wind talk for brass

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5

Euphonium/Baritone

Acoustical Properties: The acoustical and physical tonal characteristics of an instrument that affect 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 instruments are predominantly conical, and both instruments have large flared bells. As a result, baritones and euphoniums produce a full complement of partials. Like other brass instruments, the baritone/euphonium produces several harmonics (partials above the fundamental) using fundamental fingerings. That is, one fingering can be used to produce several pitches (or partials) within its corresponding harmonic series. These 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 fundamental 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. The overall length of the baritone instrument tube is the same as the overall length of the trombone instrument tube. Therefore, the open fundamental and the resultant harmonic series of the baritone are the same as those for the trombones. Tonal differences between the baritone and the trombone result primarily from the differences 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. The 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 first naturally occurring note in the harmonic series (practically speaking) is the EBSCO Publishing : eBook Collection (EBSCOhost) - printed  on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 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 fingerings. In most cases, the fingering that depresses the fewest valves is used. One exception is concert A-flat (open) above the bass clef staff. Because the A-flat is the seventh (7th) partial in the open valve harmonic series, it is very flat in an equaltempered tuning system. The better fingering for concert A-flat is first 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: The process of raising or lowering the pitch of notes. A general discussion of adjusting pitch is located under Intonation in chapter 1. Specific suggestions 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 fingerings are most often used to minimize awkward fingerings or to improve intonation in specific musical contexts. Decisions regarding when to use alternate fingerings and which ones to use should ultimately be determined by the musical result. That is, does using the alternate fingering improve the musicality of the performance? Most notes on the euphonium can be played using more than one valve combination. In general, the fingering requiring the fewest valves is preferred; sometimes, however, another fingering may be appropriate. A general discussion of alternate fingerings is under Alternate Fingerings/Alternates in chapter 1. Common alternate fingerings for the euphonium are listed. A notated summary of these alternates appears in figure 5.1. See also Alternate Fingerings/Alternates, page 8

Figure 5.1. Common Alternate Fingerings (Euphonium) EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  Common Alternate Fingerings for Baritone/Euphonium (Bass Clef/Four Valve) 1. The regular fingering for fourth-line F-natural is open (0). The regular fingering for top-line A-natural is second valve alone (2). The regular fingering for C-natural above the staff is first valve alone (1). All three of these notes can be fingered 1-3. 2. First-line G-natural, third-line D-natural, top-space G-natural, and B-natural above the staff are all fingered 1-2. These notes can also be fingered with the third valve alone (3). 3. Low E-natural below the staff and second-line B-natural (fingered 1-2-3 on three valve instruments) are normally fingered 2-4 on four valve instruments. Both fingerings (1-2-3 and 2-4) can be used on four valve instruments. 4. Low F-natural below the staff and second-space C-natural (fingered 1-3 on three valve instruments) are normally fingered with the fourth valve alone (4) on four valve instruments. Both fingerings (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 floor on the outside. The piston protrudes from the cylinder and is pushed to release water through the hole in the bottom of the cylinder. The 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 generally allow sufficient drainage for larger brass instruments. Articulation: See Articulation/Articulative Styles, page 14 Assembly: The 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 defined assembly procedure can help significantly reduce wear and tear on the instrument. The baritone and euphonium can be efficiently and safely assembled using the steps listed. Figures 5.2, 5.3, and 5.4 can be used to guide the assembly process. 1. Make sure that the case is right side up, and open the case while it is on the floor or on a solid surface (such as a table). Do not open EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 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. 2. Remove the euphonium from the case by the outer tubing, rather 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. 3. If the instrument is equipped with a detachable bell, remove it 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. 4. Grip the euphonium with the left hand while keeping the instrument 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. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.3. Euphonium Assembled

Never force the mouthpiece directly into the leadpipe. A very common problem 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: The way tones are started. A detailed discussion of attacks is in chapter 1. See also Releases/Cutoffs, page 117; Tonguing, page 145 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.4. Assembled Three Valve Baritone with an Upright Bell

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 instrumental teachers recommend that players play on the same or comparable mouthpieces 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 fift y to sixty players, two baritones or euphoniums are often recommended as a good number for balance considerations. The EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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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, Difference Between: See Difference Between Baritone and Euphonium, page 365 Bath, Baritone/Euphonium: A process in which the instrument is disassembled, 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 instruments 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. The outdoor method uses water pressure from a garden hose to flush soap through the instrument, whereas the indoor bathtub method uses a warm-water soak to loosen dirt and grime. The bathtub method can also be performed outdoors using a large tub or wading pool. Both methods can be used to effectively clean the euphonium. The 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. The outdoor method is described here. See also Care and Maintenance, page 37 Outdoor Method 1. Prepare the area (preferably a grassy area free of anything that might scratch or damage the instrument) near the hose with large towels. Designate one or two towels for instrument pieces. 2. Take the euphonium out to the prepared area. Pour a large amount (at least one cup) of dishwashing soap into the bell. 3. Prepare the hose by wrapping a towel or other cloth around the end of the hose so that the hose will seal about one foot inside the bell. Alternatively, the instrument may be flushed 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. 4. When the hose is ready, turn on the water. The hose is properly positioned if the water is going through the instrument and out the leadpipe. Make sure all of the valve tubing is soaked by pressing EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

5.

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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. Rinse the instrument using the same flushing 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. Lay the euphonium on the towels and remove the valve slides and tuning slides. If the slides stick, use a few drops of penetrating oil on them and allow them to sit for at least fifteen 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 the finger buttons from the valve stem. Remove any felt and foam rubber pieces. If they cannot be reasonably 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 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. When the instrument is dry, apply slide grease to the slides 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.

