to a trombone bell.

Its tubing is
mostly cylindrical, as demon-
strated by removing the tuning
slide and reinserting it with the
two ends reversed. This is not
A Euphonium By Any Other Name Is Not a Baritone possible with my euphonium,
because, in order to maintain
David R. Werden the taper, the two ends of the
tuning slide are of a different di-
ameter.
Over the years I have heard baritone has mostly cylindrical Another instrument, the bell-
several different explanations of tubing, a smaller bell and bore, front type with front valves (of-
the difference between the eu- and a smaller, brighter sound ten seen in high school bands
phonium and the baritone: than the euphonium. None of the and sometimes referred to as a
A baritone is a small eupho- books mention specific measure- baritone) usually has a .560"
nium. ments or dimensions, which are bore and about a 10.5" bell. The
A baritone has three valves important aspects when distin- throat of this bell is roughly as
and a euphonium has four. guishing these instruments. large as that of my euphonium.
If the instrument is in treble In England the distinction be- A glance at the tubing confirms
clef it's a baritone, and if it's in tween the euphonium and bari- that it is mostly conical, and the
bass clef it's a euphonium. tone is especially important be- tuning slide is not reversible. I
(Attributed to Robert King) a cause of the many brass bands. understand that this type of
euphonium is a baritone that's There, as well as in the rest of horn was originally developed
played well. Europe, the bands use two bari- with characteristics that would
Some of these distinctions are tone horns and two euphoniums allow it to be used for both
partly true, but none is a correct with specific parts written for baritone horn and euphonium
and complete definition. I would the different timbres of these in- parts (its tone color is more or
like to help clear up some of the struments. Therefore, to illus- less centered between those two
fog surrounding these instru- trate the importance of dimen- instruments). However, over the
ments. sions, I will use my British made years its sound has grown
I have consulted 24 sources in- instruments as examples. darker as the manufacturers
cluding general dictionaries, en- My euphonium has a bore of have tried to meet the demands
cyclopedias, music dictionaries, .580", with almost entirely coni- of musicians desiring a fuller
and texts trying to find an offi- cal tubing (except for the section tone. As the instrument exists to-
cial definition of the difference passing through the first three day, its sound is very close to
between these two instruments. valves). It has a large bell, 11" in that of euphoniums such as
All the books agree on the fol- diameter, whose throat is large mine, and it has a much darker
lowing: the euphonium has enough to accept a fist several sound than that of the baritone
mostly conical tubing, a larger inches down. My baritone has a horn. Having played most
bore and bell than the baritone, .515" bore. Its bell is 10" in diam- brands of this type of instru-
and a darker, bigger sound. The eter, and proportioned similar ment, I see no reason to ever call
COLLEGE BAND DIRECTORS it a baritone. It is best described
as a small euphonium, and its
NATIONAL ASSOCIATION characteristics are not different
National Conducting Symposium enough from its larger brothers
to justify a different name. Cer-
The University of Northern Colorado School of Music and Band tainly the range of bore sizes and
Department will host the 1984 National Conducting Symposium. tone colors among tenor trom-
Thirty applicants will be selected as conducting participants. A bones is at least as diverse as it
non-conducting participant track is open to all interested college
and public school conductors. Clinic ensembles will include a wind is among euphoniums, yet I
ensemble, symphonic band and symphony orchestra. The Sym- haven't heard any name other
posium will offer sessions on score analysis, rehearsal preparation, than trombone used to describe
practical conducting experience and related discussion pertaining the smaller of these instru-
to all facets of the conductors art. ments.
CLINICIAN: Mr. H. Robert Reynolds, Director of Bands
The University of Michigan
David R. Werden was recognized as
Mr. Juan Carlos Zorzi Music Director and "Euphonium Player of the Year" in
Conductor of National Symphony 1980 by the British publication
Orchestra of Argentina Sounding Brass, and in 1981 was
JULY 30 - AUGUST 3, 1984 elected Euphonium Coordinator of
the Tubists Universal Brotherhood
For complete information and enrollment application, please write: Association. In 1982 he was awarded
EUGENE CORPORON - Director of Bands - School of Music the Coast Guard Commendation
The University of Northern Colorado Medal for his work in promoting the
Greeley, Colorado 80639 euphonium. Werden is a clinician
Applications must.be completed and returned by June 4, 1984.. for Boosey & Hawkes.
62 THE INSTRUMENTALIST/APRIL 1984
 Let us put to rest some mis-
:onceptions. The euphonium
merican, European, or Japa-
lese) may have three, four, or
iore valves without its basic di-
icnsions or tone color chang-
ig. The baritone horn is almost
Jways found with only three
'alves. However, if a manufac-
rer chose to add a fourth
,lve, the instrument would still
a baritone. The direction the
:11 points does not affect the
finition, nor does the place-
lent of the valves. For example,
me European manufacturer
lakes a euphonium with the
.me basic dimensions of bore
id tubing taper in side-valve
ipright bell, front-valve upright
11, and front-valve front bell
mfiguration, all available with
ee or four valves. Euphonium
:Usic may be written in either
iass or treble clef. Baritone
iorn music is almost always in
reble clef, though the reasons
tor this have more to do with tra-
lition than technical necessity.
