats and I kinda decided I not only liked the sound of the euphonium better but I sure
liked the parts they played better. So, at that point, the euphonium really became my first
love, although I did continue to play some trombone. Now, to get into the band literature,
just so you understand my background, now, I was an active college euphonium player,
college-level, both at Ohio State, the Eastman School of Music, and at the University of
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Arizona, where I did my three degrees, so I obviously played in some very fine college
bands. And this would have been in the period of the 1950's for undergraduate school,
the early 60's for the masters degree, and the early 70's for the doctorate. At that time, the
band directors I played under, which were Don McGinnis at Ohio State, Frederick
Fennell at Eastman, and Jack Lee at Arizona, you would call these people traditional old-
style band directors. They loved the marches, they loved the franscriptions, the
symphonic overtures, and the like. So that's really the literature I was brought up on. So
when I was playing actively, we were doing Barber of Seville, the finale of Tchaikovsky's
4th, a ton of Sousa marches, and Fillmore marches, the very traditional things. I was
exposed to Music for Prague, and some other things when the ink was barely dry on the
page, so we did play so contemporary things, but the bulk of what I did literature-wise in
band was traditional, so I loved to be a euphonium player. I mean, we were featured
instmments, we had cadenzas and we had, you know, solo obbligatos, and once in a
while Harold Brash or somebody would come to town and be a stand-up soloist, so this
was a good time to be a euphonium player. Now, unfortunately, for the sake of your
project, really when I finished my doctorate in 1971 at Arizona, that's about the last
serious wind band playing that I did, because at that point I became a marching band
director first, and now brass band director, and yeah, I play the summer time musicians
union band concerts in Columbus, but now with the tmst fund not paying for rehearsal,
you show up for the gig, you open up the folder, you say "Oh! Hoist's Second Suitel
Whoopie! Stars and Stripes - of course!" And so we're back to playing the stuff you can
play without rehearsal, either because everybody's played it before or the dam thing just
isn't that hard to begin with. I still do attend concerts, primarily by the O. S. U. Concert
Band, but I check the other bands in the central Ohio area, of course I come to Midwest
most every year and hear the bands here. My latter years of teaching at Ohio State, when
I would be helping my students with the literature that they would be playing in band,
that's when I really noticed the shift from what I thought was the melodious approach to
the euphonium - the cello approach - to something to something that's more rhythmic,
percussive, tuba-like. I say these in a negative way because those aren't interesting parts
to play, and that's what soured me on concert band trombone in the beginning. It was not
lyrical, we were filler stuff, that's what we were playing. So, my recollection of what the
kids in the O. S. U. Concert Band were playing under Don McGinnis's later years, and
Craig Kirchoff was there for 14 years, and I retired about the time he left, so I don't know
what the people after him have done. I think there was a decided - if you want to draw
the line and I would draw the line right at the term lyrical. Is the part lyrical: yes or no.
In the old days it was and now a days it doesn't seem to be. Even the Schoenberg
Variations has a lovely lyrical solo. Lincolnshire Posy - lyricism! I mean it's
contemporary but it's still lyric. I think when composers get away from lyrical writing,
the euphonium suffers maybe as much as anybody, because we're the ones who got those
lovely melodies and counter melodies and all of a sudden they're just not being written
anymore. If you say you've noticed a trend that we're going back to the more lyrical style
of writing for euphonium in the band literature, then wonderful! That's great. I have not
experienced that directly. Let me slide one other direction here, because I'm very very
much tied up with British brass bands right now. For the last 17 years we've had a group
in Columbus called Brass Band of Columbus. We've won intemational competitions: just
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this past September we were in Birmingham, England, as a non-competitive part of the
Bntish Open contest, a contest that is in its 148th consecutive year - fiightening. They
had a gala concert - the contest was on a Saturday and on the Sunday they had a marathon
concert which they called the World of the Brass Bands, so they had a New Zealand brass
band, one from the U. S. A., one from Belgium, and then three or four from England. It
was an eight-hour concert, it went on forever and ever. But we got to hear what the other
bands were doing: there was a euphonium soloist David Childs, who is Bob Childs's son,
soloed with one of the big British brass bands. So, I know brass band literature pretty
well right now, I've had 17 years of kind of specializing on this. If you're looking for me
anymore today or this week, I'll be over at the Salvation Army - listening to recordings
and looking their at music, because they've got a ton of stuff And I'll find Studio Music
over there with Philip Sparke, and Jeffrey Brand will be floating around someplace, and
"Jeffrey, what's new? You know my band, what do you think we ought to be doing?"
