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Thread: Holst's 2nd Suite in F

  1. #11

    Holst's 2nd Suite in F

    Originally posted by: FoCoEupher
    Don't think of that part as a low euphonium part, but as a medium-high tuba part. It doesn't sound like much, but the way you think about music and playing has drastic effects on what you put out.
    Good point! I should have thought of saying that it is important to remember that you are not the main story. Tubas have this too, so just try to provide an upper octave to them. In your octave you will add a lot of clarity, but you don't need to provide a whole lot of "body" to the sound - that's their job!
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  2. Holst's 2nd Suite in F

    That is an excellent point about thinking of your part as a medium-high tuba part... Mindset really can make a huge difference in how you play. Really great advice all around on this thread so far!
    Oh, and if you're going to be performing the piece in December, then you should have plenty of time to get used to the 5G... I wouldn't worry about that at all.
    Gregory E. Lopes
    Euphonium player
    US Navy Band Great Lakes
    US Navy Music Program, 2009-Present

    Besson Prestige 2052

  3. #13

    Holst's 2nd Suite in F

    Originally posted by: davewerden

    Tubas have this too, so just try to provide an upper octave to them. In your octave you will add a lot of clarity, but you don't need to provide a whole lot of "body" to the sound - that's their job!
    The problem is when the (one lonely) tuba doesn't make rehearsal. Then it's all me with the whole band listening! :-)

    Thanks to all for their advice on this thread. This BBS is a real asset.

    John

  4. Holst's 2nd Suite in F

    I would recommend memorizing the solo if you have plenty of time to work on it. It is nice to be able to get your head out of the stand when you play this (or any solo) in band literature. Obviously, I wouldn't expect the conductor to take any chances or make any grand gestures in that part of the piece, but it gives you a better chance to emote. However, don't wait until the concert to play it from memory! Practice it away from the music, and try it in rehearsal plenty of times before the gig.

    I always enjoy using the audition primer that Mr. Werden mentioned. I take special note of the fact that the last high F is tongued, not slurred, and always put a nice warm accent on it (and then stress the D, but in a somewhat different way). Dave and Neal also make a really important point about the three Fs in the third phrase - we have a student run euphonium choir here at UNT where I've noticed how uncanny it is the way that repeated legato notes can sometimes blur together on the euphonium. It's something with have to be pretty actively aware of.

    Also, concerning the opening - I suggest trying to put a ton of tongue on that opening F. I would think that the chances of "splatting" it are slim to none.

  5. Holst's 2nd Suite in F

    Wow! What a great resource this site is; I'm glad you mentioned it. Thanks!


    Patrick McNeal

  6. On Holst's 2nd Suite in F

    On the Holst solo I would say to pay close attention to rhythm and style. Spacing of quarter notes are important since this is a march. Go for an arrogant, confident style.

  7. #17
    Join Date
    Jan 2006
    Location
    West Palm Beach, FL
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    On Holst's 2nd Suite in F

    Here's a link to listen to Holst Suite no. 2 in F by the Cleveland Winds. It's only the first two movements however. Don't know who the euphonium soloist is in this recording but he did a good job. I think he may have taken one or two more breaths than recommended (8 measure phrases).

    Holst Second Suite in F (Cleveland Symphonic Winds )
    Rick Floyd
    Miraphone 5050 - Warburton BJ / RF mpc
    YEP-641S (recently sold)
    Doug Elliott - 102 rim; I-cup; I-9 shank


    "Always play with a good tone, never louder than lovely, never softer than supported." - author unknown.
    Symphonic Band of the Palm Beaches
    El Cumbanchero (Raphael Hernandez, arr. Naohiro Iwai)
    Chorale and Shaker Dance
    (John Zdechlik)

  8. #18

    On Holst's 2nd Suite in F

    I believe they used 2 people in unison on the "solo" here.

    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  9. #19
    Join Date
    Jan 2006
    Location
    West Palm Beach, FL
    Posts
    3,853

    On Holst's 2nd Suite in F

    Originally posted by: davewerden

    I believe they used 2 people in unison on the "solo" here.
    I thought there was one place I heard two players, but then later it was very clean, so thought it was my imagination


    Rick Floyd
    Miraphone 5050 - Warburton BJ / RF mpc
    YEP-641S (recently sold)
    Doug Elliott - 102 rim; I-cup; I-9 shank


    "Always play with a good tone, never louder than lovely, never softer than supported." - author unknown.
    Symphonic Band of the Palm Beaches
    El Cumbanchero (Raphael Hernandez, arr. Naohiro Iwai)
    Chorale and Shaker Dance
    (John Zdechlik)

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