Roger Behrend, Editor
If you have a question relative to playing or teaching the euphonium, the history of the euphonium , or any other topics relative to the euphonium, please contact the good Doctor through his assistant, Roger Behrend at the address you’ll find on page 2 of this issue of the Journal. In this issue, we are re-printing a question posed to Dr. Euph in the December, 1998 issue of the Willson Mouthpiece (where Dr. Euph continues to have an additional office). Dr. Euph has updated the information he gave in 1998 a bit…
Dear Dr. Euph:
As a euphonium player, I am finding it difficult to find literature for the instrument. I am sure that there is music to perform, but I have limited resources and contacts. Can you give me some help?
Less Than Illuminated
Dear Lights Out:
Dr. Euph is here to turn the lights back on! As never before, there are numerous resources available to the euphoniumist concerning literature. The number one place for up-to-date information is I.T.E.A. This non-profit organization is the backbone for the modern low brass afficionado. The fastest way to get connected i through the ITEA web page at www.iteaonline.org. As a member of ITEA, you have contact with an almost unlimited number of performers and educators who know the instrument and can point you in all the right directions. Also, your private teacher, band director and/or the local music store are excellent points of contact to use.
Good luck on your quest.
Dear Dr. Euph:
I have been making excellent progress on the euphonium, but I’m wondering if you have an comments or suggestions on how to make better use of my practice time?
It is always great to find someone with an open mind who’s looking for better ways to improve. I would start by advising you to look at your practice schedule – not as time spent, but rather curriculum covered on a daily basis. Break your curriculum into sections so that every aspect of your playing is worked every day. This emphasizes the positive daily accomplishment rather than what wasn’t covered that day.
Start your curriculum with a daily routine or warm-up. Move on to scales, major, minor, and chromatic. Then work your exercise books, solos, excerpts, sight reading, and ensemble literature. Remember: it is not the amount of time you spend on each section of the curriculum, but rather the fact that every area is visited. Break the day’s practice into small time segments so that fatigue is kept to a minimum.
Good luck, and I hope some of my ideas will help!