But to get into the literature part of brass bands and the euphonium part of brass bands -1
wish many times instead of conducting this brass band, that I could hand the baton to
somebody, grab my euphonium and sit down there as the principal euphonium player.
Because I just drool at those parts. I think everything we play - everything we play - has
a wonderful euphonium part. I mean the marches, obviously, the hymn settings -
gorgeous, but the euphonium in the brass band is a featured instmment along with the
solo comet - they're one-two. Solo comet may be the most featured, the euphonium a
close second, then you get into principal trombone, principal alto hom, principal tuba,
but, you know, that's - solo comet first euphonium second, and both in terms of the band
parts and the type of solo literature with brass band accompaniment, I think the brass
bands are head and shoulders above the wind bands of today. Now I'm showing my
prejudice because for the last at least 14 years I have been immersed enough in the brass
band world that I have neglected the wind band world. There's not a wind band in
Columbus, Ohio that is the caliber of the Brass Band of Columbus, on the adult level.
And I just don't have the interest. I mean, I'm here at the Midwest and there will be some
fine high school wind bands and I'll look and say "I think I'll have a nice long dinner,"
and get back at eight or nine o'clock, and "I missed the concert? Aw shucks, too bad."
Now, I'll go hear the Eastman Wind Ensemble tomorrow, and I'm definitely going to go
hear the Air Force Band tonight, and I know I won't be disappointed in either one of
those, but, I'm not in the wind band literature and performance. In fact, when I'm asked
to guest conduct the wind band, it's kinda like "You tell me what kind of literature you
want me to do, and I'll tell you whether I'm comfortable with that or not." If you want
Sousa marches and Elsa's Procession to the Cathedral, hey, we're on a page. If you want
the latest Jim Swearingen pieces or Elliot del Borgo, or somebody, I don't know these
pieces. Ijust haven't kept up on it. And I'm not interested at this point in keeping up. I,
once in a while, in a euphonium clinic or especially in the Brass Band of Columbus,
where all the baritone and euphonium players are my former students, say, "If I was
given the choice to be the principal tenor tuba player of the Philadelphia Philharmonic
Orchestra (assuming we do some Strauss Tone Poems and Bydlo and something - the
Planets once in a while), or principal euphonium of the U. S. Marine Band or one of the
service bands, or the principal euphonium player in Black Dyke or one of the top brass
bands, I would pick the brass band - for the challenge and the interest of the parts. And
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as a result of that, I really think that some of our British brass band euphonium players -1
can't say they're head and shoulders above all the Americans, that's not fair. Brian
Bowman could go down and sit next to Bob Childs and Steve Mead and hold his own.
But there aren't too many others who could do that, in this country. So, when we look at
where are the really fine euphonium soloists and players coming from - they're coming
from England. And you could start again with Bob and Nick Childs and you can go on to
Steve Mead and you can go to practically any principal euphonium player with a major
brass band and say "Here's an all-star, because if he wasn't, he wouldn't be sitting where
he is." So, I'm skipping around here, but I'm telling you I don't have the background
you're looking for on the wind band literature, but I sure do in the brass band.
STERN: Well, I think a couple of points you have touched on: number one - Phihp
Sparke. One of the pieces I'm doing is his Dance Movements for Wind Band, because it
has such a wonderful euphonium part.
DROSTE: Ah! Okay!
STERN: Johan de Meij - Symphony Number One: Lord of the Rings, very lyrical
euphonium stuff. And one of the things that I'm considering as I'm evaluating these
pieces that have won band composition contests is what is the training of these
composers. Because I'm finding more often than not, it's not from the United States.
And so the euphonium parts are still real tasty and real lyrical
DROSTE: Okay! That's a very good point. Philip Sparke has written at least three,
I'm thinking four major euphonium solo pieces: there's a full concerto for euphonium and
brass band, which is out, and Party Piece, and Pantomime, and then the early Fantasy,
which I think may be the best thing he's ever written. By the way, he may be here, he's
usually here with Studio Music. Find the Studio Music booth -
STERN: That would be wonderfiil. I will look for him.
DROSTE: They'll tell you. Because he's been here every other year in recent years.
STERN: I will. Like I said, I want to do his Dance Movements, and I haven't gotten
any feedback.
DROSTE: I think Philip Sparke, and I have to be carefiil here, I think he has a
Salvation Army background. And even these guys, they might be a generation or two
removed, but it all a lot of this goes back to the Salvation Army, and they just sit their
and play those wonderful hymn tunes and that's got to have an effect on the way they
write and view the - yeah, Philip Sparke's a good friend of the euphonium world, he
definitely is.
STERN: Yes he is. I love his work and I've played everything he's written so far.
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DROSTE: Jeffrey Brand is probably around here, I haven't seen him yet. He, of
