5
Euphonium/Baritone
Acoustical Properties: Th e acoustical and physical tonal characteristics of an instrument that aff ect its sound quality. Tone is produced by vibrating the lips (buzzing) inside the mouthpiece cup, which is essentially a metal, bowl-shaped cup with a thick rim.
Baritones have more cylindrical bores than euphoniums; however, both instru-ments are predominantly conical, and both instruinstru-ments have large fl ared bells. As a result, baritones and euphoniums produce a full complement of partials. Like other brass instruments, the baritone/euphonium produces several harmon-ics (partials above the fundamental) using fundamental fi ngerings. Th at is, one fi ngering can be used to produce several pitches (or partials) within its corre-sponding harmonic series. Th ese partials are produced by varying lip tension, air speed, and air direction. Like most brass instruments, the baritone/euphonium produces several harmonic series by pushing valves to access additional tubing. Each valve lengthens the instrument tube to some degree and changes the funda-mental pitch. It is the capacity to change the length of the instrument tube and the manner in which the air column vibrates that enable baritone/euphonium players to produce a harmonic series on several fundamental pitches, thus achieving all of the notes of the chromatic scale.
Th e overall length of the baritone instrument tube is the same as the overall length of the trombone instrument tube. Th erefore, the open fundamental and the resultant harmonic series of the baritone are the same as those for the trombones. Tonal diff erences between the baritone and the trombone result primarily from the diff erences in tube construction. Like the trombone, the lowest resonance of the baritone/euphonium is not actually a member of the natural harmonic series that governs the rest of the pitches produced. Th e only “fundamental” that can be produced on the baritone/euphonium is actually a pedal tone, whose fundamental frequency does not correspond to a resonance of the instrument. As a result, the fi rst naturally occurring note in the harmonic series (practically speaking) is the Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Wind Talk for Brass
second partial. Because a full harmonic series (except for the fundamental) can be produced on each valve combination, many notes can be played using several fi n-gerings. In most cases, the fi ngering that depresses the fewest valves is used. One exception is concert A-fl at (open) above the bass clef staff . Because the A-fl at is the seventh (7th) partial in the open valve harmonic series, it is very fl at in an equal-tempered tuning system. Th e better fi ngering for concert A-fl at is fi rst valve (1).
As a practical matter, most high school baritone/euphonium players achieve a range extending from the second partial to about the sixth or seventh partials. Advanced players typically achieve a range extending beyond the tenth partial. A more thorough discussion of brass acoustics is under Acoustical Basics in chapter 1. See also Harmonics/Harmonic Series/Partials, page 62
Action: See Action, page 6
Adjusting Pitch: Th e process of raising or lowering the pitch of notes. A general discussion of adjusting pitch is located under Intonation in chapter 1. Specifi c sug-gestions for adjusting pitch on euphonium are under Intonation in this chapter. Air Stream: See Air Stream, page 8
Alternate Fingerings/Alternates: Fingerings not considered standard or basic that can be used to support or enhance musical performance. Alternate fi ngerings are most oft en used to minimize awkward fi ngerings or to improve intonation in specifi c musical contexts. Decisions regarding when to use alternate fi ngerings and which ones to use should ultimately be determined by the musical result. Th at is, does using the alternate fi ngering improve the musicality of the performance?
Most notes on the euphonium can be played using more than one valve com-bination. In general, the fi ngering requiring the fewest valves is preferred; some-times, however, another fi ngering may be appropriate. A general discussion of alternate fi ngerings is under Alternate Fingerings/Alternates in chapter 1. Common alternate fi ngerings for the euphonium are listed. A notated summary of these alternates appears in fi gure 5.1. See also Alternate Fingerings/Alternates, page 8
Figure 5.1. Common Alternate Fingerings (Euphonium)
Euphonium/Baritone Common Alternate Fingerings for Baritone/Euphonium
(Bass Clef/Four Valve)
Th e regular fi ngering for fourth-line F-natural is open (0). Th e reg-1.
ular fi ngering for top-line A-natural is second valve alone (2). Th e regular fi ngering for C-natural above the staff is fi rst valve alone (1). All three of these notes can be fi ngered 1-3.
First-line G-natural, third-line D-natural, top-space G-natural, 2.
and B-natural above the staff are all fi ngered 1-2. Th ese notes can also be fi ngered with the third valve alone (3).
Low E-natural below the staff and second-line B-natural (fi n-3.
gered 1-2-3 on three valve instruments) are normally fi ngered 2-4 on four valve instruments. Both fi ngerings (1-2-3 and 2-4) can be used on four valve instruments.
Low F-natural below the staff and second-space C-natural (fi n-4.
gered 1-3 on three valve instruments) are normally fi ngered with the fourth valve alone (4) on four valve instruments. Both fi nger-ings (1-3 and 4) can be used on four valve instruments.
Amado Style Water Key: A water key used for brass instruments that, unlike conventional water keys, has a small brass cylinder with a spring and piston on the inside and a hole pointing toward the fl oor on the outside. Th e piston pro-trudes from the cylinder and is pushed to release water through the hole in the bottom of the cylinder. Th e Amado style water key is compact, and the spring mechanism is on the inside of the cylinder; however, it tends to stick if it gets too dirty. When the action of the piston begins to slow, a drop of key oil can be applied to loosen it. Amado style water keys are available on some euphoniums, although they are more commonly found on trumpets because they do not gener-ally allow suffi cient drainage for larger brass instruments.
Articulation: See Articulation/Articulative Styles, page 14
Assembly: Th e manner in which an instrument is put together before being played. Handling instruments properly during assembly minimizes the risk of damage. Carefully assembling instruments using a defi ned assembly proce-dure can help signifi cantly reduce wear and tear on the instrument. Th e baritone and euphonium can be effi ciently and safely assembled using the steps listed. Figures 5.2, 5.3, and 5.4 can be used to guide the assembly process.
Make sure that the case is right side up, and open the case while it 1.
is on the fl oor or on a solid surface (such as a table). Do not open Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Wind Talk for Brass
Figure 5.2. Euphonium before Assembly
the case in the lap. Remove the mouthpiece and check the shank to make sure it is free of dirt and grime. Set it back in the case. Remove the euphonium from the case by the outer tubing, rather 2.
than by the valves or the bell. Check the valves and slides for ease of action. Oil the valves and/or grease the slides if necessary. If the instrument is equipped with a detachable bell, remove it 3.
from the case. Stand the body of the euphonium upright in the case or keep it secure in the lap (with one hand on it). Assemble the bell and body, securing the sections by tightening the screws. Grip the euphonium with the left hand while keeping the instru-4.
ment securely in the lap. Remove the mouthpiece from the case and gently insert it straight into the leadpipe until the mouthpiece stops. Give the mouthpiece a gentle twist to the right to secure the mouthpiece into place.
Euphonium/Baritone
Never force the mouthpiece directly into the leadpipe. A very common prob-lem among beginners is to hit or “pop” the mouthpiece with the palm of the hand, causing the mouthpiece to become stuck in the leadpipe. A mouthpiece puller is the standard tool for removing stuck euphonium mouthpieces. Never use a household tool to attempt to remove a stuck mouthpiece. See Mouthpiece Puller, page 92; Oiling Valves, page 113
Attacks: Th e way tones are started. A detailed discussion of attacks is in chapter 1. See also Releases/Cutoff s, page 117; Tonguing, page 145
Figure 5.3. Euphonium Assembled
Wind Talk for Brass
Automatic Compensating System: See Compensating/Automatic Compensating System, page 363
Balance and Blend Considerations: In general, brass instruments blend well together because of their similarities in construction and design. Some instru-mental teachers recommend that players play on the same or comparable mouth-pieces in a particular ensemble for a more homogeneous sound. In addition, some teachers encourage students to use the same brand and/or model of instrument to further enhance blend.
