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Re: Two Euphs too many?

Adrian Drover wrote:
> 
> I recently read on this list, a suggestion that one of the euphs should be
> dumped due to its overwhelming quality of sound in relation to the rest of
> the band. It is true that the euph has a very powerful sound in relation
> to the majority of the instrumentation. This is due to the size of its
> bore. In fact one solo euph can easily be heard against the full ensemble.
> But it is no more powerful than the tubas or the flugelhorn, which are
> built the same way.
> 
> The euph will stick out like a sore thumb if it is scored incorrectly.
> Melody lines, bass lines and counterpoints are fine for the euph, but if
> you put two of them on the same harmony line, you have problems. When I
> score for these instruments in a harmony role, I always have them divisied
> and combined with the flugel and/or the basses which are of the same
> family of instruments. This creates a balance of heavy tone, which can
> easily be combined with the rest of the instrumentation.
> 
> There are 4 tubas in the band. That is 3 more than are normally used in
> the symphony orchestra, but this does not create an imbalance

In fact, 4 tuba players without brass band experience do create a
balance problem. Brass band tubas must approach their playing in a much
gentler fashion than orchestral tubas. This gives the distinctive
organ-like foundation to the brass band. Hannaford Street Silver Band in
toronto consistently has tuba and trombone balance problems in live
performances because with their very limited rehearsal time, the players
do not change their normal approach; that is gentler for tubas, more
intense for trombones. Ask Bbob Childs and James Watson about the
solution that Watson found for the tubas in January. Absolutely the best
balanced tuba sound I have heard from Hannaford. Those of you who have
only heard them on recordings will not notice this because the balancing
is done in the control room.
On Saturday, I conducted a symphonic brass choir of professionals, 3 or
4 trumpets, 4 horns, 3 or 4 trombones, 1 eupnonium, 1 tuba and
percussion. What a pleasure to conduct a fundamentally balanced group
and not have to compensate for the balance problems inherent in the
brass band, regardless of who does the arrangements. Many players in
bands are not really aware of or will deny this underlying challenge
because the problem has been resolved over many years of playing
together but it sure is obvious from the podium or the audience.
Regards, Dave.

because
> they are usually all scored on the bass line, which apart from the melody,
> is the strongest line of the voicing. Using the basses on a harmony line
> could cause problems, but have you considered writing 4 part harmony for 2
> euphs and 2 Eb basses (or one Eb and one Bb). This should give as good a
> balance as 2 tenor horns and 2 baritones (or 3 and 1). In fact there is no
> reason why you should not be able to use more than two euphs. Think of the
> wonderful sound you could get from 4 flugels, 3 or 4 euphs and 1 or 2
> bass tubas scored in 8 to 10 parts.
> 
> Just a thought for Sunday morning, and I haven't even mentioned french
> horns or trumpets.
> 
> BTW, my spell checker doesn't suggest "oafs" for "euphs", but it does
> recommend "hoofs".
> 
> Adrian :-)
> 
> --
>   ____    _ _
>  /    \ _| (_)___   _____ ADRIAN DROVER
> |  ()  / _ | / _ \_( ___/ INNOVATIVE ORCHESTRAL SERVICES
> |__/\__\___|_\___/____)   http://www.gemscore.demon.co.uk/
> Business:  adios@xxxxxxxxxxxxxxxxxxxx
> Personal: adrian@xxxxxxxxxxxxxxxxxxxx  (Glasgow, Scotland)
> 
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