Euphonium: Difference between revisions

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The euphonium (English: /juˈfoʊniːəm/ yoo-FOH-nee-əm; Script error: The function "langx" does not exist.; Script error: The function "langx" does not exist.) is a tenor- and baritone-voiced valved brass instrument pitched in [[Eight foot pitch|9-foot (9Template:Prime)]] BTemplate:Flat an octave below the BTemplate:Flat trumpet or cornet, employed chiefly in brass, military, and concert bands. As with any brass instrument, sound is produced with a lip vibration or "buzz" in the mouthpiece. The euphonium is a member of the large family of valved bugles, along with the tuba and flugelhorn, characterized by a wide conical bore. Most instruments have four valves, usually compensating piston valves, although instruments with four or five rotary valves are common in Eastern and Central Europe.

Euphonium repertoire can be notated in concert pitch in the bass clef, or in the treble clef as a transposing instrument in B♭. In British brass bands, it is typically treated as a treble-clef instrument, while in American band music, parts may be written in either treble clef or bass clef, or both. A musician who plays the euphonium is known as a euphoniumist, a euphonist, or simply a euphonium player.

Name

The euphonium derives its name from the Ancient Greek word εὔφωνος (euphōnos), meaning "pleasant-sounding" or "sweet-voiced".^[1]^[2]

The euphonium has many relatives in the large and diverse family of valved bugles to which it belongs. The baritone horn found in British brass bands, although similar, has a narrower conical bore, smaller bell, and often lacks a fourth valve.^[3] The American baritone with three front-mounted piston valves, a narrower conical bore, and a curved forward-pointing bell, was dominant in American school marching bands throughout most of the 20th century. This instrument, along with the euphonium and similar-looking cylindrical bore instruments like the trombonium, were almost universally lumped together and labelled baritone by both band directors and composers.^[4] Band scores and manufacturers have sometimes treated them as the same instrument, or used the word baritone to refer to the euphonium, thus contributing to a confusion of terminology in the United States.^[5]

Ferdinand Sommer's Sommerophone was patented in Berlin in 1844 as the Euphonion, and adopted in Britain as the euphonium after Sommer toured it in the 1850s.^[3] The euphonium is sometimes called the tenor tuba particularly by British composers, although this term can also refer to other types of tuba. Names in scores in other languages include the French basse, saxhorn basse, and tuba basse; German Baryton, Tenorbass, and Tenorbasshorn; Italian baritono, bombardino, eufonio, and flicorno basso.^[3] In Italy, flicorno tenore refers to the narrower bore baritone, while flicorno baritono and flicorno basso refer to the euphonium with three or four valves, respectively.^[6] The most common German name, Baryton, may have influenced Americans to adopt the name "baritone" for the instrument, due to the influx of German musicians and instrument makers to the United States in the 19th century.^[3]

Scanned page of an instrument catalog

Baritone and euphonium instruments in the 1894 Lyon & Healy catalog

By the 1890s, American euphoniums were sometimes called the BTemplate:Flat bass (with only one "B"). The 1894 Lyon & Healy catalog depicts instruments called the BTemplate:Flat tenor, BTemplate:Flat baritone, and BTemplate:Flat bass with the same pitch and overall three-valve construction, differing only in bore and bell widths (while also listing "EETemplate:Flat bass" and "BBTemplate:Flat bass" tubas).^[7] In the 1930s, American drum and bugle corps introduced the baritone bugle (or Baro-tone) in G with a single D piston valve, before a euphonium bugle in the same key but with a much wider bore had largely replaced it by the end of the 1960s.^[8]

History

Photograph of a serpent

Photograph of an ophicleide

Euphonium ancestors: serpent, c. 1800, left; ophicleide, c. 1825, right. Rijksmuseum, Amsterdam; Metropolitan Museum of Art, New York

The history of the euphonium is tied to the history of the tuba, which is itself the search for a practical valved bass-voiced brass instrument suitable for use in bands and orchestras.^[9] Before the invention of valves in the 1820s, brass instruments were either restricted to a single harmonic series like the natural trumpet or bugle, used a slide like the trombone, or used keys and tone holes like the keyed bugle or serpent. For low-pitched brass instruments, none of these solutions were ideal; the bass trombones with slide handles were unwieldy for fast passages, and the timbre of the serpent was often criticised.^[10]

