For every concerto written for euphonium and orchestra, there inevitably follows a poorly-crafted reduction of the orchestra’s material. Due to the acoustic properties of the euphonium, many lines of counterpoint that would work in an orchestra or wind ensemble simply will not be heard on piano. The act of reduction or arrangement in general of these original compositions puts the euphonium at odds with the original intent of the work. Orchestras, wind ensembles, and pianos vary significantly in their acoustical properties. Rather than try to force music where it does not belong, I have opted to write a euphonium concerto in three different versions. With each version, the euphonium solo line is treated like a cantus firmus. It remains totally unchanged, allowing any performer of the work to have three different pieces to perform out of one line. The counterpoint around the euphonium varies wildly among the three different versions: euphonium and piano, euphonium and orchestra, and euphonium and wind ensemble. The level of variation creates three pieces that sound totally different, yet are drawn from the same source material. Not only does this allow each ensemble to be treated idiomatically, but it allows for multiple treatments of a single line of counterpoint.