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{{Main|Double bell euphonium}}
A creation unique to the United States was the [[Double bell euphonium|double-bell euphonium]], featuring a second smaller bell in addition to the main one; the player could switch bells for certain passages or even for individual notes by use of an additional valve, operated with the left hand. Ostensibly, the smaller bell was intended to emulate the sound of a trombone (it was cylindrical-bore) and was possibly intended for performance situations in which trombones were not available. The extent to which the difference in sound and timbre was apparent to the listener, however, is up for debate. ''Harry Whittier'' of the Patrick S. Gilmore band introduced the instrument in 1888, and it was used widely in both school and service bands for several decades. ''Harold Brasch'' (see "List of important players" below) brought the British-style compensating euphonium to the United States c. 1939, but the double-belled euphonium may have remained in common use even into the 1950s and 60s. In any case, they have become rare (they were last in instrumental catalogues in the late 1960s{{Citation needed|date=June 2009}}), and are generally unknown to younger euphonium players. They are chiefly known now through their mention in the song "[[Seventy-Six Trombones]]" from the musical ''[[The Music Man]]'' by [[Meredith Willson]].
 
== Performance venues and professional job opportunities ==
 
The euphonium has historically been exclusively a ''band'' instrument (rather than an ''orchestra'' or ''jazz'' instrument), whether of the ''wind'' or ''brass'' variety, where it is frequently featured as a solo instrument. Because of this, the euphonium has been called the "king of band instruments", or the "[[cello]] of the band", because of its similarity in timbre and ensemble role to the stringed instrument. Euphoniums typically have extremely important parts in many [[march (music)|marches]] (such as those by [[John Philip Sousa]]), and in brass band music of the [[Music of the United Kingdom|British tradition]].
 
The euphonium may also be found in [[marching band]]s, though it is often replaced by its smaller, easier-to-carry cousin, the ''marching baritone'' (which has a similar bell and valve configuration to a trumpet). A marching euphonium, similar to the marching baritone, although much larger, is used almost exclusively in [[Drum and bugle corps (modern)|drum and bugle corps]], and some corps (such as [[Blue Devils Drum and Bugle Corps|The Blue Devils]] and [[Phantom Regiment]]) march all-euphonium sections. Depending on the manufacturer, the weight of these instruments can be straining to the average marcher and require great strength to hold during practice and a performance.
 
Another form of the marching euphonium is the convertible euphonium. Recently widely produced, the horn resembles a convertible tuba, being able to change from a concert upright to a marching forward bell on either the left or right shoulder. These are mainly produced by Jupiter or Yamaha, but other less expensive versions can be found.
 
[[Image:Marchingeuph.jpg|thumb|right|[[King Musical Instruments|King]] marching euphonium]]
 
Other performance venues for the euphonium are the tuba-euphonium quartet or larger tuba-euphonium ensemble; the [[brass quintet]], where it can supply the tenor voice, though the trombone is much more common in this role; or in mixed brass ensembles. Though these are legitimate performance venues, paid professional jobs in these areas are almost non-existent; they are much more likely to be semi-professional or amateur in nature. Most of the United States's military [[service bands]] include a tuba-euphonium quartet made up of players from the band that occasionally performs in its own right.
 
The euphonium is not traditionally an orchestral instrument and has never been common in symphony orchestras. However, there are a handful of works, mostly from the late Romantic period, in which composers wrote a part for ''baryton'' (German) or ''tenor tuba'', (most notably, Holst's Planets Suite, which has many solos for baritone and euphonium) and these are universally played on euphonium, frequently by a trombone player. In addition, the euphonium is sometimes used in older orchestral works as a replacement for its predecessors, such as the ophicleide, or, less correctly, the bass trumpet, or the [[Wagner tuba]], both of which are significantly different instruments, and still in use today. At the bottom of the article are some of the well-known orchestral works in which the euphonium is commonly used (whether or not the composer originally specified it).
 