Beats: See Beats, page 18 Bell: The bell is the flared 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 different bell configurations: (1) an upright bell, and (2) a forward-facing bell (bell forward). These configurations are shown in figures 5.5 and 5.6. The 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: The 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 Throat: See Bell, page 18 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.5. Three Valve Baritone with a Detachable Bell

Bore Sizes, Euphonium and Baritone: The inner tube diameter of the euphonium or baritone. Bore size influences tone quality and response and is a significant factor in determining the playability of an instrument. Euphonium and baritone manufacturers offer a wide range of bore sizes. Bore sizes generally range from around .500 inch to around .590 inch; however some professional instruments 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 compensating system may all be different. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.6. Baritone with an Upright Bell

Although the same instrument may be labeled baritone or euphonium, particularly in the United States, one of the differences between the two instruments is bore type. Generally, the baritone has a more cylindrical bore than the euphonium, which has a largely conical bore. This difference in bore type, as well as bore size and other factors, gives each instrument a slightly different tone quality. Generally, small-bore instruments respond more easily than large-bore instruments, but they have a smaller, thinner, and brighter tone quality. Largebore 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  Bore, Mouthpiece: The interior of the baritone or euphonium mouthpiece behind or below the throat. The size of the bore directly affects the size of the shank. The 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 fit 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: The U-shaped section at the bottom of the baritone or euphonium between the bell taper and the first branch. The 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: The 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 effectively 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 euphonium or baritone are the best cases to use daily, especially for young players. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass These cases are usually hard shell with a soft ly lined, molded interior that protect the instrument well and properly fit the instrument. In addition to molded compartments for each part of the instrument, hard cases usually provide adequate storage for valve oil, slide grease, and other euphonium accessories. Used euphoniums may come with no case or with a case that does not fit the instrument. It is essential that a secure, protective, and properly fitted case be obtained for the instrument before it is used regularly, especially in a school setting. A variety of aftermarket cases is available. The common cases are traditional hard shell cases, flight cases, and gig bags. The amount of protection offered by these cases varies. Generally, the shell consists of synthetic-covered rigid plastic, carbon fiber, Cordura (a very strong canvaslike material), or leather. The interiors are typically padded with lined high-density foam. Other features include shoulder straps, carrying handles, and accessory pockets. Some cases are contoured to fit the baritone or euphonium and designed to be as compact as possible. Others are designed to hold a large amount of gear. There are several reputable aftermarket 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 adequate padding, sturdy and secure hinges and handles, and a proper fit for the instrument. An ill-fitted 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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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 offer 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 figure 5.7, can be particularly helpful for young players; however, advanced players may find that these devices limit mobility and control. Choosing an Instrument: See Instrument Selection, page 65

Figure 5.7. Euphonium with Chair Peg EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass Circular Breathing: See Circular Breathing, page 43 Clefs: The 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-flat 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-flat). That 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-flat, players can use the same fingerings 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 difference 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. The designation “treble clef” or “bass clef” baritone is used to describe or reflect which clef is being read by a particular player. In other words, the phrase “treble clef baritone” indicates that a player is reading treble clef music, and the phrase “bass clef baritone” indicates that a player is reading bass clef music. Q:

Why are the fingerings different 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, including trumpet. Writing baritone music in treble clef enables players transitioning 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-flat 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 nontransposing. That 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 fingerings that correspond to the correct concert pitch. For teachers looking for “tricks” to remembering fingerings, it is helpful to know that second-line B-flat on bass clef baritone corresponds to middle C-natural (just below the staff ) on treble clef baritone or trumpet. The relationship of these two notes is a major ninth. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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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 first 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 figure 5.8. The first five chromatic fingerings on the instrument (2, 1, 3, 2-3, and 4) do not employ the compensating system, but the next six fingerings (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. The advantages of a compensating mechanism are improved intonation, access to a full chromatic scale between the first and second partials, and the ability to use more conventional fingerings in the lower octaves. The disadvantages of the compensating system are an instrument’s increased weight and cost and the additional resistance or “stuffiness” 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 compensating euphonium and a non-compensating euphonium.

Figure 5.8. Compensating Loops EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.9. Compensating and Non-Compensating Four Valve Euphoniums

Conical: A term used to describe the cone-shaped tubing often used in instrument 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: The euphonium and baritone are pitched in B-flat, one octave lower than the trumpet and one octave above the tuba. Euphoniums and baritones are typically made of brass, and most instruments are finished with brass lacquer or silver plate. The terms “baritone” and “euphonium” are often 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 providing alternate fingerings. This 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 baritones are available with a compensating mechanism that redirects tubing from EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  the last valve (typically third or fourth) back through extra compensating loops on the other valves. This mechanism can help intonation significantly, especially on lower notes, but it also adds significant weight, extra resistance, and additional cost to the instrument. There are several bore sizes available for the baritone and euphonium. Generally, large-bore instruments are classified as euphoniums, and small-bore instruments are classified as baritones. The receiver size for the mouthpiece can also vary from instrument to instrument, and baritone and euphonium mouthpieces are available in different shank sizes to accommodate these size variations. Another critical component of the baritone and euphonium is the mouthpiece. Its construction and design significantly affect tonal and response characteristics. The choice of mouthpiece is a matter of personal preference, and there is no onesize-fits-all mouthpiece. Trying several mouthpieces is important when selecting an appropriate mouthpiece for any given player. Experimenting 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 mouthpiece for different playing situations. Finding a good fit between the mouthpiece 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 often used in instrument construction. Unlike conical tubing, which is narrow on one end and gradually flares, cylindrical tubing remains the same diameter along the entire length of tubing. All baritones and euphoniums have both cylindrical and conical tubing; however, the baritone’s tubing is more cylindrical than the euphonium’s tubing. See also Acoustical Properties, page 349; Cylindrical, page 45 Detachable Bell: A bell that can be removed from the body of brass instruments. 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 Difference between a Baritone and a Euphonium: Although some confusion exists about the differences between a baritone and a euphonium, some generalizations can be made about the shape of the bore and bell flare in differentiating EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.10. Detachable Bell

between a baritone and a euphonium. A true baritone is designed with about half cylindrical tubing and a relatively short, quick bell flare. These design characteristics produce a brighter, sharper sound than the euphonium. A true euphonium is designed with mostly conical tubing and a relatively long, gradual, bell flare culminating in a wider bell opening than the baritone. These characteristics produce a sound that is deeper, rounder, and mellower than the baritone. Differences between a baritone and a euphonium can be seen in figure 5.11. As stated above, pinpointing exact differentiations between the baritone and euphonium is tenuous. One commonly stated difference 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 difference is that the baritone has three valves and the euphonium has four. Yet another difference 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 differences vary so much from one manufacturer to another that the labels “baritone” and EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.11. Comparison of a Baritone and a Euphonium