course, had the Black Dyke band of the 60's, and City of London Wind Ensemble in the
90's, and he'd be a good one. He's very leamed, and he'll talk forever. But he'll give you
good things. And Brian Bowman, of course, is here. Roger Behrend is here -1 think is
probably soloing as we speak, I guess I missed it. Good, well, anything else? I sorta took
off here.
STERN: No, this was absolutely wonderful. I jotted down some questions because
I didn't want to forget anything. Have you worked with any composers that have come to
you and said "What can euphonium do, what can't it do, what should I be doing?" And
who are they and how - what were those experiences?
DROSTE: Not a major composer. I've had pieces written for me, these have usually
been local Ohio State-type people, a masters thesis or a doctoral something or other, not a
full concerto, but maybe a three movement sonata, and some more miscellaneous. But,
no, I've never commissioned a euphonium piece, and that's how you get those people to
write for you - you show them the money and . . . I know Jim Cumow very well and he's
here, I'm sure, exhibiting, and his short Rhapsody for Euphonium and Wind Band or
Brass Band everybody's played and the longer 18 minute Symphonic Rhapsody I haven't
tackled yet. But he's one that plays euphonium, writes euphonium solos. Bill Himes (?),
there's another one, the Chicago staff band director. If he's floating around. I think he
and Cumow were at Michigan at about the same time - er, no, Cumow went to Michigan
State. Himes and Brian Bowman went to Michigan. But Bill's in the Salvation Army
and has been all his life and could give you a little background on that kind of thing. Joel
Peu (?) who's at Heidelberg College in Tiffon (?), Ohio, just finished the DMA in
euphonium at Michigan State, and his lecture recital and dissertation was on Salvation
Army euphonium solos, kind of the peregrination or the development of that going back
into the almost the tum of the century up to what's being written today and actually took
probably four or five pretty major solos and kind of dissected them and said "Well, this
was written in the 60's and this is what was new there, now in the 70's they introduce
that." So, there would be another more timely resource person.
STERN: Kind of an evolutionary kind of thing.
DROSTE: Yeah, an evolutionary thing. Yeah. Get a hold of his dissertation.
STERN: And I know you've done brass bands, so this question may not seem as
relevant, but, do you think contemporary composers know the difference between
euphonium and baritone playing and know how to write for it?
DROSTE: Um, probably not, unless -
STERN: And I think that's part of the problem, by the way.
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DROSTE: Well, h's a problem in this country. Because when you go to England, of
course, I'm in the brass band world, again, but everyone knows what a baritone is and
everyone knows what a euphonium is. hi the wind band movement in England, I would
view that as developing, like the brass band movement is developing in this country. In
this country, you still pick up a score of a major composer and it will say "Baritone," it
won't say "Euphonium." hi fact, in the years that I played in the O. S. U. Concert Band
under Don McGinnis, he passed the roster around so everyone could make sure their
name was spelled right and whether you wanted a middle initial or something like that,
and he'd say "Baritones" and I'd scratch that out and write in "Euphoniums" and when the
printed program came out it say "Baritones" again. So, we are all playing euphoniums -
this is what we're playing! But any of the old stuff, the older transcriptions, original
things, they all say "Baritones." And it's wrong because the three-valve bell-front
instmment that was used in the early years is still more of a euphonium than it is a
baritone, in terms of bore size, which is the defining feature. But, in this country, if you
say "baritone" or "baritone hom," people kinda nod their heads like "Yeah, I used to play
in a band once and I know what that is." When you say "euphonium," they go "What's
that?" Then you say "Well, it's kind of a small tuba, it's kinda like a baritone, h's kinda ..
." So, the problem is terminology, in this country. I mean, we never, and maybe even 'til
today, I'm not sure, but a lot of concert band programs instead of saying "Euphonium"
say "Baritone." We know what they mean but it's incorrect in that use. So, we fought
that for years. And, of course, we've never had the tradition of separate baritone and
euphonium parts. In fact, if my memory is right, one of the Hoist Suites, I think it's the
First Suite, there is a baritone solo that's cued -
STERN: There are separate parts.
DROSTE: I mean the baritone part never made h into the American edition. But, it's
cued in the euphonium part.
STERN: That's right.
DROSTE: And sometimes, if you don't know the piece, and you're not used to
playing cues, you go right by that, then the conductor's "The baritone, the baritone! You
no play there! What's wrong?" Oh, cue! Oh, baritone cue! Oh, okay! And, of course,
no one plays it on baritone, they play it on euphonium. At Ohio State, the first time I
think Craig Kirchoff did Lincolnshire Posy, we had just started the Brass Band of
Columbus and I had access to baritone homs. And his principal euphonium player is
actually playing baritone in my brass band. I said "Wouldn't you like her to play this on
baritone, the way it is written?" "Oh no, absolutely not!" Bang bang. Well, three or four
