What Is the Role of the Principal Euphonium Player?

[davewerden]

This came up on Facebook in the "euphonium players" group. Here was my answer; please add anything I might have missed or correct me if you disagree with any point(s):

The principal player has responsibility to A) know the parts very well, B) to make sure to hear the rest of the ensemble and understand how the euphonium part fits, C) to guide the section by example, D) to guide the section by discussion where appropriate, E) to choose who plays in solo or a2 sections, F) to make sure the players in the section pay attention and remain respectful when the conductor is talking or working with other sections, and G) to work outside of rehearsal with the section where needed to make sure all players blend and fit together. That's most of it, anyway.

[DaveBj]

I just now realized that I am not doing a good job of fulfilling responsibility (B). The section in the community band sits to my right, but I am pretty much deaf in my right ear. The French horns sit to my left, and that's all I hear, except myself, of course. I think that I may have to reverse the order of seating when the season starts up again in September.

[davewerden]

I just now realized that I am not doing a good job of fulfilling responsibility (B). The section in the community band sits to my right, but I am pretty much deaf in my right ear. The French horns sit to my left, and that's all I hear, except myself, of course. I think that I may have to reverse the order of seating when the season starts up again in September.

That might be a good thing to try! The CG Band changed our seating arrangement a few times, and it was enlightening to hear from a different perspective.

[DaveBj]

That might be a good thing to try! The CG Band changed our seating arrangement a few times, and it was enlightening to hear from a different perspective.

Our director was amenable; I've notified the section members, and we'll do the new seating when the new season starts. I love it when a plan comes together.

[RickF]

That's a great list Dave. Not being in a military or pro group, I sometimes have to suggest alternate fingering for a pitch. Also during periods of long rests I'm in the habit of raising one finger off my horn slightly when at the count of '1' for the next multi-measure rest. If a section mate loses the count they can look left to get it.

[davewerden]

That's a great list Dave. Not being in a military or pro group, I sometimes have to suggest alternate fingering for a pitch. Also during periods of long rests I'm in the habit of raising one finger off my horn slightly when at the count of '1' for the next multi-measure rest. If a section mate loses the count they can look left to get it.

Those are both great tips! I especially like the second one - it's so much more subtle than looking to the section and shouting "H" or whatever rehearsal letter is there!

[highpitch]

Before covid, I suppose that was my job in our community band.

With variable attendance, levels of ability, and a smorgasbord of horns it was like herding cats.

Somehow, when we playback recordings, it sounds a lot like we know what we are doing. Yay!

Dennis

[djwpe]

I just now realized that I am not doing a good job of fulfilling responsibility (B). The section in the community band sits to my right, but I am pretty much deaf in my right ear. The French horns sit to my left, and that's all I hear, except myself, of course. I think that I may have to reverse the order of seating when the season starts up again in September.

I found when leading a section in a community band that having my bell pointing toward the section (section on my right) helped with intonation of the section. If I sat with the section to my left, they couldn’t hear me, and intonation suffered.

Don.

[John Morgan]

I totally agree with Don's comment on having the rest of the section sitting "downwind" from the principal player. This might mean that the solo/principal euphonium does not play on the end of the aisle if the euphoniums are to the conductors left. More often than not, I sit to the conductor's right. I think it is useful for the rest of the section to be able to hear not only pitch, but articulations and other things.

Rick's comment on alternate fingerings is more important than you might think. Just a week or two ago I spoke with a section mate about his choice of fingering for low B natural (he chose 1-2-3 which was dreadfully sharp). And he was playing a 4-valve, compensating horn. This point was driven home at break by a little demonstration. Without the chat and demo, he would not have been aware of 2-4 for the low B natural. He is now a convert!

A pet peeve of mine is having a section mate (or actually anyone) show up 10 seconds before the downbeat (or tuning note). You can't possibly be ready in 10 seconds, and your horn is cold, so it is going to be flat when you tune, etc. I think as the section leader, you should "encourage" your section mates to show up with enough time to get settled and warm up a bit. I realize in community bands you may not have much leverage to make things happen, but suggestions and leading by example sometimes helps.

Dave laid out most of the things I think are important in fulfilling the role of principal Euphonium player. Much easier to accomplish in a military band or professional musical group than your local volunteer. community band.

[hyperbolica]

I was going to suggest that the role of the Principal Euphonist was to point out all the mistakes made by the second baritone player, but I see I'm in the wrong thread...

[DaveBj]

I found when leading a section in a community band that having my bell pointing toward the section (section on my right) helped with intonation of the section. If I sat with the section to my left, they couldn’t hear me, and intonation suffered.

Don.

With my bad right ear, it's a tradeoff. Either I can't hear them, or they can't hear me. Which is more important?

[MikeS]

I will add, don’t hog the solos. If there is a nice lick that you know someone else in the section can play well, offer to let them do it. My experience is that there is usually plenty to go around. In community groups you keep good players in the section by respecting their contributions and letting them share in the fun (and glory- such as it is).

[davewerden]

I will add, don’t hog the solos. If there is a nice lick that you know someone else in the section can play well, offer to let them do it. My experience is that there is usually plenty to go around. In community groups you keep good players in the section by respecting their contributions and letting them share in the fun (and glory- such as it is).

Yes, good advice. I used to do so in the CG Band, although I played the majority of the solos. In pieces where there was a repeat, like the Holst 2nd Suite's march, I would play the solo one time and the other player would cover the other time. But in some cases I would make the switch based on ability. Sitting next to me, in sequence, were Denis Winter, Roger Behrend, and Danny Vinson. Danny was probably the closest in style and sound to me, but we were still different. The difference was greater with Denis and Roger. In some solos, it just seemed to me that the sound/style of D/R/D would fit the solo better than mine., so I would hand it off.

[DaveBj]

. . . or I could play my Conn 86I. It's a front-valve horn, and the bell points to my left.

[djwpe]

With my bad right ear, it's a tradeoff. Either I can't hear them, or they can't hear me. Which is more important?

in a typically loud community band, I mostly couldn’t hear my section even with two good ears.