ITEA Journal Volume 49 Number 3 (Spring 2022)

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Arranging for the Tuba & Euphonium Ensemble:
By Floyd Richmond

The tuba is a relatively new instrument, having been invented in its modern form in 1835.[1] It was a welcome addition to the brass family, providing a useful bass voice which has been used effectively by numerous composers of pieces for bands, orchestras, brass quintets, jazz combos, and other ensembles. When tubas are combined with the smaller euphoniums in its family, the resulting ensemble produces a rich sound. Through the early efforts of several key individuals and the ongoing efforts of teachers and performers around the world, the tuba and euphonium ensemble is now coming of age.

• Rex Conner, the first full-time professor of tuba and euphonium at an American University (University of Kentucky at Lexington in 1960), wrote for tuba trios and quartets. [2]
• R. Winston Morris directed the Tennessee Tech Tuba and Euphonium Ensemble, one of the earliest and longest running ensembles, from 1967 onward.[3]
• Harvey Phillips promoted tuba ensemble performance through his Indiana University ensembles from 1971 on, but also through the Tuba Christmas movement.[4]
• Barton Cummings wrote, arranged, and commissioned numerous tuba ensemble arrangements and original compositions which were played by his college and other ensembles from the late 1970s onward. [5]

And tuba teachers at numerous colleges and universities have followed their example and continue to arrange music for the students in their studios.

Many pieces for tuba and euphonium ensemble, however, do not fully integrate appropriate principles of writing for these unique instruments. This article will offer eleven principles for creating better compositions and arrangements. Many of these techniques run counter to the rules for composing or arranging which students learn in traditional music theory classes. The techniques for writing effectively for vocal ensembles or instruments which play in higher registers do not always apply equally to lower instruments. After a quick overview of these principles, each will be discussed in greater detail.

Principles for Writing Effectively for Tuba and Euphonium Ensembles:

(1) Write phrases with room to breathe. Low wind instruments require a substantial amount of air. Plan where the performers will breathe!

(2) Emphasize the melody. Melodies in lower registers have less room for harmonies below. Harmonizing above the melody can work if the harmonies are dynamically softer than the melody.

(3) Write independent parts. Writing multiple independent parts maintains interest for the listener and avoids thickening the texture.

(4) Use thinner textures in low registers. Trios, quartets, quintets, and larger ensembles can work, but for larger ensembles (a) the notes should expand more into the higher range, (b) the parts should be written more independently, and (c) space between lower voices should increase.

(5) Choose keys appropriate for the ensemble, the instruments, the players and for the music. Experienced players may perform in tune in any key, but inexperienced players will do better in keys which play well on all tubas such as F or Bb.

(6) Write in a range appropriate for the ensemble, instruments, and performers. Extremely high or low notes have more problems with tone, intonation, blend, balance, dynamics, and agility.

(7) Use active harmonic intervals like thirds and sixths, in an appropriate range. Harmonically active intervals such as thirds and sixths work well in the high register, but they blend poorly in the low register.

(8) Use fifths and octaves in the low register. Fifths and octaves keep parts from becoming too thick. Parallel fifths and octaves in the lowest voices are acceptable!

(9) Use seconds, sevenths, and tritones carefully. Seconds, sevenths and tritones are dissonant in any register, but in the low range of the euphonium and tuba, these dissonances are amplified.

(10) Favor the root when doubling chord members. When voicing chords for more than three instruments, the root should be the first choice for doubling. Fifths may sometimes be doubled but that should be rare. Thirds and sevenths should seldom be doubled.

(11) Write carefully when using inverted chords (with the 3^rd, 5^th, or 7^th in the bass). These inversions provide necessary variety in the bass line but require care to ensure they will blend.

The next section of this article will examine each of these tips in greater detail and will include musical and listening examples which illustrate the points.

Principle #1: Write phrases with room to breathe .

Virtually any performer who has switched from a small instrument such as trumpet to a larger one such as tuba will immediately notice that significantly more air is required. This difference is also noticeable from euphonium to tuba, and from the high notes of the tuba to its low notes. This means that a passage like the one in Figure 1 would be difficult unless covered by two or three players who could stagger breathing. By including breathing room as shown in Figure 2, the passage sounds similar but is approachable by a single player.

