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As it stands today, the euphonium is one of the most unrecognized and underappreciated musical instruments. In the United States, in particular , tell someone that you play euphonium and the likely reply is, “What?!” The education of the general public, greater professional recognition, and a proliferation of literature and world-class artists are worthy goals on which the euphonium community must set its sights. So what can you do to raise euphonium awareness? Be heard! One of the best ways to be heard is to play music that will attract a wide variety of listeners . The music listed in this chapter is just such music for two reasons. First, playing with other instruments and voices attracts audiences that know and appreciate those other instruments. For example, a college student performing a piece with flute and soprano on a recital will attract audience members from the other performers’ studios and families as well as the student’s own family, friends, and fans. The second way chamber music can help euphoniumists find greater audiences is in the formation of groups that play at various functions, venues, and special occasions . For example, a brass quartet can find new audiences for the euphonium in recitals; at malls, weddings, and churches; and wherever music can be played (anywhere!). Additionally, playing great chamber music is one of the most rewarding experiences a musician can have . . . it’s just plain fun. This chapter lists music scored for euphonium (s) in combination with other instruments and voices. Works written for such mixed ensembles often show the composers’ creative spirit as they search for a new, innovative sonority and vehicle for expression. The works listed in this chapter are those that feature the euphonium or include the instrument as an equal member in the ensemble. For the most part, pieces calling for more than ten players have not been included, except in cases where the euphonium plays a prominent or solo role. For navigational purposes, the listings in this chapter are organized alphabetically by number of parts. While this chapter deals solely with music written for euphonium in combination with other instruments, several pieces written for multiple tubas may have parts suitable to be played on euphonium, particularly duets and trios of easier difficulty levels. Such mixed ensembles can be especially useful for younger players. These pieces may be found listed in the Tuba Source Book (TSB) under Music for Multiple Tubas and should not be overlooked as a source of suitable repertoire. Additionally, pieces with instrumentation consisting of combinations of euphoniums and tubas with four or more parts have been excluded from this chapter as they are covered extensively under Music for Multiple Tubas in the TSB. Thanks to all the publishers, composers, and international consultants who provided information and examination materials for this project. This resource would not be available without their support. Unfortunately, due to the widespread practice of illegal copying, several publishers have been unable to provide the materials necessary for review. All listings in this chapter include all verifiable information available for each piece. Legally purchasing music from publishers and composers allows for the continued development of the euphonium repertoire and prevents the loss of current literature. I would personally like to thank R. Winston Morris, Eric Paull, Lloyd Bone, the editorial board, and authors for making the Euphonium Source Book a reality. My regards to Steven Mead, whose assistance, insight, and hospitality have been invaluable to this project. And a special thank you to Dr. Colin Beeson, vice principal of the Royal Northern College of Music, and Dr. Ronald Woodley for their much-appreciated support. Two Players Aagaard-Nilsen, Torstein. Football!—The Great Moment. Taan-Band Music. Euphonium and snare drum. 2001. 1:30. IV. c–b. Dedicated to Tormod Flaten and Hogne Holmås. A fun duet for both the audience and performers. 6. Music for Euphonium in Mixed Ensemble Seth D. Fletcher 152 G U I D E T O T H E E U P H O N I U M R E P E R T O I R E Technically challenging for the euphoniumist. Requires brief vocalization (shouts). Adler, Samuel. Four Dialogues for Euphonium and Marimba.CarlFischer.Euphoniumandmarimba. V. B1–e. Four movements: I. Quite Slowly; II. Fast and Humorous; III. Slowly and Rather Lazily; IV. Fast with a Happy Spirit. A difficult contemporary work for a unique instrumentation that is a great recital addition. Complex rhythmic patterns, angular leaps, and fast technical passages...

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