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This chapter on recommended works for the euphonium that were originally written for other instruments has proven to be somewhat problematical . First, it must be stated that euphoniumists take for granted the fact that they must borrow literature from other instruments. Like the tuba, which was also invented in the relatively recent nineteenth century, the euphonium did not exist when many of music history’s finest composers were at work. Because of this omission in the literature, the euphoniumist frequently borrows literature originally written for the bassoon, cello, trombone, and trumpet. In fact, literature of these four instruments lends itself quite readily to adaptation for the euphonium since the soloist can often read directly from the original parts, providing one can read the necessary clefs. Transcriptions of compositions for violin, voice, horn, or other instruments are also available to the euphoniumist. Borrowing literature from these instruments just entails a bit more transposition and editing on the part of the performer. Of course, there may also be some techniques idiomatic to each instrument that would render a particular composition less usable to the euphoniumist , such as trombone glissandi or cello double stops. The intended scope of this chapter is to provide a list of some basic repertoire that was originally composed for an instrument other than the euphonium, but works well and has often been used by today’s euphoniumists. It would be impossible and impractical to list all such repertoire , so it must be noted that this list is by no means comprehensive. For works that have been transcribed for several different instruments, the most challenging aspect has been determining which arrangement to include in each citation. I have attempted to list an arrangement that is readily usable by the euphoniumist; one for trombone, for example, even though the piece was not necessarily composed for trombone. One must take into consideration the intent of this chapter, and it seems that detailed listings of compositions that would not be readily usable by the euphoniumist would be a somewhat wasted effort. This is what posed the most difficulty–trying to make a judgment of which version of each composition to list. In many cases, the availability of the music has guided my selection. It appears that some of the Herbert L. Clarke pieces for cornet, for example, are not always available in arrangements for trombone because many are out of print. Thus, I have listed the cornet sheet music, as most euphonium performers should be able to read directly from these parts. It should be noted that many of the pieces listed in this chapter have been arranged specifically for the euphonium, making it unnecessary to use a version written for some other instrument. These arrangements can be found in chapter 2. However, there may be some instances where the performer would prefer to see the original composition. I would like to thank the following people for assisting me with the formulation and accuracy of this chapter: Gail Robertson, David Werden, Alan Hawkins, and Kent White (from Stanton’s Sheet Music), who possesses a staggering amount of knowledge about publishers. Euphonium with Piano Arban, Jean Baptiste. Carnival of Venice. Rev. and rearr. Eric Leidzen. Belwin/Alfred Publishing Company. Cornet. 1961. $5.95. 7:39. IV. Recorded by Mark Fisher, Mary Ann Craig, Harold Brasch, Stef Pillaert, Robert Childs, David Childs, Alexandre Gagnaux, Sho-ichiro Hokazono, Chris Mallett, Morgan Griffiths, John Clough, Trevor Groom, Derick Kane, Glynn Parry, Brian Warrington, Steven Mead, Lyndon Baglin, David Moore, Arthur Lehman. Arban, Jean Baptiste. Fantaisie and Variation on Carnival of Venice. Rev. Edwin Franko Goldman. Carl Fischer, Inc. Cornet. 1912. $9.50. III–IV. Arban, Jean Baptiste. Fantaisie Brillante. CundyBettoney /Carl Fischer, Inc. Out of Print. Trombone . $4.25. 7:00. III. A–g1 . This is one of the 10. Recommended Repertoire Written for Other Instruments Sharon Huff 228 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 characteristic studies from the Arban’s Famous Method for Trombone, which was originally written for cornet. Recorded by David Moore, Steven Booth, Manfred Heidler, Sho-ichiro Hokazono. Bach, Johann Sebastian. Aria (Bist du Bei Mir). Arr. R. Bernard Fitzgerald. Belwin/Alfred Publishing Company. Trombone. 1952. $4.50. II. B–e. Bach, Johann Sebastian. Ave Maria. Arr. Charles Gounod. Philharmusica Corp. Trombone and organ. $8.50. III. Originally written for voice. Recorded by David Childs...

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