Figure 1: Performance Requires Multiple Players and Staggered Breathing

Figure 2: Performance Possible with One Performer

Listen:

Listen:

It is also essential for the composer or arranger for tuba or euphonium to include places for the performer to breathe in melodic lines and accompanying lines. Consider the top phrase in Figure 3 below. This would be difficult for a tuba player to perform in one breath. The bottom phrase is similar but is easier because it provides room to breathe.

Figure 3: Top line has no breathing room.

Bottom uses various techniques to provide space for breathing

Listen Top:

Listen Bottom:

This is accomplished through various techniques. In measure one, some notes are staccato. In measure two, some notes are omitted. In measures three and four there are long notes which the performer could cut short if air is needed. If the tempo is faster, inserting rests into the music as was done in Figure 2 should be considered.

A soloist will often choose the tempo and the dynamics for what they play based on how much air will be required to deliver the phrase. The performer in an ensemble seldom gets to choose the tempo or dynamics, so the composer or arranger must take this into account.

Principle #2: Emphasize the melody.

Normally in choral writing, the melody is placed in the highest voice. Because of the limits that would impose on melodies written for tubas and euphoniums, it is ok to harmonize above the melody. When doing so, however, the melody should be louder dynamically than the harmony. Adding appropriate dynamic markings helps performers achieve a good balance. Scan the link below to listen to this example for two euphoniums.

Figure 4: Harmony Above the Melody - Dynamically Balanced

Principle #3: Write independent parts.

A key for successful arranging for tubas and euphoniums is to write several independent parts. There are many existing musical forms which accomplish this. Marches, polkas, and Dixieland pieces often give performers different materials to play without thickening the texture. Typically, these would include an accompaniment which establishes a steady rhythmic beat and requires three voices to cover. Another part playing the melody and another playing harmony at the third or sixth would provide an additional independent part. Another part could play "fills" at the ends of phrases or add a countermelody. This variety of function found in traditional musical styles works well for tuba ensembles.

Figure 5: Independent Parts in Groups

March, Holst, Second Suite [6]

Figure 6: Independent Parts in Groups

Oh When the Saints [7]

Many traditional polyphonic pieces such as canzoni, inventions, sinfonias, and fugues also work well. For these, however, voicing must not be too thick.

Figure 7: Independent Polyphonic Parts

Canzoni IV, a4 Ch189, Gabrielli [8]

Block chords as found in most chorales do not have many rhythmically independent parts but chords that last several beats can be voiced with long-valued notes. Melodies and bass lines provide independence and make strong chorale arrangements.

Figure 8: Long Valued Notes on Chords

O Come, O Come [9]

Principle #4: Use thinner textures in low registers.

Because of the difficulty of blending low voices, attention must be given to texture. This can be accomplished using ensembles of various sizes (trios, quartets, quintets, etc.) and through the use of more independent parts and thinner voicings of chords. Varying the texture can also help increase the dynamic and harmonic contrast for the listener. The reentry of the full ensemble can build the energy and intensity of the piece.

The trio is a thin texture, but it sounds fuller in the low registers in which tubas and euphoniums play. Trios work well if the essential parts can be covered by three players. As the complexity of the piece increases, trios may overwork the performers as each player is required to cover more parts.

Figure 9: Danny Boy (trio) [10]

Quartets enable complex music with more independent parts to be played more easily. Naturally, quartets thicken the texture and harmony.

Figure 10: Danny Boy (quartet) [11]

The quintet thickens the texture of the ensemble and requires greater attention to harmonies. Quintets and larger ensembles should generally expand upward into the higher range rather than downward.

Figure 11: Danny Boy (quintet) [12]

Principle #5: Choose keys appropriate for the ensemble, the instruments, the players and for the music. There are several factors that influence the key chosen for pieces for tuba and euphonium ensembles. These include (a) how well the music works in different keys, (b) the experience of the players, and (c) how well the music works on the instruments being played.

