{"product_id":"jenkins-mark-euphonium-excerpts-for-band","title":"Jenkins, Mark - Euphonium Excerpts for Band","description":"\u003cp\u003eOf all the instruments in the concert band, the euphonium plays one of the most diverse and challenging roles.  In addition to being an occasional solo voice charged with playing countermelodies or solo lines, the euphonium is also frequently used as somewhat of a jack-of-all-trades – doubling different instruments, augmenting timbres, and filling out various musical textures. These range from the standard low brass section playing, to the delicate doubling of woodwinds.  Regardless of the role assigned in any given piece of music composers and arrangers have throughout the last century required euphoniumists to be extremely versatile in terms of technique and style.   It’s this versatility that audition panels look for in selecting candidates for employment with any professional concert band.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn preparing excerpts for an audition, a player should begin by asking a basic question: Is this passage soloistic or is it sectional?  Or, to put it another way: Is the euphonium the primary voice or is it supporting another primary instrument?  This may seem like an overly simplistic point, however, I find that we euphoniumists, as a whole, are more or less soloists at heart. We’ve all been weaned on the great solos of Simone Mantia, Herbert L. Clarke, and Jean-Baptiste Arban, and we are always thrilled when the euphonium is featured in any ensemble piece. Also, euphonium players have always been an “elite” group, often numbering only one or two horns per band.  These circumstances give us a tendency to often interpret the ensemble part we play as if we were performing a concerto.  While effective for an exposed, soloistic passage, this may not be the best choice while doubling, for instance, the tuba section in the opening of Holst’s First Suite in E-flat.  In preparation for an audition be sure that each excerpt performed is interpreted in context, keeping in mind the musical texture and surroundings from which it is extracted.  In short, euphoniumists must become experts in the playing characteristics and styles of all the band instruments in order to effectively support them when called upon to do so.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe goal of this recording is not to present a definitive version of these excerpts, nor to give a comprehensive list of every excerpt that could possibly show up on an audition list.  Rather, I hope to provide some basic principles of technique and style as they apply to a selection of excerpts, which have become standard repertoire in euphonium auditions over the past thirty years and represent a wide variety of styles and roles that the euphonium is called upon to fill. These principles can then be used as a starting point to create one’s own interpretations.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn addition to this CD, take the time to listen to a complete recording of each piece. Recording oneself is also an invaluable tool in developing absolute rhythmic and stylistic accuracy in performance.\u003c\/p\u003e\r\n\r\n\u003cp\u003eAbove all, remember that at the end of the day audition committees are made up of musicians who want to here great music played– even if it is in excerpt form.   All things being equal, they want to hire the one who plays the most music, not just the most notes.\u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli\u003e1:52\u003cem\u003e     Introduction on march style\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:10\u003cem\u003e      Commentary on “Stars and Stripes”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:31\u003cstrong\u003e      John Philip Sousa “The Stars and Stripes Forever”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :50\u003cem\u003e       Commentary on “The Invincible Eagle”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:31\u003cstrong\u003e      John Philip Sousa “The Invincible Eagle”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :36\u003cem\u003e       Commentary on “Army of the Nile”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:18\u003cstrong\u003e      Kenneth Alford “Army of the Nile”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :37\u003cem\u003e       Commentary on “The Melody Shop”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:40\u003cstrong\u003e      Karl L. King “The Melody Shop”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :32\u003cem\u003e       Commentary on “The World is Waiting for the Sunrise”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :20\u003cstrong\u003e       Harry Alford “The World is Waiting for the Sunrise”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :44\u003cem\u003e       Commentary on “Commando March”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :26\u003cstrong\u003e       Samuel Barber “Commando March”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:08\u003cem\u003e      Commentary on “First Suite” (1)\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :19\u003cstrong\u003e       Gustav Holst “First Suite in E-flat for Military Band”(1)\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :30\u003cem\u003e       Commentary on “First Suite” (2)\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:06\u003cstrong\u003e      Gustav Holst “First Suite in E-flat for Military Band”(2)\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :42\u003cem\u003e       Commentary on “First Suite” (3)\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :38\u003cstrong\u003e       Gustav Holst “First Suite in E-flat for Military Band”(3)\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :58\u003cem\u003e       Commentary on “Second Suite”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :35\u003cstrong\u003e       Gustav Holst “Second Suite in F for Military Band”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:27\u003cem\u003e      Commentary on “Theme and Variations”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:04\u003cstrong\u003e      Arnold Schoenberg “Theme and Variations, Op. 43a”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:03\u003cem\u003e      Commentary on “Toccata Marziale”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :41\u003cstrong\u003e       Ralph Vaughan-Williams “Toccata Marziale”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:08\u003cem\u003e      Commentary on “When Jesus Wept”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e2:39\u003cstrong\u003e      William Schuman “When Jesus Wept”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :34\u003cem\u003e       Commentary on “Festival Variations”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :28\u003cstrong\u003e       Claude T. Smith “Festival Variations”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :49\u003cem\u003e       Commentary on “Rocky Point Holiday”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :46\u003cstrong\u003e       Ron Nelson “Rocky Point Holiday”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:04\u003cem\u003e      Commentary on Fiesta del Pacifico”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :30\u003cstrong\u003e       Roger Nixon “Fiesta del Pacifico”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :53\u003cem\u003e       Commentary on “Colonial Song”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:32\u003cstrong\u003e      Percy Grainger “Colonial Song”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :44\u003cem\u003e       Commentary on “Molly on the Shore”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :34\u003cstrong\u003e       Percy Grainger “Molly on the Shore”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :50\u003cem\u003e       Commentary on “Pineapple Poll”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:13\u003cstrong\u003e      Arthur Sullivan\/arr. Mackerras “Pineapple Poll”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e\n\u003cem\u003e :\u003c\/em\u003e43\u003cem\u003e       Commentary on “J’ai été au bal”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :55\u003cstrong\u003e       Donald Grantham “J’ai été au bal”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :30       I\u003cem\u003entroductory note on transcriptions\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :53\u003cem\u003e       Commentary on “Festive Overture”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :43\u003cstrong\u003e       Dmitri Shostakovich\/ trans. Hunsberger “Festive Overture”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :59\u003cem\u003e       Commentary on “Roman Carnival Overture”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e1:16\u003cstrong\u003e      Hector Berlioz\/trans. Safranek “Roman Carnival Overture”       \u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :42\u003cstrong\u003e       Hector Berlioz\/trans. Godfried “Roman Carnival Overture”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :59\u003cem\u003e       Commentary on “Aegean Festival Overture”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e\u003cstrong\u003e :31       Andreas Makris\/trans. Bader “Aegean Festival Overture”\u003c\/strong\u003e\u003c\/li\u003e\r\n\t\u003cli\u003e :47\u003cem\u003e       Commentary on “The Cowboys”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :34       J\u003cstrong\u003eohn Williams\/trans. Curnow “The Cowboys”\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e :34\u003cem\u003e       Commentary on “Finale from Symphony no. 4”\u003c\/em\u003e\n\u003c\/li\u003e\r\n\t\u003cli\u003e\n\u003cstrong\u003e :\u003c\/strong\u003e47\u003cstrong\u003e       Pyotr Ilyich Tchaikovsky\/trans. Safranek “Finale from Symphony no. 4″\u003c\/strong\u003e\n\u003c\/li\u003e\r\n\u003c\/ol\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e\r\n\r\n\u003cp\u003e \u003c\/p\u003e","brand":"Summit Records","offers":[{"title":"Default Title","offer_id":51509022982313,"sku":"CD139","price":12.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0794\/0947\/9849\/files\/Jenkins_CD_small_7210b3c0-24e1-4205-9ba8-48558f867a87.jpg?v=1793915878","url":"https:\/\/maxoutlet.shop\/products\/jenkins-mark-euphonium-excerpts-for-band","provider":"Sterling Grove","version":"1.0","type":"link"}