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CHAPTER III
CHARACTERISTICS OF TROMBONE AND EUPHONIUM REPERTOIRE
There is a substantial overlap between euphonium and trombone repertoire. Because the
euphonium is a relatively new instrument, most original euphonium literature was written within
the last 40 years. Euphoniumists habitually borrow literature from other instruments, mainly
bassoon, cello (particularly Baroque transcriptions), trumpet, voice, and especially trombone.
Much of the easier, high school-level euphonium repertoire is comprised of transcriptions meant
for trombone and pieces originally written for trombone. Many of these pieces come from
France, specifically the pieces that emerged from the contest tradition of the Conservatoire
National Supdrieur de Musique de Paris. The Conservatoire has been responsible for
commissioning over 60 trombone solos for their annual competitive jury examinations, which
began in 1842. Commonly played solos that arose from the Conservatoire tradition include
Morceau Symphonique by Alexandre Guilmant, Pidce en mi bdmol by Joseph Guy Ropartz, Solo
de Concours by Paul Vronge de la Nux, Cavatine by Camille Saint-Saens, and Andante et
Allegro by Joseph Edouard Barat.34 The Guilmant and Barat solos are such standard pieces for
both instruments that it would be difficult to find an adult trombonist or euphoniumist that hadn't
played one or the other. The Ropartz and Saint-Saens solos are widely performed on trombone,
but only occasionally played on euphonium. Strangely, the de la Nux is played more often by
euphoniumists than trombonists.
Baroque-era transcriptions, whether intended for trombone or euphonium, can easily be
performed on either instrument, although the ornamentation will likely vary. For a
34 Jeffrey Lemke, "French Tenor Trombone Solo Literature and Pedagogy Since 1836" (DMA diss., The University
of Arizona, 1983), 53-62.
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