Transcriptions have long held significance in the solo euphonium repertoire; the first euphonium solos performed were transcriptions of trombone and cornet works from the turn of the 20th century. Despite the vast growth of this genre in the last thirty years, transcriptions have maintained their significance and continue to be a staple part of university studio curricula and solo recital programs. However, these curricula and programs utilize few transcribed works compared to the body of original compositions from which standard transcriptions are derived, largely the Baroque and Classical periods. There also exists no written guide to assist euphoniumists in crafting their own transcriptions. The value of transcriptions is in challenging the euphoniumist in the technical skills required by the music and exposing euphoniumists to new pieces of repertoire. The process of transcribing requires the transcriber to learn the notation of the music, performance practices of the time in which the music was written, and the composer’s biography and its influence on their compositions. The student will also educate themselves on the instruments utilized in the compositions and how these instruments differ from their modern versions, and materials and commentary from performers and pedagogues to which euphoniumists are rarely exposed. As such, the true value of a euphoniumist crafting their own transcription is in providing opportunities to improve their performing abilities, and in crafting a more consummate musician. When transcribing works from one instrument or voice to another, the transcriber must accept that the work will not be entirely the same in the transcription as it was previously in the original composition. In some works, like Beethoven’s Cello Sonata No. 1, Op. 5 No.1, the solo cello material is characteristic of idiomatic writing of the euphonium and few alterations will need to be made. However, most works, including the first movement of Franz Schubert’s Piano Sonata No. 21 in B-flat Major, D. 960, and Johann Sebastian Bach’s Partita for Violin in B Minor, No.1, BWV 1002, numerous alterations will need to be made in order to make the works achievable to a euphoniumist of moderately advanced ability. There are a great number of works for which a transcription for the euphonium is not feasible. Some works are so uniquely and characteristically composed for the original instrument that a transcription for the euphonium would be absurd. It is the responsibility of the transcriber to select works suitable to transcribing for the euphonium and to keep the works’ musical integrity as intact as possible. This means that the transcriber should only make changes to the original work when necessary, and the changes made should be as imperceptible as possible. The body of this treatise was derived from books, periodicals, theses, analysis and study of the musical scores, and the personal experiences of the author in applying transcriptive techniques in practice and performances. This treatise focuses on techniques and principles utilized in adapting non-wind instrumental works into transcriptions performable by a solo euphoniumist of moderately advanced ability. In the first chapter, Ludwig van Beethoven’s Cello Sonata No.1, Op. 5, No. 1 will be utilized to describe techniques required to transcribe cello solos with piano accompaniment. The focus of the second chapter will be transcribing an unaccompanied euphonium solo from unaccompanied stringed instrument repertoire using Johann Sebastian Bach’s Partita for Violin, No.1, BWV 1002. Finally, the third chapter will focus on transcribing a solo piano work into a solo euphonium with piano accompaniment format using Franz Schubert’s Piano Sonata No. 21 in B-flat Major, D. 960. The octave designation system used in this treatise is that of the International Standards Organization. In this system, middle C is notated as C4, an octave higher than middle C is C5, and an octave lower than middle C is C3. Each octave begins with C and ends with B such that the B below C4 is B3. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2019. / April 8, 2019. / Includes bibliographical references. / Justin Benavidez, Professor Directing Treatise; Richard Clary, University Representative; John Drew, Committee Member; Christopher Moore, Committee Member.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_709795 |
| Contributors | McCollum, Ian T. (Ian Taylor) (author), Benavidez, Justin (Professor Directing Treatise), Clary, Richard (University Representative), Drew, John Robert (Committee Member), Moore, Christopher (Committee Member), Florida State University (degree granting institution), College of Music (degree granting college) |
| Publisher | Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text, doctoral thesis |
| Format | 1 online resource (57 pages), computer, application/pdf |
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