In a typical wind band with fi ft y to sixty players, two baritones or euphoni-ums are oft en recommended as a good number for balance considerations. Th e
Figure 5.4. Assembled Th ree Valve Baritone with an Upright Bell
Euphonium/Baritone number of euphonium players in any wind group depends largely on the type of sound desired, the number of instruments available, and the number and strength of euphonium players in the program.
Baritone/Euphonium, Diff erence Between: See Diff erence Between Baritone and Euphonium, page 365
Bath, Baritone/Euphonium: A process in which the instrument is disassem-bled, immersed in lukewarm, soapy water, and cleaned thoroughly. Baritones/ euphoniums that are used daily and instruments that have accumulated a great deal of grime should be given a bath every month or two. Baritones/euphoniums that have not been played for several months and newly acquired used instru-ments should be given a bath before being played. A bath is not a substitute for regular cleaning and maintenance. Bathing a baritone or euphonium should be done with care to keep from damaging any of the parts or pieces.
Because of the size and shape of the euphonium, it may be easier to clean the instrument outside rather than inside in a bathtub. Th e outdoor method uses water pressure from a garden hose to fl ush soap through the instrument, whereas the indoor bathtub method uses a warm-water soak to loosen dirt and grime. Th e bathtub method can also be performed outdoors using a large tub or wading pool. Both methods can be used to eff ectively clean the euphonium. Th e bathtub method is described in chapter 2. Simply add more warm water and dish soap in the tub to accommodate the increased size of the euphonium. Th e outdoor method is described here. See also Care and Maintenance, page 37
Outdoor Method
Prepare the area (preferably a grassy area free of anything that 1.
might scratch or damage the instrument) near the hose with large towels. Designate one or two towels for instrument pieces.
Take the euphonium out to the prepared area. Pour a large amount 2.
(at least one cup) of dishwashing soap into the bell.
Prepare the hose by wrapping a towel or other cloth around the 3.
end of the hose so that the hose will seal about one foot inside the bell. Alternatively, the instrument may be fl ushed from the mouthpiece end by securing the garden hose connector to an old mouthpiece or mouthpiece shank, or by fashioning an appropriate adaptor from household materials.
When the hose is ready, turn on the water. Th e hose is properly 4.
positioned if the water is going through the instrument and out the leadpipe. Make sure all of the valve tubing is soaked by pressing Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Wind Talk for Brass
the valves. Run only enough water to get the soap through the entire instrument. Do not rinse the euphonium yet.
Let the euphonium soak in the soapy water for about half an hour. 5.
Rinse the instrument using the same fl ushing method described above. Make sure to rinse all of the valve tubing by depressing the valves. Rinse until the water runs clear.
Prepare a bucket or small tub of lukewarm (not hot) soapy water. 6.
Lay the euphonium on the towels and remove the valve slides and 7.
tuning slides. If the slides stick, use a few drops of penetrating oil on them and allow them to sit for at least fi ft een minutes before trying to remove them again. Place the slides in the warm soapy water. Remove the valves (piston valves only) and valve caps. Remove 8.
the fi nger buttons from the valve stem.
Remove any felt and foam rubber pieces. If they cannot be reason-9.
ably removed, do not soak the pieces to which they are attached. Soak all metal parts in the soapy water.
Use a snake to clean the inside of the slides. Rinse each slide with 10.
the hose until the water runs clean. Place each clean piece on a towel to dry.
Rinse the metal valve pieces and lay them out to dry. 11.
When the instrument is dry, apply slide grease to the slides 12.
and reassemble them. Replace the valve caps with a very small amount of slide grease to prevent them from getting stuck. Oil the valves liberally and reassemble them.
13.
Beats: See Beats, page 18
Bell: Th e bell is the fl ared end of a brass instrument. In general, bells with faster tapers sound darker, and bells with slower tapers sound brighter. Baritones/ euphoniums are typically available with one of two diff erent bell confi gurations: (1) an upright bell, and (2) a forward-facing bell (bell forward). Th ese confi gura-tions are shown in fi gures 5.5 and 5.6. Th e upright bell provides a warmer, more diff used sound, while a forward-facing bell gives a more directional sound. See also Bell, page 18; Detachable Bell, page 365
Bell Screws/Bell Lock Screws/Bell Tension Screws: Th e screws that hold a detachable bell. Some baritones and euphoniums are equipped with three screws that hold the detachable bell to the instrument body.
Bell Th roat: See Bell, page 18 Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Euphonium/Baritone
Bore Sizes, Euphonium and Baritone: Th e inner tube diameter of the eupho-nium or baritone. Bore size infl uences tone quality and response and is a signif-icant factor in determining the playability of an instrument. Euphonium and baritone manufacturers off er a wide range of bore sizes. Bore sizes generally range from around .500 inch to around .590 inch; however some professional instru-ments are made with bore sizes around .630 inch. In addition, if the instrument is equipped with a fourth valve and/or an automatic compensating system, then the bore sizes of the main bore, the fourth valve bore, and the bore of the compensat-ing system may all be diff erent.
Figure 5.5. Th ree Valve Baritone with a Detachable Bell
Wind Talk for Brass
Although the same instrument may be labeled baritone or euphonium, par-ticularly in the United States, one of the diff erences between the two instruments is bore type. Generally, the baritone has a more cylindrical bore than the eupho-nium, which has a largely conical bore. Th is diff erence in bore type, as well as bore size and other factors, gives each instrument a slightly diff erent tone quality.
Generally, small-bore instruments respond more easily than large-bore instruments, but they have a smaller, thinner, and brighter tone quality. Large-bore instruments produce a much larger, more open tone quality, especially in the low range. Playing experience, intended use of the instrument, and desired tone quality best determine which bore size is most appropriate for each player. See also Bore, Instrument, page 21
Figure 5.6. Baritone with an Upright Bell
Euphonium/Baritone Bore, Mouthpiece: Th e interior of the baritone or euphonium mouthpiece behind or below the throat. Th e size of the bore directly aff ects the size of the shank. Th e bore size (and shank size) of a euphonium mouthpiece is larger than the bore size (and shank size) of a baritone mouthpiece. As a result, a true baritone mouthpiece will not fi t in the leadpipe of a euphonium unless a shank adapter is used. A detailed discussion of the mouthpiece bore is found under Mouthpiece/ Mouthpieces in chapter 1. See also Bore, Mouthpiece, page 23; Mouthpiece/ Mouthpieces, page 391
Bottom Bow: Th e U-shaped section at the bottom of the baritone or eupho-nium between the bell taper and the fi rst branch. Th e bottom bow is frequently equipped with a guard, because it is particularly susceptible to dents and dings. See also Parts, Euphonium, page 393
Bottom Valve Caps: Th e caps attached to the bottom of the each piston valve. Some players remove the bottom valve caps to oil the valves rather than removing the valves from their casings and oiling them properly. When the valves are oiled from the bottom of the valve casing only, the oil does not eff ectively and evenly coat the walls of the valve casings. In addition, the oil will leak out of the hole in the bottom of the valve cap when the instrument is turned upright. See also Parts, Euphonium, page 393; Top Valve Caps, page 402; Valve Caps, page 407
Bow: In general, any tubing on a brass instrument that is U-shaped or roughly semicircular. On euphonium or baritone, the large curved tubing at the bottom of the instrument is called the bottom bow. See also Parts, Euphonium, page 393 Branch: In general, a long, straight length of tubing on a brass instrument. Branches and bows are used in instrument design to create the wrap on a baritone or euphonium.