Finally, while the euphonium was not historically part of the standard jazz [[big band]] or combo, the instrument's technical facility and large range make it well-suited to a jazz solo role, and a jazz euphonium niche has been carved out over the last 40 or so years, largely starting with the pioneer ''[[Rich Matteson]]'' (see "List of important players" below). The euphonium can also double on a trombone part in a jazz combo. Jazz euphoniums are most likely to be found in tuba-euphonium groups, though modern [[funk]] or [[rock (music)|rock]] bands occasionally feature a brass player doubling on euphonium, and this trend is growing.
 
Due to this dearth of performance opportunities, aspiring euphonium players in the United States are in a rather inconvenient position when seeking future employment. Often, college players must either obtain a graduate degree and go on to teach at the college level, or audition for one of the major or regional military service bands. Because these bands are relatively few in number and the number of euphonium positions in the bands is small (2-4 in most service bands), job openings do not occur very often and when they do are highly competitive; before the current slate of openings in four separate bands, the last opening for a euphonium player in an American service band was in May 2004. A career strictly as a solo performer, unaffiliated with any university or performing ensemble, is a very rare sight, but some performers, such as Riki McDonnell, have managed to do it.
 
In Britain the strongest euphonium players are most likely to find a position in a [[Brass band (British style)|brass band]], but ironically, even though they often play at world-class levels, the members of the top brass bands are in most cases unpaid amateurs. There are hundreds, if not thousands, of brass bands in Britain ranging in standard from world class to local bands. Almost all brass bands in Britain perform regularly, particularly during the summer months. A large number of bands also enter contests against other brass bands of a similar standard. Each band requries two euphoniums (principal and 2nd) and consequently there are considerable opportunities for euphonium players.
 
Due to limited vocational opportunities, there are a considerable number of relatively serious, quasi-professional avocational euphonium players participating in many higher-caliber unpaid ensembles. {{Citation needed|date=December 2008}}
 
== College climate in the United States ==
{{Main|Euphonium Instructors}}
Unlike a generation or two ago, many colleges with music programs now offer students the opportunity to major in euphonium. However, due to the small number of euphonium students at most schools (2-4 is common{{Citation needed|date=June 2009}}), it is possible, and even likely, that they will study with a professor whose major instrument is not the euphonium. Most often tubas and euphoniums will be combined into a studio taught by one professor, and at small schools they may be grouped with trombones as well, taught by one low brass professor. Dr. Brian Bowman, Demondrae Thurman, and Dr. Marc Dickman serve as the only three full time euphonium college professors in the US, with professors like Matt Tropman and Dr. Stephen Arthur Allen, also primarily euphonium players, teaching as lecturers. Other professors, such as Adam Frey, are adjunct faculty at multiple universities near one another. Universities will usually require professors in this situation to have a high level of proficiency on all the instruments they teach, and some of the best college euphonium studios are taught by non-euphonium players.
 
==Notable euphoniumists==
{{Main|List of euphonium players}}
The euphonium world is and has become more crowded than is commonly thought, and there have been many noteworthy players throughout the instrument's history. Traditionally, three main national schools of euphonium playing have been discernible: American, British, and Japanese. Now, euphoniumists are able to learn this specific art in many other countries around the world today.
 
Below are a select few of the players most famous and influential in their respective countries, and whose contributions to the euphonium world are undeniable, in terms of recordings, commissions, pedagogy, and increased recognition of the instrument.
 
