As for changing traditions - well, we have a 72 year old Tuba player who is quite prepared to hand copy any parts that don't come in B flat transpositions. You'll never change him!
Jonathan
On 27 Jul 2004, at 16:52, Raymond Horton wrote:
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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