Brass Valve: See Valve, Brass, page 149
Breathing/Breath Support/Air Control: See Breathing/Breath Support/Air Control, page 23; Circular Breathing, page 43
Care and Maintenance: See Bath, Baritone or Euphonium, page 355; Care and Maintenance, page 37
Cases, Instrument: Generally speaking, the cases that come with a new eupho-nium or baritone are the best cases to use daily, especially for young players. Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Wind Talk for Brass
Th ese cases are usually hard shell with a soft ly lined, molded interior that protect the instrument well and properly fi t the instrument. In addition to molded com-partments for each part of the instrument, hard cases usually provide adequate storage for valve oil, slide grease, and other euphonium accessories. Used eupho-niums may come with no case or with a case that does not fi t the instrument. It is essential that a secure, protective, and properly fi tted case be obtained for the instrument before it is used regularly, especially in a school setting.
A variety of aft ermarket cases is available. Th e common cases are traditional hard shell cases, fl ight cases, and gig bags. Th e amount of protection off ered by these cases varies. Generally, the shell consists of synthetic-covered rigid plastic, carbon fi ber, Cordura (a very strong canvaslike material), or leather. Th e interiors are typically padded with lined high-density foam. Other features include shoul-der straps, carrying handles, and accessory pockets. Some cases are contoured to fi t the baritone or euphonium and designed to be as compact as possible. Others are designed to hold a large amount of gear. Th ere are several reputable aft er-market case makers, including Altieri; Amati; Besson; Cerveny; Dynasty; Gewa; Headcase; HISCOX; Humes and Berg; MTS; Reunion Blues, Pro Tec, Stagg; and Yamaha.
Key Questions
Q: Are all cases well constructed and designed?
A: No. Students should not purchase cases without checking them out thoroughly. Many cases do not protect instruments properly and/or are designed for professional use, not student use. Inspect each case for ade-quate padding, sturdy and secure hinges and handles, and a proper fi t for the instrument. An ill-fi tted or poorly constructed case will inadequately protect the instrument, which may result in damage. In addition, select a case that is appropriate for the situation. For example, a smaller, sleeker case may be tempting, but if it has no compartment for the mouthpiece or valve oil, it may become inconvenient very quickly.
Q: Are separate cases for accessories available?
A: Yes. Cases (pouches) for mouthpieces, accessory cases, and even mute cases and music cases are available.
Q: Do all baritones and euphoniums come with cases?
A: Not always. Check whether or not the case is included when purchasing an instrument. Both new and used instruments are sometimes sold without Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Euphonium/Baritone cases. Sometimes extra money can be saved on the cost of an instrument by purchasing it without the standard case; however, many players prefer having a standard case in addition to any gig bag if the bag does not off er maximum protection.
Chair Pegs: Metal rods that can be used on some baritones and euphoniums to help support the weight of the instrument during play. Chair pegs, such as the one shown in fi gure 5.7, can be particularly helpful for young players; however, advanced players may fi nd that these devices limit mobility and control.
Choosing an Instrument: See Instrument Selection, page 65
Figure 5.7. Euphonium with Chair Peg
Wind Talk for Brass
Circular Breathing: See Circular Breathing, page 43
Clefs: Th e bass clef and the treble clef are used to notate music for the baritone. In the bass clef, the baritone sounds as written (like the trombone). In the treble clef, the music is written in B-fl at and sounds an octave and a major second (a major ninth) lower than written. Baritone music is written in treble clef to facilitate the transfer from trumpet or cornet (both pitched in B-fl at). Th at is, it is common for students to begin on trumpet and then switch to baritone later, so that when the music is written in treble clef B-fl at, players can use the same fi ngerings as they do on trumpet, and they do not have to learn to read music in a new clef.
Key Questions
Q: Is there a diff erence in a treble clef and a bass clef baritone?
A: No. A treble clef baritone is exactly the same instrument as a bass clef baritone. Th e designation “treble clef” or “bass clef” baritone is used to describe or refl ect which clef is being read by a particular player. In other words, the phrase “treble clef baritone” indicates that a player is reading tre-ble clef music, and the phrase “bass clef baritone” indicates that a player is reading bass clef music.
Q: Why are the fi ngerings diff erent for bass clef and treble clef baritone? A: As a rule, when a part is written in treble clef, it is transposed to adjust to the key of the instrument. Th is transposition is consistent with the way music is notated for other treble clef brass instruments, includ-ing trumpet. Writinclud-ing baritone music in treble clef enables players transi-tioning from trumpet to baritone to retain the same set of fi ngerings and enables them to read music in a familiar clef. Treble clef baritone parts are written in B-fl at and are written a major ninth higher than the actual sound produced.
On the other hand, when the baritone reads music in bass clef, it is non-transposing. Th at is, the music makes no accommodation for the pitch of the instrument; it is written in concert key. Because the music does not account for the transposition of the instrument, players must do so by learning fi ngerings that correspond to the correct concert pitch. For teach-ers looking for “tricks” to remembering fi ngerings, it is helpful to know that second-line B-fl at on bass clef baritone corresponds to middle C-natural (just below the staff ) on treble clef baritone or trumpet. Th e relationship of these two notes is a major ninth.
Euphonium/Baritone Compensating/Automatic Compensating System: A valve tubing system on low brass instruments designed to bring the low register in tune and to create a full chromatic scale between the fi rst and second partials by adding additional valve tubing. Compensating systems have extra tubing on one valve that detours through compensating loops on other valves. Compensating loops are shown in fi gure 5.8. Th e fi rst fi ve chromatic fi ngerings on the instrument (2, 1, 3, 2-3, and 4) do not employ the compensating system, but the next six fi ngerings (2-4, 1-4, 3-4 or 1-2-4, 2-3-4, 1-3-4, and 1-2-3-4) do use the compensating system. Th e advan-tages of a compensating mechanism are improved intonation, access to a full chromatic scale between the fi rst and second partials, and the ability to use more conventional fi ngerings in the lower octaves. Th e disadvantages of the compen-sating system are an instrument’s increased weight and cost and the additional resistance or “stuffi ness” experienced by some players. Compensating systems are typically used on professional four valve euphoniums, although three valve euphoniums may have compensating systems as well. Figure 5.9 shows a compen-sating euphonium and a non-compencompen-sating euphonium.