The euphonium can trace its origins partly to the ophicleide, an all-metal, conical bore keyed brass instrument developed by the Paris instrument maker Jean Hilaire Asté in 1817 to extend the keyed bugle into the bass range and replace the serpent.^[11] The ophicleide improved on the serpent, in use particularly in France since the late 16th century, by using keys covering larger tone holes sized proportionally to the bore width, in their acoustically correct positions.^[12] The wide conical bore of the ophicleide, extrapolated from the keyed bugle, imparted the warm, noble timbre characteristic of the modern euphonium. The ophicleide was widely used in French and British military bands, orchestras, and the emerging civic brass band movement for several decades, even after the invention of valves, and as late as the 1870s.^[13]

The invention of valves

The invention of the Stölzel valve in 1814, the Berlin valve in 1833 used on the 1835 Baß-Tuba and Adolphe Sax's early brass instruments, and especially the modern piston valve by François Périnet in 1839, allowed the construction of brass instruments with an even sound and facility of playing in all registers.^[14] Combined with steam power and other advances in manufacturing brought about by the Industrial Revolution, this led to the 19th century becoming a time of intense transformation in brass instrument design.^[15]

As early as 1829 in Berlin, the Prussian military conductor Wilhelm Friedrich Wieprecht required for his trumpet corps a Tenorbasshorn in BTemplate:Flat with three valves, a name which was later sometimes used for the euphonium. No specimens or illustrations survive, but the historian Clifford Bevan claims it was likely to have been a larger bore version of the Tenorhorn, later often called the Baryton.^[4]

Several instruments appeared in the 1830s and 1840s that fit the broad description of a baritone valved bugle (in BTemplate:Flat or C) with a wide conical bore. In Vienna, valves were applied to the ophicleide to replace its keyed tone holes, otherwise retaining its bore and shape. The larger versions of these became known as bombardons.^[16]

In 1838, Carl Wilhelm Moritz, son of Johann Gottfried Moritz, who (with Wieprecht) had patented the five-valved Baß-Tuba in F in 1835, built a similar but smaller tenor tuba in BTemplate:Flat with four valves.^[17] In Italy around this time, the Milan instrument maker Giuseppe Pelitti developed his bombardino with four valves based on the larger bombardone, a valved ophicleide in F. While Pelitti preferred to call his instruments Pelittone, other makers in Italy made similar instruments and called them flicorni (pl.; sing. flicorno). Built in BTemplate:Flat with either three valves as flicorno bombardino or four valves as flicorno basso, they became the equivalent respectively of the modern baritone horn and euphonium.^[18]

The earliest modern euphoniums

Engraving

Ferdinand Sommer playing his Sommerophone at the 1851 Great Exhibition, London

Ferdinand Sommer, a bandmaster in Weimar, developed his Sommerophone in 1843, which was built and patented as the Euphonion by Franz Bock in Vienna the following year.^[19] In Paris at around the same time, Sax invented his family of saxhorns c. 1843–45. Sommer toured his instrument in solo performances, and at the 1851 London Great Exhibition, presented it as both Sommerophone and Euphonion. The latter term was rapidly adopted as the anglicised euphonium, but it was the saxhorn basse en sí bemol (bass saxhorn in BTemplate:Flat) that can be considered the earliest modern euphonium.^[20] It had a slightly narrower bore, but was often used interchangeably with the euphonium in British brass bands.^[21]

Photograph of a bass saxhorn

Photograph of an oval euphonium

Early euphoniums: saxhorn basse by Adolphe Sax, left; Kaiserbaryton by Červený, right. Musical Instrument Museums, University of Edinburgh

Adolphe Sax's saxhorns became popular in bands in Britain and the United States due largely to the Distin family, who helped popularise the British brass band movement by promoting and performing widely on Sax's brass instruments. By 1850, Distin & Co. was manufacturing them in London, and in New York and Pennsylvania by the 1870s after the London business was purchased by Boosey & Co.^[22] The bass saxhorn also formed the basis of the six-valve French tuba in C, the standard tuba used by French composers and orchestras well into the 20th century.^[23]

In Austria-Hungary, the instrument maker Václav František Červený built his Baroxyton, a baritone instrument with four valves, in 1852. Červený developed several instrument families in ophicleide, helicon, and tuba shapes, but is especially notable for his later Kaiser instruments, with rotary valves and large conical bores. These included the Kaiserbaryton, in a distinctive oval shape. This design was quickly adopted by other makers, and has become the standard configuration for euphoniums in central and eastern Europe.^[24]

