INSTRUMENTS OF THE BARITONE AND EUPHONIUM FAMILY

Transcription

1 INSTRUMENTS OF THE BARITONE AND EUPHONIUM FAMILY Bb Baritone Bb Euphonium

2 INSTRUMENTS OF THE BARITONE AND EUPHONIUM FAMILY Bb Baritone Having a school-owned baritone is very rare Reads in Bb treble clef Concert F is a written 2 nd space G Small shank Usually only 3 valves, but some models have compensating system Commonly used in brass bands Euphonium A school-owned instrument Pitched in Bb; reads concert pitch (non-transposing) Usually large shank leadpipe some models will have medium ( European ) or small shank Students should begin on a non-compensating instrument Step up horns will usually be 4-valved compensating The euphonium is accepted as part of standard concert band instrumentation

3 RECOMMENDED EUPHONIUM BRANDS Beginner: Brand: Yamaha Model: YEP-321 Pricing: MSRP $3, $3, wwbw.com Description: School-owned instrument Great beginner euphonium Non-compensating Can be used throughout high school Advanced high school players will need a compensating system style horn Brand: F. Schmidt Model: F4VS Pricing: $1, Brook Mays and H&H Description: Student-owned instrument Good beginner euphonium for the price Non-compensating

4 Can be used throughout high school Advanced high school players will need a compensating system style horn Intermediate Brand: Yamaha Model: YEP 842S Pricing: $7, wwbw.com Description: School-owned instrument Great step-up horn for advanced high school students Large shank Machine-manufactured Consistent tuning in all ranges Compensating system More advanced intermediate euphonium some professionals use this horn Brand: Yamaha Model: YEP-642II Neo Pricing: $6, $6, wwbw.com Description: School-owned instrument Great step-up horn for advanced high school students Large shank Compensating system

5 Professional Brand: Willson Model: 2900S Pricing: $8, wwbw.com Description: Compensating system Used in most United States professional military bands Can be used for advanced high school students and college students Good quality construction hand made in Switzerland Smaller bell than 2950 (11.5 in) Tuning is consistent throughout full range Problematic notes A4 (very flat), F3 (sharp) Most models are medium shank ( European shank ), but can be ordered with large shank. Brand: Willson Model: 2950S Pricing: $8, wwbw.com Description: Compensating system Can be used for advanced high school students and college students Good quality construction hand made Large shank

6 Larger bell (12.25 in.) Heavier than the 2900S 10 lbs. 2oz. Brand: Besson Model: BE2052 Prestige Pricing: $8, $8, wwbw.com Description: Compensating system Can be used for advanced high school students and college students Trigger for problematic upper range tuning notes Large shank Brands to Avoid (only in my opinion ) Tuba Exchange Conn Jupiter Selman Schill Blessing Maestro Ravel

7 RECOMMENDED EUPHONIUM MOUTHPIECES Beginner: Brand: Bach Model: 6 ½ AL Pricing: MSRP $74.99 wwbw.com Description: Small shank (can be ordered with large shank) Medium cup size Used mainly for beginners Intermediate: Brand: Schilke Model: 51D Pricing: MSRP $ wwbw.com Description: Could be used with beginning students Used mainly as a step-up mouthpiece Large, small, or medium ( European ) shank available Larger cup size Available in gold plating Can be used throughout high school Professional: Brand: DEG Model: BB1 (Brian Bowman) Pricing: MSRP $ wwbw.com Description: Used for very advanced players

8 Modified Schilke 51D Designed for improved intonation and center of sound within all ranges Small, medium ( European ), or large shank available Larger cup size Sharper rim Larger back bore Brand: Denis Wick Model: Steven Mead Ultra Series Pricing: MSRP $ wwbw.com Description: Used with very advanced players Euro or large shank available Larger cup size Improved higher register Available in gold plating

