ITEA Journal Volume 47 Number 2 (Winter 2020)
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Experts' Excerpts
by Matthew Shipes
The Planets by Gustav Holst
Introduction
For as long as I have played the euphonium I have known about The Planets suite by Gustav Holst. I remember many people informing me that it is the only piece for orchestra that uses the euphonium, and that I had better learn it if I wanted to be taken seriously as a musician. Since then, I have learned that there are, in fact, several pieces for orchestra that include the instrument, but opportunities to perform them are few and far in between. Since these excerpts from the orchestral version of this piece do appear on military band audition lists at times, and I was presented with the opportunity to perform The Planets this year, I wanted to take the chance to share my experiences in re-learning the piece, recommend reference recordings, and give as much advice as I can.
I first played this piece in its entirety as a doctoral student at the University of Georgia during a reading session with the orchestra. I was surprised to learn that there was much more to it than I previously expected. Most are familiar with the iconic war-cries that the euphonium (dubbed tenor-tuba in the score) exclaim throughout Mars, as well as the melodic elements found in Jupiter. However, the 'tuba' solis and other doubled lines in Uranus are in many ways the most difficult tasks to complete in the piece. I will present each of these portions below.
General Comments
When approaching this excerpt, one of the first questions you should ask is also one of the most difficult to answer: "What should the euphonium sound like?" One of my favorite things about being a musician is that there is not one correct answer to this question. We can listen to five different players like Brian Bowman, Demondrae Thurman, David Childs, Tormod Flaten and Matthew van Emmerick and hear six distinctive sounds. In fact, those of us familiar with their style and tone can probably identify some or all of them just by listening. This degree of individuality in tone and style is not typically an issue, but what is an issue with playing the euphonium in an orchestral setting is maintaining the characteristic sound of the instrument.
In most extant sources of reference material, the euphonium solos in Mars (which are the easiest portions to hear throughout the suite) often do not sound like the instrument we know and love. This typically incorrect interpretation of tone is due to several reasons. Sometimes, the part is being played by a trombonist. The biggest difference between playing trombone and euphonium (other than that small issue of using a slide) is how the air speed and air stream are manipulated. In my experience, air on a trombone is faster and more narrow, with a bit more 'control' in the embouchure. These elements produce a brighter, tighter sound which is often preferable on the trombone. All of these aspects paired with a smaller mouthpiece (think Bach 5G versus a Schilke 51D) add to what is often a very "trombone-like" sound. Also, the dynamics called for throughout this piece, especially in the solos, might encourage the musician to play with a brighter sound than usual. I lack the experience to verify this next opinion, but I suspect that this sound might even be preferred by some musical directors as the trombone sound is more familiar to them then this "tenor-tuba."
Another common issue is the failure to correct the tuning tendencies on the instrument. The iconic solo line in Mars at m. 68 presents an interval of concert D to F. This minor third can easily sound like a major third due to the flatness of the fifth partial and sharpness of the sixth. The performer needs to, first of all, be aware of these tuning problems, and be familiar with the concept of lipping them into place instead of moving a slide. In listening to many different recordings of this movement, I am almost always turned off by this solo due to the cylindrical tone quality and immediate intonation problems.
In Mars, we will be looking at the several solo lines that appear throughout the movement. In each instance, the challenges and goals presented are a bit different, even though the style and character of each line is essentially the same.
In the first solo at m. 34, the euphonium is truly alone for the first measure, calling and then responding to the battle cries of the trumpets and upper woodwinds. There is almost nothing going on in the rest of the orchestra in the first measures of this solo, so resist the urge to 'blast.' To help your voice be heard, consider "aiming" out with the bell rather than letting the tone color change from a characteristic sound into something bright red in color. Afterwards, more voices join the euphonium, starting with horns in m. 35, and 4th trumpet in m. 37. In the final two measures of this solo, the rest of the trumpets, horns, and upper woodwinds belong to the opposing group, but the scoring will still allow your soli line with the horns and trumpet to be heard.
The most iconic solo in this piece occurs next at m. 68. Again, there is very little going on in the orchestra at this point with only an ostinato in the strings. Play a confident fortissimo while maintaining a warm, rich timbre. In measures 69-70 and 71-72 the euphonium is the only thing happening melodically. The trumpets answer each call with their own fanfare, continuing the call-and-response nature of this movement's thematic material.
In these solos, I prefer to use a light vibrato in the held notes to color the tone. Think about giving your vibrato a musical purpose; you can increase the size of the vibrato's wavelength and speed to intensify a musical line, and decrease both to give a sense of closure. In this short line at m. 68, for example, the first written G might lead to the next written G (which I think is the arrival point of the line). This intensification and increase of size of the vibrato can happen on this first G to help lead to the second one. Finally, the vibrato can slow down and decrease in size in the held E to illustrate this line's ending. Of course, this is all subjective, but thinking about ways to make these solos more musical will always lead to a more compelling performance.