How well the music works in different keys: The music itself often dictates which key should be used. When arranging music such as Beethoven's Fifth, or Handel's Hallelujah Chorus, or Bach's Toccata and Fugue which are strongly associated with specific keys (C minor, D Major, and D minor respectively), OR, if writing so that voices can comfortably sing with the ensemble, write as expected. Students can manage those keys. Transposing a song up by a step or two may frequently produce a significantly better result. It is worthwhile to experiment with nearby keys!

Experience of the players: Tubas and euphoniums can play well in any key and playing in new keys will expand the students' abilities. On the other hand, if the goal is writing in easily approachable keys, then the key signatures of F and Bb work well on all tubas (Bb, C, Eb or F).

How well the music works on different instruments: Tubas are constructed in many keys, but most commonly in Bb, C, Eb, or F. These tubas do not all play equally well in every key. The key of Eb has some difficulties for students on a C tuba but is popular among students trained in American bands. It is essential that C players learn to play their E flats and A flats in tune.

The key of C is unusual for students trained in American bands, but it works well with students on C tubas and with students with four-valve B flat instruments. Still for B flat players, the concert B naturals and some Cs will need a careful ear.

Many other keys pose specific intonation problems for specific tubas. For example, the key of A flat is difficult for C and F tubas, but again, we want to push students to grow. They should learn to play these keys in tune on any instrument they play.

Principle #6: Write in a range appropriate for the ensemble

There is an important distinction between writing for advanced or virtuoso soloists and writing for general ensembles. The following is a good practical range for general tuba and euphonium ensembles. Virtuosic pieces for known players can exceed these ranges with great results. For general ensembles, however, extremes in either the high or low registers do not work as well. Notes from the middle registers of the instruments (the big notes on the chart below) provide the fewest problems with tone, intonation, blend, balance, dynamics, and agility. Carols for a Tuba Christmas generally observes these ranges with only occasional notes above or below. [13]

Euphoniums Tubas

Figure 12:

Notes in extreme registers may sometimes be used if they are well prepared (stepping up to high notes, for example). In this example, the first note has a high probability of being missed by average performers, but each following measure has an increasing chance of success. Of course, ultimately, the decision will be made depending on the musical needs of the section, but in several of these cases, the composer or arranger can help the performer achieve something that might otherwise have been unplayable.

Figure 13: Approaching High Notes

Principle #7: Use active harmonic intervals like thirds and sixths, in an appropriate range.

Recommended ranges for thirds and sixths are given in Figure 14. To achieve a clean sound for tubas and euphoniums, limit the use of thirds to Bb2 (or higher) for the lowest note. If using sixths, limit the lowest note to F2 and higher. The higher the thirds and sixths are above these limits, the better! The use of these intervals, however, is subjective and acceptable intervals may vary especially at different tempos and in different musical contexts.

Figure 14: Thirds and Sixths

Listen to thirds:

Listen to sixths:

Principle #8: Use fifths and octaves in the low register.

There are a number of purists who resist using parallel fifths and octaves at any time. That is understandable given the rules of voice leading as taught in theory classes which focus on rules that work well for voices. Voices need as much thickness as possible so using parallel fifths and octaves which negate the contributions of some voices is strictly avoided. On the other hand, doubling a part at the fifth or octave in low voices is often useful for thinning the texture and is harmonically satisfying. Notice the parallel octaves and fifths in the following examples. These voicings add depth and weight to the line but preserve sonorities that are friendly to the ear.

Figure 15: Parallel Fifths and Octaves

This effect of using parallel fifths and octaves is known in other circles as well. Those who play guitar through distortion pedals often find the resulting sound is too thick for full chords. Instead, players often use power chords (open fifths) to make the distorted and harmonically active sounds approachable to their listeners.

Distorted Guitar (guitar sounds an octave lower than written)

Figure 16: Power Chords on Guitar

Fourths are inverted fifths and so generally the rules that apply to fifths apply to fourths. While fifths and octaves can be safely used for much of the lowest range of the tuba, that is not true of fourths. Listen to this collection of fourths to decide how low to go.

Figure 17: Fourths

Principle #9: Seconds, sevenths, and tritones require extra consideration.