years later, he came back and programmed it again. And before I even found out, he said
"Paul, I wanna use baritone this time. Can you work with a player and get me a hom?"
"Got h! I'll come in and play h myself!" So, no, I think American conductors have no
idea of the difference between the two. Unless they've been to Britain, or unless the
Salvation Army, or someplace and have seen them back-to-back in brass bands. When
we first started the Brass Band of Columbus, we used to take time for the audience to say
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You won't see any tmmpets here, you see comets. You won't see any French homs,
you 11 see alto homs. Here's a baritone hom" hold one up - hold up the euphonium next
to It See the size difference," and so on. We don't do that any more, but maybe we
should.
STERN: Wow. Fantastic. Well, that's all I have.
DROSTE: Well, I'm sorry I can't be more help to you on the concert band thing,
because I'm out of that, I'm really out of that loop now. I mean, I don't play, I don't
conduct.
STERN: No, you've been absolutely wonderful. Part of what I've done is Harold
Hinds book The Brass Band. He talks about the difference between the instmments, and
that's one of the main supporting books that I'm using, in terms of why composers have
somehow lost touch with what this means, and it's from the brass band movement. So, I
think just in this conversation, we've fully validated a lot of what he's had to say.
DROSTE: Tell you what, jot your address down -
STERN: I have a card.
DROSTE: Okay. When I was, let's see, did I start this at Eastman? I was at Eastman
in the early sixties. And I did a research project in euphonium. I went through every
book in the Eastman library that had the word "brass" in it, and dug out what they said
about the euphonium. So, I got a probably a five- or six-page bibliography. And then I
updated it twenty years ago. It's got the old brass band books in it, and you mentioned
like the Harold Hind book, well that goes back to, what, the 20's or the 30's, I think. So, I
may have some resources there that could help you. Let me just make a note here - "Send
the euphonium bibliography."
STERN: Because that's what I do when I'm in boring staff meetings - is I get on the
intemet and I find everything I can get interlibrary loan that has euphonium or baritone in
h.
DROSTE: And I'll look through my things. I had a music education teacher at
Eastman by the name of Everett (?) Gates, and I caught him right the first or second year
he was there. And, he was kind of a maverick, I mean, he just sort of came in as the new
guy and said this is the way it's going to be and this is the way I teach. He was a string
saver (?), and while I was doing some research, both for him and even in the brass
department, I would come across a pamphlet, or a - not a major publication. I'd go to my
teacher, Don Knaub, and say "You got this?" And he would say "Oh, I heard of h, I think
I saw it once. Go down and see Remington." I'd knock on Mr. Remington's door: "Do
you have this?" "No, I don't have it." Then I'd go see Mr. Gates. I'd say "Mr. Gates, I've
checked in the faculty, I've checked the library, the music stores, Ijust can't find this. But
I think h would be of interest in what I'm doing." He'd say "Oh, I think I have a copy of
305
that someplace. When people mail me free things, or give me things, or I see something
in a book I think I should have, Ijust buy h." My wife accuses me of not ever throwing
anything away. And I really don't, because something like this stupid bibliography, I did
it in the early 60's, so there's nothing current, but it might have some things in there you
haven't found. I'm trying to think of things off the top of my head, and I'm not. But some
of the older versions of Groves, for instance, I mean you can look at the new one, but
look at the 1954 one, or the one in the 30's or something. You just might find something
entirely different that they looked at in those days, depending on who wrote the article.
South Dakota, okay. Do you know the Intemational Music Camp in North Dakota? That
was Joe Almy (?) that kinda breezed by while we were just talking here. I've done a
brass band workshop up there, gosh, I think I've done it for four years now. They have an
adult band camp: wind band, brass band, jazz, choir - just adults, right at the end of their
camping season, usually like the last week in July or the first week in August. And, we
do a four-day brass band "hit 'em over the head" and escape.
STERN: Sounds like what we did with the John Kincaid up in Gunnison.
DROSTE: I know John Kincaid. I was in Gunnison once, he had me up there one
summer and I helped him out. Let's see, I think Dick Maines has been doing that in
recent years, because I knew him in Ohio State.
STERN: That's right. There's wonderful experiences up there.
DROSTE: Just for your information, I do up to five brass band workshops a year for
Yamaha. They basically send me out, and I did one, it was tied in with John's brass band
week, but I mean I kind of had a separate thing going and helped him out a little bit. But
I get around, and John - John's one of the pioneers. He'll talk your ears off but he's
interesting. And we have mutual friends in New Zealand that we saw in Birmingham,
England because there's some that came over to play with this. I mean, there's all sorts of
contacts there. Yeah, John's a neat guy.
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APPENDIX F
INTERVIEW WITH JOHN MUELLER
307
INTERVIEW WITH JOHN MUELLER
December 22, 2000

