There are a number of recordings of this great piece, but David plays this cleaner, with better intonation, and smoother than all the rest. This is a spectacular performance.
@EuphPlayer0809 The Horovitz is a great piece! Congratulations on doing so well with it. I didn't keep track of how long it took to memorize the Sparke. It just sort-of "happens" as I practice and work on my interpretation. That gets me 80% there, so after that I have to deliberately memorize the rest. Then, if I think I have it memorized, I try to play it from memory while the television is playing a show I like. If I can get through the piece with that distraction, THEN it's memorized. Dave
I got caught in the TH-cam loop tonight on a Euphonium binge and found your recording after listening to a few others. I enjoyed your version; it had flash, drama, virtuosity exciting dynamics. I will look for more of you on here !
In this recording, made around 1992, I used a Sterling euphonium with a heavy red-brass bell. I usually used a Wick 4AL mouthpiece, but for this gig I changed to the shallower 4BL because of the overall demands of the concert/rehearsals that day.
@kdmusiq27 Thanks for the comment. The guard is home-made. I used leather, and I glued flannel to the back so it wouldn't tarnish the horn. I also attached Velcro to the edges so the guard is easy to take off for polishing the horn.
dude THAT WAS GR8 I am a 5 year state champion and i would have to take a bow to you cause that was the best tune quality with double tounging i ever heard and wow man nice tune work... and kids leave it to the pro's =] good job... speaking of which i have a marching band competition tomorrow at murphysburo illinois... GO POTOSI TROJANS!!!! =]
That's fantastic.We normally hear about the boys from across the Atlantic in London.I like that.This David sounds good,and that's without a vibratind his lips.I like the straight smooth sound.Warren Lovingood(Atlanta,Ga)
You probably have already, but if you haven't, listen to all of Anthony Barfield's concerto played by Demondrae Thurman. About 24 minutes long and the majority of notes are in the stratosphere. That man has the chops of God himself
I don't recall using 13 instead of 4 for typical 4th-valve notes here, although I do sometimes for reasons of response or fingering convenience. Here I used 13 to help tune the upper Eb concert, and I used 3 instead of 12 sometimes. Sometimes I use(d) 12 instead of 2 for intonation on high A concert. Etc. (3 is actually a "natural" fingering for middle G, for example, but works best on compensating horns.)
I got into the habit of using 1-3 on my Sovereign and kept it on the early Sterling. Works pretty well, but it can be tricky sometimes. A few years ago when I got my Sterling Virtuoso I found it was no longer necessary, so I have stopped doing that. My main alternate fingering now is 3 for concert G - works well on most horns I have played. Thanks for you comments!
wallstore, The early model Sterlings had slightly better intonation than the Bessons of that era, but the tendencies were mostly in the same direction. On the Besson I used alternates to fix intonation, so I used them on Sterling as well. 1-3 for E-flat, 1-2 for high A. The 3rd valve instead of 1-2 is more-or-less standard on compensating horns and I often use it even on my new Sterling Virtuoso, which has much better intonation.
I think this would be an appropriate "challenge" piece for a second-year student, assuming you can triple tongue. In this case, the triple-tongue passages are all simple: 3 notes on each pitch rather than moving during the triplet. (Actually, the real "challenge" is the interpretation of the opening and the middle slow section.) If you have a triple tongue, go for it! Otherwise, start working on triple tonguing and save the Fantasy for a little later. Good luck!
Actually, that is the title. I own the piece and I downloaded the audio version online. Just type in 'download sparke's fantasy for euphonium.' That's how I got it.
How high? Depends on the day, but I have performed up to a high G concert (above high Bb). I can actually reach a double-high Db concert, but I have to warm up with that in mind.
I used single-tonguing and triple-tonguing in this performance. I have a blog post on triple-tonguing that might help. Go to my blog and search for "tonguing" - use the advanced search and limit it to blog entries. Hope it helps!
I think this is answered below also, but for this recording I used a Wick 4BL. That was a little shallower than my normal 4AL, but the playing schedule that day was pretty intense, so I played it safer with the 4BL.
Mr. Werden, I'm one of Winson Morris's students and I would like to know how you think a second year euphonium would be at playing this piece, it is really nice, wonderful job, hope you visit sometime!
@Bassetenator I'm obviously not Dave Werden but if you'll accept other advice Besson 967s are good if you have a budget, only it's best to find one from the 90's and put a new set of valves in them
Yes, and I have put up a few forum posts about it. I encourage you to go to my site at dwerden dot com and click the forum link. You will find tons of good stuff there - there are some terrific members with lots of experience, and I post pretty often as well.