Figure 5.8. Compensating Loops
Wind Talk for Brass
Conical: A term used to describe the cone-shaped tubing oft en used in instru-ment construction that is relatively narrow on one end (e.g., the mouthpiece end) and gradually widens toward the bell. All baritones and euphoniums are conical; however, the euphonium is more conical than the baritone. See also Acoustical Basics, page 3; Acoustical Properties, page 349; Cylindrical, page 365
Construction and Design: Th e euphonium and baritone are pitched in B-fl at, one octave lower than the trumpet and one octave above the tuba. Euphoniums and baritones are typically made of brass, and most instruments are fi nished with brass lacquer or silver plate. Th e terms “baritone” and “euphonium” are oft en used interchangeably, especially in the United States; however, euphoniums tend to be conically shaped, while baritones tend to be more cylindrically shaped. Baritone and euphonium bells may be fi xed or detachable, and they may face upward or curve slightly to face forward.
Student-line instruments and almost all “baritones” typically have three valves and a range of more than two octaves. Intermediate and professional euphoniums (and baritones) are usually equipped with four valves, extending the instrument’s range downward a perfect fourth and improving pitch on certain notes by pro-viding alternate fi ngerings. Th is fourth valve may be placed in line with the other valves and operated with the right hand, or placed lower on the instrument and operated with the left hand. In addition, many professional euphoniums and bari-tones are available with a compensating mechanism that redirects tubing from
Figure 5.9. Compensating and Non-Compensating Four Valve Euphoniums
Euphonium/Baritone the last valve (typically third or fourth) back through extra compensating loops on the other valves. Th is mechanism can help intonation signifi cantly, especially on lower notes, but it also adds signifi cant weight, extra resistance, and additional cost to the instrument.
Th ere are several bore sizes available for the baritone and euphonium. Generally, large-bore instruments are classifi ed as euphoniums, and small-bore instruments are classifi ed as baritones. Th e receiver size for the mouthpiece can also vary from instrument to instrument, and baritone and euphonium mouth-pieces are available in diff erent shank sizes to accommodate these size variations. Another critical component of the baritone and euphonium is the mouthpiece. Its construction and design signifi cantly aff ect tonal and response characteristics. Th e choice of mouthpiece is a matter of personal preference, and there is no one-size-fi ts-all mouthpiece. Trying several mouthpieces is important when select-ing an appropriate mouthpiece for any given player. Experimentselect-ing with a wide variety of mouthpieces also deepens players’ understanding of tone production and response. It is common for advanced players to have more than one piece for diff erent playing situations. Finding a good fi t between the mouth-piece and the player is critical to proper tonal and technical development. See also Compensating/Automatic Compensating System, page 363; Mouthpiece/ Mouthpieces, page 391
Cylindrical: A term used to describe the shape of the tubing oft en used in instru-ment construction. Unlike conical tubing, which is narrow on one end and grad-ually fl ares, cylindrical tubing remains the same diameter along the entire length of tubing. All baritones and euphoniums have both cylindrical and conical ing; however, the baritone’s tubing is more cylindrical than the euphonium’s tub-ing. See also Acoustical Properties, page 349; Cylindrical, page 45
Detachable Bell: A bell that can be removed from the body of brass instru-ments. Detachable bells are secured to the instrument by means of screws and are designed to be taken apart for storage and transport. Detachable bells are most commonly found on horn, euphonium, tuba, and sousaphone. Figure 5.10 shows a baritone with a detachable bell. See also Detachable Bell, page 46
Diaphragm: See Breathing/Breath Support/Air Control, page 23; Diaphragm, page 47
Diff erence between a Baritone and a Euphonium: Although some confusion exists about the diff erences between a baritone and a euphonium, some general-izations can be made about the shape of the bore and bell fl are in diff erentiating Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Wind Talk for Brass
between a baritone and a euphonium. A true baritone is designed with about half cylindrical tubing and a relatively short, quick bell fl are. Th ese design character-istics produce a brighter, sharper sound than the euphonium. A true euphonium is designed with mostly conical tubing and a relatively long, gradual, bell fl are culminating in a wider bell opening than the baritone. Th ese characteristics pro-duce a sound that is deeper, rounder, and mellower than the baritone. Diff erences between a baritone and a euphonium can be seen in fi gure 5.11.
As stated above, pinpointing exact diff erentiations between the baritone and euphonium is tenuous. One commonly stated diff erence between a baritone and a euphonium is that the euphonium has a larger bore size and tends to be more conical than the baritone. Another commonly stated diff erence is that the baritone has three valves and the euphonium has four. Yet another diff erence refers to the bell placement, the bell of the euphonium pointing upright and the bell of the baritone facing forward. It is important to note that these diff erences vary so much from one manufacturer to another that the labels “baritone” and
Figure 5.10. Detachable Bell
Euphonium/Baritone
“euphonium” are oft en used interchangeably, especially in the United States. No exact bore size, bore shape, bell size, bell placement, valve confi guration, or valve placement is recognized universally by manufacturers as specifi cally dis-tinguishing a baritone from a euphonium. In the most general sense, a smaller, more cylindrically bored instrument with a forward-facing bell and three front-action valves is more likely to be called a baritone, whereas a larger, more coni-cally bored instrument with an upright bell and four top-action valves is more likely to be called a euphonium. Intermediate and professional instruments are likely to be called “euphoniums,” whereas beginning instruments are likely to be called “baritones.” Th e fact is that all of these physical characteristics are mixed and matched on many makes of instruments, and that these instruments may be called either “baritone” or “euphonium.” Virtually all baritones and euphoniums are pitched in B-fl at, and play in roughly the same range; however, the variety of diff erent physical characteristics available off ers players a wide range of tonal and response characteristics from which to choose. Bore size and shape, bell position, and valve confi guration greatly aff ect the tone, intonation, response, and range of any given instrument.
Figure 5.11. Comparison of a Baritone and a Euphonium
Wind Talk for Brass
Dizziness/Lightheadedness: See Dizziness/Lightheadedness, page 47
Double Bell Euphonium: A euphonium constructed with two bells (one small and one large) used primarily in the latter part of the nineteenth century. In addi-tion to the larger fi xed upright bell, the double bell euphonium also had a smaller, detachable, forward-facing bell. Th e larger fi xed bell was more conical, and the smaller bell was more cylindrical. It is generally believed that the instrument was intended to do “double-duty,” emulating the sound of a trombone when nec-essary by accessing the smaller bell via an extra valve. Th e double bell eupho-nium was used in the Patrick S. Gilmore band in the late 1880s, and was used in American school and service bands for several decades into the 1950s and 1960s. Th ese instruments are rarely seen today and are considered collectors items. Double-Tonguing: A technique that enables performers to tongue duple pat-terns rapidly. See Multiple-Tonguing, page 106
Doubling Considerations: Baritone and euphonium players may double on other low brass instruments, including trombone and tuba. For example, it is common for euphonium players to play trombone in jazz band, or play a sousa-phone or marching baritone in marching band. It is also common for players to start on trumpet and move to baritone. Th e main considerations when doubling are to fi nd a good mouthpiece/instrument combination, to become familiar with the feel and response of the new instruments, and to learn the intonation tenden-cies of all instruments. If players are playing more than one instrument during a session, then they should also become familiar with how it feels to switch back and forth between the two instruments.
