The Euphonium in Chamber Music

BY DAN S. VINSON

he most common chamber music ensemble for the euphonium player is the
euphonium/tuba quartet, also called the
tuba quartet, composed of two euphoniums and
two tubas. Though this ensemble has existed for
only about 15 years, a tremendous amount of
literature has been generated for it. One obvious
advantage of belonging to such a group is that
the euphonium is in the limelight most of the
time. It is excellent for training young musicians
because the parts are typically more demanding
than those in other ensembles. Audiences are
always pleasantly surprised to hear the wonderful sound that comes from such an unlikely
group of instruments. In addition there are
many other combinations of euphonium/tuba
ensembles, ranging from trios to octets.
Several mixed brass ensembles that include the
euphonium have significant bodies of literature.
The most popular of these is the brass sextet,
which is a brass quintet plus euphonium. This
combination has inspired more original compositions and arrangements than any other brass instrumental group except for the brass quintet.
No small brass ensemble is more versatile than
the brass sextet, which contains all the sounds of
the American brass family. What is more, an
ensemble of this instrumentation can perform
almost any of the smaller ensemble works yet to
be discussed, making it easy to choose a varied
program.
The brass quartet, another mixed brass combination, uses two trumpets, horn, and euphonium. It is popular in England, and a considerable
amount of music has been written and arranged
for it. Although the English use an EP horn in
their ensembles, at least one music importer provides transcribed parts for the F horn that is
used in the United States. Another source of literature for this group comes from the traditional

18

THE INSTRUMENTALIST / DECEMBER 1988

American brass quartet of two trumpets, horn,

and trombone. Replacing the trombone with the
euphonium in most of this music poses no problem, because the trombone serves as the bass instrument much of the time. In fact, the addition
of the euphonium gives this rather thin instrumentation a remarkably full, beautifully blended
sound.
Other quartet combinations that have stimulated composers' creativity are two trumpets,
trombone, and euphonium, as well as trumpet,
horn, trombone, and euphonium. These instrumentations are promising for euphonium players
because of the large amount of music for the
quartets of two trumpets and two trombones
and the combination of trumpet, horn, and two
trombones. In playing this music the euphonium
replaces the second trombone.
The major advantage of any quartet combination is the large amount of music already written
for other mediums that can be easily adapted.
String quartets are by far the most popular instrumental chamber ensemble ever, with a vast
collection of literature written by the greatest
composers of all time. For centuries composers
have been writing vocal music in four parts,
which may represent our richest resource of music for the modern brass quartet.
Without a doubt the brass quintet is the current staple of the brass world. Unfortunately no
one has asked us euphonium players to join in
the fun! Though some quintet literature specifies
Euphoniumist Dan S. Vinson is a graduate of North
Texas State University and the University of Illinois. He
regularly appears as soloist with the U.S. Coast Guard
Band and is a member of U.S. Coast Guard Band Tuba
Quartet. Vinson is a founding member of Hot Cross
Brass, is a member of the Summit Brass Council, and is
the advertising coordinator for the T.U.B.A, Journal.

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the use of euphonium, playing the majority of it

requires the euphoniumist to double on tuba or
trombone. Replacing the trombone completely is
risky because much of the literature contains effects that simply cannot be performed on a
valved instrument; replacing the tuba could be
ineffective because of the euphonium's limited
low range. In at least two of the most wellknown brass quintets the Empire Brass and
the Canadian Brass the trombones use euphonium a large portion of the time, and the tubist
in the Empire is known to use euphonium occasionally.
One innovative brass quintet, the Top Brass
from Centerville, Ohio, recently replaced its F
horn player with a euphonium player. Because
they perform mostly jazz and pop music, they
had trouble finding a hornist with the background and interest to fit in, so they chose a
euphoniumist instead, with good results.
Trios are the last of the small mixed brass
ensembles whose music includes the euphonium.
The most common trio combination is two
trumpets and euphonium. Other combinations
are trumpet, horn, and euphonium or trombone,
euphonium, and tuba. Music written for two
trumpets and trombone or for trumpet, horn,
and trombone can be adapted for these trios.
The brass choir, the largest of the ensembles,
has no fixed instrumentation. Music for brass
choir usually calls for three to six trumpets,
horns, and/or trombones; no more than two
euphoniums and tubas; and often a percussion
section. Brass choirs are used extensively in colleges and universities, and they perform some of
the greatest music ever written for any ensemble.
Independent professional brass choirs are rare,
primarily because it is so convenient to perform
brass choir music using the brass sections of
established orchestras or bands.
Chamber music for mixed brass and non-brass
that includes euphonium is almost nonexistent,
but the quality of the few works we have makes
them worth mentioning. Perhaps the most significant piece is Leos Janacek's Capriccio (Antia
Corporation) for solo piano, flute/piccolo, two
trumpets, three trombones, and euphonium.
Other pieces include Thorn Ritter George's Sextet for euphonium and woodwind quintet, and
Newel K. Brown's Windart 2 (Seesaw Music) for
euphonium, six clarinets, and vibraphone. All
three are difficult works, requiring the abilities of
college-level musicians.
The beauty of chamber music is that the possibilities are endless. Any group of instrumentalists may join together to form a chamber ensemble. Your ensemble may be able to find music
already written and arranged for your instrumentation or you may have to adapt music writ-

ten for other mediums. Two good references for

specific titles in each instrumental category are
The Brass Players Guide (Robert King Music
Company, 1987-88) and David Werden's Euphonium Music Guide (Whaling Music Publishers,
revised 1987).
The strength of the euphonium is its extreme
versatility. It can play broadly and full, but also
lightly and lyrically. It can play bass lines, melody lines, and countermelodies. In harmony it
blends with the other brasses, yet is distinctive
enough to soar above the fullest ensemble
sound. The world of chamber music has as
much to gain by including the euphonium as
euphoniumists have to gain from chamber
music.
D