<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Euphonium Studio</title><link>https://euphonium.studio/</link><description>Recent content on Euphonium Studio</description><generator>Hugo</generator><language>en-us</language><lastBuildDate>Mon, 09 Feb 2026 00:00:00 +0000</lastBuildDate><atom:link href="https://euphonium.studio/index.xml" rel="self" type="application/rss+xml"/><item><title>The compensating system</title><link>https://euphonium.studio/instrument/compensating-system/</link><pubDate>Sun, 11 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/instrument/compensating-system/</guid><description>The clever loop of extra tubing that keeps a four-valve euphonium&amp;rsquo;s low register in tune — how it works, who invented it, and why it matters when you buy.</description></item><item><title>How do I find a band to play in</title><link>https://euphonium.studio/returning/how-do-i-find-a-band/</link><pubDate>Mon, 09 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/returning/how-do-i-find-a-band/</guid><description>Community and amateur brass and wind bands exist almost everywhere and are usually short of low brass. Search local band associations, ask at a music shop, and don&amp;rsquo;t overestimate the standard required — most welcome returning players warmly.</description></item><item><title>I haven't played in 20 years — where do I start</title><link>https://euphonium.studio/returning/where-do-i-start-after-20-years/</link><pubDate>Sun, 08 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/returning/where-do-i-start-after-20-years/</guid><description>Start gently and short. Your reading and valve memory come back fast; your embouchure and endurance need weeks of patient rebuilding. Long tones, simple tunes, and short daily sessions beat long occasional ones.</description></item><item><title>Who invented the euphonium</title><link>https://euphonium.studio/history/who-invented-the-euphonium/</link><pubDate>Sat, 07 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/history/who-invented-the-euphonium/</guid><description>There&amp;rsquo;s no single inventor. The euphonium emerged in the 1840s–50s from several makers experimenting with wide-bore valved brass; Ferdinand Sommer and Adolphe Sax are both part of the story, and the modern instrument was shaped later by the compensating system.</description></item><item><title>What was the ophicleide</title><link>https://euphonium.studio/history/what-was-the-ophicleide/</link><pubDate>Fri, 06 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/history/what-was-the-ophicleide/</guid><description>A keyed brass bass instrument of the early 19th century — essentially a brass instrument with woodwind-style keys covering tone holes. It bridged the serpent and the valved euphonium and tuba, then was made obsolete by them.</description></item><item><title>Does the euphonium play in orchestras</title><link>https://euphonium.studio/ensemble/does-the-euphonium-play-in-orchestras/</link><pubDate>Thu, 05 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/ensemble/does-the-euphonium-play-in-orchestras/</guid><description>Rarely, and almost always under the name &amp;rsquo;tenor tuba&amp;rsquo; for a handful of specific scores — Holst, Strauss, Wagner, Ravel. There&amp;rsquo;s no permanent orchestral euphonium chair; it&amp;rsquo;s called in as needed.</description></item><item><title>What's the difference between brass band and wind band for a euphonium player</title><link>https://euphonium.studio/ensemble/brass-band-vs-wind-band/</link><pubDate>Wed, 04 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/ensemble/brass-band-vs-wind-band/</guid><description>In a brass band the euphonium is a star solo voice reading transposed treble clef; in a wind band it&amp;rsquo;s one tenor colour among many, usually reading concert bass clef. The role, the reading, and the repertoire all differ.</description></item><item><title>How do I extend my range on the euphonium</title><link>https://euphonium.studio/technique/how-do-i-extend-my-range/</link><pubDate>Tue, 03 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/technique/how-do-i-extend-my-range/</guid><description>Build range at both ends slowly and daily: lip slurs and flexibility for the high register, fourth-valve fingerings and relaxed open air for the low. Range grows from consistency and good air, not force.