9 PARTS OF THE EUPHONIUM MOUTHPIECE

10 EUPHONIUM MOUTHPIECE INFORMATION Factors to consider when looking at a mouthpiece o Rim width o Cup depth o Shank size/back bore o Plating Basic terminology o Bore size refers to the instrument one is playing, not the mouthpiece. The bore size is the inside diameter of the lead pipe. Small bore trombones are typically.500- inch and large bore trombones are typically.547-inch. o Small shank mouthpieces refer to mouthpieces that can fit on a straight trombone or small bore euphonium. o Large shank mouthpieces refer to mouthpieces that can fit on trombone with large bores (typically, those with secondary attachments) and euphoniums with large bores. o Mouthpiece adapters are made for people playing on small shank mouthpieces to play on a large bore instrument. Do not use mouthpiece adapters, if possible try to play on small shank mouthpieces for small bore instruments and large shank mouthpieces for large bore instruments. This is to maintain the integrity of the proportions that the instruments were designed to sound best on. Silver vs. gold plating o There has been much controversy surrounding the issue of playing on silver-plated or gold-plated mouthpieces. These include the following: Endurance Tone quality Ease of playing Overall embouchure health o So what is the truth? Because the embouchure is incredibly personal and can only be truly determined and developed on an individual level, the issue, as a whole, does not really matter. Students will discover what works best for them as they develop, and they should only do so under the supervision of an experienced band director and/or private lesson instructor. o It is recommended to start beginners on a silver mouthpiece. A silver mouthpiece is cheaper, and because it is uncertain whether or not the student will have embouchure issues on the onset, there is no need to have students start on a gold mouthpiece (which is twice as expensive).

11 EUPHONIUM MAINTENANCE KIT LIST RECOMMENDED ITEMS Al Cass Valve Oil MSRP wwbw.com Students should oil valves at least once a day Selmer Tuning Slide & Cork Grease MSRP jwpepper.com The Selmer cork grease is a liquid and lasts much longer than most tuning slide greases. Caution should be used when using this because it is very sticky Must be stored in a plastic Ziploc bag as it may explode. If it hits something in the case or if exposed to heat, it will damage other maintenance kit items. To apply, squeeze a tiny bit of the grease up and down onto the slide. Then, insert slide back into the instrument using a back and forth motion until lubricated. Remove any excess grease with a cloth from the slide if necessary.

12 Denis Wick Flexible Euphonium Snake Brush MSRP $16.99 at wwbw.com A snake is used to clean the inner and outer slides at least every six months Be sure to not use metal snakes, as they will scratch the plating of the horn. Yamaha Brass Mouthpiece Brush MSRP wwbw.com Used to clean the inside of the mouthpiece Insert from the shank and twist to clean out the mouthpiece. Does not go all the way through the mouthpiece. Could scratch the inside of the cup of the mouthpiece if not used correctly.

13 Denis Wick Valve Casing Brush MSRP wwbw.com Used to clean inside valve casing of the euphonium. Must take out entire valve, spring, and top and bottom valve caps. The Ultimate BERP Trombone/Euphonium Small Shank MSRP wwbw.com The BERP allows students to air, position, and vibrate while simulating playing position. It is a good tool for ear training as the student advances.

14 8x10 Plexiglass Binswangerglass.com Road man will not supply these Prices vary depending on where mirrors are purchased. Mirrors purchased through Binswanger can be purchased in bulk and cut to a desired size. They will also be made of plexiglass. Purchasing mirrors at a home improvement store is also an option; however, mirrors will have to be individually cut by a band parent or yourself. No matter where mirrors are purchased, it is vital that they are made of plexiglass and not glass. Students will not hurt themselves on the corners of the mirrors; nor will the mirrors shatter when dropped. To receive a better price, attempt to find other band directors who would be willing to place an order as well. Assuring the company that you will place annual orders may also result in a discount. Self-portrait mirrors from art supply stores are acceptable. Car clip-on mirrors are not recommended because they are too small and the hinges break easily. Makeup mirrors are not recommended because they are too small and oddly shaped. It would be best if there was a box for the mirrors in each separate class location. Students can then easily obtain a mirror out of the box before class and return the mirror after class.

15 EUPHONIUM MAINTENANCE KIT OPTIONAL RECOMMENDED ITEMS Hetman 7 or 8 Premium Slide Grease Standard MSRP wwbw.com The Hetman Slide Grease is a cream and lasts much longer than most tuning slide greases. Caution should be used when using this because it is very sticky To apply, remove a small amount of cream from container and smear onto slide. Then, making a ring with the thumb and forefinger, work the slide grease onto the slide to create enough friction to properly lubricate the cork. Insert slide back into the instrument using a back and forth motion until lubricated. Remove any excess grease with a cloth from the slide if necessary Bach Deluxe Silver Polishing Cloth MSRP wwbw.com A silver polishing cloth is helpful in maintenance of a euphonium, as it may accumulate many fingerprints and a lot of dust that will destroy the lacquered finish of the brass. The silver polishing cloth is specifically designed to prolong the life of the finish of a silver brass instrument. Removes moisture, acid, excess valve oil, and slide grease from the student s fingers.