;United Kingdom
*[[Steven Mead]], English euphonium soloist and professor at the [[Royal Northern College of Music]] noted internationally for advancing the British euphonium sound.<ref>Roy Newsome, ''The Modern Brass Band: From the 1930s to the New Millennium'', Ashgate Publishing, Ltd., 2006, p. [http://books.google.com/books?id=O6-iHNQwga8C&pg=PA338&dq=%22Steven+Mead%22+euphonium&sig=ACfU3U0H0yiDfU1-jDURPV30MjJ6CAJelQ#PPA252,M1 252]. ISBN 0754607178.</ref>
*[[David Thornton (musician)|David Thornton]], principal euphonium of the [[Black Dyke Band]] and student of [[Steven Mead]] noted for winning several prestigious international competitions and advancing the British euphonium sound through broadcast as well as recording media.<ref>{{cite web |url=http://www.perfectpeople.net/biography/6610/david-thornton.htm |title=David Thornton biography from Perfect People |accessdate=2011-04-24}}</ref>
 
;United States
*[[Simone Mantia]] (1873 - 1951), an Italian-born American baritone horn/euphonium virtuoso and also trombone artist at the turn of the twentieth century. Playing as soloist with the [[John Philip Sousa|Sousa]] and the [[Arthur Pryor|Pryor]] Bands, Mantia was the first euphonium virtuoso to record and popularized this non-orchestral instrument in the United States.<ref>Bierley, Paul A., The Incredible Band of John Philip Sousa, Board of Trustees of the University of Illinois, Urbana, IL. 2006</ref><ref name="Mantia1">Lehman, Arthur, A Quick Analysis of Simone Mantia's Artistry On the Euphonium, 2008, http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm, retrieved 4/1/2011</ref>
*[[Leonard Falcone]] (1899 - 1985), Italian-born American Baritone/euphonium soloist, arranger, professor, Director of Bands at [[Michigan State University]], and teacher of many noted euphonium artits. Falcone advanced an operatic passionate baritone style and is the namesake of the [[Leonard Falcone International Tuba and Euphonium Festival]], the leading venue for the instrument in the United States.<ref>Michigan State University Archives - Leonard Falcone Collection https://www.msu.edu/unit/msuarhc/falcone1.htm retrieved 4/24/2011</ref><ref>Life and Work of Leonard Falcone, Myrna Delford Welch, University of Illinois Press, 1973</ref><ref>Wikipedia Page ''[[Leonard Falcone International Tuba and Euphonium Festival]]''</ref>
*[[Arthur W. Lehman]], (1917 – 2009), American euphonium soloist known as 'Art', Recording Artist, United States Marine Band, noted euphonium author of works such as ''The Art of Euphonium''. Lehman was a student of Harold Brasch and [[Simone Mantia]] and advanced the concept of a rich resonant sound with no vibrato pioneered by Mantia.<ref name="Mantia1"/><ref>Schudel, Matt (2009-06-28). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium With the Marine Band". The Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2009/06/27/AR2009062702268.html. Retrieved 2/24/2011</ref>
*[[Brian Bowman]], former soloist with the U.S. Navy Band (1971–75) and [[U.S. military bands#Air Force Band|U.S. Air Force Band]] (1976–91); now professor of euphonium at the University of North Texas, co-editor of "Arban's Method for Trombone and Euphonium". Bowman innovated a fusion of the mellow British sound with deep passion heard in Falcone recordings, becoming the best known American artist at the end of the 20th century through recording, teaching and the first euphonium recital at [[Carnegie Hall]].<ref>Morin, Alexander J., Classical music: the listener's companion, Backbeat Books, SanFrancisco CA, 2002, Page 1113</ref><ref> Brian Bowman Euphonium, The Instrumentalist Magazine, Volume 63, 2008, P.34</ref>
 
'''Japan'''
*[[Toru Miura (Musician)|Toru Miura]], professor of euphonium at the [[Kunitachi College of Music]]; soloist and clinician who was awarded a lifetime achievement award by the [[International Tuba Euphonium Association]] (formerly TUBA) for his role in promoting the instrument.<ref> Artist profile: Toru Miura, Jeju International Wind Ensemble Festival 2007, at http://jiwef.org/english/competition/sub_01_07_view.php?jd_no=31&jd_typ=15&PHPSESSID=06d3bdf28359df449e07590a1deac751 , retrieved 4/12/2011</ref>
 
== Euphonium literature ==
{{Main|Euphonium repertoire}}
 
The '''euphonium repertoire''' consists of solo literature and orchestral or, more commonly, band parts written for the euphonium. Since its invention in 1843, the euphonium has always had an important role in ensembles, but solo literature was slow to appear, consisting of only a handful of lighter solos until the 1960s. Since then, however, the breadth and depth of the solo euphonium repertoire has increased dramatically.
 
