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In the not so distant past, this chapter would have been titled “Solos with Tape,” but such a designation is no longer accurate. Today’s modern digital audio storage mediums, with the exception of DAT (digital audio tape), are tapeless . And although several works included in this chapter were initially recorded onto analog tape (reel-to-reel or cassette), digital storage media is now the norm, with CD (compact disc) being the current preferred medium. It should also be noted that numerous works call for the use of electronic sound processors in real time during live performance, hence the enhanced accuracy of the updated chapter title. The word “solo” is not included in the chapter title because, although most of the works listed are indeed solos, compositions in the electronic idiom calling for euphonium in combination with other instruments, such as tuba/euphonium duo with CD accompaniment , are also included. The Performance Medium Works with recorded accompaniments offer many potential benefits to a performer. In a recital situation , the primary accompaniment instrument of choice is, with good reason, the piano. It is a marvelously flexible instrument and, in the hands of a talented pianist, capable of creating many nuances of color and texture. However, electronic instruments are capable of creating an even wider variety of timbres, attacks, and effects, and when paired with modern multi-track recording and mixing techniques, the sonic possibilities are virtually endless. Adding a solo with recorded accompaniment and/or live electronics to one’s repertoire is a relatively simple way of adding variety and contrast to a recital program. With the push of a button, a novel and exciting audio environment may be created, and the musical horizons of both audience and performer expanded. Another benefit to using a recorded accompaniment is that many questions the performer may have concerning phrasing, tempos, dynamics, articulations, and other interpretive nuances are likely to be answered by simply listening to the recording. The composer has recorded the accompaniment as it is intended to be performed, and this provides a clear guide for the soloist. This is particularly true when there is interaction between the live and recorded voices, because the live soloist may imitate the interpretive shadings heard in the recorded performance. The fact that one begins preparing the work by listening to the final version of the electronic performance is a help, but it can also be a hindrance. The tempos, for example, are usually inflexible, and this rigidity of tempo restricts the creative flexibility of the artist. A performer’s interpretation of a particular work usually changes during the course of repeated performances, but this evolutionary process is severely restricted when working with an inflexible recording. The recording’s consistency is reassuring, but its unyielding nature can be frustrating . Most composers are aware of this limitation and plan their compositions so as to allow the soloist some freedom of expression, often by including cadenzas or extensive un-metered sections . This brings us to a cautionary statement that I believe should be made to all who intend to perform a work with recorded accompaniment: “Don’t forget to make music!” In order to stay in synchronization with the accompaniment, much concentration is necessarily devoted to listening to the playback of the recording, and this often distracts soloists from the finer details of their own performance. Although it is important that the performer be aware of the whereabouts of the recording at all times, since it will certainly not alter its playback to accommodate the soloist, it is also crucial that the soloist concentrate on listening to, and fine-tuning, his or her own live performance. It should appear to the audience that the soloist is in charge and leading the way, as would be the case if a pianist were providing the accompaniment. Careful preparation and numerous thorough rehearsals with the recording are vital if one wishes to avoid this pitfall, because when worries over “keeping up” with the 8. Music for Euphonium and Electronic Media Neal Corwell 206 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 accompaniment disappear, the mind is free to focus on more important matters such as the subtleties of musical expression. Performance Preparation Advice When practicing with a recording, one of the chief challenges is finding ways to cope with the inflexibility of tempos. The live...

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