16 Protec A204 Large Brass Deluxe Padded Mouthpiece Pouch MSRP wwbw.com Students can carry mouthpieces home without instrument cases every day to and from school. Padding and nonabrasive lining prevent dents, dings, and scrapes. Provides more protection than Ziploc bags. One of the following can be used depending on socio-economic environment, availability, or preference when selecting a suitable metronome. Qwik Time QT-5 Metronome MSRP wwbw.com This metronome does not have a subdivision function. Credit card-sized A-440 tuning tone Low-battery indicator Korg MA-1 Metronome MSRP wwbw.com Beat-Counting display makes it easier to practice rhythm and phrasing. Tap Tempo function makes it easier to quickly set the desired tempo. Beat display offers from 1 to 9 beats, plus 8 rhythm types to practice any style of music. Can tune any instrument using the 12- step (C4 B4) chromatic reference

17 pitch Adjustable calibration setting ( Hz) Earphone jack with adjustable volume Memory backup function and auto power-off function Up to approximately 290 hours of continuous operation Korg TM-50 Digital Tuner/ Metronome MSRP wwbw.com Offers both a tuner and metronome, which function simultaneously or independently Contains 13 types of rhythms that cover 0-7 beats per measure as well as doublets, triplets, triplets with center beats omitted, quadruplets, and quadruplets with center beats omitted Tempo is easily adjustable in a range of BPM. Earphone jack with adjustable volume One of the following music stands can be chosen depending on socio-economic environment, availability, or preference. Hamilton Folding Music Stand MSRP wwbw.com Collapsible and easy to transport Selmer Music Stand with Bag MSRP wwbw.com Collapsible and easy to transport

18 EUPHONIUM MAINTENANCE Mouthpiece Maintenance Over time, grime and other dirty objects build up in the mouthpiece. To clean the mouthpiece: 1. Take a mouthpiece brush and run it through the mouthpiece under warm water in the sink. The brush will not go all the way through, so insert the brush to the throat, twist and pull out. Soap is not necessary, but it does not hurt the mouthpiece to use it. The same goes for mouthwash. If these are used, simply rinse the mouthpiece thoroughly afterwards and let it air dry so that the alcohol evaporates. This process should be done every week to two weeks. Slide Maintenance The insides of the slides and various tubes build up grime, various dirt particles, and germs, so the slides must be snaked at least once a month. To snake a horn: 1. Take out the appropriate slide, pressing down the appropriate valve while taking it out, and place the slide on a towel or soft surface. 2. Run water through the unattached slide, preferably in the opposite direction of air flow. In the case of the main tuning slide and the lead pipe, also run water through the lead pipe starting on the end with the tuning slide, not the end with the mouthpiece receiver. 3. Take the snake and run it through the slide which was taken out, preferably in the opposite direction of air flow. 4. Repeat the above step with all slides, including the main tuning slide, the 1 st valve slide, 2 nd valve slide, 3 rd valve slide, and 4 th valve slide. 5. Apply slide grease as necessary according to the below steps. Depending on the model of euphonium, there can be up to 6 slides that require maintenance. Each of these must be well-lubricated with slide grease. Refer to the Maintenance Kit handout for pictures of slide greases. To apply the grease: 1. Take out the slide to be greased, pressing down the appropriate valve. 2. With some cheesecloth, wipe off the slide to clean the grease and any grime on the slide. 3. If the grease is a liquid, squeeze the bottle and apply a line of grease down two sides of the slide. If the grease is more of a cream, use the index finger to apply the grease along most of the length of the slide. Do not apply too much grease, as the slides can become too lubricated and fall out.

19 4. Re-insert the slide and slide it fully in and out a few times. Insert only one side of the slide in and rotate the slide while moving it in and out. Press down the appropriate valve the entire time during this process. 5. Push the slide all the way in and use a paper towel to wipe off any extra grease located where the immovable and movable parts of the slide meet. 6. Repeat this process for all slides as needed. This process should be done every month or so. Valve Maintenance If consistently played on, a euphonium should have no sticky valves for a few weeks. On the other hand, a euphonium that is not played on for 2-3 days in a row the valve can begin to stick. To re-oil the valves: 1. Begin twisting from the top valve cap until the cap comes off of the valve casing. 2. Holding the valve by the finger button, completely remove the valve without twisting or rotating it inside the casing. 3. With some cheesecloth, wipe down any old oil from the piston. 4. Apply a healthy coat of oil on the whole piston, but do not intentionally apply any oil inside the ports as it will simply go to waste once air is blown through the horn. 5. Take a look inside the valve casing: There should be two notches on the sides of the valve casing; this is where the guides on the valve will be placed. One notch should be slightly bigger/different from the other one. Be sure to align the correct guide with the correct slot. 6. Carefully insert the valve, without twisting or rotating it, inside the appropriate valve casing. 7. Repeat for any other sticky valves.