Modern instruments

With their more consistent timbre and playing facility throughout the range, and simpler fingering using three or four valves, valved brass instruments eventually led to the disappearance of the ophicleide by the end of the 19th century. In Britain, ophiceides were replaced by euphoniums, offered in competitions as prizes for winning ophicleide players.^[13]^[25]

The modern "British-style" compensating euphonium was developed in the 1870s by David Blaikley, the factory manager at Boosey & Co.^[26] Blaikley, after experimenting with a three-valve compensation system, obtained a patent in 1878 for a four-valve version where the fourth valve returns the airway through the first three valves a second time, adding smaller tubing loops to rectify intonation. Similar designs were patented earlier by Gustave Auguste Besson in 1859, and Pierre-Louis Gautrot's système equitonique, found on his instruments of the period, was patented in 1864.^[27] Blaikley's compensation system was the most successful and has since been in continuous use in Britain, little-changed, on instruments by Boosey & Co. (later, Boosey & Hawkes), and Besson after their acquisition by Boosey & Hawkes in the mid-20th century.^[28] In 1974, the patent expired, and many euphonium manufacturers added the compensation system to their euphonium models, including Hirsbrunner, Miraphone, Sterling, Willson, and Yamaha.^[28]

Modern euphonium makers have introduced some improvements, such as tapered and wider-bore valve tubing, small adjustments to the compensation tubing to soften some of the sharp bends, and triggers for the main tuning slide.^[29] Adams developed an adjustable lead-pipe receiver for their euphoniums, which allows players to customise the timbre and responsiveness of the instrument.^[30]

Construction

Photograph of a euphonium with 4 compensating valves

Photograph of a bell-forward euphonium

Euphoniums: with four compensating valves by Besson, left; marching bell-forward model with three valves by Yamaha, right

The euphonium, like the tenor trombone, is pitched in [[Eight foot pitch|9-foot (9Template:Prime)]] BTemplate:Flat an octave below the trumpet or cornet, and played with a mouthpiece similar to those used on the ophicleide or bass trombone.^[2] When no valves are in use, the instrument will produce partials of the BTemplate:Flat harmonic series which result from the vibrating air column within its 9 feet (2.7 metres) of tubing.^[31]

The euphonium has a wide conical bore, gradually increasing in diameter throughout its length (apart from the necessarily cylindrical valve tubing). The bore ranges from 14.3 to 16.6 millimetres (.563 to .654 in) at the first valve, and the bell ranges from 250 to 300 mm (10 to 12 in).^[9] Like the flugelhorn and tuba, the conical bore of the euphonium emphasises lower frequency spectral content by favouring the lower partials, resulting in a mellower tone compared to cylindrical-bore instruments such as the trumpet or trombone.^[32]

The valves each add lengths of tubing to lower the pitch of the instrument, combining to produce a fully chromatic scale and range.^[33] Euphoniums commonly have three top-action piston valves, played with the first three fingers of the right hand, plus a fourth valve, generally found midway down the right side of the instrument and played with the left index or middle finger. On most models, the fourth valve is a compensating valve which resolves intonation issues below E₂.^[2] On European instruments with rotary valves, the three or four valves are operated together by the right hand and are non-compensating; some include a fifth valve to allow for alternate intonation fingerings instead.^[9] Beginner models often have only the three top-action valves and no fourth valve, while some intermediate models may have a non-compensating fourth top-action valve placed next to the other three and played with the fourth finger of the right hand.^[2]^[34]

Compensating valves

The modern compensating euphonium uses four valves and routes the tubing of the fourth valve back through the other three valves to add an extra set of small correcting tubing loops.^[35] This achieves correct intonation in the lower range of the instrument when using the fourth valve, the range being from E₂ down to B₁.^[27]

Less commonly, there are three-valve compensating euphoniums. Usually older instruments, these have a similar compensating mechanism, but route the tubing of the third valve back through extra loops on the other two valves. This corrects the intonation, of C₃ and B₂ in particular. This compensating system is also found on some three-valve British-style baritone horns.^[36]

