Amos, Keith. Carin. CMA Publications, 1991. d to a¹. 4 min.
This is a jazz-ballad, but has been written in 12/8 instead of swing 4/4 to aid the jazz novice. It is not terribly difficult, but does provide an introduction to jazz styling.

Amos, Keith. Concerto for Euphonium and Wind Band. CMA Publications, 1995. Range: to c². 11 min.
Pleasantly melodic and well crafted, this work deserves to become a standard of the repertoire. Some lip trills are required, but should be generally playable by a advanced high school student.

Amos, Keith. Cushion Dance. CMA Publications, 1992. FF to a¹. 2.15 min.
Overall, this piece is fast (126), and requires good rhythmic skills. There are many meter changes and syncopations, but it should be playable by a good undergraduate college player.

Bach, Jan. Concerto (w/orchestra). Tuba Press, 1994. BB^b to c². 11 pgs.
As with his Concert Variations, this piece requires much rhythmic skill. It does not, however, demand the same unusual techniques. In 3 movements, with no pause in-between, it is printed in a manuscript style that is difficult to read. It has very chromatic harmonies, and uses tenor clef extensively.

Barat, J. Ed. Introduction and Dance. Southern Music Co., 1970. C to g¹. 3pgs.
The "Introduction" is a slow, fanfare-like section in f minor. After a short cadenza, it changes to allegro, which begins the "Dance". Some 1/16 triplets and sextuplets are used, but it is not difficult overall. This would be suitable for a good high school player, or a young undergraduate.

Barat, J. Ed. Morceau de Concours. Alphonse Leduc, 1930. C to b^b1.
This is a lyrical piece, in a romantic style. It has 2 cadenzas in the first section, followed by a 3/4 allegro at 1/4= 200. The allegro consists mainly of 1/4 and 1/8 notes, with some triplets. The last 27 bars accelerate to the end.

Boguslaw, Robert. Fantasy. Tuba Press, 1996. D to c². 6 min.
An a-tonal sounding work, with a lyrical intro, followed by repetitive 1/16^th-dotted 1/8^th’s in intervals of 4^th’s and 5^th’s. The next section is vivace, in a pointilistic style. The lyrical melody returns at the end, adding a mute for the last 9 bars. Interesting for practice playing contemporary music, but not very memorable as a piece of music.

Bourgeois, Derek. Euphoria (w/brass band). Vanderbeek & Imrie, Ltd., 1983. B^b treble clef only. F to c². 8 min.
A very difficult piece, consisting mainly of running 1/16^th’s with many accidentals. It is tonal, but changes key centers rapidly. Unfortunately, this work is not as memorable as his trombone concerto.

Bousted, Donald. Rant. Composer Press, 1995. EE^b to b³.
This piece seems to have been written almost too difficult to play. Even the composer admits that the soloist must "achieve previously unheard of technical feats on the instrument." It is so difficult, in fact, that he offers a tape of a computerized performance to learn it. This piece is not recommended.

Bowen, Brian. Euphonium Music. Rosehill Music, 1984. B^b treble clef only. A to c². 15 min.
In 3 movements, the first uses a haunting, lyrical theme based on an interval of a major 7^th. This is followed by a very fast (1/4=168) section derived from the opening theme. The 2^nd movement is andante con espressivo, and in C major. The 3^rd movement moves through the keys of A^b, B^b, G^b, and F, with some difficult 1/16^th triplets and even 9 and 10 tuplets. This work makes great use of the euphonium's technical and lyrical abilities, while staying within idiomatic writing, making it a wonderful contribution to the repertoire.

Brubaker, Jerry. Rhapsody for Euphonium. Tuba Press, 1994. GG^b ot c². 3 pgs.
As the title suggests, this piece is very "rhapsodic", ranging from flowing to flashy. It spends most of its time above the staff, and has several high c's. Most of the fast runs are diatonic, and the meter changes are few, making this a very tuneful and pleasant work.