</description></item><item><title>What is the fourth valve for</title><link>https://euphonium.studio/technique/what-is-the-fourth-valve-for/</link><pubDate>Mon, 02 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/technique/what-is-the-fourth-valve-for/</guid><description>The fourth valve lowers the euphonium a perfect fourth. It extends the range down toward the fundamental and provides in-tune alternatives to the sharp 1+3 and 1+2+3 combinations.</description></item><item><title>How do I improve my intonation on the euphonium</title><link>https://euphonium.studio/technique/how-do-i-improve-my-intonation/</link><pubDate>Sun, 01 Feb 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/technique/how-do-i-improve-my-intonation/</guid><description>Learn your instrument&amp;rsquo;s specific tendencies with a tuner and drone, use the fourth valve and alternate fingerings to dodge the worst notes, and practise long tones and slow lyrical playing to train your ear and air.</description></item><item><title>Why is my low range sharp</title><link>https://euphonium.studio/instrument/why-is-my-low-range-sharp/</link><pubDate>Mon, 26 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/instrument/why-is-my-low-range-sharp/</guid><description>Because multi-valve combinations play sharp on any brass instrument, and the effect is worst in the low register where you use the most tubing. A compensating horn corrects it automatically; on a non-compensating horn you correct it yourself.</description></item><item><title>3+1 vs 4-valve, compensating or not</title><link>https://euphonium.studio/instrument/3-plus-1-vs-4-valve/</link><pubDate>Sun, 25 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/instrument/3-plus-1-vs-4-valve/</guid><description>&amp;lsquo;3+1&amp;rsquo; and &amp;lsquo;inline 4-valve&amp;rsquo; describe where the fourth valve sits, not whether the horn compensates. Compensation is a separate feature. Most professional euphoniums are 3+1 and compensating; the two questions are independent.</description></item><item><title>What is the compensating system, in plain terms</title><link>https://euphonium.studio/instrument/what-is-the-compensating-system/</link><pubDate>Sat, 24 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/instrument/what-is-the-compensating-system/</guid><description>Extra loops of tubing, engaged automatically by the fourth valve, that add exactly the length a valve combination needs to play in tune in the low register. You press the valves normally; the horn corrects itself.</description></item><item><title>Why do Americans call it a baritone</title><link>https://euphonium.studio/what-is-it/why-do-americans-call-it-a-baritone/</link><pubDate>Fri, 23 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/what-is-it/why-do-americans-call-it-a-baritone/</guid><description>American school-band tradition absorbed the euphonium under the looser label &amp;lsquo;baritone,&amp;rsquo; partly from earlier smaller-bore instruments and partly from the manufacturing and pedagogy of US school bands. The instrument is usually a euphonium regardless of the name on the case.</description></item><item><title>Is a euphonium a saxhorn</title><link>https://euphonium.studio/what-is-it/is-a-euphonium-a-saxhorn/</link><pubDate>Thu, 22 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/what-is-it/is-a-euphonium-a-saxhorn/</guid><description>Historically yes — the euphonium descends from the B♭ saxhorn family patented by Adolphe Sax in the 1840s. Whether today&amp;rsquo;s wide-bore euphonium still counts as a &amp;lsquo;saxhorn&amp;rsquo; is a matter of how strictly you draw the family line.</description></item><item><title>What is a tenor tuba</title><link>https://euphonium.studio/what-is-it/what-is-a-tenor-tuba/</link><pubDate>Wed, 21 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/what-is-it/what-is-a-tenor-tuba/</guid><description>&amp;lsquo;Tenor tuba&amp;rsquo; is what orchestral scores call the euphonium. When Holst, Strauss, or Wagner wrote for tenor tuba, a euphonium is what plays it — read in concert-pitch bass or tenor clef.</description></item><item><title>Euphonium vs baritone — what's the difference</title><link>https://euphonium.studio/what-is-it/euphonium-vs-baritone/</link><pubDate>Tue, 20 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/what-is-it/euphonium-vs-baritone/</guid><description>In British usage they are two different instruments: the euphonium has a wider conical bore and darker, fuller tone; the baritone horn is narrower and brighter. In American usage &amp;lsquo;baritone&amp;rsquo; is often just a loose name for a euphonium.