As discussed in the forum, I recently traded in my 2012 Adams for a 2015 model. The specs are the same:
.60" metalSterling silver bellBrushed finish.E1I asked them to copy the vertical angle of my original leadpipe. This helps me play with a more normal head position (I have an upstream embouchure).
One incentive to trade was that Adams has made some incremental improvements in performance along the way. The new horn plays even more easily and smoother than my already-impressive
Updated 07-31-2015 at 08:22 PM by davewerden
As I mentioned in my previous post, it is sometimes hard to imagine what the double-bell euphonium might be used for today if it had remained more popular throughout the the 20th Century. Here is my next experiment, getting a yodel effect. For this, I chose a fairly simple song from The Sound of Music, "The Lonely Goatherd." This also scratches another itch - to do more with Broadway and movie music.
I have my eyes on another more complex example, but it will be while before I get to
I often wonder what the original double-bell euphonium artists did in the early 1900's. I read that they used the little bell for echo effects, and one would assume they would alternate between the bells per phrase or even per note. But I think if the instrument had gained mainstream popularity and kept it through the 20th century, new techniques would have evolved.
I'm going to offer a couple different double-bell techniques in this video, plus two rarely-used conventional techniques.
Have you ever met musicians who refuse to listen to their own recordings? I have... many times. They literally don't know what they are missing. On the other hand I have met players who are a little too enthralled with their own recordings. They also don't know what they are missing! Do you fit in either of those camps? Either one is actually understandable, but there are more useful ways to listen to your own recordings.
Let me set some conditions before discussing this further. First,
This is from my recital in March, 2015, at the University of Iowa. Morning Song was written for tuba virtuoso Roger Bobo and recorded by him a few decades ago. (The original LP has been remade into a CD, so you can hear Bobo play it here: Roger Bobo, tuba, playing Morning Song)
I fell in love with the piece when I first heard it. Later, when I saw the sheet music, I saw that is was right in the prime euphonium range and set very high for the average tubist (it goes a step higher than
One one of my favorite movies is "The Glenn Miller Story" starring Jimmy Stewart. First of all, it is an educational view into the life that band players went through in the 1930's and 40's. It was not an easy life! It's also a movie in which the music is very faithful to the original, having been performed mostly by Glenn Miller personnel.
But there is a scene about 2/3 of the way through the movie that will stick in a brass player's memory forever. Miller spent the first part of this
One of my favorite solos of Rafael Mendez is Hejre Kati. It was the first of his solos for which I purchased the sheet music while in high school, and I also played it in later years with the Coast Guard Band. Here is my euphonium-piano performance of that piece from my recent recital at the University of Iowa:
With only one rehearsal for the entire recital, we did not get all the tempos and interactions where I wanted them, but I think the piece comes
On a recent recital at the University of Iowa I performed Bydlo, from Pictures at an Exhibition. In the orchestral version (orchestrated by Ravel) this solo part is played on either tuba or euphonium. It was probably first played on a high-C French tuba (a step above the Bb euphonium), so among common instruments today the euphonium is a very logical choice to play it.
Much as I did with my arrangement of the March from Holst's Second Suite, I have arranged Bydlo for euphonium and piano