What famous solos shouldn't we play?

[RickF]

There have been a number of great solos played very well on euphonium. Many for trumpet, trombone, horn, cello, and even violin. One time before a band rehearsal during warmup I played, "I'm Getting Sentimental Over You" (Tommy Dorsey's theme song). I got a queried look from one trombonist who said, "Please don't".

Last week I heard a recording of George Michael's, "Careless Whisper" - one of his most famous pieces. It starts out with a gorgeous tenor sax solo played by Steve Gregory. I found a simplified chart online then entered the notes into Finale and tweaked it some (took chorus up an octave). It plays okay but it's not the same. I'm usually not crazy about saxophones but its voice is perfect for that piece.

I wonder what other music we shouldn't attempt to play?

-- edit to add mp3 from Finale ---

MP3 of Careless Whisper (midi out from Finale):

[John Morgan]

Well since you are on saxophones, I think "Baker Street" by Gerry Rafferty would only sound good on saxophone. I think this tune is made for sax even more than "Careless Whisper", but I do agree with you on that one, also.

"Classical Gas" for me sounds best on guitar, although I hear it played on other instruments.

I think only oboe for "Gabriels's Oboe", although I have played this on euphonium with band, but it just doesn't quite have "that" sound.

Taps played on something other than a trumpet, cornet or bugle just doesn't sound quite right to me, although I have done this also on low brass instruments.

I can't imagine "Scottish Fantasy" on anything other than a violin.

Only piccolo trumpet for the Beatles "Penny Lane".

Piccolo for "Stars and Stripes", although I have played that on euphonium.

And how about euphonium ONLY for the solo in Holst's "Second Suite in F"?

Well, yes Rick, "I'm Getting Sentimental Over You" is strictly for trombone.

Clarinet only for the opening solo in Gershwin's "Rhapsody in Blue".

"Lassus Trombone" only on trombone.

I think trumpet only for "Trumpet Voluntary".

The tuba seems to be the best instrument for the solo in "Close Encounters of the Third Kind".

Flute for "Califonia Dreamin".

Gee, I think I could go on forever, but these are a few that come to mind. This is a fun topic, thanks for starting, Rick!

Edit: I think I inadvertently expanded this topic a bit to not only include what solos a euphonium player should not play to what instruments SHOULD play particular solos.

[RickF]

Wow John! You added a lot more than I was thinking about. Agree on all that I recognize right away without looking it up.

I added a link above to listen to how 'Careless Whisper' would sound (roughly) on euphonium. But it's the midi output from Finale so not so jazzy. The opening 'riff' is terrible.

Agree that Holst 2nd suite march solo should only be played by euph.

[davewerden]

I have a confession to make. During shutdown, I did a euphonium recording of "I'm Getting Sentimental Over You" using a backing track. I wore the Dorsey record out while in high school, and drove my band director crazy when I'd come to the band room during study hall. I was working on my trombone, trying to get all of Tommy Dorsey's inflections. After a few days he finally shouted over the divider "For God's sake, David - play something else!"

Sooooo, in shutdown I decided to see how close a euphonium can come. Here is the result (it includes an apology to trombonists, but I think it's a pretty good demo of how far we can bend the limits of our big bore and valves):

https://youtu.be/T77ddHHpygg

[highpitch]

That was awesome, Dave. Sackbutts have nothing on you...

Work up the chart from Cohen's Hallelujah.

Here is a band arrangement that could be easily worked up to a solo euph part:

https://www.obrasso.com/noten/score-...hallelujah.pdf

D

[John Morgan]

I have a confession to make. During shutdown, I did a euphonium recording of "I'm Getting Sentimental Over You" using a backing track. I wore the Dorsey record out while in high school, and drove my band director crazy when I'd come to the band room during study hall. I was working on my trombone, trying to get all of Tommy Dorsey's inflections. After a few days he finally shouted over the divider "For God's sake, David - play something else!"

Sooooo, in shutdown I decided to see how close a euphonium can come. Here is the result (it includes an apology to trombonists, but I think it's a pretty good demo of how far we can bend the limits of our big bore and valves):

Well, I have to admit, that is a pretty darn good version of Sentimental. Even on euphonium. And you play the original key, not the big band version so many play which is down a third I think. I might wave my "nothing but trombone" mindset for this particular version.

[RickF]

Wow Dave, that is excellent! When I mentioned I played that years ago warming up before rehearsal it was NOT in the right key. Very nice. Even the pitch bends sound good.

There was an excellent trombonist who lived and taught here in S. Florida for awhile by the name of Art Sares. Art inherited Tommy Dorsey’s gold plated King 2B trombone. I think he played “I’m Getting Sentimental…” better than Tommy Dorsey did. Art was a studio artist in Chicago for years and also played in Las Vegas for quite some time. My son was fortunate to take some lessons from him many years ago.

[DaveBj]

Great rendition, Dave! If Dorsey's original recording had never been made, yours could very well have been the standard by which all others are measured.

[RickF]

I just found a 9 yr old video of Art Sares playing, "I'm Getting Sentimental Over You" at the Boca Raton Hotel. It's not a great video but Art ends it on a double high 'A'.

"I'm Getting Sentimental Over You" - Art Sares:
...Art may be using an alto trombone here, not sure.

[davewerden]

I just found a 9 yr old video of Art Sares playing, "I'm Getting Sentimental Over You" at the Boca Raton Hotel. It's not a great video but Art ends it on a double high 'A'.

That's very nice! He took some liberties, but for my tastes they were all in the right character, and did not try to change the nature of the tune.

There are some groups/people who take a whole different approach. Herb Alpert had it on one of the TJB's early albums. It was bouncy, upbeat, and I liked it. On the other hand, I did not enjoy the Airmen of Note's version, despite the marvelous talent that Dave Steinmeyer often displays on trombone. It was as different from the original as the TJB's was, but I just didn't care for it.

[John Morgan]

Here is a version with James Morrison playing, he is a monster trombonist (wait a little bit for the main theme):

[rgorscak]

Dave

What key are you playing Sentimental over you in? Saw a version transcribed by Joshua Blevins. Your sound is so smooth. I am not sure how high you are going in the opening phrase. I am just going to try to practice enough to play that smoothly.

[DaveBj]

Dave

What key are you playing Sentimental over you in? Saw a version transcribed by Joshua Blevins. Your sound is so smooth. I am not sure how high you are going in the opening phrase. I am just going to try to practice enough to play that smoothly.

From the fingerings, it looked like concert D to me, with the high note being a C#.

[rgorscak]

that was what i thought. He hits those high notes so effortlessly, maybe someday my old lips can again achieve that.

[davewerden]

From the fingerings, it looked like concert D to me, with the high note being a C#.

Thanks for getting to the answer before I could. That is correct. The opening line spells out a major 7th chord (D F# A C#), but starting and ending on the 7th (so C# D F# A C#).

I first learned the solo in high school from listening to Tommy Dorsey on my record player. Unfortunately, I only found out much later that the player turned at about a half step too low, so I can only play this from memory in Db, starting with C Db F Ab C. I was reading the music for the video so I could actually play the right notes! (I bought the record player used from a friend for $1.50, so I can't complain much.)

The piece is tricky for a euphonium because most of them are flat on the high C#. Playing it with 23 does a good job of correcting that, but the 23 fingering makes it much easier to miss the note or to slide off it during playing. Not sure I would ever try this in a live situation, but never say never.