As mentioned earlier, the intonation with these pitches is always an issue. Make sure you are playing a real minor third interval between your written E and G. There are potential tuning issues with every interval on the page, but this is the first opportunity to really stand out (in a bad way).
The second half of this solo is a round of sorts with trumpets 1 and 2, so I would recommend continuing to think fortissimo instead of the written forte. Again, there is nothing else going on in the orchestra aside from a vamp in the trumpets, and some activity with the snare drum and cymbals; the differences in timbre between each instrument will ensure that you are heard clearly. A common rhythmic issue is loosening the dotted-eighth-sixteenth rhythm since the part just used triplet eighth-notes. Practice playing five beats of the triplet figure, alternating with five beats of the dotted-eighth figure with a metronome in order to prepare for this line. If the sixteenth-note is still inconsistent, try playing an eighth-note followed by two sixteenths instead. This figure can help you feel the subdivision change that needs to take place in the solo part. Finally, this section should grow in intensity as it moves forward, but this is not entirely up to you! Holst adds more and more voices as the line reaches the end, but you can still show this progression through intensity of dynamics, articulation, and vibrato.
For the final solo in this movement, again, think fortissimo, and perhaps fortississimo, to portray your part clearly. This lower register will not speak as well as a fourth or fifth higher, but the scoring is thankfully similar to the solo part at rehearsal 5, with only a vamp in the strings, snare drum, timpani, and lower trumpets. Again, this line should build in intensity as it continues, highlighting the expanding interval in the part. After the two measure rest at m. 143, come back in at the same dynamic you left off to continue the greater line in the music.
While there are no specific solo parts in this movement, Jupiter presents many challenges in its euphonium part that are sometimes asked for in auditions. The theme at rehearsal 6 appears several times throughout the movement. This melodic line is shared with the english horn, tenor trombones, tuba, violas and cellos; work to blend into the texture rather than trying to achieve a dramatic leading role as in Mars. The tuning challenges presented by the upper register are again present.
I hear this excerpt in one rather than three, and prefer a slight emphasis on the downbeat of each measure to highlight the meter of the music. The quarter notes should be accented rather than a more legato feel; they should be full length with a clear articulation. The most difficult aspects of this line are the time in the triplets and execution of the slur in measure 138. It is very easy to rush the triplet eighth-notes, crunching the rhythm into something different. Another way to think about playing with good time is to take the longest amount of time possible with each note without dragging! This concept helps me to present quickly moving ideas like this properly. In m. 138, the slur from written A to B then down to A and G is difficult because changing fingerings does not encourage the notes to change without enthusiastic air support (written A and B both speak clearly with a 1-2 fingering or just 2; likewise written G, A, and B can all be played with a 1-2 fingering). Practice this triplet as a lip slur with the 1-2 fingering first, to train your air to change as it needs to. In general, aim for a faster/more 'compressed' air speed for this entire excerpt to help avoid any cracked notes (I imagine emulating a can of compressed air or hairspray for my extreme upper register in terms of air temperature and velocity).
The second excerpt at m. 263 is partially presented earlier on in the movement, but this is the more difficult instance of this theme. The euphonium is asked to demonstrate extremes in loud dynamics as well as virtuosity of technique. It is worth noting that the euphonium is the only brass instrument in the score that is asked to play three full beats of sixteenth-notes; everyone else splits the line with other voices.
The line is doubled in many instruments including bass clarinet, bassoon, contrabassoon, 4th trumpet, trombones, tuba, low strings, and even timpani. Again, do not try to be heard as an individual. If anything, the euphonium is an upper octave double of the tuba, and should blend into that bass brass role (think warm and rich rather than bright).
This excerpt presents several technical challenges, starting with the changing of the subdivision from duple to triple. This has already been addressed in Mars, so take similar precautions here. The extended 16th-note run has the potential to become tense and heavy. I try to minimize the articulation used in passages like this; they will speak clearly with minimal effort. Instead, focus on your consistency of airflow, and that the air is constantly moving past the tongue in this passage. Of course, start working slowly with a metronome, but also be sure that your tongue is staying relaxed in this way even at the slower tempos.
Finally, Holst is very clear with the style markings. Show a clear difference between staccato and tenuto markings. I envision the tenutos as implying both weight and length, like an accent that does not taper at the end of the note.
While I don't think I've ever seen excerpts from Uranus in an audition, it presents some of the most challenging figures in the entire suite. Not included in this printed excerpt is the line at m. 21 which moves from a triplet subdivision to a quadruplet in m. 24. Luckily, this line is doubled in many voices throughout the orchestra and is fairly easy to place once the notes and fingerings are learned.
The 'solo' part at pickup to m. 68 is actually a soli with the tuba. This changes the euphonium's role a bit to a bass brass voice rather than a true soloistic one. To this point, avoid using vibrato on the longer notes; at m. 68 this is with tuba and at rehearsal 3 with horn (neither of which will be using vibrato). Keep the triplet feel of 6/4 time present by emphasizing the first and fourth 'beats' of each measure. This is a true soli as there is nothing else going on in the orchestra melodically-this is the primary voice.
