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I find that most students and amateurs think of articulation being predominantly a motion of the tongue.

Ha! I actually used to be terrible with articulation. How do you strike the balance, and what is the concept you are going for? Your articulation is very defined yet resonant. I always go back to that recording to renew my love for why I chose the euphonium.Ĥ.

Military Band with the Euphonium Concerto by James Curnow is what got me hooked on the euphonium. As for euphonium player influences, I would have to say Steven Mead’s recording with the J.W.F. Yo-Yo Ma’s recording of the Bach Cello Suites remains one of my all-time favorite discs. The sheer power in his voice and his ability to remove himself from the confines of the ink are truly remarkable. More specifically, the iconic recording of Pavarotti performing “Nessun Dorma”. I’ve always loved listening to Luciano Pavarotti and Yo-Yo Ma. Who are some of your favorite musicians who can infuse expressive phrasing into music in such a way as to make it seem more meaningful or from a fresh perspective? With string orchestra and piano, it’s a bit different, and I can generally play piano and softer without issue.ģ. I generally play a full dynamic bigger than indicated, even with great ensembles who understand to stay below the soloist. Being a soloist with brass band and wind band, I find that I never really explore a true piano dynamic. I rely on taking massive amounts of air in so that I can play as big as possible without forcing my lips to overwork. The euphonium is incredibly difficult to be heard over a band in general because of the conical nature and the fact that the bell is facing the ceiling and not the audience. When I’m on stage as a soloist, that is a different skill set to a degree as well. Otherwise, the same rules apply for me as they do in the American wind band in terms of supporting, doubling, etc. When I’m playing solo/principal euphonium as I do in Brass of the Potomac, I find myself using a very vocal/operatic vibrato way more often, particularly in solo lines or lyrical lines with the euphoniums and baritones. Unless it’s an expressive solo line in the wind band, I never use vibrato in the American wind band setting. If I’m the dominant solo line (Colonial Song, Commando March, Planets, etc), I’m singing out and getting the sound to the back of the hall as quickly as possible. If I’m supporting, I’m making sure I’m giving the trombones/trumpets/etc enough of a foundation. If I’m doubling, I’m always listening down to the lower voice that I’m doubling (if it’s tuba, etc). When in the wind band, the euphonium is usually either doubling, supporting, or singing as the solo line. American wind band euphonium versus British brass band euphonium are two different identities. When I’m playing in an ensemble, whether it be with the United States Air Force Band or Brass of the Potomac, I’m always aware of what my role is at that time.

One can argue that when you’re the soloist, you can move the time around when emoting, but this must be purposeful and for enhancement of musical line only, never accidental. Those simply cannot be compromised, ever, regardless of solo playing or ensemble playing. There are four what I call “non-negotiables”. Can you discuss the differing approaches you take to ensemble playing as opposed to soloing?Įnsemble playing versus solo playing are, in most cases, two different skill sets but with the non-negotiables being the same. If my aperture remains open and if tension stays away, I can generally play my full register with the same embouchure set.Ģ. I try to use my ear 100% of the time and allow my air to do the work for me. I only pivot when I’m playing extreme loud dynamics on pedal notes. Having said that, I try to think of everything being as much on “one embouchure” set as possible. The whole “paralysis by analysis” can creep in if I’m not careful.

I honestly try not to think too much about what my face is doing when I play. From Kentucky to flying high with the United States Air Force Band, Brandon Jones always has a plan! Join the “Fourth Valve” tm as he shares his passion for music, keen insights regarding the euphonium and experiences with aplomb! Enjoy….