Types

Double bell euphonium

Photograph of a double bell euphonium

Double bell euphonium by Conn

First built as early as 1847 by the Italian maker Giuseppe Pelitti, the double bell euphonium was a creation uniquely popular in the United States in the early 20th century, featuring a second smaller bell in addition to the main one. The player could switch bells for certain passages, or even for individual notes, by use of an additional valve.^[37] The smaller bell, using a narrower and more cylindrical bore, was intended to emulate the sound of a trombone. Harry Whittier of the Gilmore Band, and Josef Michele Raffayalo in Sousa's band introduced the instrument to the United States in the late 1880s, and it was used widely in both school and service bands for several decades, as late as the 1960s, built largely by American manufacturers.^[38] They were last listed by Conn in the 1940s and King's catalog in the 1960s.^[39] They are now rare, chiefly known through their mention in the song "Seventy-Six Trombones" from Meredith Willson's 1957 musical, The Music Man.^[40] A model with four compensating valves (and a fifth to switch bells) is made by Wessex Tubas.^[41]

Five-valved euphonium

Photograph of a five-valve euphonium

Five-valved euphonium by Besson, 1891

In Britain, a non-compensating five-valve euphonium was manufactured in the late 19th and early 20th centuries by Besson, and Highams of Manchester. The five-valve euphonium improved intonation by providing more valve fingering combinations, and was more economical to build than complex compensating instruments, but they were not widely adopted.^[42] The Besson five-valved euphonium mounted the first three piston valves horizontally, and an additional two off to the side.^[43]

In central and eastern Europe, euphoniums usually have rotary valves, and an oval form. Červený and other manufacturers make models with five non-compensating rotary valves.^[44]

Marching euphonium

Photograph of a marching euphonium

Marching euphonium by King

Euphoniums built in a horizontal bell-forward configuration are used in the marching arts. Marching euphoniums lack a fourth valve, partly to conserve weight. They are currently produced by B.A.C. Music, Eastman, Jupiter, King, and Yamaha, as well as by several Chinese-made stencil brands like Schiller, John Packer, and O'Malley.^[45]

In American drum and bugle corps, the Canadian instrument maker Whaley, Royce & Co. introduced the euphonium bugle in the mid-1960s, pitched a third lower in G with two valves.^[46]^[47] These were mainly made by the American makers Olds, King, Conn, and Kanstul.^[48] Whether a drum corps uses marching euphoniums, marching baritones, or a combination of both depends on the preference of the arranger. In mixes, euphoniums will typically play the lower parts, and the baritones will play the higher.^[49]

Repertoire

Portrait photograph of Amilcare Ponchielli

Amilcare Ponchielli, composer of the first original euphonium solo

The euphonium repertoire began in the mid-19th century with adaptations of existing air varié (Template:Lit.), a large body of music particularly popular in France and Britain. Works such as Jean-Baptiste Arban's Fantaisie et variations sur "Le carnaval de Venise" (1864) were quickly adapted for ophicleide, and then euphonium. The earliest surviving solo composition written specifically for euphonium is the Concerto per Flicorno Basso (1872) by the Italian composer Amilcare Ponchielli.^[50] The solo and band repertoire grew in the period from around 1880 to 1920, as the euphonium became an important instrument in bands, and exemplified in the United States by the bands and publications of John Philip Sousa and Arthur Pryor.^[51]

American composers writing for the concert band since the mid-20th century continued the British brass and concert band tradition of using the euphonium as the principal tenor-voiced solo instrument, akin to the cello in the string section of the orchestra.^[52] A large body of more serious works, including challenging concertos for solo euphonium with brass or concert band accompaniment, has been amassed since 1960 including works from American, German, Scandinavian and British composers.^[53] This has also included concertos for euphonium and orchestra, newly commissioned and recorded, as well as existing band concertos newly adapted for orchestra.^[54]

Music for unaccompanied solo euphonium until the late 20th century had been largely adaptations of works for other instruments, often trombone, cornet, tuba, cello, or bassoon. The International Tuba Euphonium Association (ITEA) sponsored new solo works for euphonium through its "GEM Series" published in its journal.^[55]

Orchestral repertoire

Though the euphonium is primarily a brass and symphonic band instrument, it also finds occasional use in orchestral repertoire, where it is often scored as tenor tuba. It appeared as early as 1898 with important excerpts in the tone poems Don Quixote and Ein Heldenleben by Richard Strauss, and it has notable solo appearances in The Planets (1914–1917) by the British composer Gustav Holst:

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Tenor tuba solo at bar 68 of "Mars, the Bringer of War" from Holst's The Planets (1914–17)