</description></item><item><title>I'm a band director — which part do I give my euphonium player</title><link>https://euphonium.studio/notation/band-director-which-euphonium-part/</link><pubDate>Mon, 19 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/notation/band-director-which-euphonium-part/</guid><description>Give a euphonium player the clef they read fluently, not the one you assume. Most US school players read concert bass clef; brass-band-trained players read transposed treble. Good publishers include both — ask first.</description></item><item><title>What does 'sounds a major ninth lower' mean</title><link>https://euphonium.studio/notation/what-does-sounds-a-major-ninth-lower-mean/</link><pubDate>Sun, 18 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/notation/what-does-sounds-a-major-ninth-lower-mean/</guid><description>A major ninth is an octave plus a whole step. On a treble-clef euphonium part, a written C sounds the B♭ a major ninth below — the fixed interval that defines the brass-band transposition.</description></item><item><title>Bass vs treble vs tenor clef for euphonium</title><link>https://euphonium.studio/notation/bass-vs-treble-vs-tenor-clef/</link><pubDate>Sat, 17 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/notation/bass-vs-treble-vs-tenor-clef/</guid><description>Euphonium parts appear in three clefs: concert bass clef (orchestra, US wind band), transposed treble clef (brass band), and occasionally tenor clef in high orchestral writing. Each signals a different reading system.</description></item><item><title>Can a trumpet or cornet player read a euphonium part</title><link>https://euphonium.studio/notation/can-a-trumpet-player-read-a-euphonium-part/</link><pubDate>Fri, 16 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/notation/can-a-trumpet-player-read-a-euphonium-part/</guid><description>A treble-clef brass band euphonium part reads exactly like a B♭ trumpet part — same clef, same transposition — just an octave lower in sound. A cornet player can sight-read it immediately.</description></item><item><title>Why is my brass band euphonium part written in treble clef?</title><link>https://euphonium.studio/notation/why-is-my-brass-band-part-in-treble-clef/</link><pubDate>Thu, 15 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/notation/why-is-my-brass-band-part-in-treble-clef/</guid><description>British brass bands notate almost every instrument in transposed treble clef so players can switch horns without relearning to read. Your B♭ euphonium sounds a major ninth below the written note.</description></item><item><title>About the studio</title><link>https://euphonium.studio/about/</link><pubDate>Mon, 05 Jan 2026 00:00:00 +0000</pubDate><guid>https://euphonium.studio/about/</guid><description>A single-author reference for the euphonium — why it exists and how it&amp;rsquo;s built.</description></item><item><title>Brian Bowman</title><link>https://euphonium.studio/players/brian-bowman/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/players/brian-bowman/</guid><description>&lt;p&gt;Brian Bowman did more than perhaps any other player to establish the euphonium as a
serious solo instrument in the United States. As euphonium soloist with the U.S. Air
Force Band and later as professor at the University of North Texas, he combined a
career of high-profile solo performance with decades of influential teaching, training
a large share of the American professional and academic euphonium community.&lt;/p&gt;
&lt;p&gt;His playing set a standard for tone and musicianship that shaped American expectations
of the instrument, and his advocacy — through recordings, clinics, and the commissioning
of new works — helped build the modern solo repertoire. For many American players, the
line of teaching runs back to Bowman within a generation or two.&lt;/p&gt;</description></item><item><title>Concerto for Euphonium</title><link>https://euphonium.studio/repertoire/wilby-euphonium-concerto/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/wilby-euphonium-concerto/</guid><description>&lt;p&gt;Philip Wilby&amp;rsquo;s concerto is one of the most demanding and rewarding works written for