In the current age, there has been a huge number of new commissions and repertoire development and promotion through Steven Mead’s World of the Euphonium Series and the Beyond the Horizon series from Euphonium.com. There has also been a vast number of new commissions by more and more players and a proliferation of large scale Consortium Commissions that are occurring including current ones in 2008 and 2009 organized by Brian Meixner (Libby Larson), Adam Frey (The Euphonium Foundation Consortium), and Jason Ham (David Gillingham).
 
<!-- Missing image removed: [[Image:Holst.jpg|thumb|left|180px|The euphonium solo in the first movement of [[Gustav Holst]]'s [[Second Suite in F for Military Band|Second Suite in F]] is one the most important solos in the euphonium repertoire.]] -->
Upon its invention, it was clear that the euphonium had, compared to its predecessors the serpent and ophicleide, a wide range and had a consistently rich, pleasing sound throughout that range. It was flexible both in tone quality and intonation and could blend well with a variety of ensembles, gaining it immediate popularity with composers and conductors as the principal tenor-voices solo instrument in [[Brass band (British style)|brass band]] settings, especially in [[United Kingdom|Britain]]. It is no surprise, then, that when British composers – some of the same ones who were writing for brass bands – began to write serious, original music for the concert band in the early twentieth century, they used the euphonium in a very similar role.
When American composers also began writing for the concert band as its own artistic medium in the 1930s and '40's, they continued the British brass and concert band tradition of using the euphonium as the principal tenor-voiced solo.
This is not to say that composers, then and now, valued the euphonium only for its lyrical capabilities. Indeed, examination of a large body of concert band literature reveals that the euphonium functions as a "jack of all trades."
 
Though the euphonium was, as previously noted, embraced from its earliest days by composers and arrangers in band settings, orchestral composers have, by and large, not taken advantage of this capability. There are, nevertheless, several orchestral works, a few of which are standard repertoire, in which composers have called for instruments, such as the Wagner tuba, for which euphonium is commonly substituted today.
 
[[Image:Amilcareponchielli.jpg|thumb|right|150px|[[Amilcare Ponchielli]], composer of the first original euphonium solo]]
In contrast to the long-standing practice of extensive euphonium use in wind bands and orchestras, there was until approximately forty years ago literally no body of solo literature written specifically for the euphonium, and euphoniumists were forced to borrow the literature of other instruments. Fortunately, given the instrument's multifaceted capabilities discussed above, solos for many different instruments are easily adaptable to performance on the euphonium.
 
The earliest surviving solo composition written specifically for euphonium or one of its saxhorn cousins is the ''Concerto per Flicorno Basso'' (1872) by Amilcare Ponchielli. For almost a century after this, the euphonium solo repertoire consisted of only a dozen or so virtuosic pieces, mostly light in character. However, in the 1960s and '70's, American composers began to write the first of the "new school" of serious, artistic solo works specifically for euphonium. Since then, there has been a virtual explosion of solo repertoire for the euphonium. In a mere four decades, the solo literature has expanded from virtually zero to thousands of pieces. More and more composers have become aware of the tremendous soloistic capabilities of the euphonium, and have constantly "pushed the envelope" with new literature in terms of tessitura, endurance, technical demands, and extended techniques.
 
Finally, the euphonium has, thanks to a handful of enterprising individuals, begun to make inroads in jazz, pop and other non-concert performance settings.
 
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