The euphonium is also called for in Leoš Janáček's Sinfonietta (1926), Shostakovich's ballet The Golden Age (1930), and several symphonies by the composers Havergal Brian, Roy Harris, Arnold Bax, and Samuel Barber. Despite the successes of these early works, and of its larger tuba cousin, the euphonium has not gained a permanent place in the regular symphony orchestra. It is sometimes employed to play parts originally scored for ophicleide, bass (in F) Wagner tuba, or the small French C tuba.^[56]

Performance

Although modern performers and composers are pushing the boundaries of the instrument into other genres, the euphonium remains predominantly a band instrument, with full-time professional positions almost entirely with military bands. This has not deterred new players from learning the instrument, partly due to the increasing worldwide popularity of British-style brass bands, with substantial repertoire that commands much from the euphonium's agility and expressive tone.^[57]

As with the cornet and flugelhorn, the euphonium and baritone horn are easily doubled by one player, with some adjustment of breath and embouchure, since they have essentially identical range and fingering.^[58]

Notation

In British brass bands, all instruments except the bass trombone are transposing instruments using the treble clef notation popularized in France by instrument maker Adolphe Sax for his families of instruments.^[59] Thus the euphonium, along with the tenor trombones and baritones, are notated as BTemplate:Flat instruments in treble clef sounding a major ninth lower than written, like the tenor saxophone and bass clarinet.^[3]

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Euphonium notation: the same notes in transposing treble clef a ninth above pitch, and in concert pitch in bass clef

In orchestras, concert bands, and US military bands, the euphonium is generally written at concert pitch in the bass clef, treating the euphonium as a non-transposing instrument like the orchestral trombone, with high passages often written in tenor clef. Concert band music often provides the euphonium parts in both bass and BTemplate:Flat treble clef, to accommodate players from either background, although professional players are usually familiar with either notation.^[60] In continental European band music, parts for the euphonium are occasionally written in transposing BTemplate:Flat in bass clef, sounding a major second lower than written.^[61]

Range

The euphonium has a large range of at least four octaves. The range from E₂ to about G₄ is easily accessible, but the full working range from contemporary solo repertoire includes the pedal range from BTemplate:Flat₁ down to B₀, and extends up to at least D₅.^[62]^[63] Higher notes are possible since the upper range is limited only by the fitness of the players' embouchure, although notes above the bell cutoff frequency, around the tenth harmonic in tuba family instruments (D₅ on euphonium), are difficult to centre and continuous glissandi are possible, making valve fingering largely redundant.^[64]

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Range of the modern four-valve euphonium

The lowest notes obtainable depend on the valve set-up of the instrument. All instruments are chromatic down to E₂, and four-valved instruments extend that down to at least C₂. Non-compensating four-valved instruments suffer from intonation problems in this range and cannot produce low B₁. These problems are solved with the modern compensating fourth valve, or with five non-compensating rotary valves on some European models, using a flat whole-tone tuning for the fifth valve, as is common on five-valve tubas. Although less satisfactory, a good player can also provide these notes on a three-valve instrument using falset tones, which are more distinct on instruments with wide conical bores and large bells.^[65] From BTemplate:Flat₁ down lies the pedal range, the fundamentals of the instrument's harmonic series. They are more easily produced on the euphonium and tuba than on other brass instruments, and the extent of the pedal range similarly depends on the instrument.^[66]

Notable players

Portrait of Alfred James Phasey

Portrait of Simone Mantia

Portrait of Irineu de Almeida

Portrait of Art Lehman

Early euphonium players: Alfred James Phasey (1834–1888); Simone Mantia (1873–1951); Irineu de Almeida (1863–1916), pictured with ophicleide; Art Lehman (1917–2009), pictured with double bell euphonium

Ferdinand Sommer toured Europe with Jullien's orchestra to promote the Sommerophone he invented in 1843, patented the following year as Euphonion. As a virtuoso soloist, his performances in Britain helped to popularise the euphonium in British brass and military bands.^[67]^[17] Alfred James Phasey (1834–1888) was a distinguished British ophicleide player who, unlike his fellow ophicleidist Samuel Hughes (1823–1898), switched to euphonium and became just as renowned for his euphonium playing.^[50]

In Brazil, Irineu de Almeida [pt] (1863–1916) was an influential musician and professor of the genre of Choro music, composing and performing on ophicleide and bombardino (euphonium). He participated in the first early 20th century recordings of Brazilian music, and he and his influential student Pixinguinha (1897–1973) established and popularized Choro music and its instruments.^[68]