Certainly there are different ways to interpret it. The beginning is marked forte and quasi recitative risoluto, so it needs to be strong. But with my normal mouthpiece (a Wick 4AL instead of the 4BL I used that night) it might have sounded less rough. As far as difficulty goes, it is far from the most difficult solo, but I still believe it requires a lot of the soloist AND ensemble. There are some very tricky rhythmic passages to put together for one thing. Have you tried it with piano yet?
Sure: work it out slowly first; use lots of air on the fast notes and make sure you get a good sound on each one, move fingers accurately and quickly. For daily practice do lots of scales and slurs over chords (arpeggios). For the slow opening, listen to the recording here, look at the markings, and try to figure out what the composer wanted the "mood" to be (I'm not sure I like the way I did it, so be creative). Good luck!
Question Mr.Werden when going up to the high A on the fast section in the begining of the peice i always tend to air it out with out making a sound, i think its just the horn im playing on because i was able to hit it before on my old schools bessons sovereign but now i play on an old yamaha non compensating model with the 4th valve on the side. what would be a good way to accurately hit the A along with the 16th notes coming up and coming down?
I'm advancing to Area for the TMEA All-State band from my Region(I was First Chair) I'm a half decent player but my only downside is my range caps at a Bb and I can hit that note very easily but for years I still can't hit any not above it. Any Tips on improving Range?
To really build range you need to use a lot of air as you go higher. I don't think I can post a link in a reply here, but go to my website (dwerden dot com/blog) and do a search for "Building Embouchure Strength and Range". Click on the blog article with that title.
Awesome. Haha Thanks alot. Also im kinda in a flux. Im trying to pick a solo for our UIL contest here in texas. My choices are napoli, fantasia by jacobs, fantasia di concerto, fantasy by sparke, or arpeggione sonata. What would u recommend?
I did this for solo and ensemble, got a 1, now I'm going to state with either Fantasia by Gordon Jacob or Partita by Walter Ross. If someone can get me a good recording of the Ross it would be much appreciated.
I want to play this my junior or senior year, I think if I practice it for around a year I can do it Edit: it's my senior year and solo and ensembles are in a week and I've been playing it so long by myself that it's hard to play with a pianist 😂
@kdmusiq27 Well, naturally I'd go with the Arpeggione! But do an honest self assessment: do you think you play with a lot of musical expression and sensitivity? If so, it's great. But if you still need some work there, then the Sparke Fantasy is good, or Napoli. Good luck!
There are a number of recordings of this great piece, but David plays this cleaner, with better intonation, and smoother than all the rest. This is a spectacular performance.
This is absolutely amazing. Beautiful Euphonium sound. It doesn't get much better than a kick ass euph solo.
@EuphPlayer0809 The Horovitz is a great piece! Congratulations on doing so well with it. I didn't keep track of how long it took to memorize the Sparke. It just sort-of "happens" as I practice and work on my interpretation. That gets me 80% there, so after that I have to deliberately memorize the rest. Then, if I think I have it memorized, I try to play it from memory while the television is playing a show I like. If I can get through the piece with that distraction, THEN it's memorized.
Dave
Huge projection
Best performance
I got caught in the TH-cam loop tonight on a Euphonium binge and found your recording after listening to a few others. I enjoyed your version; it had flash, drama, virtuosity exciting dynamics. I will look for more of you on here !
In this recording, made around 1992, I used a Sterling euphonium with a heavy red-brass bell. I usually used a Wick 4AL mouthpiece, but for this gig I changed to the shallower 4BL because of the overall demands of the concert/rehearsals that day.
This is my favorite euphonium solo on TH-cam.
@kdmusiq27 Thanks for the comment. The guard is home-made. I used leather, and I glued flannel to the back so it wouldn't tarnish the horn. I also attached Velcro to the edges so the guard is easy to take off for polishing the horn.
I did Fantasia when I was in high school...GREAT piece!
Simply Amazing !
Beautifully played and lovely vibrato
dude THAT WAS GR8 I am a 5 year state champion and i would have to take a bow to you cause that was the best tune quality with double tounging i ever heard and wow man nice tune work... and kids leave it to the pro's =] good job... speaking of which i have a marching band competition tomorrow at murphysburo illinois... GO POTOSI TROJANS!!!! =]
Wonderful !!🎶🎵🎶🎶🎵🎶⭐️⭐️⭐️⭐️
That's just awesome - what a beautiful sound!
I play Euphonium myself for now 10 years, lots of respect and thanks for this video from germany!
