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12 Progressive Solos for Euphonium and Piano

PERUSALSCORE

12 Progressive Solos for Euphonium and Piano

PERUSALSCORE

EditedbyDr.CarrieBlosser&AshleyKillam EngravedbyErisDeJarnett

Wecreatedthisprojectasawaytodiversifyourstandsandexpandthetypicalpiecesperformedintrumpetrepertoire.Aseducators,wefelttheneedtosharemorethanthesamefewpieceswithourstudents andprovideaccessible,educationalsolosbylivingcomposers.

FundingfortheWindsofChangeeuphoniumbookismadepossiblethankstoagrantthroughThePuffin Foundation,Ltd.andadonationfromTomandDeniseHedlund.

Asyouexplorethisbook,taketimetolearnabouteachcomposerandtheinspirationfortheirpiece.Each composerbringssomethingnewanduniquetothetable.

Manypeoplehaveaskedushowtosupportlivingcomposers,andherearetwogreatwaysto supportthe WindsofChange composers:

•Purchasethebook! Profitsofeachbooksalegobacktoeachcomposer.

•Programtheseworks andemailthecomposer(s)aprogramfromyourperformance.Composersreceivemoneyforeveryperformanceoftheirpiecefromaperformanceroyaltiesorganization.Thiscosts nothingasaperformerandissoeasytodo-theiremailsarelistedatthebottomofeachsolo,andthey wouldlovetohearfromyou!

Toour12composers,THANKYOU!Wesoappreciatethemusicyoucreatedforthisproject,andwehave lovedspendingtimewithyou,continuingtomakeyourmusicavailabletonewcommunities.Weareincrediblygratefulforthetimeyouhaveinvestedinthisproject.

Tothebehind-the-scenescrew-Dr.BrendanIge,Dr.LaurenRudzinskas,Dr.StephanieYcaza-Ahugethank youforyourtimeplaytestingandprovidingfeedbackforthiscollection.AndabigthankyoutoErisDeJarnett,DiversifytheStand’sengraver.

Asyouperformandpracticetheseworks,besuretohavefun.Don’ttakeyourselftooseriouslyandenjoy theprocess.Thesesolosshowcasetheeuphonium’sdifferentmusicalsides,andthecomposerswantyou toenjoythejourney.Onlyyoucanplaytheseworkswithyourmusicalityandphrasing,soyourperformance willbeoneofakind!

Andaswealwaysaskonourpodcast,what’sonyourstand?

Dr.CarrieBlosser&AshleyKillam

Anotefromourengraver:

Hi!I’mErisDeJarnett,Iuseey/theypronouns,andI’mproudtojointheDiversifytheStandteamasthe engraverforWindsofChangestartingin2023.Ifyou’refamiliarwiththetrumpetandtromboneversions thatAshleyandCarriehavealreadyshepherdedintobeing(especiallyifyou’reapianistwho’splayedmultipleeditions),youmayhavenoticedthatwitheachnewversionwetweakafewthingsbothinindividual scoresandacrossthebookasawhole.Inthese2023engravings,manyofthesesmallchangeshavebeen madewiththegoalofimprovingtheoverallreadingexperiencefortheperformerswithinindividualpieces aswellasacrosstheentirebookwherewecould.You’llseecautionarydynamicsnestedinparentheses,for example,andmoreexplicitly-notatedsubitodirections.Thesearechoiceswe’vemadesoperformerscan understandourcomposersintentionsasclearlyaspossible,andwehopetheyenhanceyourpreparations andperformances!

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Youwillalsofindsomemusicalchangessprinkledacrosstheworksthatthecomposershave individuallymadetotailorthesepiecesmorespecificallytothestrengthsandneedsofanewsoloinstrument.Assuch,therearedifferencesfromoneversiontoanother,sopleasekeepthatinmindifyou’reusing arecordingofanotherinstrument’seditionforscorestudyatanypoint.The recordingsreleasedwiththiseditionwillbethemostdirectreflectionofwhat’sonyourpage.

IandtherestoftheDtSteamwishyoumanywonderfuladventuresasyouexplorethisbook’spages,be theypaperorPDF.Thankyouforaddingthesefantasticnewworkstoyourrepertoire!