Chicago Hilton
STERN: Yes, I'm ready to go.
MUELLER: You were talking about the big names: Grantham, de Meij, van der Roost,
and Sparke. Van der Roost and Sparke, they're European, and they tend to, in general
write more interesting parts for euphonium: they tend to do more divisis than a lot of the
Amencans. And Sparke with the brass band tradition, they tend to be more interesting
and demanding.
STERN: I'm also looking at McBeth OfSailors and Whales, a couple of TRN
publishers I understand what you're saying because, and those are the people I've seen
here so that's who immediately comes to mind. Mark Camphouse, Timothy Mahr -
MUELLER: Mark Camphouse, he's pretty euphonium-friendly, I'd have to say. One of
the things I don't see a lot of is just the real big extended euphonium solo that you hear a
lot of the double reeds, you know, oboes, clarinets, tmmpets, and -1 don't see the
euphonium in the forefront. In the de Meij symphony, yeah, a couple of little licks here
and there, a couple of soli passages. But, no one's like, championing the euphonium, and
maybe the vehicle just hasn't presented itself Cumow writes some good euphonium
lines. I'm trying to think of- you know Symphonic Variations and Jim Bames has a good
feel for this stuff
STERN: I'm doing his Variations on a Theme ofNiccolai Paganini, with that tuba
quartet variation.
MUELLER: They're pretty much aware of it. There's none of those pieces that, off the
top, when you say "That's the big euphonium tune." They all have really good parts and
some challenging sections, and those things get used in auditions, just to test people. So,
I would say that they're aware and are using the euphonium to a certain degree. What I'm
a little more concemed with are the lower grades of music, especially ones you see in
middle school that are - the composition isn't so melodically driven. And it becomes sort
of a modal hook or a some sort of tonality or a rhythmic hook, and the euphoniums get
clumped as just a low brass unit. And even in some of the more complex higher-graded
music, a lot of times euphoniums end up being what I call harmonic back-fill. You
know, when someone builds a house and pours a foundation and they just push the dirt
back in just to close up, you know. A lot of times you're just supporting the tubas,
supporting the trombones. And what bothers me, is that when kids get to this higher level
where the composers understand how to use the instmment, do they know how to play
the melodies and solis lyrically within a band context. They either have them as a soloist
they might be developed but aren't use to playing in that context or they just haven't
308
developed any lyric solo abilities. They're just sort of used to being part of the, you know
STERN: The block.
MUELLER: Yeah, the bottom feeders, we call them. And, so, it's nice to have the
mput of the Dutch and British composers, because they do have that brass band tradition
in England. And a lot of the wind band writing in Europe always did have euphoniums
and baritones, or saxhoms, depending on how - you know, in Germany baritones and
tenor homs so that called divisi line, there's a maybe a supporting bass line function as
well as a lyric tenor voice in the band. So, that's important. Ijust would like to see a
little more work done with some nice melodies at the younger age that the euphoniums
get to play. But, obviously, not every band is going to be able to have just a euphonium
soli section, they're gonna have to support it with homs or saxes or trombones. So, that's
sort of a tough nut to crack.
STERN: Yeah, I was going to ask what you thought would be a possible solution
for that, because, I know, teaching young school bands myself, there is the challenge of
okay, I've got a sort of a baritone player that's not quite sure what a euphonium is, and
how do I pick a piece that's going to challenge that person, but it needs to be doubled so
that the guy down the road will buy it as well.
MUELLER: Yeah, it is a tough nut to crack, but I just think what needs to be integrated
in the band methods are the - don't relegate this low brass to the supporting block. You
have these band methods that everyone gets to do these knuckle-busters in the different
unison tunes, and that's fine, but as soon as they go to the band arrangements, more often
than not, all of a sudden they lose any of that melodic thing. So, it's - the band director
has to be judicious and maybe be an arranger themselves to work that out. It would be
interesting if publishers had flexible arrangements, sort of like the old Robert King brass
ensembles where you have some substitute parts. Maybe you could have a prime tenor
saxophone solo part and a euphonium solo part as well as section parts, so that you have
some flexibility in what you could - what solo material could be passed out to one or
more of those strong players. And if they're not there - And I would think with today's
technology, it would be easy to do. So, I think that's a good solution and to take
advantage of the technology to keep the kids interested. That Smart Music stuff that's
coming out, I think, has a lot of potential, as far as keeping the kids active and interested.
You just go to be able to -1 think the challenge for educators is to keep that - to keep the
kids interested in playing.
STERN: Right. That is a big challenge, because there's so many things for kids to
do anymore. They'll have 20 minutes to do band, then it's on to soccer, or video games,
or whatever they're doing.
MUELLER: Yeah. So, I mean, the kids like to perform. They really like to perform,
and if you have to hold down the level of music or the number of performance to the
309
bwest common denommator, that's not good. But, if there's some flexibility there, well,
then, 1 think - if you have a strong euphonium player or tuba player that can handle some
more of the melodic material, that would be sort of exciting.
STERN: Absolutely.
MUELLER: I think, maybe, the golden age of euphonium writing had to do with a lot