“euphonium” are often used interchangeably, especially in the United States. No exact bore size, bore shape, bell size, bell placement, valve configuration, or valve placement is recognized universally by manufacturers as specifically distinguishing a baritone from a euphonium. In the most general sense, a smaller, more cylindrically bored instrument with a forward-facing bell and three frontaction valves is more likely to be called a baritone, whereas a larger, more conically 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.” The 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-flat, and play in roughly the same range; however, the variety of different physical characteristics available offers players a wide range of tonal and response characteristics from which to choose. Bore size and shape, bell position, and valve configuration greatly affect the tone, intonation, response, and range of any given instrument. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 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 addition to the larger fi xed upright bell, the double bell euphonium also had a smaller, detachable, forward-facing bell. The 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 necessary by accessing the smaller bell via an extra valve. The double bell euphonium 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. These instruments are rarely seen today and are considered collectors items. Double-Tonguing: A technique that enables performers to tongue duple patterns 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 sousaphone or marching baritone in marching band. It is also common for players to start on trumpet and move to baritone. The main considerations when doubling are to find a good mouthpiece/instrument combination, to become familiar with the feel and response of the new instruments, and to learn the intonation tendencies 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 often 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  techniques, there are some significant differences between the embouchure techniques required to play different brass instruments. The placement of the mouthpiece 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. This ratio varies slightly from player to player. On baritone and euphonium, the upper- to lower-lip ratio is typically 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 aperture is larger. Players with dental irregularities or braces may find 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 figures 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.13. Embouchure in the Low Range

Figure 5.14. Embouchure in the Middle Range EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.15. Embouchure in the High Range

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 connects to the bottom bow, runs upward parallel to the bell taper. See also Parts, Euphonium, page 393 First Valve Slide: The slide on the first valve that can be adjusted to correct pitch. The first valve slide is generally adjusted manually (by hand) during the tuning process. Advanced players also tune the first valve by pulling a ring attached to the slide with the left hand during play. Some professional baritones and euphoniums have trigger mechanisms on the first valve slide to facilitate pitch adjustment. The first 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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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 flexibility assists in playing fast passages and large intervals. As players gain experience and develop embouchure muscles and breathing techniques, flexibility is typically improved. Lip slurs, scales, and interval playing also help develop flexibility. 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 downward a perfect fourth. Although the fourth valve extends the range downward, its primary benefit 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  Front Action: A term used to describe the placement of the valves on the instrument. 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. Frontaction valves may be rotary or piston valves. A front action baritone is shown in figure 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 portion of a bow. On the baritone/euphonium, an added piece of metal is soldered

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 Wind Talk for Brass onto the bottom bow to act as reinforcement and to help prevent dents. The bottom 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 floor. Half-Valve: See Half-Valve, page 62; Extended/Contemporary Techniques, page 56 Hand/Holding/Instrument Playing Positions and Posture: Holding the baritone/euphonium properly and maintaining good hand position and playing position 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 syndrome and muscle strain. The baritone/euphonium may be played in a sitting or standing position. The seated position is most frequently used for ensemble playing, while the standing position is most often 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—Three Valve and Four Valve In-line) 1. The left hand and arm support and balance the instrument. Whether seated or standing, the left arm wraps around the instrument, and the left hand grasps the outside of the instrument above the valves and near the top curve. The back of the hand faces outward, and the knuckles of the hand are positioned in line with (at the same angle as) the tubing. The left thumb is wrapped around the back of the tubing, and the wrist remains straight. This position is shown in figure 5.18. 2. The left elbow is held at slightly less than a 90-degree angle. The 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) 1. The left arm wraps around the instrument. The left hand is positioned so that the side-action fourth valve can be operated with EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.18. Front Action Baritone Playing Position

the left-hand index finger and so that the weight of the instrument can be partially supported by the left hand. This position is shown in figures 5.19 and 5.20. 2. The left elbow is held at about a 90-degree angle. The bottom of the baritone/euphonium is tucked between the forearm and the body. The 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. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.19. Top Action Hand Position

Right-Hand/Arm Position (Top Action) 1. The right hand is positioned above the left hand to access the valve buttons. The hand should be arched as if forming an open “C” or as if holding a ball so that the pads of the fingers rest comfortably on the finger buttons. The index finger is positioned over the first valve finger button, the middle finger is positioned over the second valve finger button, and the ring finger is positioned over the third valve finger button. If the instrument is equipped with an in-line fourth valve, the little finger is positioned over the fourth valve finger button. The finger 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. Different brands and models of baritones and euphoniums will position the valves at slightly different angles. Adjust hand position slightly so that the valves are depressed at the correct angle. This position is shown in figures 5.21 and 5.22. 2. The right thumb is placed in the thumb ring or under the tubing, depending on the design of the instrument. The wrist remains straight. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Figure 5.20. Position to Operate Side Action Valve

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

Wind Talk for Brass

Figure 5.22. Playing Position (Side View)