ErisDeJarnett

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MarcusS.Grant isaprofessionalcomposer, trumpeter,teacher,clinician,producer,andcontentcreator fromVirginia.HeistheCo-founderandDirectorofthe Trumpeter’sMulti-TrackCompetition,contributescompositionsandarrangementsasaSignatureArtistwiththe world'sleadingdigitalsheetmusicretailer-MusicNotes.com-andservesontheBoardofDirectorsforthe NationalTrumpetCompetition.Marcus’saward-winning compositionsandarrangementsarecontinuallyperformed andrecordedbyworld-classartistsandensemblesall acrosstheglobe.

Marcusisdrivenbythegoaltoprovidetransformativeopportunitiesandimpactfulencounterstoallpeopleusing hisloveformusic,holdingthephilosophythateveryone deservesthebestexperiencesineducation,andthatmusic isanessentialelementofthoseexperiences.Heseeksto usemusictoprovideeducation,inspiration,andempowermenttoallwhoarewillingtoreceiveit.

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ACastleintheAir wascommissionedbyDiversifytheStandforbeginningeuphoniumplayers.Eventhoughthe simplemelodyhintsatpleasantdaydreaming(walkingthroughtheclouds),itschallengingrhythms(usingties, syncopation,duplerhythmintriplemeter)createaninterestingjourney.

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Composer KarenAmrhein haswrittenfor orchestra,chamberensemble,windensemble,andvoice.

“Amrheinistonallyoriented,lyrical,andcomposeswith aninsightfulsenseofinstrumentalpossibility.Sheisalso afinecontrapuntalistwhoisequallyadeptatthinking bothverticallyandhorizontally.Herlinesareenlivened byquirkyrhythms,andtheharmoniesthattheirconvergencesgenerateatkeypointsareneverlessthanpleasingly surprising.”

-WilliamZagorski,FanfareMagazine

“Karenisverysensitivetomelody,andquiteinsightfulas totheharmonicstructurethatwillbestsupportit.What resultsisbothengagingandintriguing,aswellas emotionallysatisfying,notinfrequentlywitty,andquite oftenuplifting-allcharacteristicsandaffectsthatseem regrettablyrareintheworkofmorerecenttimes.”

-ComposerRobertSirota,formerPresidentofthe ManhattanSchoolofMusic,andformerDirectorofthe PeabodyInstitiute

AmongKaren'sworksareheroratorioTheBookof Jonahforsoloists,choir,andchamberorchestra;three suitesfororchestra:TheEyeofPhoebus,Bestiary,andAnAvandalianSuite(inspiredbyTheSilmarillionof J.R.R.Tolkien);theballetLittleNemoinSlumberlandfororchestra/windensemble(basedontheinfluentialearly20th-C.comicstripbyWinsorMcCay);SymphonyofSeasonsforwindensemble/orchestrawrittenforandpremieredbyHarlanParkerandthePeabodyWindEnsemble;fivechamberorchestraconcertos,includingtheclarinetconcertoEventHorizon,writtenforandrecordedbyRichardStoltzman;seven sonatasforsoloistandpiano;twostringquartetsandastringtrio;acollectionofdancesforpianoentitled DanceCard;aseriesof"storyscores"forhernovelsincludingTheTowerofKirkleesandASeasoninPrickleblossomWood;andworksfornarrator(s)andmusicalensembleincludingPrincessPaliné,TheGiftofthe Magi,andTheChristmasMirror.

Karenisanaward-winningmemberofASCAP,arecipientofaMarylandStateArtsCouncilArtistAward, andhastwicebeennominatedforthePulitzerPrize.Hermusichasbeenperformedbyensemblesincluding theSlovakRadioSymphonyOrchestra,theSusquehannaSymphony,theHewlett-PackardSymphony,the PeabodyWindEnsemble,andtheMarinerStringQuartet.ShehasaB.A.inMedievalHistoryfromthe UniversityofCalifornia,SanDiegoandisanalumnaofthePeabodyConservatoryofMusicinBaltimore, Maryland.HermusicispublishedbyHappyLemonMusicPublishing,andisavailableforpurchaseat www.happylemonmusicpublishing.com.