of the transcriptions that came out. That fradition isn't there any more, and there's some
of them that are coming out. One of the things I'm a little disappointed in is that some of
the new editions of like the Sousa marches and the King marches, the things that have
become public domain, it's disappointing that they often times water down the
euphonium parts. And, once again, it's a marketing thing, because, you know, the
stmggling euphonium may not be able to play some of those nice obbligatos, and they
just go ahead and leave it to the saxes or clarinets. When those float across the
professional's stand, we'd say "No! Give us the real magilla (?)." And if there needs to
be some alterations as far as making sure the parts come out okay, let the conductor do
that. That's sort of a pet peeve that some of these new editions, authenticated editions,
just tend to water out the euphoniums.
STERN: Right. Absolutely. Yes. Are there any composers that you've worked
with specifically - in asking you how to write for the instmment or have come to you and
said "I've got this great idea, will it work?"
MUELLER: There's been some new composers, young composers, who maybe have
never written for the euphonium before, a couple of pieces that have been written for me.
A jazz saxophonist, faculty member at Dusquesne University, Mike Tamaro, wrote a
little tune for me. It's actually on the CD Excursion. It's a short thing, but I wanted
something different. I wanted to maybe have something that wasn't in the "Crying
Dmnk" category. You want to be able to play hot only the lyric melodic stuff, but maybe
show the euphonium with different coloration, in different setting. So, I was interested in
something - a jazz piece. So that's what Excursion is. Dwayne Milbum, who's a captain
in the Army music system, and he's done quite a bit of arranging for band. He's an up-
and-coming star. He's done some wonderful arrangements, and I've worked with him -
he wrote the duets, these Joplin trios actually on the CD that - Euphonic Sounds, that's
really a three-part play. He really worked at acoustically making each one work and
asked some questions about that. Joseph Holt is on the faculty of American University,
has a piece that's still being written that includes a one movement for euphonium and a
couple on trombone that is very interesting. By and large, you tend to have to approach
the composers and ask them. But I think a lot of the younger composers, who have
already done arranging for band, already know what a pretty good functioning range of
the instmment is. And, for most of your solos, through high school level, they're going to
do a good job. A lot of the new composers: David Gillingham, Philip Sparke (who isn't
new), some of the British composers, Jan Bach (who's also not new, but), they're pushing
the euphonium to more extremes and really expanding the range and technical demands
and that's good. I don't think, in light of all the new euphonium pieces that have come
310
out, the solo pieces, I don't think though the potential is, and demonstrated potential, is
really being used effectively in band. You know, I'm certainly biased, as far as that goes.
STERN: Right. We all are, and that's part of the reason why I'm writing this: I am
biased.
MUELLER: It just occurred to me that the advances in what the euphonium solo
literature requires, have not been met in the literature. But, then again, it's an acoustic
thing. I mean, when you get a euphonium above high B-flat, or even the eighth or ninth
partial, is it best used in an ensemble that way? So, there is that limitation there. Of
course, the euphonium playing in ensembles is another can of worms, to be sure.
STERN: Are you aware of any schools of thought or philosophies on how to write
for the euphonium in wind bands?
MUELLER: Ah, not, really. I know some arrangers that really want to give us, if it's an
orchestral transcription, really try to give us the cello parts. Sometimes it works,
sometimes it doesn't.
STERN: The triple-stops are kind of hard.
MUELLER: Yeah, the triple-stops are hard, they don't necessarily have the same effect,
and in certain soli sections, the cello can hang around on low Ds, and things that doesn't
always have the same effect - covering a nice flowering arpeggio up and down. It doesn't
work necessarily as smoothly. But, maybe need to use the right combination of
euphoniums and tubas for the right sound to balance out in the wind band situation. Then
again, I think the players are going to get better as the demands are greater. And, during
the early 20th century, all the circus band playing, there's just - a lot of technique was
developed. I think, maybe, some of the stuff happened with contemporary writing, in the
60's and 70's, maybe wasn't as technically oriented. But now I think the lherature is
coming along. You know, you look at the things written by Sparke and Cumow, there's
more demands. I think with those people at the forefront, it's going to be better. I'd have
a lot more to say if I had these pieces here in front of me.
STERN: Sure, absolutely.
MUELLER: And maybe another interesting thing would be just to - if you wanted to
send me copies or give me titles I could look up and ask me what I thought of the part.
Joseph Horowitz, who wrote the euphonium concerto, he said "When you write for
British brass band, for a contest piece, every section has to be highlighted, everyone's got
to have something to do." But, as an artist, Ijust want to express an idea. The second or
third tmmpet might sit there for many, many minutes without any notes until needed. So,
I think, there's the aural concept. The big picture the composer's trying to develop will
also dictate how the euphonium is used. I don't think you can demand that euphonium
311
have this certain presence every time. But I would have to say, though, that I think it's
undemsed.
STERN: I agree. Okay. Do you have any suggestions for resources or maybe other
people I should be speaking withthat might help with this topic?
MUELLER: Have you spoke with Tom Mira?
STERN: No. Is he here?