3. The right elbow is held at a comfortable angle away from the body to allow proper access to the valves. Right-Hand/Arm Position (Front Action) 1. The right hand is positioned below and in front of the left hand to access the valve buttons or spatulas. The right arm reaches around to the front of the instrument. The wrist may bend slightly. 2. The right thumb is placed in the thumb ring, and the fingers arch slightly so that the finger pads are placed comfortably to operate the valves efficiently. Adjust the hand position so that the valves are depressed at the correct angle. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  3. The right elbow is held slightly away from the body and forward to allow access to the valves. This position is shown in figure 5.18. Holding/Instrument Position 1. The weight of the baritone/euphonium should be supported primarily by the left arm, left hand, and the body. Initially, smaller, younger players may need to lay the instrument at a more pronounced 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 specifically to support the euphonium while players are smaller may help develop better habits until players can comfortably and properly support the instrument. 2. Whether seated or standing, the baritone/euphonium is held at 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. The mouthpiece comes directly to the mouth, and the right arm is positioned so that the fingers reach the valves easily and comfortably. The bell and bell taper remain close to the body and the instrument is positioned slightly outward. 3. The elbows are held away from the body in a relaxed manner. Holding the elbows too close to the body inhibits proper playing position. Holding the elbows out too far away from the body causes unnecessary tension. Proper playing positions are shown in figures 5.18 through 5.21. Posture 1. Sit up straight (but avoid being rigid or tense) with feet flat on the floor. Position the legs and feet comfortably, about a shoulder’s width apart. 2. Slouching and slumping are common problems with baritone and euphonium players. Unless players are small, they should be able to EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 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. 3. Avoid being tense or tight in the playing position because tension impairs both the mental and physical aspects of playing the baritone and euphonium. 4. Keep the head straight and relaxed. Avoid tilting the head downward or to the side. 5. Many posture problems result from poor placement of the music stand. The 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 often 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 first 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: The 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. The 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. The serpent was commonly used for almost three hundred years, most often 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. The ophicleide was a low-keyed bugle that was made of brass and shaped roughly like a saxophone 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 instruments. Some confusion exists as to the euphonium’s origins, even though Herr EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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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. The 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. The euphonium has undergone many variations. It has had as many as five valves, including rotary valves, piston valves, and combinations of the two. The 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. The euphonium has been built with the bell straight up, forward facing, directional, slightly flared, widely flared, and side-facing. A double-bell euphonium was in use for a time and included both fi xed and directional bells, or one fi xed and one directional bell, most often with the smaller bell facing forward. The compensating mechanism was introduced in 1874 by David Blaikley, and it has remained largely unchanged. Instrument Angle: The 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 first branch side is held slightly outward away from the body. The leadpipe and mouthpiece should be positioned to comfortably reach the player’s mouth. The mouthpiece contacts the lips at a slightly upward angle. That is, the mouthpiece slants downward slightly from the lips. This 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 instrument, beware of “off ” brands and particular instrument models (regardless of brand) that have not performed up to a high standard. The 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 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: The baritone and euphonium are often 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 often 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 common 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 younger players who are not comfortable handling a full-size instrument. The marching baritone is configured like a trumpet with a front-facing bell and vertical top-mounted valves. Various configurations and instrument styles are shown in figures 5.23 through 5.27. Baritones and euphoniums are adaptable to a wide variety of physical characteristics. These instruments are large, but not too cumbersome, and can be comfortably handled by most students. Because the mouthpiece is significantly larger than that of a trumpet or horn, the embouchure used to play these instruments is more relaxed. Because of the relaxed embouchure, some students may find 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 after they mature. The switch from euphonium to tuba is a logical one and poses very few problems 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

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Euphonium/Baritone 

Figure 5.23. Three Valve Front Action Baritone with Forward-Facing Bell

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 available 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

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 Wind Talk for Brass

Figure 5.24. Three Valve Front Action Baritone with an Upright Bell

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 The principles of adjusting pitch on the baritone/euphonium are consistent with other brass instruments; however, because the baritone/euphonium is a much EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.25. Marching Baritone

larger instrument, intonation problems that result from certain valve combinations are exaggerated. That is, the intonation problems on low brass valve instruments stem from the fact that the amount of tubing needed to affect pitch is directly proportional to the size of the instrument. For example, moving a tuning slide the same distance on trumpet and baritone/euphonium will result in a greater pitch change on trumpet than on baritone/euphonium. The pitch adjustments described are relevant to the baritone/euphonium. General Comments for Adjusting Pitch on a Three-Valve Model 1. Three-valve models have the same basic tendencies as student-line trumpets, except that baritone/euphonium players do not have the EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.26. Compensating Euphonium

same capability of easily moving the third and/or first valve slide during play to adjust pitch. Instead, players must manually move slides during play to adjust pitch, which is awkward at best. 2. Adjusting pitch on these instruments is largely dependent upon a player’s ability to make appropriate changes in embouchure, air stream, and the oral cavity. 3. It is extremely difficult (if not impossible) to play three-valve instruments with proper intonation. General Comments for Adjusting Pitch Using Slide Rings (Three-Valve Model) 1. On some three-valve instruments, rings are added to the first and third valves and/or to the main tuning slide to facilitate pitch adjustment during play. Players literally pull and push the slides EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.27. Non-Compensating Euphonium

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. 2. To lower or flatten the pitch of the 1-2-3 valve combination, pull out the first and third valve slides. The ear and/or a tuner determine how far players pull out. As a rule, the slides must be pulled one-half inch to one inch. After playing the adjusted pitch, players must push the slide back into its original position. 3. To lower or flatten the pitch on the 1-3 valve combination (most notably, bottom-space low D-natural, pull out the third valve slide. The ear and/or a tuner determine how far players pull out. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass After playing the adjusted pitch, players must push the slide back into its original position. 4. Pulling the main tuning slide lowers the overall pitch of the instrument. As a result, some players pull and push the main tuning slide to flatten and raise the pitch as needed. General Comments for Adjusting Pitch Using a Fourth Valve 1. The fourth valve enables players to adjust pitch by using alternate fingerings. 2. Instead of using the 1-3 valve combination, which is inherently sharp, players can use the fourth valve (4) alone for better intonation. 3. Instead of using the 1-2-3 valve combination, which is inherently very sharp, players can use the second- and fourth-valve combination (2-4) for better intonation. General Comments for Adjusting Pitch-Automatic Compensating System 1. Four valve models with an automatic compensating system play with superior intonation to all other baritones/euphoniums; however, they are very expensive. As a result, most school music programs do not have instruments with compensating systems. 2. On compensating models, when the valves are used in combination with the fourth valve, additional loops of tubing are accessed automatically, improving intonation. 3. The first five chromatic fingerings on the instrument (2, 1, 3, 2-3, and 4) do not engage the compensating system, but the next six fingerings (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. 4. On compensating models, the third valve is not made longer to compensate for pitch problems. As a result, the third valve can be used alone as a substitute for the 1-2 combination, which is inherently sharp. Tuning the Baritone/Euphonium A detailed description of how to tune the baritone/euphonium is under Tuning/ Tuning Note Considerations in this chapter. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  Pitch Tendencies (Four-Valve Model, Uncompensated) Pitch tendencies of instruments refers to the tendency for notes to deviate from a specified standard, usually the equal tempered scale based on a reference frequency of A = 440. That is, when players talk about the pitch tendencies of their instruments, they are almost always talking about how sharp or flat certain notes are in reference to a modern, equal-tempered tuner. When four-and five-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. This fact is important because embouchure adjustments to control intonation are less effective on low brass instruments than they are on high brass instruments. Nonetheless, certain pitch tendencies still exist and must be addressed in the most effective manner possible, including making embouchure adjustments. Comments and suggestions regarding pitch tendencies on four-valve, uncompensated baritones/euphoniums are outlined in the following section. A summary of these tendencies is shown in figure 5.28. Specific Pitch Tendencies—Making Adjustments for Problem Pitches 1. The notes in the range from third-line D-natural to fourth-line F-natural (third partials) are a bit sharp. 2. First-line G-natural and top-space G-natural tend to be a bit sharp (valve combination 1-2). 3. High E-flat (1), E-natural (2), and F-natural (0) above the staff (sixth partials) tend to be a bit sharp. Adjustment—Relax the embouchure and focus the air stream downward slightly. 4. The notes in the range from B-natural above the staff to high D-natural above the staff (fift h partials) tend to be flat. Adjustment—Firm the embouchure slightly, and focus the air stream upward slightly.