20th century

In the United States, the Italian-born trombone, baritone and euphonium virtuoso Simone Mantia (1873–1951) toured with the bands of both John Philip Sousa and Arthur Pryor, made some of the first solo euphonium recordings, and helped to popularize the instrument in the United States.^[69]^[70] Leonard Falcone (1899–1985), also Italian-born, was appointed Director of Bands at Michigan State University in 1927, and, as professor of euphonium, taught many artists until his death in 1985. The Leonard Falcone International Tuba and Euphonium Festival, a principal venue for the instrument in the United States, was established in his honour.^[71]^[72]

Arthur ("Art") Lehman (1917–2009), euponiumist with the United States Marine Band, was an early proponent of the double bell euphonium and wrote The Art of Euphonium, a significant pedagogical text. Lehman was a student of Harold Brasch and Simone Mantia, and advanced a rich sound concept with sparing use of vibrato, pioneered by Mantia.^[70]^[73] Brian Bowman, euphonium soloist with the United States Navy Band and United States Air Force Band, was professor of euphonium at the University of North Texas and co-edited Arban's Method for Trombone and Euphonium, an adaptation of Arban's 1864 method for cornet. Bowman developed a sound based on a fusion of the mellow British sound and Falcone's recordings, and played the first euphonium recital at Carnegie Hall.^[74]^[75]

In Japan, the euphonium soloist and clinician Toru Miura was a founding member in 1973 of the International Tuba Euphonium Association (ITEA; founded as TUBA).^[76] He is professor of euphonium at the Kunitachi College of Music in Tokyo, and in 2008 was awarded the ITEA Lifetime Achievement Award for his role in promoting the instrument.^[77]

21st century

Portrait of Stephen Mead

Portrait of David Childs

Euphonium players Stephen Mead left, and David Childs, right

In the late 20th century, many players from brass and concert band backgrounds became virtuoso performers and promoters of euphonium music. English soloist Steven Mead, professor at the Royal Northern College of Music, is recognised for advancing the British euphonium sound.^[78] He has commissioned many solo works for euphonium, and his extensive discography includes most of the major modern works composed for euphonium.^[79] David Thornton, a student of Mead, has won several international competitions, and played principal euphonium in and conducted several prestigious British brass bands. He has also recorded many works, including a CD that won the 2016 ITEA Roger Bobo Award for Excellence in Recording. He is Director of Brass Band Studies at the Royal Northern College of Music.^[80]

The Welsh brothers Robert and Nicholas Childs have recorded and commissioned many works for euphonium, as well as conducting and adjudicating brass bands. Robert's son David Childs is also a euphonium soloist and recording artist, and professor of euphonium at the University of North Texas, succeeding Brian Bowman. He commissioned a euphonium concerto, The Sunne Rising – The King Will Ride (2004), from the Welsh composer Alun Hoddinott, and published and recorded an adaptation of the Vaughan Williams tuba concerto for euphonium and orchestra.^[81]^[82]

Jazz and popular music

Image of album cover

The Mutton Birds album cover, 1992

In jazz, Rich Matteson (1929–1993) and Bernard Atwell McKinney, later Kiane Zawadi (1932–2024), were two of the few jazz soloists to use euphonium.^[83] Matteson formed the Matteson-Phillips Tubajazz Consort, a big band scored for tubas and euphoniums, with the tuba player Harvey Phillips, founder of the annual Tubachristmas events.^[84] Some trombone artists have occasionally used euphonium, such as Gus Mancuso, Bill Reichenbach, and John Allred.^[83]

In popular music, the New Zealand musician Don McGlashan began his musical career as an orchestral horn player, before including euphonium in his switch to popular music with bands such as Blam Blam Blam and The Mutton Birds.^[85]^[86]

In popular culture

In Japan, the series of popular Sound! Euphonium novels (Japanese: 響け! ユーフォニアム; Hibike! Eūfoniamu) about a student euphonium player, Kumiko, and her high school's concert band has been adapted into manga serials, an anime TV series, and translated into English.^[87]
The Loophonium is a hybrid musical instrument and art installation built in 1960 by the Liverpool-based musician and artist Fritz Spiegl, housed at the Walker Art Gallery.^[88]