MUELLER: Tokyo Kosei Wind Symphony. Yeah, he was in town, I don't know where
he is now. Tokyo Kosei Wind Symphony. You've spoken with Brian Bowman??
STERN: Yes.
MUELLER: Mike Colbum?
STERN: Is he here?
MUELLER: Uh, he was.
STERN: Okay, because I would like to speak with him.
MUELLER: As a conductor and euphonium player - Uh, Donald Hunsberger.
STERN: That's a good idea.
MUELLER: He'd be a good one, with all his arranging, he's got a perspective. Harry
Begian. Dr. Begian, are you familiar with him.
STERN: Yes I am.
MUELLER: And you can tell him I referred you.
STERN: Sure, absolutely.
MUELLER: Because there's another perspfctive. He came from the real old school.
Have you actually spoken with Jim Cumow?
STERN: No.
MUELLER: He's one of the subjects, though.
312
STERN: No, he's not, because I think he's inherently biased, because he is a
euphonium player. I think if I tried to defend that to my committee, they would probably
MUELLER: Joseph Horowitz, lovely old guy, he's in England. I'm not sure how you'd
get a hold of him. Actually Steven Mead would know how to get a hold of him.
STERN: I've tried to get a hold of Steven Mead, and that's been impossible. I've
sent two letters and numerous e-mails and haven't gotten anything. 1 think until we're
actually in the same place at the same time
MUELLER: Who else would be good? All the service people.
STERN: Yes, I've spoken with everyone that's here.
MUELLER: I'm trying to think of someone who might give you a different slant on
things. Have you spoken with Sheri Huff?
STERN: No I haven't.
MUELLER: She might have some interesting things to say about that, being a band
director as well as a euphonium player. I'm just trying to think of different people in
different venues with different perspectives.
STERN: Sure. And really the people who I wanted to speak with were euphonium
players that have been experiencing the literature from the euphonium chair.
MUELLER: Carlyle Webber's down in Florida, he'd be very accessible.
STERN: That's a good idea.