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FancyFree isaquickandlivelyjauntforeuphoniumandpiano.Thepieceisbuiltfromtheopeningmotive:a risingminor-thirdfollowedbyamajor-second.Shiftingmetersanddrivingeighth-notespropelthemusic fromstarttofinish.Theeuphoniumpartisdesignedforbeginningtointermediateeuphoniumplayers,butis funandrewardingforeuphoniumplayersofalllevels.

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AlonsoMalikPirio,Grammyaward-winning artist,grewuplisteningtoandwritingmusicfromawide varietyofstyles,includingjazz,R&B,rock,Afro-Cuban, funk,andhip-hop.Classicallytrained,heholdsadegree fromUCLA’sHerbAlpertSchoolofMusic,andhassince forgedacareerasafilmcomposer,performer,musicdirector,orchestrator,andeducator.

Asafilmcomposer,Alonsoismostknownforhisversatile palette.Hisscoreshaveplayedatmanyfestivalsacrossthe USandonline,includingNewFilmmakersLosAngeles, PanAfricanFilmFestival,Outfest,ArabFilmFestival,and theMattGroeningFellowshipScreening.Hewrotethe scoretoaward-winningfilms,suchasSpecialDelivery (2021),Pendulum(2020),aswellasforseveralotheranimatedandlive-actionshorts,suchasOrigin(2018),and Clara(2022).

Amulti-instrumentalist,Alonsohasperformedindozens ofpitorchestras,mostrecentlyconductingandplaying keyboardforthe5-timeTony-winningplay,AChristmas Carol,withCenterTheaterGroupinLosAngeles.Heisa Grammy-winningchoralartist,forsingingonThePassion ofYeshua,withtheUCLAChamberSingers.Hehas recordedkeysforartistsChloexHalle,andAndraDay,andhasappearedinconcertwithartistsincluding AlexNewell,J’NaiBridges,BradleyWhitford,KennyBurrell,JuliusThomasIII,KateBurton,andEliseoRoman.

HeisanavidhikerandtravelerwholivesandworksinhishomecityofLosAngeles.

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Gala Flagello (b.1994) is a composer and educator whose work is inspired by a passion for lyricism, rhythmic vitality, and fostering meaningful collaboration. Her music, described as "at times endearingly whimsical, at times ominous, but always moving" (Cleveland Classical), resonates with audiences through its emotional depth and dynamic expression. With over 100 performances of her music each year, Flagello's collaborations with leading ensembles, artists, and institutions on national and international stages are impactful to audiences and performers alike.

Flagello’s works have been featured by prominent ensembles including the BBC Symphony Orchestra, Detroit Symphony Orchestra, Chautauqua Festival Orchestra, Wichita Falls Symphony Orchestra, Ann Arbor Symphony Orchestra, United States “President’s Own” Marine Band, La Jolla Symphony Orchestra, Sante Fe Symphony Orchestra, DuPage Symphony Orchestra, San Diego Youth Symphony, National Youth Orchestra of Canada, Detroit Chamber Winds & Strings, and the Apollo Ensemble of Boston. She has collaborated with many notable conductors, including Earl Lee, Fouad Fakhouri, Timothy Muffitt, Arian Khaefi, Bruce Kiesling, and Na'Zir McFadden.

Flagello earned her Bachelor of Music in Composition from The Hartt School, and her Master of Music and Doctor of Musical Arts in Composition from the University of Michigan.. She has honed her craft as a Composition Fellow at prestigious institutions such as Tanglewood Music Center, Aspen Music Festival, and the Gabriela Lena Frank Creative Academy of Music. Flagello’s works are published by Just a Theory Press.

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RyleeShort isacomposerandhornplayerfrom Louisville,KentuckywhoisnowbasedinChicago,IL. Theyenjoyperformingwithamyriadofmusicstyles fromfreenoiseimprovtotrashprogtoorchestraland chambersettings.Theylostalotoftheirearlymediapromotionwiththeirnamechangeandtransitionbuthave beenproducingeitherscoresorrecordedproductions since2008.Alotoftheirworkexploresthecollaboration betweendisciplineswhileeithercombiningspokenword, writtenpoetry,dance,fluxus,videomedia,orevenacombinationofall.Ryleeisfascinatedinhoweachindividual expressionchangesunderlivecollaboration.Formany years,theyproducedandhostedeventsthatcombined artiststocollaboratetogetherforaliveaudiencewithout rehearsal,SubterraneanPhrases.Theyalsoservedonthe BoardforDreamlandLouisville,anexperimentalmusic venuerunbydrummerandcomposer,TimBarnes,and theyservedastheArtsandRepertoirechairforOrchestra Enigmatic.