Busch, Carl. Recitaiive, Arioso, and Polonaise. Belwin, 1940. F to c². 3 min.
A virtuoso style piece, in 3 sections (as the title suggests). The key ranges from A^b minor to E^b major. There are no difficult rhythms, but there are many 1/16^th’s.

Butterworth, Arthur. Partita. Comus, 1991. B^b treble clef. F to c^#2. 9 min.
Published only in treble clef, this work consists of 5 short movements, each one in a different meter and style. It is tonal, but shifts key centers frequently. Overall, it is a bright and cheerful work.

Campbell, Bruce. Meditation (w/organ). Southern Music, 1990. D to a¹. 3 min.
This is in the key of D major, and has a floating, lyrical, almost modal sound to it. It would be good for a high school or young college flow study.

Censhu, Jiro. As Wonderful Things Drift By. Zen-On Music, 1990. BB^b to c². 8 pgs.

Cohen, Sol B. Concert Piece. Belwin Mills, 1941. G to a^b1. 3-4 min.
Though not difficult technically, this piece does tend to stay above the staff. It would be suitable for a younger student.

Combelle, F. Premier Solo De Concert. Alfred Music, 1927. G to g¹. 2pgs.
The introduction is allegro (1/4=128), followed by a cadenza. Then it uses slow melodic statements, punctuated by rapid notes in the piano. This is then followed by a lyric andante section, and then a polonaise; which ends the piece in a bombastic, virtuoso style.

Coply, Evan. Sonata. Tuba Press, 1998. C tog¹. 7min.
Opening with a flowing melody, this sonata is not overly difficult, in spite of frequent arpeggios and some wide leaps in the development. The 2^nd movement is more intense and flashy, but maintains continuity by using melodic material from the 1^st movement.

Corwell, Neal. Sinfonietta (w/piano or orchestra). Nicolai Music,1995. BB^b to d². 17.30 min.
This piece is similar to a 4-movement symphony in form, but is really more of a concerto. It is a virtuoso piece, requiring a good high range, endurance, octave leaps, double tonguing, flutter tonguing, and overall excellent technical ability.

Corwell, Neal. Three Farewell Pieces. Tuba Press, 1995. G to b^b1. 3 pgs.
The 1^st movement is a song-like elegy. The 2^nd is an intermezzo, with faster rhythms and some percussive sections. The 3^rd is a lullaby, in 6/8. It is a tonal piece.

Corwell, Neal. Zeke and Zebedee (w/narrator). Tuba Press, 1995. F to b^b1. 3-4 min.
This is a light-hearted but perhaps preachy piece about the brotherhood of man. Several fun classical and even rock music pieces are quoted throughout the piece.

Cowell, Henry. Tom Binkley's Tune. Merrymount, 1947. e^b to a^b1. 1 pg.
Although interesting from a historical perspective, this is an easily forgettable tune , consisting mainly of slurred scales and arpeggios in the key of A^b.

Cronin, Robert P. Sonata. Tuba Press, 1995. BB^b to b¹. 8 min.
A very contemporary sounding piece, with awkward intervals and rhythms. It is tonal overall, however, but often chromatic. The piano is also difficult, requiring more rehearsal than usual.

Cummings, Barton. To Speak-To Dance-To Dream-To Live. Cimarron, 1995. CC to c². 14.30 min.
Written in 4 movements, each one mirrors its name in the title. They are listed as "Dialogue", "Rolicking", "Reflections", and "In a Blaze". It requires a good low C, fast fingers, and a solid upper register. Movement 3 has 3 sharps in the key. Overall, it has an atonal sound. The piano part is very contrapuntal and difficult.

Curnow, James. Concerto (w/piano, band, or orchestra). Curnow music Press, 1998. C# to d². 14.30 min.
Though not as intense and attention grabbing as his Symphonic Variants, this piece requires just as much endurance and technical skill. There are several high d's, and some long phrases. Also, the last movement has some very difficult runs on the last page. There are no pauses between movements, which are separated only by cadenzas.

