Euphonium:

3-Valve, 4-Valve, and 4-Valve Compensating : (The low range and intonation will differ depending on how many valves you have) *see attached chart

Breath capacity

Articulations: staccato, accents, slurred, legato tonguing, no marking

Trills and Tremoli

Double and Triple Tonguing

Extended Techniques: Flutter Tonguing and Multi-phonics

Mutes (You MUST allow time to put the mute in and adjust tuning slide)

Composer Suggestions:

“The is often called the “cello” of the band or the “shortstop” of a ball team.”

Counter Melodies are great! It can be treated as an individual or be combined with the Clarinets, Horns, Saxes and other brasses.

Earlier band literature treated it as an a “cello”, but more recent composers and arrangers are often treating it in a “new and lesser” role. They often give it the upper octave of the part or treat it like a 3rd . It has many more capabilities!

The Euphoniums role changes depending on what group it is in. (, Jazz Combos, Chamber Ensembles, and British Brass Bands)

For example, in a British it is treated in this way:

The euphonium part is flexible and is often compared to that of the `cello in an . It is equally at home doubling the solo line an octave down, as a melodic or counter-melodic lead, doubling the Bb bass an octave up or occasionally with the 1st trombone. The range of the part is large: most players will be comfortable over more than two octaves, from low G to top A, with the occasional higher note. However, remember that too many higher notes will be tiring, furthermore the tone, which although very pleasant in capable hands, will dominate in the higher register. The strength of the part, its versatility and ability to blend so well, can also pose a difficulty to the new writer.1

1 “How to Write for Brass Bands” by Nigel Horne. http://www.bandsman.co.uk/writing.htm