The Euphonium in Chamber Music he most common chamber music ensem: ble for the euphonium player is che 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 lizerature has been generated for it. One obvious advantage of belonging to such a group is that the euphonium isin the limelight most of the time. It is excellent for taining young musicians because the parts are typically more demanding than those in other ensembles. Audiences are always pleasantly surprised to hear the wonder- ful sound that comes from such an unlikely ‘group of instruments. In addition there are any 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 mose popular of these is the brass sextet, which isa brass quintet plus euphonium. This Combination has inspired more original compost tons and arrangements than any other bras in scrumental 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 llmost any of the smaller ensemble works yet to be discussed, making it easy t0 choose a varied program. “The brass quartet, another mixed brass combi nation, uses two trumpets, hora, and euphoni tm. Ie is popular in England, and a considerable amount of music has been written and arranged for it. Alehough the English use an E> horn in their ensembles, atleast one music importer pro- vides transceibed parts for the F horn that is. Used in the United States, Another source of li erature for this group comes from the traditional 18 naememnenratir cen American brass quartet of two trumpets, horn, ‘and trombone. Replacing the trombone with the euphonium in most ofthis music poses no prol Tem, because the trombone serves as the bas in strument much of the time. In fat, the addition ff the euphonium gives this rather thin ins mentation a remarkably full, beautifully blended sound. ‘Other quartet combinations that have stimu lated composers creativity are two trumpets trombone, and euphonium, as well as trumpet, horn, trombone, and euphonium. These insry mentations are promising for cuphonium players Because of the large amount of music for the uartets of two trumpets and two trombones and the combination of trumpet, horn, end two trombones, In playing this music the euphonium replaces the second trombone “The major advantage of any quartet combins- tion is the large amount of music already written for other mediums that can be easily adapted. String quartets are by far the mose popular in strumental chamber ensemble ever, with a vast collection of literature written by the greatest ‘composers of alltime. For centuries composers have been writing vocal music in four parts which may represent our richest resource of mu Hic forthe modern brass quartet. Without a doube the brass quintet is the cur rent staple of the brass world. Unfortunately no fone has asked us euphonium players to join in the fun! Though some quintet literature specifies Euphonumist Dan S. Vinson is. graduate of North as State Univesity andthe University of Ulin. He rpuly appears as slo with the US. Coase Guard Band and tsa member of US. Coast Guard Band Tu ‘Qhrtet, Vin ia funding member of lot Cros Bass a member ofthe Sumit Bras Council, and is the advertising coordinator for the TLULB.A, Journalthe use of euphonium, playing the majority of it requires the euphoniuimist to double on tuba trombone. Replacing the trombone completely is risky because much of the literature contains ef- fects that simply cannot be performed on a valved instrument; replacing the tuba could be neffective Because of the euphonium's limited low range. In at least two of the most well known brass quintets — the Empire Brass and the Canadian Brass — the trombones use eupho nnjum a large portion of the time, and the tubist in the Empire is known to use euphonium occa sionally 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 back ground and interest to fit in, so they chose a euphoniumist instead, with good result 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, hhas 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 col- leges and universities, and they perform some of the greatest music ever written for any ensemble. Independent professional brass choirs are rare, primarily because itis 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. Pethaps the most signif- icant piece is Leos Janacek’s Capriccio (Antia Corporation) for solo piano, flute/piccolo, two trumpets, three trombones, and euphonium Other pieces include Thom Ritter George's Sex- tet 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, vequiring the abilities of college-level musicians, : [Te benuty of chamber musics tha the pos bilities are endless. Any group of instrumental- ists may join together to form a chamber ensem ble. Your ensemble may be able to find music already written and arranged for your instru- mentation 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 Eupho nim Music Guide (Whaling Music Publishers, revised 1987). ‘The strength of the euphonium is its extreme versatility. It can play broadly and full, bue also lightly and lyrically. Ie can play bass lines, mel cody 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