Figure 5.28. Intonation Tendencies (Euphonium) EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass 5. Second-space C-sharp and fourth-line F-sharp (valve combination 2-3) tend to be flat. Adjustment—Firm the embouchure slightly, and focus the air stream upward slightly. Leadpipe/Receiver: The 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-flat above the staff (0) is a lip slur. Common lip slurs are shown in figure 5.29. See also Articulation/ Articulative Styles, page 14; Lip Slurs, page 89 Main Tuning Slide: The slide used to adjust the overall pitch of the baritone/ euphonium. The 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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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 during play. This tuning slide is operated by depressing a wide spatula key between the third valve slide tubing with the left thumb. The trigger mechanism is adjustable. The spatula height can be adjusted for the player’s comfort, and the mechanism 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 specifically for marching band configured with a forward-facing bell and vertical valve placement, much like a trumpet. The 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 placement of the mouthpiece can vary slightly from one player to another based on factors 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 mouthpiece components is under Mouthpiece/Mouthpieces in chapter 1. Specific suggestions 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 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 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, backbore, etc.). As players mature, they can experiment with bigger bore mouthpieces (and perhaps a wider flare) 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; however, 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 compensating system. These instruments are usually less expensive, lighter in weight, and some players find them less resistant, or “stuff y.” Most beginner and intermediate euphoniums and baritones do not have compensating systems. See also Compensating/Automatic Compensating System, page 363 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  Oiling Valves: See Oiling Valves, page 113; Care and Maintenance, page 37 Overblow: See Overblow, page 115 Overtones: See Overtones, page 115 Parts, Euphonium: The parts of a euphonium are identified in figure 5.30. Pedal Tones: Pedal tones are a unique characteristic of brass instruments. These tones “sound” at the fundamental frequency of a given harmonic series, but are not true fundamentals because they are not resonant frequencies of the air column. Pedal tones occur when the player’s lips vibrate at or near the fundamental frequency and the higher harmonics contribute to produce a tone at the fundamental frequency. Pedal tones are also called “fictitious” fundamentals. Euphonium pedal tones for each valve combination are shown in figure 5.31. Piston Valve: See Valves, page 149 Pitch Adjustment: See Intonation, page 384; Tuning/Tuning Note Considerations, page 404 Pitch Tendencies: Generally, the tendency for any note to deviate from a specified standard, usually the equal tempered scale based on a reference frequency of A = 440. That is, when players talk about the pitch tendencies of their instruments, they are almost always talking about how sharp or flat certain notes are in reference to a modern, equal-tempered tuner. The term “pitch tendency” is most commonly used to refer to pitch deviations that are an inherent part of an instrument’s design. In many instances, pitch tendencies are consistent on a given instrument (e.g., most clarinets or most trumpets) regardless of the make or model of the instrument. For example, second-space C-sharp and fourth-line F-sharp (valve combination 2-3) tend to be flat on most baritones/euphoniums. The pitch tendencies of the baritone/euphonium are discussed under Intonation in this chapter. See also Intonation, page 384; Temperament, page 133; Tuning/ Tuning Note Considerations, page 404 Playing Position: See Hand/Holding/Instrument/Playing Positions and Posture, page 374 Posture: See page 374

Hand/Holding/Instrument/Playing

Positions

and

Posture,

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 Wind Talk for Brass

Figure 5.30. Parts of a Euphonium

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Euphonium/Baritone 

Figure 5.31. Euphonium Pedal Tones

Practice Mute: See Practice Mutes, page 116; Mutes, page 392; Silent Brass, page 121 Pull Rings: Rings attached to the valve slides that can be pulled to adjust intonation and/or to remove the slide so that excess condensation can be removed. Pull rings are used on euphoniums and tubas. On some models, pull rings are optional equipment, while on others they are standard. A detailed discussion of using pull rings to adjust pitch during play can be found under Intonation in this chapter. See also Parts, Euphonium, page 393; Tuning Slides, page 403; Tuning/Tuning Note Considerations, page 404 Range: In general, the distance from the lowest note to the highest note on a given instrument. In addition, players and teachers often refer to the different registers (roughly by octave) of the baritone/euphonium in terms of range: low range, middle range, and high range. The written and sounding ranges of the baritone and euphonium are summarized in figures 5.32 and 5.33. See also Register/Registers, page 396; Transpositions, page 403 Key Questions Q: What ranges are recommended for elementary, junior high/middle school, and senior high students? A: A student’s range varies according to experience and ability level. Once the fundamentals of tone production and embouchure formation are

