Wind Talk For Brass

Copyright 2009. Oxford University Press. All rights reserved.
. May not be reproduced in any form without permission from the publisher, except fair uses permitted
under U.S. or applicable copyright law.
Euphonium/Baritone
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
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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)

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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
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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.
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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
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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
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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
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5.
6.
7.
8.
9.
10.
11.
12.
13.
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
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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.
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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
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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.
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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
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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

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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.
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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 instruments 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

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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 instruments
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
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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 baritones tubing is more cylindrical than the euphoniums 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
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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
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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.
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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
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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 tubas. 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

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Figure 5.13. Embouchure in the Low Range
Figure 5.14. Embouchure in the Middle Range

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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
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First Valve Trigger: See First Valve Slide, page 371

Flexibility, Lip: A term used to describe a brass players 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

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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
Figure 5.17. Front Action Baritone

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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 ActionThree 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 ActionFour 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
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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.
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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.
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Figure 5.20. Position to Operate Side Action Valve
Figure 5.21. Playing Position (Front View)
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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.
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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 players 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 shoulders
width apart.
2. Slouching and slumping are common problems with baritone and
euphonium players. Unless players are small, they should be able to
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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 euphoniums earliest ancestor is generally believed to have been
the serpent, whose invention is credited to Canon Edm 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 Ast. 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 euphoniums origins, even though Herr
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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 euphoniums 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 players 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 players 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
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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 tubas 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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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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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
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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
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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 players 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
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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.
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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.
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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 TendenciesMaking 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.
AdjustmentRelax 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.
AdjustmentFirm the embouchure slightly, and focus the air
stream upward slightly.
Figure 5.28. Intonation Tendencies (Euphonium)

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5. Second-space C-sharp and fourth-line F-sharp (valve combination 2-3) tend to be flat.
AdjustmentFirm 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

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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 players 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
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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 6; 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
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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 players 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 instruments 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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Figure 5.30. Parts of a Euphonium
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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 students range varies according to experience and ability level.
Once the fundamentals of tone production and embouchure formation are
Figure 5.32. Baritone Range (Treble Clef)

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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
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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
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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
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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
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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 Dmpfer (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)

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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 players 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
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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

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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

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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
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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.
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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-flatSecond-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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2. Concert A-naturalFirst-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-naturalFourth-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
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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

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Copyright 2009. Oxford University Press. All rights reserved.

Acoustical Properties: The acoustical and physical tonal characteristics of an

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Figure 5.1. Common Alternate Fingerings (Euphonium)

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Figure 5.2. Euphonium before Assembly

Figure 5.3. Euphonium Assembled

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Figure 5.4. Assembled Three Valve Baritone with an Upright Bell

Automatic Compensating System: See Compensating/Automatic Compensating

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Beats: See Beats, page 18

Figure 5.5. Three Valve Baritone with a Detachable Bell

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Figure 5.6. Baritone with an Upright Bell

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Are all cases well constructed and designed?

Do all baritones and euphoniums come with cases?

Figure 5.7. Euphonium with Chair Peg

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Is there a difference in a treble clef and a bass clef baritone?

A: As a rule, when a part is written in treble clef, it is transposed to

Figure 5.8. Compensating Loops

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Figure 5.9. Compensating and Non-Compensating Four Valve Euphoniums

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Figure 5.10. Detachable Bell

Figure 5.11. Comparison of a Baritone and a Euphonium

euphonium are often used interchangeably, especially in the United States.

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Figure 5.12. Embouchure

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Figure 5.13. Embouchure in the Low Range

Figure 5.14. Embouchure in the Middle Range

Figure 5.15. Embouchure in the High Range

not typically called for in standard literature. A detailed discussion of these

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First Valve Trigger: See First Valve Slide, page 371

Figure 5.16. Side Action and In-Line Fourth Valve Placements

Figure 5.17. Front Action Baritone

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Figure 5.18. Front Action Baritone Playing Position

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Figure 5.19. Top Action Hand Position

Right-Hand/Arm Position (Top Action)

Figure 5.20. Position to Operate Side Action Valve

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Figure 5.22. Playing Position (Side View)

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Instrument Selection: See Instrument Brands, page 381; Instrument Selection,

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Instrument Stands: See Instrument Stands, page 76

Figure 5.25. Marching Baritone

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Figure 5.26. Compensating Euphonium

Figure 5.27. Non-Compensating Euphonium

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Figure 5.28. Intonation Tendencies (Euphonium)

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Figure 5.29. Euphonium Lip Slurs

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