Rylee’scompositionsundergomotivicexplorationandare generallyprogrammaticinnature,whileoftentheprogrammaticelementsarenotobviousbylisteningalone. Theirtwomostimportantpiecestodatearecollaborationswithspokenwordartistandwriter,HannahDrake,(“HoldingSpace”orchestratedforherpoem“Spaces”)thathighlightsmarginalizedrepresentationinpredominatelywhitemalespaces&theircollaboration withauthor,JacindaTownsend(“946”orchestratedforanexcerptfromhernovelJohnLovesRuth)thatexplorespolicebrutalityanditsdisproportionateimpactontheBlackcommunity.Ryleewasthrilledtowork onthisprojectbyDiversifytheStandandhopesthatfutureendeavorswillstrivetocelebratethemyriadof composersthatcanservethecommunitywiththeirartisticexpressionsthroughnotation.

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LaraPoe isaFinnish-Americancomposerwhois currentlybasedinLondon.ShehasworkedwithensemblessuchastheLondonSymphonyOrchestraandthe LahtiSymphonyOrchestra,andherworkshavebeenperformedacrossawiderangeofvenuesthroughouttheUS, Europe,andAsia.HerpieceKaamos,whichshewrotefor theLahtiSymphonyOrchestra,wasnominatedfora2021 IvorsComposerAwardintheLargeScaleComposition category.KaamoswasalsoselectedbyYLERadioFinland torepresentFinlandattheInternationalRostrumof Composers2021inBelgrade,Serbia.Currentprojectsincludealarge-scalesongcycleforthemezzo-sopranoVirpi Räisänen,whichisaco-commissionbetweentheOulu SymphonyandLahtiSymphonyorchestras.

Poehasreceivedrecognitioninseveralcompetitions,most recentlyreceivingaBMIStudentComposerAwardin 2021,andtheTheodoreHollandIntercollegiateCompositionPrizein2020.AttheRCM,PoewontheRCM ConcertoCompetitionin2018andherorchestralpiece TaivaanrantawassubsequentlyperformedattheRCM AmaryllisFlemmingConcertHall,conductedbyMartin André.In2017shewasthefirstfemalewinnerofthe WilliamSchumanPrizeintheBMIStudentComposer Awards,andin2016PoewontheAmericanPrizeinChamberMusicComposition,StudentDivision.

PoeiscurrentlypursuingdoctoralstudiesatKing’sCollegeLondonunderthesupervisionofSirGeorgeBenjaminandSilvinaMilstein.Previously,shereceivedanartistdiplomaandMmuswithdistinctionfromRCM, whereshestudiedcompositionwithKennethHeskethandSimonHoltforArtDip.KennethHeskethfor MMus,andelectroacousticmusicwithGilbertNouno.PriortoherstudiesattheRCM,Poestudiedwith MartinAmlin,RichardCornell,JoshuaFineberg,PaavoKorpijaakko,RodneyLister,AlexMincek,andKetty Nez.ShereceivedherBachelorofMusicdegreefromBostonUniversity,andstudiedattheNewEngland ConservatoryPreparatorySchoolwhileingradeschool.

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Anaiguillereferstoaneedle-sharpmountainpeak.Whilethepiecehaslongmelodiclines,ithasajagged qualitytoitaswell,especiallyapparentinthesparsepianowriting.Thepieceshouldfeeldistant,asifitis beingheardfromsomewherefaraway,carryingovermountainsandvalleys.