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 Wind Talk for Brass

Figure 5.33. Euphonium Range (Bass Clef)

mastered, range can be extended systematically. Suggested ranges (treble and bass clef) for each level are presented in the following section. Treble Clef Elementary: Low A-natural to third-space E-natural or fourth-line D-natural. Junior High: Low G-natural to top-line F-natural or G-natural above the staff. Senior High: Low F-sharp to high B-natural or C-natural above the staff. Bass Clef Elementary: First-line G-natural to high B-flat or C-natural above the staff. Junior High: Low F-natural (just below the staff ) to high D-natural or E-flat above the staff. Senior High: Low E-natural (just below the staff ) to high G-natural or A-natural above the staff. Teaching Tips for Range 1. In the treble clef, range relationships are the same as the trumpet except that the instrument sounds one octave lower than written. 2. In the bass clef, the euphonium range is identical to the trombone range because the overall length of the baritone and trombone instrument tubes is the same. Register/Registers: Groups of notes that share certain tonal characteristics usually related to pitch range, timbre, and/or manner of production. For example, players sometimes refer to the altissimo register for those notes that lie above high EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  F-sharp. On euphonium, the term “register” is typically used interchangeably with “range” to describe the playing ranges of the instrument including low register, middle register, high register, and altissimo register. See also Range, page 395 Releases/Cutoffs: See Releases/Cutoffs, page 117 Resistance: See Resistance, page 119; Response, page 120 Response: See Response, page 120; Resistance, page 119 Rotary Valve: A valve type in which ports are positioned to access or block valve loops by the turn of a rotor enclosed in an outer casing. The rotor spins on an axis, and the main tubing and valve loops are on the same plane. Rotary valves are connected to triggers or spatulas by means of string or a mechanical linkage. Although most brass instruments can be found with rotary valves, the horn is the only band instrument fitted with rotary valves as standard equipment. Today, many euphoniums (especially professional model euphoniums) have rotary valves. These valves are operated by depressing finger spatulas similar to horn spatulas, and the rotation of the rotor is perpendicular to the motion of the finger spatula. See also Valves, page 149 Second Valve Slide: A slide on the second valve that can be moved to adjust pitch and removed to empty excess condensation. The second valve slide is typically equipped with a ring or draw knob for easier removal. See also Intonation, page 384; Parts, Euphonium, page 393; Tuning Slides, page 403; Tuning/Tuning Note Considerations, page 404 Selecting an Instrument: See Instrument Brands, page 381; Instrument Selection, page 65 Side Action: A term used to describe the placement of the valves on the euphonium. Valves placed to the outside (first branch side) of the instrument are called side-action valves. Side-action valves are usually fourth valves designed to be played by the left hand. That is, instruments with side valves are typically equipped with only one side valve. A side action euphonium is shown in figure 5.34. A sideaction valve lock is shown in figure 5.35. See also Front Action, page 373; Top Action, page 401 Side Fourth Valve/Side Fifth Valve: See Fourth/Fift h/Sixth Valve Placement page 59 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass

Figure 5.34. Side-Action Euphonium

Slap Tongue: See Extended/Contemporary Techniques, page 56 Slide Grease: See Care and Maintenance, page 37; Slide Grease, page 121 Slot/Slotting: A term used by some brass players to describe the ability of a particular instrument to “lock onto” partials. Well-constructed and well-designed instruments make hitting the correct partial easier and are said to “slot” well. Slurring: See Articulation/Articulative Styles, page 14; Technique, page 122 Sounding Range: See Instrument Family and Playing Considerations, page 382; Range, page 395; Transpositions, page 403 EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone 

Figure 5.35. Side-Action Valve Lock

Spatulas: The flat, paddle-like keys that players depress to operate the rotary valves. Spit/Water Valves: See Water Keys, page 407 Staggered Breathing: See Staggered Breathing, page 122 Stamina: See Endurance/Stamina, page 54 Stands: See Instrument Stands, page 96 Starting Note/Range, The Best: Most students will have excellent results starting on fourth-line F-natural (0) and working their way downward chromatically to third-line D-natural (1-2). This is an excellent beginning note range for several reasons. First, it is relatively easy to produce a tone in this range. Second, fourthline F-natural is played open (0), which is the easiest position to finger. When students can produce a relatively good tone on fourth-line F-natural, they can EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass begin working their way downward note-by-note to third-line D-natural. Third, this range provides teachers with the opportunity to discuss basic valve patterns and the role each valve or valve combination plays in lowering pitch. These relationships make this note range ideal for beginning ear training exercises. Finally, as embouchures and proper breathing techniques are developed, students can ascend chromatically to middle C-natural (1) or F-natural above the staff (0), again providing the opportunity to learn the familiar brass fingering patterns. This starting note range is shown is figure 5.36. Playing two different pitches on the same fingering provides the perfect opportunity to introduce concepts and skills associated with playing more than one partial on the same fingering. It is interesting to note that because band method books must accommodate beginners on a variety of instruments, they often do not have players start on the above sequence of notes. See also Range, page 395 Straight Mute: A cone- or pear-shaped mute that can be inserted into the bell to change the tone quality. Straight mutes usually have three or four pieces of cork attached to them to help hold them in place and to control the distance they can be inserted into the bell. Straight mutes may be made of plastic, fiber, metal, or cardboard, although the most common material today is metal, usually aluminum. Each material gives the mute a different tone quality. When fitting a mute on a euphonium, check to ensure that the mute is the correct size for the bell. Adjustable mutes are available for euphonium to fit a wide variety of bell sizes. When a mute is indicated in the music and no specific type of mute is specified, a straight mute is used. Straight mutes tend to make the pitch go sharp. It may be notated mute, con sordina (Italian), mit Dämpfer (German), or avec sourdine (French). See also Mutes, page 392 Technique: See Technique, page 122 Temperament: See Temperament, page 133 Third Valve Slide: A slide on the third valve that can be adjusted to correct pitch on a baritone or euphonium. This third valve slide is generally not operated during play like it is on trumpet; however, some euphoniums have spring-loaded third valve slides that can be used to tune concert C-natural and B-natural when the

Figure 5.36. Starting Note Range (Euphonium) EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  fourth valve slide is extended. See also Intonation, page 384; Parts, Euphonium, page 393; Tuning Slides, page 403; Tuning/Tuning Note Considerations, page 404 Three-Quarter-Size Baritone: See Considerations, page 382