De luca, Joseph. Beautiful Colorado. Carl Fischer, 1924. F to b^b1. 4 pgs.
Beautiful Colorado is a classic of the repetoire, with early 20^th century charm. It is not extremely difficult, but a solid high B^b is required, as it is used frequently.

Denmark, Max. Introduction and Polonaise. Ludwig, 1950. A^b to b^b1. 2pgs.
The b^b minor "Introduction" is very dramatic and pompous ( with a few 1/32 notes), but overall is pleasingly melodic. The "Polonaise" consists largely of running 1/16 notes, ranging from B^b to e^b. The last 9 bars speed up, with the only high B^b at the very end. Generally a virtuoso style piece.

Dewhurst, Robin. Panache (w/band). Grammercy, 1995. G to e^b2. 2 pgs.
In a neo-romantic style, this piece starts andante cantabile, requiring a strong upper register to stay cantabile on 1/16^th notes that run to high B^b. The rest is presto (1/4=160), with mostly 1/8^th notes. The only e^b2 is at the very end, with an optional c².

Doughterty, William. Meditation and Celebration. Ludwig, 1984. Ab to b^b1. 3 pgs.
The "Meditation" is in D^b, and is both lyrical and diatonic. The "Celebration" is allegro (1/4=144-152), with much use of syncopation, but the rhythms never go beyond 1/8^th notes. This is a good introductory piece to contemporary-sounding literature.

Doughterty, William. Sonata. Tuba Press, 1993. BB^b to b^b1. 10 pgs.
This work is very contemporary in style, but is tonal. Unfortunately, this difficult solo is made more so by the crowded typesetting. Individual 1/8^th’s are given short beams, not flags, which adds to the problem. Overall, very difficult to read.

Fritze, Gregory. Concertino for Euphonium and Band. Tuba Press, 1997. E to d^b2. 11 min.
Starting with a cantabile melody, this work makes good use of the euphonium’s lyrical qualities. It requires an advanced player, due to some awkward leaps and an overall high tessitura. The rhythms are easily read, however, and the fast flourishes at the end are all scale-like. In addition, the high D occurs only once.

Gillingham, David. Blue lake Fantasies (unaccompanied). Leonard Falcone International Festival, 1995. BB^b to f². 14 pgs.
Written as a 5 movement suite, this piece requires a great upper register, low register, endurance, and flexibility. Some of the faster tempos are 1/4=172 and 1/2=112. The most unique aspect of this work is probably the 3^rd movement, which is in a jazz swing style. The 4^th requires some difficult multiphonics, but the most difficult aspect is the piece’s great length as an unaccompanied work. Many performers might choose to program only 2 or 3 movements.

Gillingham, David. Vintage (w/band). Tuba Press, 1992. C# to e^b2. 4 1/2 pgs.
Vintage is a very expressive piece, with much emphasis on triplets, especially 1/4 notes on the same pitch. A good low register is required, as one must play melodically below F. Most of the piece has a 1/4 note pulse, with a short 6/8 section. A wonderful 46 measure cadenza before the end really gives one a chance to show off in all registers.

Gollard, John. Euphonium Concerto (w/band). J. & W. Chester, 1984. F to e^b2. 15 min.
Due to the length and generally high tessitura of this work, it should be recommended to only advanced college or professional players. Triple tonguing is required, along with many meter shifts and fast runs. The writing is idiomatic for euphonium, however, and is very tuneful.

Hoch, Peter. From the Quiet (unaccompanied). Tuba Press, 1996. 14 min.
Organized into 5 movements, this work uses almost every unusual playing technique imaginable. The performer not only has to use multiphonics, but must also speak through the horn; play with slides removed, and in addition plays crotales and a small organ pipe.