Draw Knob: In general, a small knob usually on a valve slide that allows the valve to be safely grasped for removal. On most baritones and euphoniums, a draw knob (or ring) is placed on the second valve slide. See also Parts, Euphonium, page 393 Draw Ring: A small ring on a valve slide that helps players adjust and remove slides. Draw rings are oft en on the second valve slide. See also Parts, Euphonium, page 393
Dynamic Considerations: See Dynamic Considerations, page 48; Intonation, page 384
Embouchure: Tone is produced by vibrating the lips (buzzing) inside the mouthpiece cup. Although all brass instruments use the same basic embouchure Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Euphonium/Baritone techniques, there are some signifi cant diff erences between the embouchure tech-niques required to play diff erent brass instruments. Th e placement of the mouth-piece varies on brass instruments. For example, trumpet players typically use a one-half upper to one-half lower lip ratio, whereas horn players almost always use a two-thirds upper to one-third lower lip ratio. Th is ratio varies slightly from player to player. On baritone and euphonium, the upper- to lower-lip ratio is typ-ically half and half or two-thirds upper lip to one-third lower lip depending on the player. In addition, the baritone and euphonium embouchure is more relaxed than the other brass embouchures, aside from the tuba’s. As a result, the lip aper-ture is larger. Players with dental irregularities or braces may fi nd the baritone or euphonium more comfortable to play than the trumpet or horn because the larger mouthpiece allows more room for adjustments and accommodations. Proper embouchures are shown in fi gures 5.12 through 5.15. A full discussion of general considerations for brass embouchures is under Embouchure in chapter 1. See also Embouchure, page 368
Endurance/Stamina: See Endurance/Stamina, page 54
Extended/Contemporary Techniques: In general, ways of producing sounds on an instrument that are not traditionally characteristic of the instrument or
Figure 5.12. Embouchure
Wind Talk for Brass
Figure 5.13. Embouchure in the Low Range
Figure 5.14. Embouchure in the Middle Range
Euphonium/Baritone
not typically called for in standard literature. A detailed discussion of these techniques is under Extended/Contemporary Techniques in chapter 1. See Also Extended/Contemporary Techniques, page 56.
Family: See Instrument Family and Playing Considerations, page 382
First Branch: On the baritone or euphonium, the section of tubing that con-nects to the bottom bow, runs upward parallel to the bell taper. See also Parts, Euphonium, page 393
First Valve Slide: Th e slide on the fi rst valve that can be adjusted to correct pitch. Th e fi rst valve slide is generally adjusted manually (by hand) during the tuning process. Advanced players also tune the fi rst valve by pulling a ring attached to the slide with the left hand during play. Some professional baritones and euphoni-ums have trigger mechanisms on the fi rst valve slide to facilitate pitch adjustment. Th e fi rst valve slide is generally used when playing in the low range, especially on low C-natural and low B-natural. It is also used on high F-natural, which tends to be a very sharp note. See also Parts, Euphonium, page 393; Tuning Slides, page 403; Tuning/Tuning Note Considerations, page 404
Figure 5.15. Embouchure in the High Range
Wind Talk for Brass
First Valve Trigger: See First Valve Slide, page 371
Flexibility, Lip: A term used to describe a brass player’s ability to move quickly from one note or one partial to another. Greater lip fl exibility assists in playing fast passages and large intervals. As players gain experience and develop embouchure muscles and breathing techniques, fl exibility is typically improved. Lip slurs, scales, and interval playing also help develop fl exibility. See also Embouchure, page 368; Endurance/Stamina, page 54
Fourth Valve: Many brass instruments, including baritones, euphoniums, and tubas, are commonly equipped with a fourth valve that extends the range down-ward a perfect fourth. Although the fourth valve extends the range downdown-ward, its primary benefi t is that it can be used to correct inherent intonation problems associated with certain valve combinations. Figure 5.16 shows the two placements for a fourth valve. A detailed discussion of the fourth valve is under Fourth Valve in chapter 1.
Fourth Valve Placement: See Fourth, Fift h, Sixth Valve Placement, page 59
Figure 5.16. Side Action and In-Line Fourth Valve Placements
Euphonium/Baritone Front Action: A term used to describe the placement of the valves on the instru-ment. If the valves are placed on the front of the inner tubing, the instrument is considered a front action baritone or euphonium. Players reach the right hand, wrist, and arm around to the front of the instrument to reach these valves. Front-action valves may be rotary or piston valves. A front Front-action baritone is shown in fi gure 5.17. See also Side Action, page 397; Top Action, page 401
Fundamental: See Fundamental, page 61
Guard, Bow: In general, a metal reinforcement strip that covers the outer por-tion of a bow. On the baritone/euphonium, an added piece of metal is soldered
Figure 5.17. Front Action Baritone
Wind Talk for Brass
onto the bottom bow to act as reinforcement and to help prevent dents. Th e bot-tom bow is particularly susceptible to damage, and care should be taken to avoid hitting it against other hard objects, such as chairs, stands, and the fl oor.
Half-Valve: See Half-Valve, page 62; Extended/Contemporary Techniques, page 56
Hand/Holding/Instrument Playing Positions and Posture: Holding the bari-tone/euphonium properly and maintaining good hand position and playing posi-tion are key factors in developing good technique, facility, and ease of playing. In addition, good hand position, playing position, and posture will reduce muscle fatigue and help players avoid physical problems, including carpal tunnel syn-drome and muscle strain. Th e baritone/euphonium may be played in a sitting or standing position. Th e seated position is most frequently used for ensemble playing, while the standing position is most oft en used for solo playing. Whether to perform solos in a seated or standing position depends on the size, strength, experience, and ability of the individual player. Suggestions in this section for appropriate hand position, holding position, instrument position, and posture apply to top action and front action instruments.
Left Hand/Arm Position (Top and Front Action—Th ree Valve and Four Valve In-line)
Th e left hand and arm support and balance the instrument. 1.
Whether seated or standing, the left arm wraps around the instru-ment, and the left hand grasps the outside of the instrument above the valves and near the top curve. Th e back of the hand faces out-ward, and the knuckles of the hand are positioned in line with (at the same angle as) the tubing. Th e left thumb is wrapped around the back of the tubing, and the wrist remains straight. Th is posi-tion is shown in fi gure 5.18.
Th e left elbow is held at slightly less than a 90-degree angle. Th e 2.
bottom of the baritone/euphonium can be tucked between the forearm and the body, or the instrument tubing can be held securely against the body, depending on the size of the player and the design of the instrument.
Left Hand/Arm Position (Top and Front Action—Four Valve Side Action) Th e left arm wraps around the instrument. Th e left hand is posi-1.
tioned so that the side-action fourth valve can be operated with Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Euphonium/Baritone
the left -hand index fi nger and so that the weight of the instrument can be partially supported by the left hand. Th is position is shown in fi gures 5.19 and 5.20.
Th e left elbow is held at about a 90-degree angle. Th e bottom of the 2.
baritone/euphonium is tucked between the forearm and the body. Th e bottom of the baritone/euphonium can be tucked between the forearm and the body, or the instrument tubing can be held securely against the body, depending on the size of the player and the design of the instrument.