Instrument

Family

and

Playing

Thumb Ring: A ring located next to the first valve casing on most baritones/ euphoniums. The right thumb is placed inside the ring during play to help secure the right-hand position. Thumb/Trigger Valve: See Main Tuning Slide, page 390; Tuning Slides, page 403 Tone Production: A term used to describe how tone is produced on an instrument. A thorough discussion of tone production on brass instruments is under Tone Production in chapter 1. Other terms in chapter 1 that relate to tone production include Air Stream, Breathing/Breath Support/Air Control, Embouchure, Intonation, Lip Slurs, Mouthpiece/Mouthpieces, and Vibrato. Specific considerations regarding baritone/euphonium tone production appear within this chapter under Acoustical Properties, Articulation/Articulative Styles, Construction and Design, Hand/Holding/Instrument Position and Posture, and Tone Quality. Tone Quality: The characteristic sound associated with an instrument regarding tone color or timbre, and consistency, focus, and control of the air stream. As a general rule, euphoniums produce a darker tone quality than baritones because euphoniums are more conical and have larger bore sizes. From a mechanical standpoint, tone quality is dependent upon several factors relating to instrument design, including the mouthpiece, leadpipe, bore, backbore, bell throat, bell, and the materials used in the construction of the instrument. From a player’s standpoint, tone quality is largely dependent upon two factors: (1) the use of air, which is discussed under Tone Production and Breathing/Breath Support/ Air Control; and (2) the embouchure and oral cavity, which is discussed under Tone Production and Embouchure. Common terms associated with tone quality and common terms used to describe tone quality are identified and described under Tone Quality in chapter 1. See also Embouchure, page 368; Mouthpiece/ Mouthpiece, page 391; Tone Production, page 350 Tonguing: See Tonguing, page 145 Top Action: A term used to describe the placement of the valves on the euphonium. If the valves are placed vertically so that the finger buttons lie on top of the EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass inner tubing, the instrument is considered a top action baritone or euphonium. The player reaches these valves with the wrist and hand behind the instrument. A top action euphonium is shown in figure 5.37. See also Front Action, page 373; Side Action, page 397 Top Bow: The curve of tubing up toward the bell. The fi rst branch is connected to the top bow on the outside of the instrument. See also Parts, Euphonium, page 393 Top Valve Caps: Also called retaining caps, the threaded caps that screw onto the valve casings, encircling the valve stem. Loosening the top valve caps enables players to remove the valves for cleaning and oiling. See also Parts, Euphonium, page 393; Valve Caps, page 407

Figure 5.37. Top-Action Euphonium EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  Transpositions: The relationship between the written and sounding ranges of an instrument. When the music is written in treble clef, euphoniums and baritones are transposing instruments in B-flat. As a result, they sound an octave and a major second lower than written (one octave below the B-flat trumpet). Writing baritone parts in treble clef B-flat enables players to use the same fingerings and read the same music as trumpet players. The treble-clef, B-flat transposition is rooted in band tradition when baritone/euphonium players were also trumpet players who doubled on these lower instruments. When baritone parts are written in bass clef, baritones/euphoniums are treated as non-transposing instruments in C. To play the correct pitch, players must alter their fi ngering patterns slightly to compensate. That is, players cannot use the same fingerings to read both the treble and bass clef parts. A summary of transpositions is shown in figure 5.38. See also Range, page 395 Trigger: See Main Tuning Slide, page 390; Tuning Slides, page 403 Triple-Tonguing: A technique that enables performers to tongue triple patterns rapidly. See also Multiple-Tonguing, page 106 Trombonium: An instrument that is a cross between a trombone and a euphonium. The trombonium was originally designed for marching bands in the late 1930s, but was also used in jazz playing in the 1950s. The trombonium is shaped like a small baritone, with either a bell-front or bell-upright configuration that is played with valves instead of a slide. It is typically pitched in Bb. Tuning Slides: Slides that can be adjusted for tuning the instrument. The euphonium has one main tuning slide and one tuning slide on each valve loop. The main tuning slide is used to adjust the overall pitch of the instrument, whereas each valve slide is used to adjust the pitch of that particular valve (or notes that utilize that valve). After the baritone/euphonium has been tuned properly, the slide positions should be checked regularly during play. In addition, all of the tuning slides

Figure 5.38. Baritone and Euphonium Transpositions EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass should be moved regularly to prevent them from getting stuck. When removing the valve slides to clean or grease them, make sure that the corresponding valve is depressed. If the valve is not depressed, a loud popping sound can be heard as the slide is removed. Although young players typically fi nd this sound amusing, removing slides in this manner can cause leaks over time. Most baritones/euphoniums have manual slides; however, some professional model instruments are equipped with a spring-loaded main tuning slide that enables players to adjust the overall pitch of the instrument quickly while playing. This tuning slide is operated by depressing a wide spatula key (located between the third valve slide tubing) with the left thumb. Properly adjusting the slides for tuning the euphonium is discussed under Tuning/Tuning Note Considerations. See also Intonation, page 384; Main Tuning Slide, page 390; Parts, Euphonium, page 393; Tuning/Tuning Note Considerations, page 404 Tuning Slide Grease: See Slide Grease, page 121 Tuning/Tuning Note Considerations: Tuning any instrument is a process that involves making mechanical adjustments (e.g., pulling out or pushing in a mouthpiece, slide, or instrument joint) so that the instrument will produce pitches that are in tune with a predetermined standard (typically A = 440). “Tuning notes” refers to specific pitches that are “good” to tune to on any given instrument. Consideration has been given to the notes most commonly used for tuning wind groups. Adjusting pitch and adjusting for pitch tendencies are discussed under Intonation. Considerations for tuning the baritone/euphonium appear separately in this section. General Tuning Considerations 1. The general pitch of most brass instruments is set using the main tuning slide. This slide can be pulled in or pushed out a considerable distance to adjust the pitch. 2. It is important to determine the position of the main tuning slide and the valve slides after the instrument has been properly warmed up, otherwise the instrument will play consistently sharp throughout the range. Larger instruments take longer to warm up than smaller instruments. As a result, it will take a euphonium much longer to warm up than a trumpet. 3. Once this initial pitch is set, players constantly monitor pitch so that they can make slight adjustments as necessary. 4. Although the general position of the main tuning slide will likely be quite consistent from day to day, the pitch should be checked EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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Euphonium/Baritone  daily and the slide should be moved regularly to prevent it from getting stuck. 5. Most brass instruments are designed to be in tune (using A = 440 as a standard) when the main tuning slide and valve slides are pulled out to varying degrees. This design feature enables players to raise the pitch if necessary by pushing the slide or slides in. 6. Tune to stable pitches that respond well and that are in a comfortable range. Generally, the best tuning pitches for brass instruments are those that use open (0) fingerings. 7. Use a tuner during the tuning process. Tuning the Baritone or Euphonium 1. Euphoniums and baritones are tuned in the same manner. 2. Most euphoniums are designed to be in tune when the main tuning slide and the valve slides are pulled out to varying degrees (using A = 440 as a standard). This design feature enables players to raise the pitch if necessary by pushing the slides in. 3. Players can raise or lower the overall pitch by adjusting the position of the main tuning slide. Pulling the main tuning slide out flattens the pitch, while pushing the main tuning slide in sharpens the pitch. Generally, only relatively small adjustments (no more than one inch) should be made for tuning purposes. The need to make larger adjustments is often an indication of problems, either with the instrument or with playing technique. 4. Pulling out the slides will flatten the pitch, while pushing in the slides will raise the pitch. Adjusting the position of a particular valve slide (e.g., first valve slide) primarily affects the pitches that involve that particular valve, whereas adjusting the position of the main tuning slide affects all pitches. 5. As a general rule, once the proper placement of the valve slides is determined, players can tune primarily by adjusting the position of the main tuning slide. Slight adjustments in the valve slides can be made as necessary according to playing conditions (e.g., temperature and performing environment) and pitch tendencies. The need to make large adjustments in slide position is often an indication of problems with the instrument or with playing technique. EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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

