Doubling is defined as playing two instruments. It is becoming increasingly necessary for low brass musicians to double in the course of their careers. Euphoniumists often learn trombone, and trombonists learn euphonium. The instruments share several surface similarities but also differ in many significant ways. Interviews with six professional doublers highlight strategies for learning, teaching, and performing on both trombone and euphonium. Slide and valve technique, adjustment of intonation, tone quality, air usage, repertoire, and skill maintenance are all addressed. Trombone literature comprises a large part of the euphonium repertoire, due to the fact that most trombone pieces can be performed on euphonium. Euphoniumists should avoid playing pieces that require glissandi or extremely loud dynamics to be effective. Euphonium solos are generally too technical to be practical for trombonists to perform. Grøndahl's Concert pour trombone et piano ou orchestre is a standard piece for both instruments. When performing the piece on either instrument, it is helpful to practice the piece on both trombone and euphonium in order to tap into each instrument's strengths.

Etudes have been composed to address the primary challenges found in ten selected euphonium wind band pieces. Each work was chosen based on its frequency of occurrence in military band auditions as well as its appearance in excerpt books and journal articles. Practice drills, practice variations, and overtraining studies are the primary concepts used for composing each etude. List of selected works: (1) Roman Carnival Overture Op. 9, Hector Berlioz; (2) First Suite in E-flat for Military Band Op. 28 No. 1, Gustav Holst; (3) Barnum and Bailey's Favorite, Karl King; (4) The Melody Shop, Karl King; (5) Aegean Festival Overture, Andreas Makris arr. Albert Bader; (6) Theme and Variations Op. 43 A, Arnold Schoenberg; (7) Festive Overture Op. 96, Dmitri Shostakovich arr. Donald Hunsberger; (8) Festival Variations, Claude T. Smith; (9) The Stars and Stripes Forever, John Philip Sousa; and (10) Suite from the Ballet: Pineapple Poll, Arthur Sullivan arr. Charles Mackerras.

This dissertation presents a categorization of existing methodologies of upper register development for euphoniumists with evaluation of effectiveness and current use of these methodologies. The purpose of this study is to provide euphonium musicians as well as educators with essential references and guides to applicable methods for developing the upper register more effectively with greater efficacy. The assessments of current methodologies include three steps: categorization, summarization, and evaluation. To support the significance why it could be more beneficial than the methodology alone, the dissertation will include the examination of the aspect of biomechanics and ergonomics, suggestions, and discussion of particular issues of the upper register.

An examination is conducted of the life, career and musical styles of Richmond Matteson, an influential jazz euphonium and tuba performer of the twentieth century. The study includes a brief history of the euphonium's role in concert bands. A description of Matteson's background as a musician and clinician including education, influences and career changes will also be discussed. Analysis of Matteson's improvisational style and a transcription from the recording Dan's Blues is included. A formal analysis of Claude T. Smith's Variations for Baritone is provided, as well as a brief biography of the composer. Matteson's stylistic traits which Smith employed for the composition of Variations for Baritone are illustrated. The conclusion calls for further study of jazz styles by euphoniumists with more frequent performances of Variations for Baritone. Appendices include lists of Matteson's compositions and arrangements, a selected discography and a list of clinics and performances from 1982-1992.

Solos for euphonium with electronic media present the unique challenge of incorporating an active, physical involvement in the live accompaniment through sound-altering technology such as guitar pedals or digital processors. Instructions for this solo genre are often vague and demand a general knowledge of how to use non-traditional devices. Due to the lack of information available on newly-composed pieces for this medium, students and professionals easily overlook the artistic merit of electroacoustic music. This dissertation provides a comprehensive performance guide that aids in the set-up and operation of advanced technology and presents a methodical approach to performing common musical and technical challenges found in modern euphonium repertoire with electronic media. Included in this dissertation are tables of common audio vocabulary and images of connectors, safety precautions, equipment recommendations with performance settings, a list of required connectors, adapters, cables, speakers, and amplifiers, performance set up diagrams, background information, and analyses of both the technical and musical aspects of each piece. In the appendices are signal flow charts, visual illustrations of polar recording patterns, and an updated catalog of published and unpublished original, adapted, and arranged euphonium solos with live electronics and electronic media accompaniment between 1970 and 2017.