Horovitz, Joseph. Concerto (w/brass band). Novello, 1991. B^b to c². 16 min.
This is a very tuneful piece, but has some sequential patterns that take unexpected turns. Some fast 1/16^th triplets occur frequently in the 3^rd movement, and sometimes include wide intervals. Overall, however, it is suitable for the undergraduate student.

Ihlenfeld, Dave. Clouds. Tuba Press, 1996. C to a^b1. 4 min.
This piece is a rolling jazz ballad, written in a light an floating style, as the title suggests. Unfortunately, the melodic material is not very strong. Chord symbols are given to allow improvisation.

Ito, Yasuhide. Fantasy Variations (with band). Musikeller Inc., 1990. FF to c². 5-6 min.
There are 3 variations to this piece; "Ciaconna", "Rondo", then "Fugue". Written in a neo-romantic style, it is very pleasing melodically and requires a solid upper register, as it spends a lot of time there.

Jarrett, Jack. Prelude and Canticle. Tuba Press, 1994. F# to d^b2. 6 pgs.
This is a tonal work, but it shifts harmonies chromatically, so that it seems to have no tonal center. The printing is unfortunately poor, with ties between notes obscured by staff lines, and triplet marks printed on note beams. Because of this, it is hard to recommend.

Linkola, Jukka. Euphonium Concerto. Bernel Music, 1996. EE^b to f ². 28 min.
Probably this is one of the most difficult works available, requiring tremendous range and ability. Some of the sextuplets are disjunct, along with wide intervals and many chromatic runs. At present, the piano score is still in manuscript form, making it difficult to read for the accompanist.

Llewellyn, Edu. The Premier. Remick Music, 1940. B^b to b^b1. 2pgs.
This piece opens with a fast and short piano intro, followed by a loud, bold
cadenza for the soloist. Then follows an easy moderato section, with some slightly difficult 1/16^th note leaps. Next it is allegro, with many 1/16 triplets and two 1/32^nd scale-like flourishes. Generally this is an early 20^th century style virtuoso piece.

Mac Davis, William. Rondo Concertante. Tuba Press, 1995. E^b to c². 4 pgs.
This is a difficult piece, which visits high B^b and C visited regularly. It is tonal, but switches meter frequently. If one has good rhythm and a solid upper range, this will be a moderately difficult piece.

Madsen, Trygve. Sonata. Musik-Husets Forlag, Oslo., 1997. E^bto b^b1. 8 pgs.
In 3 movements, this might be more accurately termed a sonatina. It makes great use of the euphonium’s lyrical ability, using slurs almost exclusively. The thematic material is strong and well developed, and the piece is not extremely difficult overall.

Martino, Ralph. Introspect. Tuba Press, 1996. BB^b to b^b1. 4-5 min.
Resembling a 12-tone piece in style and sound, this a-tonal work seems to drift without any unifying melodic material. It becomes increasingly chromatic towards the end, with many repetitive up and down figures. In addition, the piano part rarely seems to relate to the soloist rhythmically, making this even more difficult.

Mira, Mari. Romance. Tuba Press, 1997. F to b^b1. 3 min.
A very lyrical piece, with room for personal interpretation of dynamics throughout. A good piece for learning melodic development, without being too difficult.

Ponchielli, Amicare. Concerto for Euphonium and Band. Editions Marc Reift, 1992. F to b^b1. 13 min.
Written in the style of the late romantic era, this is a work that showcases the euphonium's lyrical and technical abilities. The Sommerhalder edition has the better piano reduction.

Reeman, John. Sonata for Euphonium. Studio Music, 1997. B^b treble clef only. Requires "fibre mute". E^b to c^#2. 5 pgs.
This piece has both lyrical and "pointillistic" elements to it. Overall, it has an a-tonal sound, and has very chromatic harmonies. Many wide leaps are used at high speeds, making for a very difficult piece.