The second solo part in this movement is also doubled with tuba, and is again the primary voice in the orchestra for its short duration. The first issue is that there is a misprint in this particular part (see m. 139). In addition to continuing to blend with the tuba, the biggest challenge here is playing the staccato eighth-notes correctly in time. It is easy to let the eighth-note sound exactly the same as a quarter note. Be sure to make a clear distinction between the two.
The final excerpt included actually begins at m. 193 and continues until the high Cs in m. 220. Only this portion is printed because the rhythmic and technical challenges remain consistent throughout the entire passage. Be sure that the beat is staying constant throughout, especially when we switch from triplets to quadruplets in m. 203 and 214. The full-beat rests might seem too long and it is easy to jump in early.
This line is doubled in several voices including tenor trombone and bassoon. However, it might be easiest to listen to this part in the timpani and especially the xylophone (let's trust our percussion friends to play with good time!). You can't spend enough time practicing ear-training for this line, as it consists entirely of arpeggios. Practice singing the implied chord in each measure, starting with the bass note and working your way up. For example, in m. 195, sing written A - C# - F - G until the intervals are easy. Look for tonal concepts to latch onto in these measures that will help you hear the intervals as well. You might hear A - C# - F(E#) - G as an augmented triad with an added seventh. We can apply syllables to this as well: Do - Mi - Si - Te. When the harmony changes at 199 this might be heard as an A dominant seventh:So - Ti- Re - Fa. The harmony at 214 is clearly Gb major ( Do-Mi-So) adding a seventh (Ti) in m. 212 before ending back at the original augmented-like harmony in m. 214.
After singing each of these harmonies on solfege with a pitch-reference (like piano or a drone) in ascending order, then practice them as written (for example in m. 195 sing written A then F, C#, then G). If you are unaccustomed to practicing listening and singing with solfege syllables then this exercise will take a lot of work, but being able to hear the intervals and understanding the theory and musicianship behind them makes it much more simple to perform.
When preparing any band or orchestral excerpt, remember that your first goal is to be a musician, and prepare the music as much as possible. One of my mentors, David Zerkel, said that one of the more infuriating things he experiences with students in audition preparation is finding timings written in the score (e.g. 1:30 or 2:45), paired with an apparent lack of understanding of the piece as a whole. This data implies that the student was listening only to the excerpt itself and not seeing the bigger picture. Each of these excerpts serves a greater role within the section of music, and is always referencing something else throughout the movement. It is easy enough to find complete parts to this piece. The excerpts in this article were found at IMSLP.org , where there are many pieces of music that are no longer held under copyright protection.
After listening to many different recordings, you should not miss Michael Mulcahy's performance on the CD, Orchestral Excerpts for Bass Trombone, Tenor Tuba, Bass Trumpet (openly available on Spotify). His explanations of the excerpts are succinct and effective. He does a wonderful job of demonstrating the style and dynamic energy that is needed in this piece, and the characteristic tone is established fairly well in his performance. Mulcahy plays with a mostly straight tone in the solo excerpts, which I think can appropriately be embellished with some vibrato lending to the characteristic euphonium sound. In this recording, the tone color is often let loose at louder dynamics as one might expect to hear on trombone. I don't think this is effective on euphonium (let's be honest, we can't compete with the trombone section in terms of a projected forte+ section sound), so I strive to keep a dark, warm sound at all dynamics. To accomplish this, work to keep your air stream wide, and think even wider, as you speed up the air to play at louder dynamics.
Dr. Matthew Shipes is the Assistant Professor of Low Brass at Angelo State University, where he teaches the low brass studio, conducts the low brass ensembles, and teaches brass methods and music appreciation courses.
Originally from Dallas, TX, Dr. Shipes received a Bachelor of Music Education degree from Baylor University, a Master of Music degree in euphonium performance from the University of Arkansas, and a Doctor of Musical Arts degree in tuba performance with a minor in trombone performance from the University of Georgia. During his graduate studies in music at Arkansas and Georgia, Matt was an instructor for all levels of ear training courses for music majors. Before moving to San Angelo, Dr. Shipes served a similar role as Clinical Assistant Professor of Tuba and Euphonium at the University of Idaho, and was also previously an adjunct professor at Georgia College & State University, Towson University, and Shepherd University.
As a euphoniumist and tubist with The United States Air Force Band in Washington, D.C., Matthew had many opportunities to perform for former President Obama, several foreign leaders, and for hundreds of ceremonies at Arlington National Cemetery.
Dr. Shipes is currently an editor for the ITEA Journal and writes articles for and manages the Experts' Excerpts recurring column. He also serves as membership marketer and social media coordinator.
In addition to winning and being a finalist for several international and national competitions on euphonium, tuba, and trombone, he has appeared as a guest artist and given world-premiere performances at events like the U.S. Army Band's Tuba-Euphonium Workshop, and both regional and international ITEA conferences.
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