Master of Music / Department of Music / Steven Maxwell / This report is intended for teachers to use when preparing euphonium solo literature with their students. The solos selected for this report encompass a wide variety of styles and technical abilities, with each solo studied in four sections: Historical Background, Theoretical and Technical Considerations, Suggested Practice, and Educational Gains and Values. The solos studied in this report include Conqueror by Leonard B. Smith, In the Hall of the Mountain King by Edvard Grieg, Allerseelen by Richard Strauss, Pearl by H.A. Vandercook, Andante et Allegro by J. Ed. Barat, Andante et Allegro by J. Guy Ropartz, and Morceau Symphonique by Alexandre Guilmant.

I detta arbete har jag fördjupat mig i Jukka Linkolas Euphonium Concerto, där jag har försökt att förklara svårigheterna med att spela Linkolas musik som brassmusiker. Har även gjort en motivkatalog där jag fördjupar mig i hur Linkolas jobbar med kontraster. / <p>Bilaga:</p><p>Jukka Linkola - Euphonium Concerto</p><p>Medverkande: Emil Andersson - Eufonium Katarina Ström-Harg - Piano</p>

abstract: The purpose of this project was to provide a pedagogical resource for students and teachers to utilize when preparing six standard formative pieces from the euphonium repertoire. The guided practice sections are written in plain English with several instances of first person writing to explain certain concepts in a less formal way. This was done so that any teacher, regardless of level could help a younger, more inexperienced student. In addition, the sections of guided practice were written to help those teachers who may or may not be intimately familiar with the works chosen. The recording was designed to present the music in current published format, with no improvisation by the soloist. The solos that were chosen are either college preparatory pieces, or formative works for the younger collegiate musician. All of the pieces included are published, and as of September 2010, available for purchase. The works included are: Six Studies in English Folk Song, by Ralph Vaughan Williams, ed. Paul Droste, Introduction and Dance, by J. Edouard Barat, ed. Glenn Smith, Andante et Allegro, by Joseph- Guy Ropartz, ed. Shapiro, Sonata for Unaccompanied Euphonium (or Trombone), by Fred L. Clinard, Jr., Suite for Baritone, by Don Haddad, and Andante and Rondo, by Antonio Capuzzi, ed. Philip Catelinet. / Dissertation/Thesis / D.M.A. Music 2010

abstract: Martin Ellerby (b. 1951) is a prominent composer for wind and brass bands, and his Euphonium Concerto and Baritone Concerto are among the best and most challenging works in the euphonium and baritone repertoire. This project aims to assist the performer in learning these important works by utilizing specific practice strategies. Each work has been performed and thoroughly examined by the author in order to develop and offer specific strategies for learning each piece. This project utilizes identification of themes and motives, existing methods, suggested exercises, and suggestions from the premiere performers in order to develop a strategic practice regimen for learning these important works. The discussion of each movement begins with a brief thematic overview to identify the motives and ideas used to construct each movement. The musical content discovered through thematic and motivic identification is used to recommend modified exercises from Arban Complete Method for Trombone and Euphonium edited by Joseph Alessi and Dr. Brian Bowman, Clarke’s Technical Studies for The Cornet by Herbert L. Clarke, The Brass Gym: A Comprehensive Daily Workout for Brass Players by Sam Pilafian and Patrick Sheridan, Scale and Arpeggio Routines for Undergraduate & Graduate College & University Students by Milt Stevens and Brian Bowman, and “The Carmine Caruso Method” as taught by Julie Landsman. Each exercise presented is aimed to target a specific challenge of the movement being discussed and will facilitate effective and efficient practice of each work. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Original unaccompanied literature currently stands as one of the most understudied bodies of music in the euphonium repertory. This is largely due to a lack of access to reference recordings, live performances, and study/performance guides. Many of the commissioning projects for new euphonium music in the late 20th and early 21st centuries have promoted the composition of large scale works for euphonium and large ensembles, but very few have generated new unaccompanied pieces for euphonium. Many of the most recent commissions for unaccompanied euphonium music have been for competitions such as the Lieksa Brass Festival (Finland) and Leonard Falcone International Festival (USA). These competitions are also where many students get their only exposure to the unaccompanied repertoire. Unfortunately, there is a small number of standard unaccompanied works that are continuously recycled for these competitions and the exposure to new pieces in the repertoire is further diminished for many developing euphoniumists. This study will examine the three works for unaccompanied euphonium by Torstein Aagaard-Nilsen and provide solutions for many common technical challenges and pose suggestions for approaching and preparing this genre of music. Connections are made throughout the study to specific etudes and other unaccompanied solos that can be used as complementary and precursory studies to aid in the mastery of this literature.