the instrument, weaving virtuoso display into a serious musical architecture. It calls
for command across the entire range, fearless technique, and interpretive maturity,
and has become a signature vehicle for the leading soloists of the current generation.&lt;/p&gt;</description></item><item><title>Danny Boy (arr. for euphonium &amp; piano)</title><link>https://euphonium.studio/repertoire/danny-boy-arr-euphonium/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/danny-boy-arr-euphonium/</guid><description>&lt;p&gt;The &amp;ldquo;Londonderry Air,&amp;rdquo; universally known as &lt;em&gt;Danny Boy&lt;/em&gt;, is the euphonium&amp;rsquo;s natural
song. Its arch of long, lyrical phrases sits perfectly in the middle register and asks
for exactly what the instrument does best: a warm, vocal, unhurried legato. It is a
first-recital staple and a lifelong encore, technically approachable for a beginner yet
never outgrown — the piece that most quickly shows a listener why the instrument is
named &amp;ldquo;sweet-voiced.&amp;rdquo;&lt;/p&gt;</description></item><item><title>David Childs</title><link>https://euphonium.studio/players/david-childs/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/players/david-childs/</guid><description>&lt;p&gt;David Childs, of the celebrated Welsh brass-playing Childs family, has been at the
forefront of the euphonium&amp;rsquo;s push toward full recognition as a classical solo
instrument. He has performed euphonium concertos with major symphony orchestras — a
rare achievement for the instrument — and has commissioned and premiered a substantial
body of new concert works, extending the repertoire beyond its brass-band roots.&lt;/p&gt;
&lt;p&gt;As a soloist and teacher he represents the generation that grew up with the modern
repertoire already in place and has pushed it outward, insisting on the euphonium&amp;rsquo;s
place alongside other solo instruments in the concerto tradition. His father, Robert
Childs, and uncle Nicholas are themselves major figures in the brass-band world.&lt;/p&gt;</description></item><item><title>Don Quixote — tenor tuba part</title><link>https://euphonium.studio/repertoire/strauss-don-quixote-tenor-tuba/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/strauss-don-quixote-tenor-tuba/</guid><description>&lt;p&gt;In &lt;em&gt;Don Quixote&lt;/em&gt;, Strauss assigns the tenor tuba (played on euphonium) the earthy,
comic character of Sancho Panza, with writing so specific and exposed that it functions
almost as a solo. Alongside the tenor-tuba parts in &lt;em&gt;Ein Heldenleben&lt;/em&gt;, it is a standard
and feared orchestral excerpt — a test of character, control, and nerve in equal
measure.&lt;/p&gt;</description></item><item><title>Euphonium Concerto</title><link>https://euphonium.studio/repertoire/cosma-euphonium-concerto/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/cosma-euphonium-concerto/</guid><description>&lt;p&gt;Vladimir Cosma, best known for his French film scores, brings a cinematic warmth and
melodic directness to the euphonium concerto. The writing favours the instrument&amp;rsquo;s
singing qualities and its capacity for long, shapely lines, wrapped in colourful
orchestration. It has broadened the euphonium&amp;rsquo;s concert profile beyond the band world
into the orchestral hall.&lt;/p&gt;</description></item><item><title>Euphonium Concerto</title><link>https://euphonium.studio/repertoire/ellerby-euphonium-concerto/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/ellerby-euphonium-concerto/</guid><description>&lt;p&gt;Martin Ellerby&amp;rsquo;s concerto ranges widely in mood across its movements, including a
much-loved slow movement (&amp;ldquo;Album Leaf&amp;rdquo;) whose lyricism has made it a popular excerpt in
its own right. Written for Steven Mead, it exists in both brass-band and wind-band
scorings and has become one of the defining concertos of the 1990s repertoire boom.&lt;/p&gt;</description></item><item><title>Euphonium Concerto</title><link>https://euphonium.studio/repertoire/horovitz-euphonium-concerto/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/horovitz-euphonium-concerto/</guid><description>&lt;p&gt;Joseph Horovitz&amp;rsquo;s concerto, written for the brass band and later arranged for other
forces, is for many players &lt;em&gt;the&lt;/em&gt; euphonium concerto: melodically generous, cleanly
