Ray-- Props to you for the transposition thing--I do the same for my euph students! My brass quintet swings a boatload more now that it replaced the horn player with euphonium (me). We do a lot of pop & jazz & the group never could find a horn player to deal with those styles. Since I could read F and have solid high chops, I could walk right in & make it work. I also work with my euph students on improvising--I hold it out as a carrot if they do their scales & broken chords well ;-) I work some with band directors & encourage them to use euph in jazz band--not only as a trombone sub but also as a 4th or 5th sax--2nd tenor or bari parts usually lie ok on the euph and it blends ok if the player listens carefully As a euph soloist, I notice that: 1. Few people know what the instrument is 2. Everyone who hears it likes it (unless I really hose up!) 3. Very few composers know how to write for it well 4. Many band directors put failed trupmet students on it 5. Most of the High School band parts are lame, and 6. Only at college clinics does anyone ever notice or care that none of my three horns is a Willson ;-) B-flat bass clef a la Leduc is the devil's plaything!! ;-0 Do you play the "tenor tuba" parts in the orch? Regards...Jim
-----Original Message-----
From: [EMAIL PROTECTED] on behalf of Raymond Horton
Sent: Tue 27-Jul-04 9:52
To: [EMAIL PROTECTED]; [EMAIL PROTECTED]
Cc:
Subject: Re: [Finale] [OT] international pitch nomenclature
(transposinginstruments tangent)
Right! I had forgotten about the "Bb Bass Saxhorn" French tradition. All
those old solos from Alphonse Leduc came with a concert pitch bass clef
part, a Bb bass clef part, and some with a Bb treble part also.
(Tell me, do the string bass players really play those solos sounding an
octave lower?)
About a new "Euro" standard - that's a great idea, and may happen
eventually, but those old traditions die hard for some players.
I do feel strongly that every euphonium player should learn every
transposition that's out there - there just aren't enough opportunities to
play that great instument as it is! (Of course, they should learn trombone,
and perhaps tuba, too.) I teach my trombone and euphonium students to read
everything, including F horn parts, if they stay with me long enough. It
just opens up more musical opportunities. Plenty of amateur groups can't
find four horns, and a good euphoniumist can blend, with some taste (and _no
vibrato_). Euphonium students of mine have even used mutes to play bassoon
parts in their high school orchestra, but that is a little stranger.
I remember when I was in high school, being in a brass choir at a music
camp. There were a couple of "treble clef baritone" players, but none of
the Robert King stuff had treble clef parts. I played their parts on bass
trombone while they just sat there daydreaming. No student of mine will do
allow that to happen!.
RBH
----- Original Message -----
"Jonathan Smith" <[EMAIL PROTECTED]> wrote:
> Not over here (France). We have a band that has Euphonium (Bariton) and
> Tuba players that read in:
>
> Concert pitch Bass clef
> Bb Bass clef (transposed)
> B flat Treble clef (transposed)
>
> Every piece of music needs to have 6 parts for just these 2 instruments!
>
> This demonstrates the complete and utter mess bands have got themselves
> into over the years. You only need to take a look at EMR publications
> in Switzerland to comprehend the ridiculous number of alternative
> transposed parts that are required if you wish to sell your music
> throughout the European countries.
>
> Wouldn't it be great if like the adapting the 'euro' as a currency we
> all decided to go concert. I would venture to guess that this could
> also help in consolidating the manufacturers of these instruments.
>
> Jonathan Smith
>
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