20 EUPHONIUM METHOD BOOKS Essential Elements 2000 MSRP wwbw.com Standard of Excellence MSRP wwbw.com Best in Class MSRP wwbw.com Accent on Achievement MSRP wwbw.com

21 SUPPLEMENTAL EUPHONIUM BOOKS Melodious Etudes for Trombone by Carl Fischer arr. by Joannes Rochut MSRP wwbw.com Used for lyrical playing and musical phrasing for high school students Advanced Method for Euphonium by Rubank MSRP wwbw.com A more advanced book with etudes and scales Technical Studies for Bass Clef Instruments by Clarke- Gordon MSRP wwbw.com Good technique-building exercises for all ages and levels of playing Sixty Selected Studies for Trombone by Kopprasch MSRP halleonard.com Used for trombone players and adopted by euphonium teachers, this book contains many different techniques and incorporates different clefs throughout the book

22 The Brass Gym by Patrick Sheridan and Sam Pilafian MSRP justforbrass.com Great warm up book and fundamentals with scalar patterns. CD included Complete Method for Trombone and Euphonium by John Baptiste Arban MSRP hickeys.com Scales, arpeggios, intervals, multiple tonguing exercises, duets, and technical solos Includes 12 Characteristic Studies that may be used for TMEA All-State euphonium music Spiral bound with comments by Joseph Alessi and Dr. Brian Bowman Selected Studies for Euphonium by H. Voxman MSRP wwbw.com Contains etudes that may be used for TMEA All- State euphonium music

23 EUPHONIUM CASES, IDENTIFICATION OF PARTS AND REMOVING IT FROM ITS CASE General Information About All Brass Cases Most cases have distinguishing marks somewhere on the case. Identify these marks, and their relationship to the top and bottom of the case. Most cases have the handles placed on the bottom section of each case. Check to make sure. Place all euphonium cases on the floor in front of the student. Be sure the student understands where and which direction each part of the instrument belongs in the case. Give detailed information on removing the parts from the case. Make sure the student waits for each instruction before performing the task. Be sure the parts of the instrument are returned to the case in the reverse order they were removed. The euphonium should be removed first, followed by the mouthpiece. When putting instrument back, the order is reversed mouthpiece first, followed by the euphonium. All instruments must be assembled in a specific order. Follow this procedure explicitly every time. Never leave a closed case unlatched. Most latches open from the bottom up, but this is not always the case. Sometimes buttons slide from side to side, etc. Check each opening mechanism carefully before presenting the information to your students. Cases should be protected at all times. Try to find a safe space in the classroom setup for each student s case. If using an ensemble room for the class, the cases may be opened in the hall. The empty case will remain closed and latched in the hall during class. When instruments are in their cases, do not allow students to sit on their cases AT ANY TIME because the lead pipe, bell, and/or compensating valve will get bent.

24 PARTS OF THE EUPHONIUM Bell Valves Leadpipe Mouthpiece 2 nd Valve Slide 3 rd Valve Slide 1 st Valve Slide Water Keys Tuning Slide

