The purpose of this project is to help bridge the gap of available solos for the novice bass tuba player. It is necessary for the growing tuba player to transition to the bass tuba for solos at the professional level, but the majority of pieces that are written for the bass tuba are at the professional level, and it leaves very little for the transitional phase from a repertoire standpoint. Through transcribing vocal works, an aspiring bass tuba soloist can focus on fundamental aspects of tuba playing like tone quality, breathing, intonation, and musicianship. Generally speaking, tuba solos are written for the contrabass tuba and accessible to late high school and early college musicians, or they are written at the professional level for bass tuba. There is a gap in the repertoire for the solo tuba, pieces that can help transition young students to the later repertoire demands of the bass tuba. This project will address the need for more novice solo works accessible to the young collegiate tubists transitioning to the bass tuba by identifying current deficiencies in the repertoire available for the developing solo tubist. This project concludes with a transcription and performance edition of Franz Schubert's Op. 59, Nos. 1-4: No. 1, Du liebst mich nicht; No. 2, Dass sie hier gewesen; No. 3, Du bist die Ruh'; and No. 4, Lachen und Weinen.

Document accompanying a transcription for solo euphonium and large brass ensemble of three arias, "Ecco ridente in cielo," "Largo al factotum," and "A un dottor della mia sorte," from Gioacchino Rossini's opera The Barber of Seville. Includes overviews of the arias' texts and contexts, orchestrational techniques in the transcriptions, the history and definition of the term "euphonium," and the history of the large brass ensemble in the United States.

As a professional tubist, I have found that the skills I acquired by participating in a tuba/euphonium ensemble (TEE) have helped me in my career. This dissertation explores different aspects of the TEE and how they affect the musicianship and wellbeing of students. Chapter 1 reviews the historical context of TEE, from the earliest like-instrument brass ensembles in the United States to the origins of TEE in American universities. Chapter 2 explores collaborative learning, a practice that is focused on the creation of knowledge rather than outcomes, and how it benefits student wellbeing. This is followed by an explanation of different pedagogical techniques that are useful when teaching a TEE. Chapter 3 discusses the competencies set forth by the National Association of Schools of Music (NASM) and how a TEE course can meet those competencies, followed by a questionnaire sent to tuba/euphonium students and professors around the United States regarding the value of TEE. The results of this questionnaire suggest that TEE is viewed as a valuable part of a collegiate music education. Chapter 4 puts previously stated ideas into practice by outlining necessary steps to running a TEE as an instructor and considering extramusical factors like syllabi and university policies. The dissertation ends with reflections on the benefits of TEE.

There is currently a great deal of information available to euphonium players who double on trombone, but far less for euphonium players who double on tuba. This dissertation takes information gathered from many top euphonium/tuba doublers, including: Benjamin Pierce, D.M.A., Aaron Tindall, D.M.A., Gail Robertson, D.M.A., Gretchen Renshaw James, D.M.A., Matthew Murchison, D.M.A., Matthew Shipes, D.M.A., Matthew Tropman, D.M.A., and Keith Kile, and presents a synopsis of their thoughts/reflections on tuba doubling. This dissertation is designed to aide euphonium players in the process of learning tuba, enabling them to be as efficient as possible with both their time and money throughout the process. Topics covered include: difficulties unique to the euphonium/tuba double and approaches to overcome them, similarities and differences between euphonium and tuba playing (from the perspective of euphonium/tuba doublers), "reverse" benefits of euphonium/tuba doubling on the primary instrument, literature recommendations for euphonium/tuba doublers, and equipment considerations for euphonium/tuba doublers.

The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel's Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins' Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice.