MUELLER: Don Burrelson's been around a long time, he's in the field band. Colonel
Diedtrick at West Point, was a euphonium player in the field band before he became a
conductor.
STERN: I didn't know that. Okay.
MUELLER: He also has a Salvation Army brass band upbringing. And Barry
Kilpatrick up at West Point as well. He's got a lot on the ball, does a lot of conducting as
well as playing.
STERN: Those are two good ideas I didn't know about. Alright, well thank you!
MUELLER: I hope this helps!
313

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THE USE OF THE EUPHONIUM IN SELECTED WIND

BAND REPERTOIRE SINCE 1980

DAVID W. STERN, B.M.Ed., M.M.

Submitted to the Graduate Faculty

Co-Chairperson of the Committee

Co-Chairperson of the Committee

Dean of the Graduate School

my friends and inspirations, Timothy F. Peterson, Clifton D. Stargardt, Dr. Anthony P.

provide all of us with inspiration and graciously agreed to be interviewed, Roger

II. REVIEW OF RELATED LITERATURE 8

History of the Instmment 8

Present Day Analyses 23

rv. SCHERZO FOR A BITTER MOON- GREGORY YOUTZ 28

V. WINDS OFNAGUAL - MICHAEL COLGRASS 37

VI. ILLYRIAN DANCES-QXPi^OQiLYY^^Y^ 55

VII. IN THE SPRING, A T THE TIME WHEN KINGS GO OFF TO WAR -

VIII. PIECE OF MIND - DANA WILSON 87

IX. FANTASY VARIATIONS ON A THEME BY NICOLAIPAGANINI - 102

MARTIN MAILMAN 121

XII. SYMPHONY NO. I - JOHANN DE MEU 128

XIII. HEROES, LOST AND FALLEN- DAVID GILLINGHAM 149

XIV. OF SAILORS AND WHALES - W. FRANCIS MCBETH 15 8

XV. FOLKSONGS FOR BAND SUITE NO. 3 - DAVID STANHOPE 169

XVI. GA VORKNA FANFARE - JACK STAMP 187

XVII. A MOVEMENT FOR ROSA-MAKiLCAM?nOUS>^ 192

XVIII. THREE CITY BLOCKS - JOHN HARBISON 202

XIX. P^5'5'.^C4GZZ4-RON NELSON 214

XX. Z/OA^-DANWELCHER 221

XXI. BUM'S RUSH- DONALD GRANTHAM 231

XXII. DANCE MOVEMENTS-VnihW^VASCKE 239

XXIII. BL UE SHADES - FRANK TICHELI 248

XXIV. SUMMARY AND CONCLUSION 261

A. PERMISSION FOR COPYRIGHT 281

B. LIST OF COPYRIGHT PERMISSIONS 283

C. INTERVIEW WITH ROGER BEHREND 286

D. INTERVIEW WITH BRIAN BOWMAN 288

F. INTERVIEW WITH JOHN MUELLER 307

This dissertation is a survey of the treatment of the euphonium in twenty works

comments are included.

from the euphonium pedagogues are incorporated into the analyses.

provides suggestions for continued education and advocacy.

2.1. Baritone Horn/Euphonium Reference Chart. 12

2.2. Dimensions of several popular baritones and euphoniums. 12

2.3. Qualities of sound of instmments. 17

2.1. Euphonium Ranges. 18

2.2. Miller Instmmentation. 18

2.3. Lang Instmmentation 100. 19

2.4. Lang Instmmentation 101. 20

2.5. Lang Instmmentation Ex. 103. 20

4.A. Scherzo for a Bitter Moon, expanding wedge. 29

4.1. Scherzo for a Bitter Moon, mm. 42-43. 30

4.2. Scherzo for a Bitter Moon, mm. 48-50. 30

4.3. Scherzo for a Bitter Moon, mm. 76-81. 31

4.4. Scherzo for a Bitter Moon, mm. 111-114. 32

4.5. Scherzo for a Bitter Moon, verm. X'i^-XAQ. 33

4.6. Scherzofor a Bitter Moon, vam.\9\-\9A. 34

4.7. Scherzofor a Bitter Moon, mm. 233-234. 35

4.8. Scherzofor a Bitter Moon, mm. 261-262. 35

5.1. Winds ofNagual, mm. 26-27. 39