25 EUPHONIUM INSTRUMENT/BODY RATIO AND Instrument/Body Ratio/Instrument Carriage Assuming that the student is either standing or sitting with correct posture, instruct them to pick up the body of the euphonium with both hands and simply lift it by using their arms. Move the instrument up and down, side to side, higher than usual and lower than usual. As students are doing this, have them notice how it affects the balance of the body. Eventually, the body should feel as balanced with or without the instrument in hand. Make sure students bring instruments to them and not them to the instruments. When done incorrectly, their body collapses and their air is obstructed. Use of rolled up towels with rubber bands (or other assists ) for euphoniums are beneficial for correct posture and positioning of instrument. Shoulders should be straight across when facing the director and it should feel the same way when doing breathing exercises (do not twist or shift the upper body out of the breathing position) The euphonium should not be slanted in a manner in which moves the students head from its natural position. Angles of mouthpieces should be slightly lower than level. Hand Position 1. The most natural shape of everyone s hands forms a flat C. 2. All hands will fall in from the wrist. The body of the hand must never fall behind the wrist. 3. There should be no bends or wrinkles in either arm when holding the euphonium. 4. The inside of the arms must never touch the outside of the chest cavity when holding the euphonium correctly. No body part touches another body part! 5. Elbows must hang naturally so the natural slope of the shoulders will not be hampered. 6. Though not a part of the hand, the elbows must never feel as though they are pulling the instrument toward the student s face. Instruct students to keep their elbows soft while playing the euphonium. 7. The side/very tip of the right hand thumb should be the only thing that touches the bottom of the cross brace. 8. The euphonium right hand thumb and 1 st finger should point in same direction. The thumb should not be wrapped around the valve casing (older, three valve instruments) which results in the palm collapsing into the cross brace. 9. Piston valves are approached basically the same as trumpet. Rotary valves are basically approached the same as French horn. 10. Place both the left and the right hand in their correct position. Remember the left hand does not grip the instrument. No tension should be felt in this hand when holding the instrument.

26 11. The thumb must never bend in any direction! The index, middle and ring fingers are curved and the fleshy part of the fingertips is placed on the pearls of the valve caps and should never lose contact with the caps. On a three valve euphonium, the pinky is slightly curved and in the air, as if there was a fourth valve. 12. Right hand fingers should have curvature; the pads of the fingers should not extend past the pearls, which incorrectly results students playing with flat fingers. 13. The palms of both hands should feel soft. The palm of the right hand should never touch the instrument or cross brace. The teacher should be able to clearly see a circular opening between the right hand and the instrument. The palm of the left hand should be placed along the 3 rd valve slide and side of the instrument (similar to holding a baby). On a compensating euphonium, the left index finger is curved and the fleshy part of the fingertip is placed on the pearl of the valve cap. 14. Students with compensating fourth valves must move their left hand index finger (NOT second finger) in the same manner that they move their other valves. The middle, ring and pinky are beneath/next to the valve casing. 15. The left hand should not contain any tension, as it holds the majority of the weight of the instrument. 16. The student should understand that finger movement is aided by the soft tissue of the palm of the hand, rather than the bony texture of the top of the hand.

27 EUPHONIUM FACE/EMBOUCHURE Each student should use their own safe/unbreakable mirror both in the classroom and at home. Using the mirror, have each student notice how natural their face looks. They will have to later remember and memorize how it looks and feels. The head must be balanced on the shoulders in a comfortable position not too far forward and not too far backward. The eyes should be soft and natural, and the sight line should be exactly level. The distance between eyebrows should not change as air goes in and out of the body. Look for natural creases in the face, and allow any that are naturally present to exist while playing. No other creases are allowed. The corners should move in toward the canine/eye teeth. The corners should never look or feel pulled back. The corners can move down from the natural position as the student progresses but they can never move up. The texture of both the upper and lower lip should be very soft and relaxed. There should be natural space between the inside of the lips and the gums and teeth. This space should not change or feel different when the lips vibrate inside the cup of the mouthpiece. The back teeth are slightly apart and should feel the same as when the student is reading, watching television, etc. The teeth should not be pressed into each other when doing these other activities. Brass instrument embouchures are formed with a natural overbite. A student with an underbite should be steered away from brass instrument. The thickness of a student s lips should correspond to the size of the cup of the mouthpiece for the chosen instrument. Students with a very full top or bottom lip should be steered towards low brass instruments rather than trumpet. The bottom of the front of the tongue should lie in the soft tissue area which is located in the front of the mouth just behind the ridge of the bottom gum. Remember that when playing the euphonium, cheeks will only puff out if the air is not freely going into the instrument. Assuming that the above has been achieved, the embouchure will be formed with special attention to the following: 1. The mouthpiece must be placed in the middle of the mouth up and down as well as side to side. 2. The corners are in their natural position and should be set against the canine/eye teeth. 3. The lips must be allowed to freely vibrate in response to the airstream rather than made to buzz in front of the airstream. 4. The lips must feel natural so that air can freely move past them they must not be pulled back against the teeth or blown away from the teeth and gums.

28 5. The students should remember that the mouthpiece gathers the air not the lips. 6. There must never be more energy placed against the upper lip than the lower lip; hence the instrument will angle slightly downwards.