Euphonium concertos and similar masterworks for euphonium have been recorded, written about, analyzed, and discussed at length numerous times in recent years. Unfortunately, the most frequently studied and performed euphonium solos have been almost completely ignored in this regard. These works are useful for performance by the undergraduate-level euphonium player. Solos in this category are played by strong high school players and undergraduate euphonium students all over the world. These solos receive countless performances and play a crucial role in the development of young euphonium players, yet have never received attention in the form of a published pedagogical guide. The pieces of greater difficulty and substantial length have received more attention for obvious reasons, but solo pieces most useful for the developing euphoniumist need to be analyzed and discussed on a pedagogical level. This paper is a pedagogical guide to commonly played euphonium solos by the undergraduate level student. The three pieces used in this study are Sonatina by Warner Hutchison, Sonata for Unaccompanied Euphonium by Fred Clinard, and Lyric Suite by Donald White. Pertinent background information about each piece is presented in order for the reader to understand the historical context in which it was written. A list of relevant information and minimum performance skills (instrumentation, length, range, articulation skills, etc.) are included for each selection. An analysis of particular sections of each piece are presented for the reader to adequately grasp concepts and practice ideas that are explained, although the bulk of analysis is of a pedagogical nature. The main body of the paper focuses on assisting the reader with ways to approach this solo literature in daily practice as well as effective performance ideas. Particularly troublesome areas of each piece are identified and strategies to overcome common pitfalls and performance errors are noted.

This dissertation is a performance guide for the euphonium solos Pearls I and Pearls II, written by Roland Szentpali. This performance guide allows performers to better understand the jazz styles within each movement and provides them with a resource for performing these particular pieces as well as other jazz influenced pieces. This performance guide is specific to euphonium repertoire and written for euphonium performers and educators. This is also a resource for a solo work in the repertoire that is performed regularly as well as a new work that will soon be published. A brief history of the development of euphonium repertoire and the influence of jazz is provided. The performance guide analyzes each movement and provides insight to extended techniques, common performance problems, errata, and jazz styles that each movement is based on. The guide also provides several suggestions for interpretation and for performance preparation. Illustrations from the scores have been provided for each example.

The focus of this project is to examine current tuba and euphonium applied lessons syllabi and to create a New Orleans brass band curriculum supplement to enhance those existing courses. Through the addition of new method books, exercises, historical texts and articles, listening assignments, and performing experiences, collegiate tuba and euphonium students will be able to apply the knowledge gained in core academic music courses, such as music theory and music history, to mastering a new style of music. Emphasis has been placed on learning chord progressions, stylizations, and how to improvise and walk a bass line.

Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 3, 2003, Apr. 5, 2004, Apr. 18, 2005, and June 8, 2007. Includes bibliographical references (p. 46-48).

abstract: The purpose of this project was to: (1) describe a brief history of Salvation Army works for euphonium and piano that are relevant to the larger euphonium repertoire, and (2) produce a professional-quality compact disc recording of these works for study and reference. Part I of this project is an annotated bibliography discussing selected works for euphonium and piano written exclusively by Salvation Army composers. Each bibliographic entry is accompanied by a brief annotation, including information on each composer, hymn tunes used in each work, and difficulties encountered in performance. Part II of this project consists of a professional-level recording of these works. The recording and bibliography is intended to serve as a reference guide for students and teachers of Salvation Army euphonium literature, and is also intended to serve as a pedagogical tool utilized in the development of high school and university-level euphonium students. Five solos and one duet with piano accompaniment were selected for this project, works that represent a wide variety of Salvation Army compositional styles. The works also cover a wide range of technical and musical challenges, and are appropriate for study by both undergraduate and graduate students of music. All of the works are currently in publication as of this writing. The following works are included in this project: "The Song of the Brother" by Erik Leidzén, "Ransomed" by George Marshall, "Ochills" by Ernest Rance, "The Better World" by Norman Bearcroft, "Symphonic Rhapsody for Euphonium" by Edward Gregson, and "Timepiece" by Norman Bearcroft. / Dissertation/Thesis / Solo - The Song of the Brother / Solo - Ransomed / Solo - Ochills / Solo - The Better World / Solo - Symphonic Rhapsody / Duet - Timepiece / D.M.A. Music 2012