Figure 5.18. Front Action Baritone Playing Position
Wind Talk for Brass
Right-Hand/Arm Position (Top Action)
Th e right hand is positioned above the left hand to access the valve 1.
buttons. Th e hand should be arched as if forming an open “C” or as if holding a ball so that the pads of the fi ngers rest comfortably on the fi nger buttons. Th e index fi nger is positioned over the fi rst valve fi nger button, the middle fi nger is positioned over the second valve fi nger button, and the ring fi nger is positioned over the third valve fi nger button. If the instrument is equipped with an in-line fourth valve, the little fi nger is positioned over the fourth valve fi nger button. Th e fi nger pads should push the valve buttons down from the top of the button (not the side) to facilitate technique and prevent undue wear and tear on the valves. Diff erent brands and models of baritones and euphoniums will position the valves at slightly diff erent angles. Adjust hand position slightly so that the valves are depressed at the correct angle. Th is position is shown in fi gures 5.21 and 5.22.
Th e right thumb is placed in the thumb ring or under the tubing, 2.
depending on the design of the instrument. Th e wrist remains straight.
Figure 5.19. Top Action Hand Position
Figure 5.20. Position to Operate Side Action Valve
Wind Talk for Brass
Th e right elbow is held at a comfortable angle away from the body 3.
to allow proper access to the valves. Right-Hand/Arm Position (Front Action)
Th e right hand is positioned below and in front of the left hand to 1.
access the valve buttons or spatulas. Th e right arm reaches around to the front of the instrument. Th e wrist may bend slightly. Th e right thumb is placed in the thumb ring, and the fi ngers arch 2.
slightly so that the fi nger pads are placed comfortably to operate the valves effi ciently. Adjust the hand position so that the valves are depressed at the correct angle.
Figure 5.22. Playing Position (Side View)
Euphonium/Baritone Th e right elbow is held slightly away from the body and forward to 3.
allow access to the valves. Th is position is shown in fi gure 5.18. Holding/Instrument Position
Th e weight of the baritone/euphonium should be supported pri-1.
marily by the left arm, left hand, and the body. Initially, smaller, younger players may need to lay the instrument at a more pro-nounced side angle in their laps while playing; however, as players grow, they need to adjust their instrument positions. One problem with resting the instrument at a pronounced angle in the lap is that it can become habit, and as players grow, they do not adjust the angle of the instrument appropriately. As a result, they slump over and slouch while playing to compensate for the instrument being held too low instead of holding the instrument higher with the forearm and maintaining proper instrument position. Using a stand or a rest made specifi cally to support the euphonium while players are smaller may help develop better habits until players can comfortably and properly support the instrument.
Whether seated or standing, the baritone/euphonium is held at 2.
a diagonal angle across the body. With top action instruments, the bell is positioned to the right of the player’s head. With front action instruments, the bell is positioned to the left like a tuba. Th e mouthpiece comes directly to the mouth, and the right arm is positioned so that the fi ngers reach the valves easily and com-fortably. Th e bell and bell taper remain close to the body and the instrument is positioned slightly outward.
Th e elbows are held away from the body in a relaxed manner. 3.
Holding the elbows too close to the body inhibits proper play-ing position. Holdplay-ing the elbows out too far away from the body causes unnecessary tension. Proper playing positions are shown in fi gures 5.18 through 5.21.
Posture
Sit up straight (but avoid being rigid or tense) with feet fl at on the 1.
fl oor. Position the legs and feet comfortably, about a shoulder’s width apart.
Slouching and slumping are common problems with baritone and 2.
euphonium players. Unless players are small, they should be able to Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Wind Talk for Brass
reach the mouthpiece comfortably with the instrument positioned properly in an upright manner. Many players slouch in an attempt to accommodate for an incorrect (usually sideways) instrument position. Players should sit up straight and hold the instrument properly so that the mouthpiece comes directly to the mouth. Players should not have to reach up or down for the mouthpiece. Avoid being tense or tight in the playing position because tension 3.
impairs both the mental and physical aspects of playing the bari-tone and euphonium.
Keep the head straight and relaxed. Avoid tilting the head down-4.
ward or to the side.
Many posture problems result from poor placement of the music 5.
stand. Th e music stand should be in a position that enables each player to read the music comfortably and easily and to see the teacher/ director while maintaining proper playing posture. Stands placed too far to one side force students to abandon good playing positions. Players who share music stands oft en experience this problem.
Hand Guard: A piece of leather or fabric made to protect the areas of brass instruments that receive the most hand contact. Left -hand guards are available for baritone and euphonium that cover the fi rst branch where the left hand holds the instrument. Covers are also available for the valve casings.
Harmonics: See Harmonics/Harmonic Series/Partials, page 62
History: Th e euphonium’s earliest ancestor is generally believed to have been the serpent, whose invention is credited to Canon Edmé Guillaume of Auzerre in France around 1590. Th e serpent had a snakelike shape and was constructed of wood, brass, or silver. It was played with a deep-cup mouthpiece into which the player buzzed the lips to produce a sound, and it had six holes for changing pitch. Th e serpent was commonly used for almost three hundred years, most oft en as a supporting voice for the tenor and bass in church choirs and also in military and civic bands in France, Belgium, and England.
Pitch was a serious problem with the serpent, and was eventually replaced by the ophicleide, which was introduced in 1817 by Jean Hilaire Asté. Th e ophicleide was a low-keyed bugle that was made of brass and shaped roughly like a saxo-phone with a cup mouthpiece. Even though it was in use until roughly the end of the nineteenth century, it was soon replaced with rotary and piston valve instru-ments. Some confusion exists as to the euphonium’s origins, even though Herr Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Euphonium/Baritone Sommer of Weimar is credited with inventing the euphonium circa 1843. Some people have suggested that Carl Moritz invented the fi rst euphonium with a four valve “tenor basshorn” he developed in 1838, and still others credit Adolphe Sax because he developed a valve bugle family of instruments in 1843.
Th e name “euphonium” is derived from the Greek language, meaning “sweet voiced” or “great voiced.” Because of the euphonium’s big, pleasing, transparent tone and wide range, spanning from tenor to bass registers, the euphonium was an immediate hit with performers, band directors, and composers.
Th e euphonium has undergone many variations. It has had as many as fi ve valves, including rotary valves, piston valves, and combinations of the two. Th e valves have been placed in line, at an angle, in separate groupings of three and two or three and one, and the valves have been placed on the instrument in a variety of locations. Th e euphonium has been built with the bell straight up, forward facing, directional, slightly fl ared, widely fl ared, and side-facing. A double-bell eupho-nium was in use for a time and included both fi xed and directional bells, or one fi xed and one directional bell, most oft en with the smaller bell facing forward. Th e compensating mechanism was introduced in 1874 by David Blaikley, and it has remained largely unchanged.
Instrument Angle: Th e baritone/euphonium is held at an angle across the body so that the bottom bow of the instrument is on the left side of the body and the bell is to the right of the player’s head. In addition to the angle across the body, the instrument is held so that the lower bell side is touching the body and the fi rst branch side is held slightly outward away from the body. Th e leadpipe and mouthpiece should be positioned to comfortably reach the player’s mouth. Th e mouthpiece contacts the lips at a slightly upward angle. Th at is, the mouthpiece slants downward slightly from the lips. Th is angle allows the upper lip to vibrate more freely, which contributes to a better tone quality. See also Hand/Holding/ Instrument Playing Positions and Posture, page 374; Mouthpiece Angle, page 391 Instrument Brands: Several brands of baritones/euphoniums are available from which to choose. Some makers carry several models to accommodate a wide range of playing skills and budgets. Other makers carry models that are particularly suited to certain skill levels, budgets, and playing situations. Used instruments are also a good option for many players, and used instruments made by reputable manufacturers are available. When searching for an inexpensive or used instru-ment, beware of “off ” brands and particular instrument models (regardless of brand) that have not performed up to a high standard. Th e following list includes several reputable baritone/euphonium manufacturers. Although this list is not exhaustive, it does provide a good starting point for research. See also Instrument Selection, page 65
Wind Talk for Brass
Baritone/Euphonium Manufacturers
Bach; Besson; Dalyan; Getzen; Hirsbrunner; Holton; Jupiter; Kalison; King; Meinl-Weston; Sterling; Weril; Willson; and Yamaha.