Wind Talk for Brass Tuning the Baritone/Euphonium: Specific Suggestions 1. Tune the main tuning slide by playing an open fourth-line F-natural (bass clef) and adjusting the position of the slide until the F-natural is in tune with a tuner. After the F-natural is in tune, play a second-line B-flat and check its pitch with the tuner. Both of these notes typically play in tune at about the same tuning slide position. In some instances, it may be necessary to find a compromise slide placement that allows both notes to be relatively close to being in tune with equal temperament. That is, find the tuning slide position that results in relatively good intonation for both notes. 2. Tune the first valve by playing a third-space E-flat and a top-line A-flat. Check both pitches with a tuner. If both notes are in tune (or very close), leave the slide in its current position. If one note is too far out of tune, find the tuning slide position that allows both notes to be relatively in tune. 3. Tune the second valve by playing a third-space E-natural and a first-space A-natural. If both notes are in tune (or very close), leave the slide in its current position. If one note is too far out of tune, find the tuning slide position that results in relatively good intonation for both notes. 4. Tune the third valve by playing a third-line D-flat and a top-space G-flat. If both notes are in tune (or very close), leave the slide in its current position. If one note is too far out of tune, find the tuning slide position that results in relatively good intonation for both notes. 5. Tune the fourth valve (if equipped) by playing a second-space C-natural and adjusting the valve slide until it is in tune. 6. Remember, the best position of each slide is the one that provides the most accurate tuning overall in the tuning process. Players will still have to make adjustments with air and embouchure while playing. Tuning Note Considerations 1. Concert B-flat—Second-line B-flat and B-flat above the staff are both excellent tuning notes. Second-line B-flat is a better tuning note for inexperienced players.

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Euphonium/Baritone  2. Concert A-natural—First-space A-natural and top-line A-natural are both good tuning notes. First-space A-natural is a better tuning note for inexperienced players. 3. Concert F-natural—Fourth-line F-natural is an excellent tuning note. Valve Cap Felt: On a piston valve, the felt on top of the valve cap that cushions the bottom side of the finger buttons. The valve cap felt also acts as a stopper to stop the downward movement of the valve in the correct position to open up the valves properly. If the valve cap felt is too thick or too thin, the pistons will not line up properly when the valves are depressed. See also Valve Caps, page 407 Valve Caps: The caps that screw onto the top and bottom of the each valve casing. Removing the top valve caps enables players to remove the valves for oiling and cleaning. The bottom valve caps do not need to be removed for oiling the valves; however, they should be removed when cleaning the inside of the valve casings. See also Bottom Valve Caps, page 359; Parts, Euphonium, page 393; Top Valve Caps, page 402 Valve Casings: The tubing that encloses or houses the valves and pistons. See Valve Casings, page 148 Valve Guard: See Care and Maintenance, page 37; Hand Guard, page 380 Valve Guides: Usually a square-shaped device that keeps the valves aligned in their casings. Older valve guides were made of metal, and although they were durable, they were also noisy. Newer valve guides are usually made of plastic or nylon, and although quieter than metal guides, they are also more susceptible to damage and wear. Valve Oil: See Valve Oil, page 347 Vibrato: See Vibrato, page 151 Water Keys: Keys that, when opened, allow accumulated condensation to be removed from the instrument. Most euphoniums have two water keys on the main tuning slide and the third valve slide, where condensation tends to accumulate. Some instruments have a third water key on the first valve slide. When too much condensation accumulates in the instrument, it affects the tone quality and often causes a gurgling sound. To remove excess condensation, players EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188

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 Wind Talk for Brass open the valves and blow air through the instrument. In addition to using water keys to remove excess condensation, players must sometimes tilt the instrument and remove the slides, especially when a particular slide does not have a water key. The slides should be put back in the same positions they were in before being removed to avoid tuning problems. Traditional water keys are typically used on euphonium; however, an Amado style water key is sometimes used on the second valve. See also Parts, Euphonium, page 393 Water Trap Gutters: Accessories designed to trap leakage from the valves during play. Water trap gutters, such as those shown in figure 5.39, are available for most brass instruments. Written Range: The written range for the baritone and euphonium are the same. Music for baritone/euphonium may be written in bass or treble clef; however, most baritone/euphonium music is written in bass clef. Baritone music written in treble clef will be in the key of B-flat and sound a major ninth lower than the written

Figure 5.39. Euphonium Water Trap Gutters EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 11/28/2016 4:34 PM via UNIV OF ALBERTA LIBRARIES AN: 294841 ; Ely, Mark C., Van Deuren, Amy E..; Wind Talk for Brass : A Practical Guide to Understanding and Teaching Brass Instruments Account: s5940188