<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Grainger on Euphonium Studio</title><link>https://euphonium.studio/tags/grainger/</link><description>Recent content in Grainger on Euphonium Studio</description><generator>Hugo</generator><language>en-us</language><atom:link href="https://euphonium.studio/tags/grainger/index.xml" rel="self" type="application/rss+xml"/><item><title>Colonial Song — euphonium excerpt</title><link>https://euphonium.studio/repertoire/grainger-colonial-song-euphonium-excerpt/</link><pubDate>Mon, 01 Jan 0001 00:00:00 +0000</pubDate><guid>https://euphonium.studio/repertoire/grainger-colonial-song-euphonium-excerpt/</guid><description>&lt;p&gt;&lt;em&gt;Colonial Song&lt;/em&gt; asks the euphonium to sustain one of the wind band&amp;rsquo;s characteristic
long, human lines. The writing seems generous to the instrument, but exposed entrances,
upper-register softness, and Grainger&amp;rsquo;s elastic phrasing make it a precise test.&lt;/p&gt;
&lt;p&gt;The excerpt should not be prepared in isolation from the accompaniment. Its tempo
moves through harmony and orchestration, and the soloist must know which notes can
lean and which must carry the ensemble forward. Vibrato and rubato need scale: enough
to sound alive, never enough to make the line private.&lt;/p&gt;</description></item></channel></rss>