Instrument Family and Playing Considerations: Th e baritone and euphonium are oft en considered the high voice of the low brass section, or the low tenor voice in the brass section. Both the euphonium and baritone are similar enough in size, range, and playing technique that they are most oft en discussed together in terms of playing considerations. In fact, many instruments produced today are actually hybrid instruments in that they contain characteristics and design features com-mon to both instruments.
Members of the euphonium and baritone family commonly include a small number of instruments adapted to meet special circumstances. For example, the three-quarter-size baritone is available to accommodate smaller, usually youn-ger players who are not comfortable handling a full-size instrument. Th e march-ing baritone is confi gured like a trumpet with a front-facmarch-ing bell and vertical top-mounted valves. Various confi gurations and instrument styles are shown in fi gures 5.23 through 5.27.
Baritones and euphoniums are adaptable to a wide variety of physical char-acteristics. Th ese instruments are large, but not too cumbersome, and can be comfortably handled by most students. Because the mouthpiece is signifi cantly larger than that of a trumpet or horn, the embouchure used to play these instru-ments is more relaxed. Because of the relaxed embouchure, some students may fi nd baritone or euphonium more comfortable to play, particularly if they have braces or other dental irregularities. Euphonium and baritone players should have or be able to develop a strong air stream. Some teachers start their players on euphonium with the idea of switching them to the tuba aft er they mature. Th e switch from euphonium to tuba is a logical one and poses very few prob-lems for players. Generally, players will quickly adapt to the more relaxed tuba embouchure and to the tuba’s increased need for air. See also Range, page 396; Transpositions, page 403
Instrument Parts: See Parts, Euphonium, page 393
Instrument Position: See Hand/Holding/Instrument/Playing Positions and Posture, page 374
Instrument Ranges: See Range, page 396 Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Euphonium/Baritone
Instrument Selection: See Instrument Brands, page 381; Instrument Selection, page 65
Instrument Sizes: Baritones/euphoniums are available in several bore sizes, instrument sizes, and keys. In general, smaller bore sizes may be coiled into small instruments that are easier for smaller students to handle. Euphoniums are avail-able in three-quarter sizes to accommodate smaller, usually younger players who are not comfortable handling a full-size instrument. See also Instrument Family and Playing Considerations, page 382
Figure 5.23. Th ree Valve Front Action Baritone with Forward-Facing Bell
Wind Talk for Brass
Instrument Stands: See Instrument Stands, page 76
Intonation: Generally, the ability to play in tune in a melodic and a harmonic context. A detailed discussion of brass intonation is found under Intonation in chapter 1. See Intonation, page 384
General Comments
Th e principles of adjusting pitch on the baritone/euphonium are consistent with other brass instruments; however, because the baritone/euphonium is a much
Figure 5.24. Th ree Valve Front Action Baritone with an Upright Bell
Euphonium/Baritone
larger instrument, intonation problems that result from certain valve combina-tions are exaggerated. Th at is, the intonation problems on low brass valve instru-ments stem from the fact that the amount of tubing needed to aff ect pitch is directly proportional to the size of the instrument. For example, moving a tun-ing slide the same distance on trumpet and baritone/euphonium will result in a greater pitch change on trumpet than on baritone/euphonium. Th e pitch adjust-ments described are relevant to the baritone/euphonium.
General Comments for Adjusting Pitch on a Th ree-Valve Model Th ree-valve models have the same basic tendencies as student-line 1.
trumpets, except that baritone/euphonium players do not have the
Figure 5.25. Marching Baritone
Wind Talk for Brass
same capability of easily moving the third and/or fi rst valve slide during play to adjust pitch. Instead, players must manually move slides during play to adjust pitch, which is awkward at best. Adjusting pitch on these instruments is largely dependent upon 2.
a player’s ability to make appropriate changes in embouchure, air stream, and the oral cavity.
It is extremely diffi cult (if not impossible) to play three-valve 3.
instruments with proper intonation.
General Comments for Adjusting Pitch Using Slide Rings (Th ree-Valve Model)
On some three-valve instruments, rings are added to the fi rst 1.
and third valves and/or to the main tuning slide to facilitate pitch adjustment during play. Players literally pull and push the slides
Figure 5.26. Compensating Euphonium
Euphonium/Baritone
in and out with the left hand while playing to adjust pitch. As one might suspect, such adjustments are awkward to make in many musical contexts and impossible to make in others.
To lower or fl atten the pitch of the 1-2-3 valve combination, pull 2.
out the fi rst and third valve slides. Th e ear and/or a tuner deter-mine how far players pull out. As a rule, the slides must be pulled one-half inch to one inch. Aft er playing the adjusted pitch, players must push the slide back into its original position.
To lower or fl atten the pitch on the 1-3 valve combination (most 3.
notably, bottom-space low D-natural, pull out the third valve slide. Th e ear and/or a tuner determine how far players pull out.
Figure 5.27. Non-Compensating Euphonium
Wind Talk for Brass
Aft er playing the adjusted pitch, players must push the slide back into its original position.
Pulling the main tuning slide lowers the overall pitch of the instru-4.
ment. As a result, some players pull and push the main tuning slide to fl atten and raise the pitch as needed.
General Comments for Adjusting Pitch Using a Fourth Valve Th e fourth valve enables players to adjust pitch by using
1. alternate
fi ngerings.
Instead of using the 1-3 valve combination, which is inher-2.
ently sharp, players can use the fourth valve (4) alone for better intonation.
Instead of using the 1-2-3 valve combination, which is inherently 3.
very sharp, players can use the second- and fourth-valve combina-tion (2-4) for better intonacombina-tion.
General Comments for Adjusting Pitch-Automatic Compensating System Four valve models with an automatic compensating system 1.
play with superior intonation to all other baritones/euphoni-ums; however, they are very expensive. As a result, most school music programs do not have instruments with compensating systems.
On compensating models, when the valves are used in combina-2.
tion with the fourth valve, additional loops of tubing are accessed automatically, improving intonation.
Th e fi rst fi ve chromatic fi ngerings on the instrument (2, 1, 3, 2-3, 3.
and 4) do not engage the compensating system, but the next six fi ngerings (2-4, 1-4, 3-4 or 1-2-4, 2-3-4, 1-3-4, and 1-2-3-4) do engage the compensating system.
On compensating models, the third valve is not made longer to 4.
compensate for pitch problems. As a result, the third valve can be used alone as a substitute for the 1-2 combination, which is inher-ently sharp.
Tuning the Baritone/Euphonium
A detailed description of how to tune the baritone/euphonium is under Tuning/ Tuning Note Considerations in this chapter.
