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Unaccompanied works offer the soloist great artistic freedom: freedom to experiment with phrasing, tempi, and other musical nuances in a spontaneous and liberating fashion, without the necessity of maintaining synchronization or balance with an accompanying instrument. Because of the inherent rhythmic freedom of the medium, it is common for compositions to be improvisational in nature, often lacking bar lines or a time signature. However, along with the freedom comes additional musical responsibilities for the performer. The absence of an accompaniment means the soloist is required, without the support of another instrument, to create a musically complete whole. Another consideration, quite practical in nature, is that demands on endurance are generally increased for performers of unaccompanied works because there are no accompaniment interludes, and therefore no rests of any length, to aid the soloist in rejuvenating the embouchure. The lack of an accompaniment also means a decrease in the number of harmonic possibilities and tonal colors available to the composer. The harmonic limitations of a single-line wind instrument , such as the euphonium, are addressed in a couple of ways. The more traditional approach is to create the illusion of harmony through the use of arpeggiated patterns. Another method, called multi-phonic technique, requires the performer to sing one pitch while playing another, thereby creating harmony, and/or other unusual effects. The performer is often called upon to compensate for the limitations of timbre by using mutes to vary the color of the instrument, or by utilizing non-traditional sound production techniques such as flutter tonguing, pitch bending, glissandi, half-valving, valve rattling, foot stomping, blowing air through the horn, or tapping on various objects or parts of the horn to create percussive effects. The body of literature currently available for euphonium solo runs the gamut from conservative and traditional to experimental and avantgarde , with quality compositions to be found at both ends of the spectrum. Although not all works are necessarily worthy of being considered as recital material, most do offer at the very least pedagogical benefits to those patient enough to master their challenges. The practice and experience obtained by learning the non-traditional techniques just described, along with lessons about utilizing musical and rhythmic freedom while maintaining coherence and intelligibility, are valuable enough in their own right to merit the study of the literature included in this chapter. Most of the works included are original compositions , but some arrangements/adaptations are also listed. Clearly there are numerous unaccompanied solos intended originally for other instruments that may easily be adapted for use by the euphonium. However, only those designated by the arranger or publisher as being suitable for the euphonium have been included in this chapter. The publisher for several works included in this chapter is listed as the “TUBA GEM Series” or “ITEA GEM Series.” This indicates that the piece was printed or included as an enclosure within a TUBA Journal or ITEA Journal during the year listed. The practice of featuring works that could be fit onto one or two pages as a bonus to subscribers to these journals was begun in 1982 and revived again in 2003. Although printed in the journal, the organization does not claim copyright ownership, which still belongs to the composers. Some works are currently published and available elsewhere. I would like to thank all that assisted me in finding the unaccompanied works listed, with special thanks to Brian Bowman and Angie Hunter for their assistance in locating some of the more difficult to obtain literature. Aagaard-Nilsen, Torstein. 4 Lyriske Stykker (Four Lyric Pieces). Nordic Sounds. 2000. $19.50. 6:10. IV–V. B2–e. Four movements: Poco parlando sempre; Recitative e molto rubato; Energico ; Adagio. For Egil Magnussen. Although a variety of tempi and styles are used, a lyrical quality is maintained throughout all four pieces. An atonal language is used, but thematic unity 7. Music for Unaccompanied Euphonium Neal Corwell 196 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 gives a clear cohesiveness to the music, and the composer creates numerous exciting and dramatic musical moments without making excessive demands on the performer’s range or technique. Technical and expressive challenges, though numerous, are well suited to the idiomatic capabilities of the euphonium. A list of technical hurdles would include mixed meters, complex rhythms, a few rhythmically tricky grace notes, and flutter tonguing. Aagaard-Nilsen, Torstein...

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