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Twenty-three beginning band method books are available in America, yet little pedagogical agreement exists concerning musical and technical elements. These variables emanate from the large ensemble design for each method. Certain starting pitches may enhance the overall beginning band experience while leaving the beginning euphonium student frustrated. These methods contain little substantive pedagogical framework that offers a thorough approach to musical growth. Many methods require the performance of pitches higher than the first partial. This requirement may cause embouchure malformation, negatively affecting their future flexibility and endurance. This qualitative study will codify the first pitches, pitch sequences, exercise ranges, rhythm sequences, articulations, and dynamics of these beginning band methods. The collection of this data may reveal similarities and differences between methods, leading to the possible pairing of beginning studio methods for euphonium. Before this pairing occurs, the study will examine seven beginning studio methods with the same criteria as the band methods. This pairing of select beginning band and euphonium methods may build consistency and musical growth of the beginning euphonium student. This study may encourage the future pairing of beginning band methods with other brass beginning studio methods, thus broadening student development. The conclusions of this study may result in designing a companion band method guide for use with specific studio methods, creating a supplemental, integrated studio method for use with band methods, or creating a new beginning studio method for the euphonium.

Adam Wesolowski is one of the great composers and music managers in Poland and Europe with the greatest projection today. Winner of many awards such as the «Marshal of the Silesian Province» for the promotion and protection of cultural property. His artistic production encompasses more than 100 compositions and he has made many recordings on CD. His pieces are recorded, among others, for Radio Poland and Polish Television and his music is heard in large concert halls, such as the Berlin Philharmonic, the Polish National Radio Symphony Orchestra in Katowice, the National Forum of Music in Wrocław, the Grand Theater - National Opera in Warsaw, etc. With this new concert that he has written, we want to make known a unique composer in which a series of musical characteristics concur that define his work and his way of life., Adam Wesolowski es uno de los grandes compositores y gestores musicales de Polonia y Europa con mayor proyección en la actualidad. Ganador de multitud de premios como el «Marshal of the Silesian Province» por la promoción y protección de los bienes culturales. Su producción artística abarca más de 100 composiciones y ha realizado multitud de grabaciones en CD. Sus piezas están grabadas, entre otras, para Radio Polonia y la Televisión Polaca y su música se oye en las grandes salas de concierto, como, por ejemplo, la Berlin Philharmonic, la Polish National Radio Symphony Orchestra en Katowice, la National Forum of Music in Wrocław, la Grand Theatre – National Opera en Warsaw, etc. Con este nuevo concierto que ha escrito queremos dar a conocer a un compositor único en el que concurren una serie de características musicales que definen su obra y su forma de vida.Euphory concert by adam wesolowski: music for new timesAbstractAdam Wesolowski is one of the great composers and music managers in Poland and Europe with the greatest projection today. Winner of many awards such as the «Marshal of the Silesian Province» for the promotion and protection of cultural property. His artistic production encompasses more than 100 compositions and he has made many recordings on CD. His pieces are recorded, among others, for Radio Poland and Polish Television and his music is heard in large concert halls, such as the Berlin Philharmonic, the Polish National Radio Symphony Orchestra in Katowice, the National Forum of Music in Wrocław, the Grand Theater - National Opera in Warsaw, etc. With this new concert that he has written, we want to make known a unique composer in which a series of musical characteristics concur that define his work and his way of life.

Although the euphonium has often been overlooked relative to its orchestral brass counterparts, its potential as a unique solo instrument has continued to grow and be acknowledged by renowned composers and performers of the modern era. Its voice-like tenor sound, technical facility, and wide useable range have continued to inspire challenging and exciting new solo works. However, when preparing to perform the advanced repertoire, most of the method and etude materials available to euphoniumists are dated, mostly relevant for solo music of the late nineteenth and early twentieth centuries. Many resources were actually composed for other instruments, such as the trumpet, trombone, or tuba. In this document, multiple seminal solo works, commonly used method books, and commonly used etude books are assessed to determine the specific musical and technical gaps between study materials and solo works. Materials are assessed by their uses of atonal scales and musical figures (including quarter tones and four-valve alternate fingerings); expanded upper and lower registers; degree of flexibility between registers; lip slurs and lip trills; and uncommon or extended techniques such as lip bends, valve glissandi, alternate valve tremolos, flutter tonguing, and multiphonics. Finally, a New Advanced Method for Euphonium is presented as well as a collection of etudes in order to bridge the gap between existing studies and advanced solo works.