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SongfortheLost wasoriginallywritteninearly2021whentheU.S.hadreached500,000deathsfrom COVID-19.Atthetime,therehadbeennotruenationalreckoningwiththedevastatinglossoflifeand connectionweallexperienced.Thispiecewaswrittenasamemorialtothosewhodiedinthepandemic, andasatributetoeveryonewhoexperiencedpersonalloss.Itisacyclicpiece,employinganABAform whichstartsinasubduedminorkey.Themelodycontainsfrequentunexpectedlargeleapsthatsignify criesofmourning.Asthepieceprogressesandwedealwithourpain,themusicgrowstoahopefulclimax, signifyingthattherecanbehealingasweacknowledgeloss.Thepiececomesfullcircleasitrevisitsthe openingmaterial-thistimeinacalmerandmoreresolvedfashion.Thecomposerhopesthat Songforthe Lost canbeperformedandheardasawayofexpressingdifficultemotions,rememberinglovedones,and workingthroughtraumatoaplaceofpeaceandacknowledgment.

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Thetitle GoldenTrees referstoAutumn.Whentheleavesturngold,ourfeelingsalsoturnbrightorlifting.Ithink theshinysoundoftheeuphoniumfitstheseupsurgingfeelings.Ontheotherhand,thereisalsoamelancholy sideinAutumn.Theleavesfallandchangethephasestothenextseason.Euphoniumcanexpressthemysterious andjazzyatmosphereaswell.Thecomposerincludedthosefeelingsorcolorsinthisshortpiece.

Thepianopartisveryimportantinthispiece.Itisnotjustanaccompaniment.Theeuphoniummelodiesarealwaysfloatingwiththeharmoniesthatthepianocreates.Inanysection,bothlinesbetweeneuphoniumandpiano willbeharmonizedinagoodway.Listeningtoeachotherisaveryimportantpoint,astherearesomanyvolume balancepossibilitiesforeachinstrument.Thecomposerrecommendsforplayerstothinkthroughandtry differentversionstoseewhichismostappropriateforthepiece.

Thisisratherashortpiecebuttheplayerwillbefacingsomanyvarietiesofthewayofeuphoniumplaying.

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Noctilucent forsoloeuphoniumwasarrangedforCarrieBlosserandAshleyKillamaspartoftheirDiversifythe Standproject. Noctilucent takestheeuphoniumplayeronajourneyofnuancedcolourexplorationthroughsingle tonesthatareinterruptedwithexplosivemomentsofcolour.Thepianopicksoutnotesfromtheeuphonium’s melodiclineasthoughcapturingandpullingthreadstoformnewshapesandcolour.Theprocessofthe composition,andtheshapesandcoloursitexplores,areinspiredbytheimageryandformationprocessof noctilucentclouds.

Noctilucentcloudsareextremelyrare.Theyareveryhighcloudsseeninthenightsky,usuallyonclear,summer nights.Theybecomevisibleaboutthesametimeasthebrighteststarsandareusuallybluishorsilvery.Theyare formedoficecrystalsthatrefractthecolourstocreateabeautifulspectrumofbluesandothercolours. Noctilucentcloudsareonlyvisibleduringastronomicaltwilight,whichiswherethegeometriccentreoftheSun is18degreesbelowthehorizonintheevening.

Performancenotes:

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1a)xnoteheadsinstaffindicatebreathsounds/attacks

b)-anoteheadwithaslashthroughitindicatesthatitshouldbeplayedwithhalfair

2)DL-Doodletonguing

3)FL-Fluttertonguing

4) → -graduallymovefromonetechniquetoanother.

5)Valvetremsarenotatedasatremolobetweenthesamenote.

6) -Vibrato/oscillationofthepitchwheretheamplitude graduallyincreasesandthendecreases

7) -widevibrato

8) -Initiallyslowgradualglissandothatthenbecomesafaster,moredramatic glissandotowardstheendofthenote.

9) -sustainednotewithaglissandodownandthenup,returningtothe originalpitch.

10)Therhythmicvalueofstemlessnoteheadsshouldbeinterpretedveryfreely.Theseare indicativerhythmicvalueswhichserveonlytogiveanapproximaterepresentationofthe proportionallengthofthenotetoothers.

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DIVERSIFY THE STAND

Diversify the Stand is a Colorado-based non-profit dedicated to working with diverse musical voices to create accessible educational music. We commission works by composers marginalized by race, ethnicity, gender, and orientation. If you would like to help contribute to the creation of future collections, visit our website by scanning the QR code at the bottom.

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reSounding Progress

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diversifythestand.org