I would like to see music pub-
lishers use the correct terminol-
igy on the parts for these instru-
icnts. As a member of the
nited States Coast Guard
land, I read much music in the
mrse of a year. While most of
ie parts I play are labeled "bari-
<ne," they are meant to be
ilayed on a euphonium. Brass
lands, in which the distinction
tween baritone and eupho-
um parts is critical, are be-
iming popular in the United
itates. Thus, it will be all the
iore important in the future to
iliminate the existing confusion.
My final plea is that the manu-
facturers of brass instruments
:gin to use the correct titles for
ritone horns and euphoniums
their catalogs. The word "eu-
ihonium" should stand for more
n just a high-quality version
a particular instrument, and
laritone" or "baritone horn"
ihould only be applied to the
rue, small-bore, cylindrical,
Tighter-sounding instrument.
Expectations
and a Little Magic
Donn Laurence Mills
At some point in a child's life,
he lets it be known that he likes
music, and before he knows it, a they make the yearbook photo-
well-meaning adult presses an graph look impressive.
instrument in his hands and Truthfully now, how can the
packs him off to music lessons. rank and file of your orchestra
The new toy is a delight for be as thrilled with the experi-
awhile, but then the going gets ence as Helen Hotshot, your
tough. Suddenly it's becoming a overachieving concertmistress?
burden; practicing, a bore. A few They can't see the promised land
agonizing months pass; the in- beyond the next page-turn as she
strument is returned to the store does. As both leader and teacher,
and another musical career has you must motivate everyone, in-
ended in disappointment. Only cluding those chair-warmers
one of three beginners will still but how?
be playing a year later, and We all know that small, poorly
many others will give up long be- balanced orchestras are demor-
fore any musical satisfaction is alizing to everyone. Feeble
reached. Lack of talent? Well, groups convince weak players
music isn't for everyone... or is that making music isn't so won-
it? derful after all. To stay on top
Fortunately for us, just we must anticipate our needs
enough turtles reach the sea to and prepare well in advance. Un-
provide players for our ensem- less you savor martyrdom, make
bles, and those survivors de- studies, lists, and alternatives.
serve our respect and gratitude. Do your homework and recruit
Now that they're in the high with the fanaticism of a zealot.
school orchestra, are their musi- Never permit your orchestra to
cal dreams to be fulfilled at last? lose ground no matter what the
For too many, the answer is "no." circumstance.
A lot of our students stick it I hear you say, "Yes, fine, but
out through years of tedious re- every year we have to start all
hearsals long after the bloom of over again." No, you don't. You
anticipation has faded. Like can edge the standards upward
brushing teeth, it's become a mo- even with changing personnel.
notonous habit. For some it's Just keep expecting a little more
easier to continue than quit, each year. Let incoming stu-
even if the experience is boring. dents strive to better last year's
Many reach a minimum per- standards. Play a tape of your
formance level, then stagnate. If spring concert at the first re-
you look carefully, you'll find hearsal in the fall and challenge
these people in about half the the group to surpass it. Success-
chairs of your orchestra. At least ful athletic coaches operate that
Kent State
University
School
of Music
Summer Music Workshops 1984
College of Special Programs
Kent State University
INSTRUMENTAL AND
CHORAL CONDUCTORS WORKSHOP
June 11-15 1 Hour Credit (morning)
MARCHING BAND WORKSHOP
June 25-27 1 Hour Credit (afternoon)
Clinician: John Boyd Clinician: Michael Lee
OBOE & BASSOON: PLAYING, WOODWIND INSTRUMENT REPAIR-
BEGINNING LEVEL
TEACHING, AND REED MAKING
June 11-15 I Hour Credit (afternoon) July 2-7 2 Hours Credit (morning)
Clinicians: Warren DcFren, David DeBolt Clinician: Arthur Bean
TEACHERS CAN IMPROVISE! WOODWIND INSTRUMENT REPAIR-
ADVANCED LEVEL
TEACHERS CAN BE CREATIVE
June 18-22 1 Hour Credit (morning) July 9-13 2 Hours Credit (afternoon)
Clinician: Arthur Bean
Clinicians: Virginia Hoge Mead, Lynn Freeman Olson
MULTICULTURAL MUSICAL EXPERIENCES CHORUSES IN GRADES 5-9:
FOR ELEMENTARY & SECONDARY SCHOOLS TECHNIQUES AND MATERIALS
June 18-22 1 Hour Credit (afternoon) July 16-20 2 Hours Credit (afternoon)
Clinician: William M. Anderson Clinician: Joy E. Lawrence
For a complete brochure and registration information contact: The College of Special
Programs, 327 Rockwell Hall. Kent State University. Kent, Ohio 44242; 216/672-3100.
APRIL 1984/THE INSTRUMENTALIST 63