That's fantastic.We normally hear about the boys from across the Atlantic in London.I like that.This David sounds good,and that's without a vibratind his lips.I like the straight smooth sound.Warren Lovingood(Atlanta,Ga)
how could someone dislike this. you are very good and this piece is going to be played by my symphonic band. : )
fantastic
Thanks. Huge admirations to Your work.
Phillip Sparke such an awesome writer! Especially for Euphonium.
I listen to this about once a day.
You probably have already, but if you haven't, listen to all of Anthony Barfield's concerto played by Demondrae Thurman. About 24 minutes long and the majority of notes are in the stratosphere. That man has the chops of God himself
The man. I wised I could have been his student. I could learn a great deal.
wish
Amazing! I wish I could play like that.
I love this piece, you're phenomenal!
And a very moving solo indeed.
I don't recall using 13 instead of 4 for typical 4th-valve notes here, although I do sometimes for reasons of response or fingering convenience. Here I used 13 to help tune the upper Eb concert, and I used 3 instead of 12 sometimes. Sometimes I use(d) 12 instead of 2 for intonation on high A concert. Etc. (3 is actually a "natural" fingering for middle G, for example, but works best on compensating horns.)
If I'm invited back I'll probably go - it was a lot of fun!! And a good chance to meet lots of nice folks, too.
BEAST!!!!!!!!!
Dude that is amazing, I play the baritone but im only 15. This is a huge inspiration. This is truely amazing! Good Job!!!!!!
Great Job!
I got into the habit of using 1-3 on my Sovereign and kept it on the early Sterling. Works pretty well, but it can be tricky sometimes. A few years ago when I got my Sterling Virtuoso I found it was no longer necessary, so I have stopped doing that. My main alternate fingering now is 3 for concert G - works well on most horns I have played. Thanks for you comments!
I'm playing this for this year's solo and ensemble I'll try and take it to state
wallstore,
The early model Sterlings had slightly better intonation than the Bessons of that era, but the tendencies were mostly in the same direction. On the Besson I used alternates to fix intonation, so I used them on Sterling as well. 1-3 for E-flat, 1-2 for high A. The 3rd valve instead of 1-2 is more-or-less standard on compensating horns and I often use it even on my new Sterling Virtuoso, which has much better intonation.
omg, 2:25 - 2:38 is so beautiful, it gives me chills everytime, I love it!
That's awesome
I'm doing this as a solo for Solo and Ensemble this year :)
Ah, well, I'll have to try that sometime. Thanks!
Yes, it was a Sterling (pre-Virtuoso). Before switching to the Adams Custom last year, I played Sterlings for about 20 years.
thats hardcore ur amazing dude!
I think this would be an appropriate "challenge" piece for a second-year student, assuming you can triple tongue. In this case, the triple-tongue passages are all simple: 3 notes on each pitch rather than moving during the triplet. (Actually, the real "challenge" is the interpretation of the opening and the middle slow section.) If you have a triple tongue, go for it! Otherwise, start working on triple tonguing and save the Fantasy for a little later. Good luck!
AMASING! so clean, so precise, so amazing! im an amature, and i just play for fun, but it's people like you who make me want to work harder XD
Actually, that is the title. I own the piece and I downloaded the audio version online. Just type in 'download sparke's fantasy for euphonium.' That's how I got it.
How high? Depends on the day, but I have performed up to a high G concert (above high Bb). I can actually reach a double-high Db concert, but I have to warm up with that in mind.
Thats hot
6:56 to end..awesome melody !
Very nice, also impressed to see how much hair my dad has, haha!
I used single-tonguing and triple-tonguing in this performance. I have a blog post on triple-tonguing that might help. Go to my blog and search for "tonguing" - use the advanced search and limit it to blog entries. Hope it helps!
I think this is answered below also, but for this recording I used a Wick 4BL. That was a little shallower than my normal 4AL, but the playing schedule that day was pretty intense, so I played it safer with the 4BL.
very good;)
Going to Atlanta Georgia for Bands of America... w00t only missouri high school marching band to go :D and EUPHONIUM FOR LIFE...
Mr. Werden, I'm one of Winson Morris's students and I would like to know how you think a second year euphonium would be at playing this piece, it is really nice, wonderful job, hope you visit sometime!
@Bassetenator I'm obviously not Dave Werden but if you'll accept other advice Besson 967s are good if you have a budget, only it's best to find one from the 90's and put a new set of valves in them
I like the way he uses 1,3 for hes higher for better intonation
Yes, and I have put up a few forum posts about it. I encourage you to go to my site at dwerden dot com and click the forum link. You will find tons of good stuff there - there are some terrific members with lots of experience, and I post pretty often as well.