constructed in three movements, and grateful to play. The slow movement is a
particular showcase for legato and tone, while the finale gives the soloist plenty of
brilliance. Its popularity has made it a benchmark against which players measure both
their sound and their stamina.&lt;/p&gt;</description></item><item><title>Euphonium Concerto</title><link>https://euphonium.studio/repertoire/sparke-euphonium-concerto/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/sparke-euphonium-concerto/</guid><description>&lt;p&gt;Sparke&amp;rsquo;s concerto is a full-scale statement of what the modern euphonium can do:
brilliant outer movements framing a songful slow movement, all written with the
composer&amp;rsquo;s characteristic idiomatic ease. It has become a staple of the international
solo circuit and a frequent choice for competition finals, demanding secure high
register, flexible lyricism, and real endurance.&lt;/p&gt;</description></item><item><title>Euphonium Concerto No. 1, Op. 64</title><link>https://euphonium.studio/repertoire/golland-euphonium-concerto-no-1/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/golland-euphonium-concerto-no-1/</guid><description>&lt;p&gt;John Golland&amp;rsquo;s first euphonium concerto is prized for its emotional intensity — dark,
lyrical, and harmonically rich, with a slow movement that many players consider among
the most moving in the repertoire. It sits firmly in the British brass-band tradition
and remains a favourite for players who want expressive depth over surface brilliance.&lt;/p&gt;</description></item><item><title>Euphonium Concerto, Op. 120</title><link>https://euphonium.studio/repertoire/bourgeois-euphonium-concerto/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/bourgeois-euphonium-concerto/</guid><description>&lt;p&gt;Derek Bourgeois&amp;rsquo;s concerto is one of the repertoire&amp;rsquo;s genuine endurance tests:
harmonically adventurous, structurally ambitious, and unforgiving in its demands on
range, agility, and stamina. Players who take it on are making a statement, and it
rewards the effort with some of the most dramatic writing the instrument has. It is a
recital centrepiece rather than an introduction.&lt;/p&gt;</description></item><item><title>Fantasy for Euphonium</title><link>https://euphonium.studio/repertoire/jacob-fantasy-for-euphonium/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/jacob-fantasy-for-euphonium/</guid><description>&lt;p&gt;Gordon Jacob&amp;rsquo;s &lt;em&gt;Fantasy&lt;/em&gt; is often cited as the work that opened the modern euphonium
repertoire — a piece of real compositional weight written by an established orchestral
composer specifically for the instrument. Cast as a continuous fantasy rather than a
multi-movement concerto, it moves between lyrical, singing writing that shows off the
euphonium&amp;rsquo;s vocal tone and brisk, agile passagework that proves its technical range.
It remains a standard audition and recital choice.&lt;/p&gt;</description></item><item><title>Leonard Falcone</title><link>https://euphonium.studio/players/leonard-falcone/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/players/leonard-falcone/</guid><description>&lt;p&gt;Leonard Falcone was one of the first virtuosi to demonstrate what the
baritone/euphonium could do as a lyrical solo instrument in America. Born in Italy and
long associated with Michigan State University, where he directed the bands for
decades, he was renowned for a singing, vocal style of playing modelled on the human
voice and the great operatic tradition of his homeland.&lt;/p&gt;
&lt;p&gt;His influence outlived his performing career through the &lt;strong&gt;Leonard Falcone
International Euphonium and Tuba Festival&lt;/strong&gt;, a major competition that has helped launch
and validate generations of soloists. Falcone belongs to the instrument&amp;rsquo;s founding
generation in the United States — proof, well before the modern repertoire existed,
that the euphonium deserved to be taken seriously as a voice.&lt;/p&gt;</description></item><item><title>Pantomime</title><link>https://euphonium.studio/repertoire/sparke-pantomime/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/sparke-pantomime/</guid><description>&lt;p&gt;Philip Sparke&amp;rsquo;s &lt;em&gt;Pantomime&lt;/em&gt; packs a lyrical central section between bright, playful