Seconds, sevenths, and tritones are dissonant in any register, but in the range of the euphonium and tuba, these dissonances are amplified. The composer and arranger should not overuse these intervals and should place them in the high register when possible. Thinner textures may help accommodate the greater effect of these harmonically active intervals in the low register.

The first chord in this example contains a minor second interval between the tenor and the bass on the 2^nd half of the beat. The careful reader will also note that Bach omitted the third from this chord. One might think the third is an indispensable member, but in the low register, the minor second between the bass and the tenor provides enough harmonic interest. The third is not required in this case.

Figure 18: Use of the 7th

Bach, A Mighty Fortress

For another example of thinning the texture of 7^th chords, see the unusual progression of parallel major seventh chords below. This example maintains about the same harmonic weight for each note, even though the texture changes significantly from the beginning to the end. The early chords have a root, third and seventh. As the notes go lower, chords use only a root, fifth, and seventh. When the notes reach their lowest points, they use only roots and sevenths. Again, because of the active nature of these intervals, these chords produce an even harmonic weight by using drastically different voicings in the various registers.

Figure 19: Sevenths - Different Textures in Different Registers

Generally, composers and arrangers should avoid the excessive use of seconds, sevenths, and tritones and when using them, should use them in the higher register. When using them in the lower register, the composer or arranger should thin the texture of the chord to accommodate their greater impact.

Principle #10: Favor the root when doubling chord members.

When doubling chord members, composers and arrangers should favor the root for tubas and euphoniums. Doubling the fifth should be rare and may require attention to achieve a blend. Thirds and sevenths should seldom be doubled, except in the highest range of the euphonium parts.

While Bach had no reservations about including doubled thirds in major or minor chords in vocal and keyboard chorales (more in minor chords than major), even he was reluctant to double 7ths. In the example below, two chords have doubled 3rds. The second is better than the first in that it doubles the 3rds in the higher register. In the lower register, one third is enough to provide the harmonic richness desired, and one seventh is enough to potentially require a thinner texture. The best choice is to double the root when possible, the 5^th only when necessary, and the 3^rd rarely, but preferably in high registers if done.

	Bottom to top: 3, 3, 5, 1 Doubling the 3rd is the least desirable choice	Bottom to top: 1, 5, 3, 3 Doubling the 3rd in higher registers works better	Bottom to top: 1, 5, 1, 3 Doubling the root or fifth works the best

Principle #11: Use care when writing inverted chords with the 3 ^rd, 5^th, or 7^th in the bass.

Inversions of chords provide variety for the bass part but can create problems with blend. The first example below works at fast tempos but sounds thick on beat 2 at slow tempos. The next two written examples give different solutions to writing inverted chords using varying dynamics, rhythmic and melodic spacing. Each of the subsequent versions produce increasingly better results, of course, depending on the intended musical purposes.

Figure 21: Chord Inversions

Conclusion:

In traditional theory classes students learn principles of harmonization that work well for voices, keyboard, and for instruments that play in higher registers. Those who compose, arrange, or edit music for low brass ensembles must adapt these principles. The eleven principles found in this article will hopefully help composers for the tuba and euphonium ensemble produce better music. Music, however, is highly subjective, and just as in music theory, students learn principles and rules that are later violated to great musical effect, that will also be the case with these principles. A composer must give attention to details that will produce great sounds not only in individual moments, but also through time and with the combination of many complex elements. Observing these principles will give a head start, but great composing and arranging will happen when considering the work as a whole.

Biography:

Floyd Richmond teaches tuba at Tarleton State University, coordinates the music business program, and serves as the music area coordinator. He studied tuba with Harvey Phillips, Barton Cummings, Dennis Royal, and others. He is an experienced arranger and composer for tuba ensembles. Some of his arrangements are found at http://floydrichmond.com/brass .

Appreciation:

Thank you to Jim Perry, retired Texas band director, MM in tuba performance, and student of Rex Conner; to Charles Menoche, fellow tuba player, head of the music department at Central Connecticut University, and a student of R. Winston Morris; and to members of the tuba studio at Tarleton for their significant contributions through proofing this article, discussions and critiques of the authors' compositions and arrangements.

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