29 EUPHONIUM ARTICULATION The tongue moves in the same manner when articulating a brass instrument as it does when you speak. The tongue moves up and down not back and forth both when speaking and when articulation on an instrument. The purpose of the tongue is to release the air, which causes the lips to vibrate and creates the sound. The tongue s release of the air simply defines the beginning/start of the vibration/sound. Articulation is used to define the vibrations necessary to create musical rhythm, style and movement-- to contrast the use of slurring (which also creates similar musical entities). The students should think that the tongue articulates the sound created by the airstream. If the student is taught to create the sound correctly, articulation will be an easy transition. a. sound occurs when the air moves past the naturally vibrating lips b. articulate the sound that is already present c. teach students to articulate at the moment the sound begins Without the instrument or mouthpiece, use the following procedure: 1. Say the word DOG. 2. Sing the syllable DAH. 3. Once these are mastered, have the student use the mouthpiece and instrument and reproduce the DAH syllable in their brain to create an articulated sound. 4. The tongue should feel the same when saying, singing and playing the mouthpiece and instrument. 5. The tongue should touch the enamel of the upper teeth directly below the gum line in the same spot with the same strength every time. 6. Use the syllable DAH because it creates smoother and more easily controlled air as opposed to the TAH syllable. 7. After each articulation, the tongue must immediately fall down into its natural at rest position. 8. The tongue will be naturally soft at all times, but can touch the teeth with different strengths. 9. The tongue will be in its down position 98% of the time when articulating correctly. Have the student start their sound with the air. Using the information about the basics of articulation, have the student articulate as fast as they can with no limitations of numbers, worries about evenness of articulation, etc. Simply get them used to articulating! Have the student then use the ta-day syllable to practice using the tongue in an organized manner. Have the student then articulate on command. The student will start their sound, and articulate when you snap your fingers to practice gaining more control of the tongue.

30 Once the student understands pulse and the foot pat, have the student articulate exactly when the toe of the foot touches the floor. Have the student articulate with the down and up position of the foot. Proceed to written rhythms as they begin to read music. Always practice this entire routine. The student must always go through the entire process, so he will not lose the ability to move his tongue at various speeds and in a structured manner.

31 EUPHONIUM FLEXIBILITY AND RANGE EXTENSION Brass playing is based upon flexibility. There are two types of flexibility: flexibility within the instrument and flexibility within the note. Students eventually need to be flexible through each of the harmonic series in order to move up and down within the range of the instrument. Once the student can reproduce at will a given pitch, the teacher must decide whether flexibility up or down is needed first. Flexibility is controlled by air direction and the isometrics created by the corners and canine/eye teeth. The head must always stay in its natural, balanced position at all times. The angle of the instrument must not change at any time. Students must learn to angle the air in the cup of the mouthpiece without changing the position of the lips and/or the relationship of the upper and lower teeth. Flexibility is also enhanced by vowel sounds used in various registers. These sounds can be ah for the middle register. ee for the upper register.and oh for the lower register. Have students practice saying these vowel sounds with vocalization on appropriate lower, middle and higher sounds. The speed of the air and the shape of the vowel guide flexibility. The tongue assists the air speed similar to the way one s thumb assists the water speed from a hose. The tongue relaxes when descending into the lower register and arches when ascending into the upper register. Bring to the students attention that the shape of the tongue changes dramatically from vowel sound to vowel sound. All students should be aware that vowel sounds are the middles of words that they speak every day. Practice saying words that use the required vowel sounds (i.e. bow, ball, beep). Range is developed through flexibility. It is more important to create a resonant sound while practicing flexibility than to create wider intervals. The student can enhance their range by making more resonant sounds in the middle register before trying to extend higher or lower. While it is important to create resonant sounds in the register students can play in, it is important for students to occasionally try exploring both the upper and lower range they struggle to make a good sound in. This should be practiced perhaps twice a week. Make sure students understand the texture of the lips have nothing to do with range. For example, students should never be told to tighten their lips in order to play in the higher register.