At 3:09, that note sounds like it would be torture. Keeping good air quality without dropping the pitch, man. It's good stuff.
A high C if you read bass clef, or a D if you read treble.
Certainly there are different ways to interpret it. The beginning is marked forte and quasi recitative risoluto, so it needs to be strong. But with my normal mouthpiece (a Wick 4AL instead of the 4BL I used that night) it might have sounded less rough.
As far as difficulty goes, it is far from the most difficult solo, but I still believe it requires a lot of the soloist AND ensemble. There are some very tricky rhythmic passages to put together for one thing. Have you tried it with piano yet?
Yay! :D
Mr. Werden, what's your method to reaching those high notes. For me, beyond high G just sounds horrible when I play, it comes out very harsh sounding.
I play a 3 valve bach right now and i am looking to get a Euphonium with a 4th valve if i go into music in college, what type would you suggest?
Sure: work it out slowly first; use lots of air on the fast notes and make sure you get a good sound on each one, move fingers accurately and quickly. For daily practice do lots of scales and slurs over chords (arpeggios). For the slow opening, listen to the recording here, look at the markings, and try to figure out what the composer wanted the "mood" to be (I'm not sure I like the way I did it, so be creative). Good luck!
Question Mr.Werden
when going up to the high A on the fast section in the begining of the peice i always tend to air it out with out making a sound, i think its just the horn im playing on because i was able to hit it before on my old schools bessons sovereign but now i play on an old yamaha non compensating model with the 4th valve on the side. what would be a good way to accurately hit the A along with the 16th notes coming up and coming down?
I'm advancing to Area for the TMEA All-State band from my Region(I was First Chair)
I'm a half decent player but my only downside is my range caps at a Bb and I can hit that note very easily but for years I still can't hit any not above it. Any Tips on improving Range?
I love this! Where can I get music for the solo? I want to try it. :)
Interesting, is there a reason you substitute the 1 and 3 fingering for the 4th valve?
His valve stroke looks so short. I play a Yamaha 842 and it takes about 3 months for a valve to compress and return, even when they are smooth :(
Nice playing. What gear does he use?
To really build range you need to use a lot of air as you go higher. I don't think I can post a link in a reply here, but go to my website (dwerden dot com/blog) and do a search for "Building Embouchure Strength and Range". Click on the blog article with that title.
Awesome. Haha Thanks alot. Also im kinda in a flux. Im trying to pick a solo for our UIL contest here in texas. My choices are napoli, fantasia by jacobs, fantasia di concerto, fantasy by sparke, or arpeggione sonata. What would u recommend?
Do you have any tips on building range?
Um...Philip Sparke's Fantasy for Euphonium. It says in the title.
1:33
Great job on the solo!! :)
Also what kind of euphonium guard is that? Im trying to buy one for my horn.
I did this for solo and ensemble, got a 1, now I'm going to state with either Fantasia by Gordon Jacob or Partita by Walter Ross. If someone can get me a good recording of the Ross it would be much appreciated.
Baritone or Euphonium? :D
I play the Euphonium ^.^
I want to play this my junior or senior year, I think if I practice it for around a year I can do it
Edit: it's my senior year and solo and ensembles are in a week and I've been playing it so long by myself that it's hard to play with a pianist 😂
Hey David, what mouthpiece did you use in the recording?
A Denis Wick 4BL (my normal mouthpiece is a 4AL)
@kdmusiq27 Well, naturally I'd go with the Arpeggione! But do an honest self assessment: do you think you play with a lot of musical expression and sensitivity? If so, it's great. But if you still need some work there, then the Sparke Fantasy is good, or Napoli. Good luck!
What kind of mouthpiece did you use
Looks like a Sterling euphonium?
how high can he play?!!!!
same thing^^
i played Eupho. for 6 years but never solo haha
I never said it was, vincentrioux did. And whom ever can't tell the difference probably can't tell the difference between a drummer and percussionist
chops o steel
lol, true, there is no double tongueing, theres only a few bits of triple tounging
i have a baritone
@tromboneteen13 It's grade 6.
let your music professor tell you that..I hear miami uni or indiana state would have a good music program
they're not the same!
เล่นเก่งจัง
Gorgeous. You must have an extra lung!!
If i could triple tongue like that......well lets just say that no women would be wanting. Haha. Euphoniums and Baritones all the way
Congrats. Unlike you, though, he actually knows what he's doing.