(ca.15 min)
Published in November 2023 by AvA Musical Editions
Also available at: June Emerson 
Etudes as the name suggests are intended for studying, but naturally, it's much more enjoyable to practice a piece. So, as a result, this repertoire is often relegated to secondary importance, but I consider it essential for the development of a musician. I'm such a staunch defender of etudes, that my master's research focused on the vast range of Horn studies published since the second half of the 20thcentury. I also contributed to the writing of numerous etudes, and giving the similarities between horn and euphonium I have adapted a selection of technical etudes to the resources the Euphonium has to offer. During my doctoral research, I delved into the idiomatic writing for the horn, a subject that I consider to be intrinsically linked to the pedagogical writing of etudes, since idiomatic repertoire writing requires deep reflection and practical knowledge so that you can take advantage of the different resources that the instrument has to offer. I therefore believe that writing etudes for an instrument not only assists performers in overcoming challenges and improving their performance but also helps composers gain a better understanding of the instrument. Specifically, this publication deals with technical aspects of the Euphonium, and each etude focuses on easily identifiable challenges. However, the way they are written has been meticulously thought out, with numerous details that I will describe.
At first glance, some of these etudes may seem difficult to the point of being impracticable. In fact, my first method was rejected by publishers who justified their refusal by saying that they only published music intended to be played by humans. However several years have passed and my studies and my music in general has been played all over the world and I am not aware of any being played by extraterrestrials. So what at first glance seems excessively difficult can turn out to be much easier and more enjoyable than it seems. This is not to say that these studies are easy; however considering the pros and cons and the way they take advantage of small subtleties in the instrument, they end up being easier than they appear. In doing so, they also help to gradually remove many psychological barriers created by the instrumentalists themselves. Therefore, from a pedagogical point of view, I follow the motto that there is no evolution if everything is easy, nor if everything is difficult. If we don't face challenges that drive progress, we will end up stagnating, but if everything is too difficult, evolution will also become unattainable. So even if a study seems difficult or very difficult, it will certainly have some easy or even very easy elements to create balance. It is up to euphonium players to approach each of these etudes with an open mind and, above all, have fun while they evolve, as the process will take less time and be more enjoyable.
The example recordings are for the 11 Technical Etudes for Horn, op.94a, the Euphonium version has minor differences in some ranges.
1 - Seven o'clock, the first etude got its name from the presence of major seventh intervals. When it comes to idiomatic writing for the euphonium, the various instrumentation and orchestration books warn that, especially as you begin to move up the register, you should use intervals that are easily identifiable as a third, fourth, or fifth but without a doubt, a major seventh is not on the list of recommended intervals. In this etude, the intervals of major seventh and augmented fourth are grouped in pairs, with the same or similar fingerings. In this way, although the intervals are more difficult to hear, the fingering helps. There are some optional multiphonics, and an ossia has been included in case the performer chooses not to play the multiphonics.
2 - In the second etude Gliding, the player will have to take advantage of different air speeds/temperatures, almost as if the Euphonium was a glider. It starts with minor third intervals, continues with major thirds, perfect fifths and fourths, major sixths and finally an octave. The patterns of this etude are possibly not very different from the flexibility exercises often used by brass players, but let's face it, the way they're presented makes the process more fun!
3 - Two, five, one, or better: ii V I is one of the most common harmonic progressions and serves as the basis for this etude. Arpeggios in root position, first inversion, and second inversion are presented with passing tones that connect them. Other arpeggios appear between sections with this sequence, but the main goal is to make the practice more appealing It's true that you have to practice in order to evolve, but nobody said that the work had to be boring!
4 - The etude Feeling Diminished? is based on the octatonic scale (W-H), also known as the diminished scale. It's an excellent study to practice when you're feeling down, you'll see it energise you and you'll certainly see “augmented” results. Multiphonics can be omitted or transposed to the higher octave if they are played by a performer with a higher voice.
5 - Chromatic Buzz is a chromatic etude inspired by a well-known work by Rimsky-Korsakov , which in this version aims to practice chromatic scales. So, from start to finish, there are repetitive chromatic patterns, which in the right dosage can become fun. The tempo of this etude is quite fast, so if you play it more slowly, you'll need to add breaths and eventually cut some slurs.
6 - A hunting-style etude could not be missing, and Riding a Horn fulfills this purpose in a very special way. It's true that other fingerings can be used, but with the exception of the last few bars, the entire study can be played using just the first finger and the 4throtor. This facility adds to the purpose of working at longer tube lengths and increasing the accuracy of pitch and attack. The indicated breaths assume that the etude is played at the indicated speed and that good air management is made, and at the same time it is an extra element of control to determine whether the embouchure is producing sound effectively. At slower speeds, additional breaths should be added.
7 - In Follow the Circle just follow the cycle of descending perfect fifths or ascending perfect fourths. Being able to save air in a tessitura spanning several octaves is a sign that the embouchure is producing sound effectively. So the breaths indicated add an extra challenge, but they are only suggestions. If you work on this study at a slower speed, you'll need additional breaths.
8 - The perfect fifth interval is in essence associated with calls. Quintessential takes this interval across the Euphonium's range, initially in slow and lyrical movements and later in agile leaps. The fast passages with perfect fifth jumps and sixteenth notes take advantage of easy fingerings. In this way, the Euphonium players can concentrate on the other challenges offered by this study. Higher options have been included in case the player feels ok on this range.
9 - Somewhat Spanish, as the name suggests, is related to the rhythms and melodic motifs of traditional Spanish music. However, as it is based on the whole-tone scale, it takes on a different sound than you might expect. As it is a scale based on dividing an octave into equal parts, it is symmetrical, and it requires more complex fingerings, where the third finger is used.
10 - Rush Hour is a very fast etude ideal for practicing double staccato. For this purpose a key with easy fingerings has been chosen so that the performer can concentrate on the staccato. As mentioned earlier, this is a great etude for purposely playing long passages without breathing since it serves as an extra control element for the efficiency of sound production by the embouchure.