Euphonium/Baritone Pitch Tendencies (Four-Valve
Model, Uncompensated)
Pitch tendencies of instruments refers to the tendency for notes to deviate from a specifi ed standard, usually the equal tempered scale based on a reference fre-quency of A = 440. Th at is, when players talk about the pitch tendencies of their instruments, they are almost always talking about how sharp or fl at certain notes are in reference to a modern, equal-tempered tuner. When four-and fi ve-valve instruments are used properly, the need to control intonation with embouchure and air adjustments is less on baritone/euphonium than on trumpet or horn. Th is fact is important because embouchure adjustments to control intonation are less eff ective on low brass instruments than they are on high brass instru-ments. Nonetheless, certain pitch tendencies still exist and must be addressed in the most eff ective manner possible, including making embouchure adjustments. Comments and suggestions regarding pitch tendencies on four-valve, uncompen-sated baritones/euphoniums are outlined in the following section. A summary of these tendencies is shown in fi gure 5.28.
Specifi c Pitch Tendencies—Making Adjustments for Problem Pitches Th e notes in the range from third-line D-natural to fourth-line 1.
F-natural (third partials) are a bit sharp.
First-line G-natural and top-space G-natural tend to be a bit sharp 2.
(valve combination 1-2).
High E-fl at (1), E-natural (2), and F-natural (0) above the staff 3.
(sixth partials) tend to be a bit sharp.
Adjustment—Relax the embouchure and focus the air stream downward slightly.
Th e notes in the range from B-natural above the staff to high 4.
D-natural above the staff (fi ft h partials) tend to be fl at.
Adjustment—Firm the embouchure slightly, and focus the air stream upward slightly.
Figure 5.28. Intonation Tendencies (Euphonium)
Wind Talk for Brass
Second-space C-sharp and fourth-line F-sharp (valve combina-5.
tion 2-3) tend to be fl at.
Adjustment—Firm the embouchure slightly, and focus the air stream upward slightly.
Leadpipe/Receiver: Th e portion of a brass instrument tube into which the mouthpiece shank is inserted. A detailed discussion of this term is under Leadpipe/Receiver in chapter 1. See also Leadpipe/Receiver, page 87; Parts, Euphonium, page 393
Lightheadedness: See Dizziness/Lightheadedness, page 47
Linkage: A term used to describe the connection between valves and spatulas on rotary valve instruments. Traditionally, strings have been used to connect the spatulas and valves, and even today, this method of linkage is common. However, some instruments use a unibal or minibal system, neither of which uses string. Lip Slurs: Slurring to and from various partials in a given harmonic series by making changes in embouchure and air instead of changing valve combinations. For example, slurring from fourth-line F-natural (0) to B-fl at above the staff (0) is a lip slur. Common lip slurs are shown in fi gure 5.29. See also Articulation/ Articulative Styles, page 14; Lip Slurs, page 89
Main Tuning Slide: Th e slide used to adjust the overall pitch of the baritone/ euphonium. Th e main tuning slide can be pulled out to lower the pitch or pushed in to raise the pitch. Players generally determine the best overall placement for the main tuning slide using a tuner, and then make slight adjustments as needed while playing. Most tuning slides are operated manually; however, some
Figure 5.29. Euphonium Lip Slurs
Euphonium/Baritone professional model instruments are equipped with a spring-loaded main tuning slide that enables players to adjust the overall pitch of the instrument quickly dur-ing play. Th is tuning slide is operated by depressing a wide spatula key between the third valve slide tubing with the left thumb. Th e trigger mechanism is adjust-able. Th e spatula height can be adjusted for the player’s comfort, and the mecha-nism has inner and outer stops that limit the distance the tuning slide travels. See also Intonation, page 384; Parts, Euphonium, page 393; Tuning Slides, page 403; Tuning/Tuning Note Considerations, page 404
Marching Baritone: A baritone designed specifi cally for marching band confi g-ured with a forward-facing bell and vertical valve placement, much like a trum-pet. Th e marching baritone is more compact and easier to carry than a regular baritone, which makes it more suitable for marching.
Mechanical Linkage: See Linkage, page 390
Mouthpiece: See Mouthpiece/Mouthpieces, page 391
Mouthpiece Angle: Generally, baritone/euphonium mouthpieces contact the lips at a slightly upward angle. See also Hand/Holding/Instrument Playing Positions and Posture, page 374; Mouthpiece Angle, page 91
Mouthpiece Placement: Players should always be encouraged to position the mouthpiece in the center of the lips relative to the mouth corners. Although place-ment of the mouthpiece can vary slightly from one player to another based on fac-tors such as size and shape of the lips, teeth, and oral cavity, a ratio of two-thirds upper lip to one-third lower lip on the mouthpiece is common among euphonium players. See also Embouchure; Mouthpiece Placement.
Mouthpiece Receiver: Another name for the leadpipe. See also Mouthpiece/ Mouthpieces, page 391; Parts, Euphonium, page 393
Mouthpiece/Mouthpieces: A detailed discussion of mouthpieces and mouth-piece components is under Mouthmouth-piece/Mouthmouth-pieces in chapter 1. Specifi c sug-gestions for euphonium/baritone mouthpieces are listed in the following section. It is not possible to discuss all of the mouthpieces on the market today, nor is it possible to know which mouthpiece will work best for a particular player without play-testing each mouthpiece under a variety of playing conditions. As a result, the following considerations and suggestions are intended to serve as a starting point for players and teachers in their quest for the “right” mouthpiece for each Copyright © 2009. Oxford University Press. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Wind Talk for Brass
player. Generally, when more than one mouthpiece is listed from a particular manufacturer in one category (e.g., beginning mouthpieces), the mouthpieces are arranged from the smallest to the largest (in terms of overall bore and cup sizes). See also Mouthpiece/Mouthpieces, page 93
General Considerations for Selecting Mouthpieces
As a rule, start players with a small to medium-size mouthpiece (bore, cup, back-bore, etc.). As players mature, they can experiment with bigger bore mouthpieces (and perhaps a wider fl are) to help produce a fuller, richer tone.
Beginning Mouthpieces
Bach 12C or 7C; Schilke 47 or 50; Yamaha 45C2, 46C2, or 47; Conn Helleberg 7B; Wick 6BY, 6BM, SM9, or SM6; and Klier (JK) 8C or 7C.
Intermediate Mouthpieces
Bach 7C or 6½; Schilke 51D or 52D; Yamaha 48, 51, or 52; Conn Helleberg Standard; Wick 4AL, SM5, or SM4; and Klier (JK) 7B, 6C, or 6B.
Advanced Mouthpieces
Bach 5G or 4G; Schilke 52D, 53, 58, or 59; Yamaha 53 or 54; Conn Helleberg Deep; Wick 3AL, SM3 or SM2; and Klier (JK) 6B, 5B, or 5A.
Multiple-Tonguing: See Multiple-Tonguing, page 106
Mutes: Generally, baritones/euphoniums are not required to use mutes; how-ever, when mutes are required, a straight mute designed for euphoniums is most commonly used. A thorough discussion of mutes is under Mutes in chapter 1. See also Mutes, page 109; Practice Mutes, page 116
Non-Compensating: A baritone or euphonium that is not equipped with a com-pensating system. Th ese instruments are usually less expensive, lighter in weight, and some players fi nd them less resistant, or “stuff y.” Most beginner and inter-mediate euphoniums and baritones do not have compensating systems. See also Compensating/Automatic Compensating System, page 363