outer material, all in a span short enough to sit comfortably on a contest or recital
programme. It asks for clean articulation and a singing middle register without
demanding the extreme range or endurance of the full concertos, which is exactly why
it works so well as a stepping-stone into the serious repertoire.&lt;/p&gt;</description></item><item><title>Rhapsody for Euphonium</title><link>https://euphonium.studio/repertoire/curnow-rhapsody-for-euphonium/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/curnow-rhapsody-for-euphonium/</guid><description>&lt;p&gt;James Curnow&amp;rsquo;s &lt;em&gt;Rhapsody&lt;/em&gt; is one of the most-played American euphonium solos, valued
for its balance of expressive lyricism and accessible technical demands. It gives a
developing player a genuine concert vehicle — dramatic gestures, a singing slow
section, a bright close — without the extreme range of the major concertos, which has
made it a fixture of the student and early-professional repertoire.&lt;/p&gt;</description></item><item><title>Sonata in F major (arr. for euphonium)</title><link>https://euphonium.studio/repertoire/marcello-sonata-in-f/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/marcello-sonata-in-f/</guid><description>&lt;p&gt;Marcello&amp;rsquo;s sonatas, originally for cello or recorder and continuo, transfer beautifully
to the euphonium and are among the most-assigned transcriptions in the teaching
repertoire. The four contrasting movements build Baroque style, ornamentation, and —
above all — the long, even legato that is the heart of good euphonium playing. It is
the piece that teaches a developing player to &lt;em&gt;sing&lt;/em&gt; on the instrument before tackling
the big modern concertos.&lt;/p&gt;</description></item><item><title>Steven Mead</title><link>https://euphonium.studio/players/steven-mead/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/players/steven-mead/</guid><description>&lt;p&gt;Steven Mead is, by common consent, the euphonium&amp;rsquo;s most prolific and widely travelled
soloist — a performer whose recitals, masterclasses, and vast discography have carried
the instrument to concert halls and conservatoires across the world. He is professor at
the Royal Northern College of Music and a fixture of the international competition and
festival circuit.&lt;/p&gt;
&lt;p&gt;A remarkable amount of the modern solo repertoire was written for or premiered by Mead,
including major concertos by Sparke, Ellerby, Cosma, and others catalogued in the
&lt;a href="https://euphonium.studio/repertoire/"&gt;repertoire database&lt;/a&gt;. His long association with instrument makers has
also shaped the design of modern professional euphoniums, from mouthpieces to whole
horns. More than any single figure, he defines the sound and ambition of the
contemporary euphonium.&lt;/p&gt;</description></item><item><title>The Planets — tenor tuba part</title><link>https://euphonium.studio/repertoire/holst-planets-tenor-tuba/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/holst-planets-tenor-tuba/</guid><description>&lt;p&gt;Holst scored &lt;em&gt;The Planets&lt;/em&gt; with a &lt;strong&gt;tenor tuba&lt;/strong&gt; part that is, in practice, a euphonium
part — and it is the instrument&amp;rsquo;s single most recognisable orchestral appearance. The
exposed writing in &amp;ldquo;Mars&amp;rdquo; and the soaring big tune in &amp;ldquo;Jupiter&amp;rdquo; are standard audition
excerpts for orchestral euphonium work, read at concert pitch in bass and tenor clef.
This is the entry showing how the &lt;a href="https://euphonium.studio/what-is-it/what-is-a-tenor-tuba/"&gt;tenor-tuba name&lt;/a&gt;
works in a real score.&lt;/p&gt;</description></item><item><title>Variations on 'The Carnival of Venice' (arr. euphonium)</title><link>https://euphonium.studio/repertoire/arban-carnival-of-venice/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/arban-carnival-of-venice/</guid><description>&lt;p&gt;Arban&amp;rsquo;s &lt;em&gt;Carnival of Venice&lt;/em&gt; variations, borrowed from the cornet tradition, are the
archetypal brass showpiece: a simple tune put through progressively more dazzling
variations demanding rapid multiple-tonguing, wide slurs, and fearless agility.
On euphonium it is pure crowd-pleasing display, the encore that proves the big dark
instrument can be as nimble as any cornet.&lt;/p&gt;</description></item></channel></rss>