32 EUPHONIUM COMPENSATING SYSTEM Most commonly found on more advanced euphoniums; this system is not typically used on beginner instruments. The compensating system works like the F-attachment on trombone. When 4 th valve is depressed, the instrument is pitched in the key of F. In a self-compensating euphonium, the fourth valve tubing routes back through the first three valves so that when the fourth valve is used in combination with any other(s), air can automatically be detoured through extra compensating loops. The compensating system allows for the possibility to play a full chromatic scale between the 1 st and 2 nd partials (low B-flat low E specifically) With all valves depressed on a compensating euphonium ( ), the instrument will sound a low B-natural. That same valve combination on a non-compensating euphonium will only produce a low C. This makes the low B-natural a nonexistent note on a non-compensating horn. A non-compensating instrument can only achieve a sharp concert E below the staff and all other notes down to the 1 st partial Bb are unavailable without playing false tones. When using a compensating-style instrument, you have the advantage of being able to play lower octaves using conventional fingerings and pressing down 4 th valve. For example, 3rd line D-flat would be played 2-3. To play the octave below, one would hold depress the 2-3-valve combination and add 4 th valve. This would be a different fingering on a non-compensating euphonium (1-3-4) Having a compensating euphonium is extremely beneficial in extending the lower range chromatically. 1-3 and valve combinations can be played 4 and 2-4, respectively, to help with resonance, clarity, and tuning difficulties. Most compensating euphoniums will have the 4 th valve halfway down the right side of the instrument this valve is to be played with the left index finger (not the middle finger). The 4 th valve is placed down the side of the instrument because of the relative weakness of right hand pinky when playing a 4 valve on top or inline 4 style instrument. Not all 4 valve instruments are compensating you must look behind the valves to see if the instrument includes extra tubing that goes through the 1 st, 2 nd, and 3 rd valves. Euphoniums that are not self-compensating but still have four valves only make playing the C and B easier with better intonation. The fourth valve is usually placed next to the third and used by the right hand pinky, but it is also possible to find a horn with a separate fourth valve that is not selfcompensating.

33 Only the 1st valve depressed Only the 4th valve depressed 1 st and 4 th valves depressed Self-compensating Non-compensating with four valves Note that the non-compensating horn does not have a secondary set of tuning slides on the back of the valve casings.

34 EUPHONIUM GENERAL TUNING TENDENCIES The Overtone Series There are 7 possible combinations of fingerings: Open (3 rd valve alone is about the same length) (4) (2-4) Each valve combination plays a series of slotted notes. Displayed below are all the possible notes that can be played without pressing any valves down (open). The order of valve combinations listed above will lower every note on the staff by a half-step. The lowest note on the 2 nd valve combination would be an A the 1 st valve combination would be an Ab, etc. Because each overtone series is in tune with itself, switching between all 7 will cause tuning tendencies. To overcome a tuning tendency, the following can be done: 1. Valve slide adjustment 2. Vowel shape/air direction adjustment 3. Alternate fingering Before going over which adjustment should be used when, it is important to go over the specific tuning tendencies.

35 Sharp Notes Fairly sharp Should be played 2-4 Usually a fairly sharp note 1 st valve slide should be pulled out Severely sharp on most euphoniums Should be played using 4 th valve Moderately sharp Open vowel shape Moderately sharp More open vowel shape Very sharp on most euphoniums Main tuning slide should be pulled out Open vowel shape Moderately sharp More open vowel shape Should be played using 4 th valve Very sharp on most euphoniums Could use 3 rd valve for alternate fingering Slightly sharp More open vowel shape Moderately sharp note on some euphoniums Could use 2-3 for alternate fingering Fairly sharp Could be played using 3 rd valve 3 rd valve slide should be pulled out slightly Moderately sharp Do not pull 2 nd valve slide for this note Very sharp on most euphoniums Main tuning slide must be pulled out

36 Flat Notes Moderately flat Check to make sure the embouchure is not coming apart Very flat Should play using 1 st valve not open Slightly flat on most euphoniums Supported air stream Flat on most euphoniums Could use 1-2 as alternate fingering Moderately flat Should be played 2-4 and lip up Extremely flat Can be played open, 1 st valve, or 1-3 Slightly flat Supported air stream Severely flat Lip up/blow air up Moderately flat Supported air stream Severely flat Lip up/blow air up Could use 1-2 as an alternate fingering