Rehkin, Igor. Sonata for Euphonium and Piano. Tuba Press, 1997. F to c². 6.30 min.
Written in 3 movements, this is a fairly difficult work, suitable for an advanced college player. There are many 1/16^th and 1/32^nd passages that are made more difficult by the addition of accidentals, with some oddly notated rhythms throughout. The ability to glissando is also required, along with playing groups of 5, 6, 7, 11, 12, and even 13 notes on a single beat.

Richards, Goff. Midnight Euphonium. Studio Music Co., 1993. B^b treble clef only. B^b to b^b1. 3-4 min.
With almost a jazz ballad sound to it, this piece would make a wonderful diversion from the norm on a recital. It is very melodic and expresive, and not overly difficult.

Richards, Goff. Rangitoto. Studio Music Co., 1995. F to b^b1. 5 pgs.
The title of this piece refers to an island of New Zealand, and the music thus strives to evoke a "south pacific" mood through the use of pentatonics and "wind and wave" flourishes. It is quite beautiful and song-like, with room for faster tempos if one desires it.

Schmidt, William. Phantasy on an American Spiritual. Western International Music Inc., 1997. D to b^b1. 3-4 min.
Written as a sort of theme and variations, this has some difficult rhythms in the 5/8 variation, but could be played by a good high school student. It is unclear what the composer intended by the title "Phantasy", rather than "Fantasy".

Sherman, Donald. Concertpiece: Scared So. Tuba Press, 1994. D^b to c². 5 pgs.
An unusual feature of this piece is the frequent use of 1/2 valve glissandos that sometimes cover over an octave in range. There are also many meter changes, but it has a 6/8 feel overall. Some tenor clef is used, and the player must shift from the high to low register quickly and often. A different sort of work, suitable for college players.

Sibbing, Robert. Reverie and Frolic. Tuba press, 1997. BBb to c². 3-4 min.
This piece is a pleasant virtuoso style work in the style of the early 20^th century. The "Reverie" is lyrical and has a wide ranging melodic line. The "Frolic" is in 4/4 at 120, and in E^b. Many of the scale flourishes are slurred, so it is not too difficult overall. What can be troublesome, however, are the frequent changes from bass to tenor clef. In addition, it is printed as manuscript, which has been reduced in size, making some parts difficult to read.

Sparke, Philip. Aubade. Studio Music Co., 1984. Bb treble clef. f to b^b1. 2-3 min.
Although a short piece, this work makes many demands on the performer in melodic interpretation and phrasing. It is mostly lyrical, with several tempo inflections. There are 10 rallentandos on its single page, for example. It is a good piece to practice expressive playing.

Sparke, Philip. Euphonium Concerto. Studio Music Co., 1995. D to d^b2. 8 pgs.
With its strong thematic material and idiomatic writing, this piece should be more prominent in the American repertoire. A solid high range is needed, since it visits there frequently. Some meter changes occur, but it is mostly in 4/4, and then mostly in 6/8 for movement 3.

Sparke, Philip. Fantasy(w/brass band). R. Smith & Co.,1995. B^b treble clef. GG to c². 3-4 min.
Written in a virtuoso style, this has many 1/16^th triplets and grace note flourishes. It does not spend an undue amount of time in the upper register, but does have some wide and fast leaps occasionally. This piece is written in the form of a fantasia, with many pentatonic sounding melodic figures. Advanced techniques such as tremolo and trills are used, along with some challenging rhythms. It would probably be more prominent in the American repetoire, if it were not published only in Japan.

Uber, David. Skydream. Tuba Press, 1992. G to a¹. 4 min.
Written in a neo-romantic style, this piece has a very smooth and melodic feel. The rhythms are simple, with mostly slow 1/16ths (1/4=56). The tessitura, however, tends to stay in the upper range.

Wiggins, C. D. Soliloquy IX for Solo Euphonium. Emerson Horn Editions, 1993. B^b to d². 4 min.
This is an unaccompanied piece, with a mix of lyrical and technical material suitable for young college musicians. Many rhythmic changes provide a challenge for the soloist, but the tessitura stays mostly in the mid-range.