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I generally play a full dynamic bigger than indicated, even with great ensembles who understand to stay below the soloist. Being a soloist with brass band and wind band, I find that I never really explore a true piano dynamic.

I rely on taking massive amounts of air in so that I can play as big as possible without forcing my lips to overwork. The euphonium is incredibly difficult to be heard over a band in general because of the conical nature and the fact that the bell is facing the ceiling and not the audience. When I’m on stage as a soloist, that is a different skill set to a degree as well. Otherwise, the same rules apply for me as they do in the American wind band in terms of supporting, doubling, etc. When I’m playing solo/principal euphonium as I do in Brass of the Potomac, I find myself using a very vocal/operatic vibrato way more often, particularly in solo lines or lyrical lines with the euphoniums and baritones. Unless it’s an expressive solo line in the wind band, I never use vibrato in the American wind band setting.

If I’m the dominant solo line (Colonial Song, Commando March, Planets, etc), I’m singing out and getting the sound to the back of the hall as quickly as possible. If I’m supporting, I’m making sure I’m giving the trombones/trumpets/etc enough of a foundation. If I’m doubling, I’m always listening down to the lower voice that I’m doubling (if it’s tuba, etc). When in the wind band, the euphonium is usually either doubling, supporting, or singing as the solo line. American wind band euphonium versus British brass band euphonium are two different identities. When I’m playing in an ensemble, whether it be with the United States Air Force Band or Brass of the Potomac, I’m always aware of what my role is at that time. One can argue that when you’re the soloist, you can move the time around when emoting, but this must be purposeful and for enhancement of musical line only, never accidental. Those simply cannot be compromised, ever, regardless of solo playing or ensemble playing. There are four what I call “non-negotiables”. Can you discuss the differing approaches you take to ensemble playing as opposed to soloing?Įnsemble playing versus solo playing are, in most cases, two different skill sets but with the non-negotiables being the same. If my aperture remains open and if tension stays away, I can generally play my full register with the same embouchure set.Ģ. I try to use my ear 100% of the time and allow my air to do the work for me. I only pivot when I’m playing extreme loud dynamics on pedal notes. Having said that, I try to think of everything being as much on “one embouchure” set as possible. The whole “paralysis by analysis” can creep in if I’m not careful. I honestly try not to think too much about what my face is doing when I play. Rolf plays a Francesco Gofriller cello made in Venice in 1705.From Kentucky to flying high with the United States Air Force Band, Brandon Jones always has a plan! Join the “Fourth Valve” tm as he shares his passion for music, keen insights regarding the euphonium and experiences with aplomb! Enjoy…. Rolf joined the New Zealand String Quartet in May 1994 and in 2014 he was made a Member of the New Zealand Order of Merit (MNZM) for his outstanding services to music in New Zealand. He has performed with such eminent artists as Menahem Pressler, Anton Kuerti, Piers Lane, Tasmin Little, Nobuko Imai and Gervaise de Peyer. Rolf furthered his studies from 1990 with the great Pablo Casals protégé and Beaux Arts Trio cellist Bernhard Greenhouse at Rutgers University, where he received his doctoral degree in cello. During this time he was also a member of the New York Piano Trio. Rolf returned to North America to study with Zara Nelsova which led to further study with the members of the La Salle, Hungarian, Vermeer, Cleveland and Emerson string quartets.Īs a member of the Laurentian Quartet for almost a decade he toured internationally, made five CDs and taught cello at Sarah Lawrence College in New York.

At 22 he became the youngest member of the Berlin Symphony Orchestra. Rolf Gjelsten began cello studies in his native city Victoria, Canada, with James Hunter and Janos Starker at the age of 15.