37 Vowel Shape/Air Direction Vowel shape/air direction is the most common adjustment that will be made with younger students. For the upper register: Students who are above pitch or have a pinched/strident sound are most likely closing their teeth. Remind students that even when making an ee vowel shape in the upper register, there should be space between the back teeth. Students who are below pitch or have a weak/unsupported sound are most likely not using fast enough air or their tongue is not arched enough ( ee vowel shape). For the lower register: Students who are above pitch or have a pinched/thin sound are most likely not playing with a big enough vowel shape. Ask students to drop their jaws and blow warm, calm air through the space between their teeth. Students who are below pitch or have a sagging/dull sound are most likely letting their corner collapse and/or not keeping their corners firm. Remind students that even a relaxed vowel shape and air stream are supported by the same embouchure used to play a concert F. The middle register is a good place for students to practice their flexibility within a note. Create games and exercises for students to manipulate which direction they blow their air (up/down) and the vowel shape they use to change the pitch of a note (while maintaining a characteristic sound). To bend a note up, blow the air higher into the mouthpiece and make the vowel shape smaller. To bend a note down, blow the air lower into the mouthpiece and make the vowel shape bigger. Encourage students to perform the aforementioned adjustments on both the mouthpiece alone and on the instrument. Valve Slide Adjustment Unlike the trumpet and tuba, students do not have the luxury of being able to adjust slides for tuning purposes while playing the euphonium. All slides must be set before playing! Tuning slides should be set to the following: Main tuning slide pulled out to have concert F and above the staff Bb in tune (will vary from player to player, but most of the time will be anywhere from ½ inch to 1 inch). First valve slide should be slightly pulled out. Second valve slide does not need to be pulled out at all because of the shortness of slide length and minimal tuning deficiencies while using second valve. Third valve slide can be pulled out to compensate for problematic sharp notes. 4 th valve should be pulled out to have low F and in the staff C in tune.

38 Alternate Fingerings Using the overtone series, one can find more options that are not specifically listed. 3 for above the staff G 4 or 1-3 for above the staff F 3 for above the staff A 4 or 1-3 for 5 th line A (if A is very flat) That being said, a band director should only know these fingerings if all else fails. Most alternate fingerings, especially higher notes using more valves than required, will dull the sound and drastically change the pitch. There will be occasions where a student brings his/her own euphonium with very different tuning tendencies and needs an uncommon option. When it comes to trills, alternate fingerings are completely acceptable. Students should learn that an F#-G trill is easier and cleaner to execute using 3 rd valve instead of 1 st and 2 nd for the G. At the high school level, it is more than acceptable to try fingerings that either darken or brighten the tone for chord balance purposes.

39 1 TROMBONE/EUPHONIUM WARM-UP SHEET #1? 4 4 w w w b w w w w b w? w w w w w b w 2? b w w b w b w b w w? b w b w b w w b w w 3? b w w b b b w w? b b b w w w 4? œ b œ œ œ œ œ œ œ b œ b œ œ œ œ œ œ œ? b œ b œ œ œ œ œ œ œ œ œ œ œ 5? b w w b w b w b w w? b w b w b w w

40 TROMBONE/EUPHONIUM WARM-UP SHEET #2 1? 4 œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ b w 2? b w œ œ œ œ b œ œ? œ œ œ œœ œ œ œ œ œ b w 3? b b w w b b b w w? b b b w w w 4? b œ œ b œ œ b œ œ b œ Œ œ œ œ # œ œ œ œ Œ b œ b œ b œ œ b œ b œ b œ Œ? œ œ œ œ œ œ œ Œ b œ b œ b œ b œ b œ b œ b œ Œ œ œ œ œ œ œ œ Œ? œ œ # œ œ œ œ œ Œ 5? b œ œ œ œ b w œ # œ œ œ w b œ œ b œ œ b w œ œ œ œ w? b œ b œ b œ œ b w œ œ œ œ w œ # œ œ œ w

41 TROMBONE/EUPHONIUM CHROMATIC SCALE? 4 4 œ œ # œ œ # œ œ # œ œ œ # œ œ # œ œ œ # œ œ? # œ œ # œ Œ b œ œ b œ œ b œ œ œ b œ? œ b œ œ œ b œ œ b œ œ b œ œ œ Œ

42 TROMBONE/EUPHONIUM CHRISTMAS TUNES Jingle Bells? 4 4 œ œ œ œ œ œ b œ œ Ó? b œ œ œ œ b œ œ œ œ œ œ œ œ? œ œ œ œ œ œ b œ œ Ó? b œ œ œ œ b œ œ œ œ œ œ b œ œ b w Good King Wenceslas? 4 b œ œ œ œ b œ œ b œ b œ œ œ b? b œ œ œ œ b œ œ b œ b œ œ œ b? b œ b œ œ œ œ œ b œ b œ œ œ b? b œ œ œ œ b œ œ b œ b œ œ œ b b b w