References

↑ "Euphonium". Merriam-Webster. Archived from the original on 31 January 2013. Retrieved 26 May 2012.
↑ ^2.0 ^2.1 ^2.2 ^2.3 Herbert, Myers & Wallace 2019, p. 162, "Euphonium".
↑ ^3.0 ^3.1 ^3.2 ^3.3 ^3.4 Template:Cite Grove
↑ ^4.0 ^4.1 Bevan 2000, p. 222.
↑ Bevan 2000, pp. 266–268.
↑ Template:Cite Grove
↑ Lyon & Healy's Band Catalogue (PDF) (35 ed.). Lyon & Healy. 1894. pp. 39–41. Archived from the original (PDF) on 7 April 2012 – via Horn-U-Copia.
↑ Pirtle 2002, pp. 74–76.
↑ ^9.0 ^9.1 ^9.2 O'Connor 2007, p. 1.
↑ Yeo 2021, pp. 128–31, "serpent".
↑ Herbert, Myers & Wallace 2019, p. 303, "Ophicleide".
↑ Template:Cite Grove
↑ ^13.0 ^13.1 Yeo 2021, p. 99, "ophicleide".
↑ O'Connor 2007, pp. 2–4.
↑ Herbert 1997, pp. 178–179.
↑ Bevan 2000, pp. 214–215.
↑ ^17.0 ^17.1 O'Connor 2007, p. 7.
↑ O'Connor 2007, pp. 7–8.
↑ Bevan 2000, pp. 221, 226.
↑ O'Connor 2007, p. 9.
↑ Herbert, Myers & Wallace 2019, p. 361, "Saxhorn".
↑ O'Connor 2007, p. 10.
↑ Template:Cite thesis
↑ O'Connor 2007, p. 10–11.
↑ Herbert, Myers & Wallace 2019, p. 303–306, "Ophicleide".
↑ O'Connor 2007, p. 6.
↑ ^27.0 ^27.1 Herbert, Myers & Wallace 2019, pp. 436–437, "Valve".
↑ ^28.0 ^28.1 Childs, David. "The History & Development of the Euphonium". davechilds.com. Archived from the original on 19 October 2019. Retrieved 16 April 2021.
↑ O'Connor 2007, p. 15.
↑ "Adams Euphoniums". Adams Musical Instruments. Archived from the original on 16 April 2021. Retrieved 16 April 2021.
↑ Yeo 2021, p. 68, "harmonic series".
↑ Campbell, Gilbert & Myers 2021, p. 274.
↑ Adler-McKean 2020, pp. 49–50.
↑ Phillips, Harvey; Winkler, William (1999). The Art of Tuba and Euphonium Playing. Summy-Birchard. pp. 14–15. ISBN 978-1-45740-4382.
↑ Adler-McKean 2020, p. 51.
↑ Bevan 2000, p. 198.
↑ O'Connor 2007, pp. 11–12.
↑ O'Connor 2007, pp. 12–13.
↑ H. N. White/King (1963). "H. N. White Made Euphoniums & Baritones: King 1963 Catalog (Baritone/Euphonium)". Archived from the original on 24 May 2013. Retrieved 26 September 2025.
↑ O'Connor 2007, pp. 13.
↑ "Duplex B♭ Euphonium". Andover: Wessex Tubas. Retrieved 26 August 2025.
↑ Myers 2000, p. 179.
↑ Besson, F. (1891). "Euphonium, Nominal Pitch B♭". Musical Instrument Museums Edinburgh. University of Edinburgh. Accession: 3415. Retrieved 10 October 2025.
↑ Rotary Valve Instruments (PDF). Kraslice: V. F. Červený & Synové. 2005. p. 7. Archived from the original (PDF) on 6 March 2023. Retrieved 25 June 2022 – via Big Band Instruments.
↑ Template:Multiref2
↑ Pirtle 2002, p. 76.
↑ Template:Cite thesis
↑ Johns, Tiffany (12 August 2023). "G Bugles". Tiffany Johns Music. Retrieved 28 September 2025.
↑ Template:Cite thesis
↑ ^50.0 ^50.1 Herbert, Myers & Wallace 2019, p. 163, "Euphonium".
↑ Herbert, Myers & Wallace 2019, p. 385.
↑ O'Connor 2007, p. 2.
↑ Bone, Paull & Morris 2007, p. 91.
↑ Bone, Paull & Morris 2007, p. 139.
↑ Bone, Paull & Morris 2007, p. 195.
↑ Bone, Paull & Morris 2007, p. 251.
↑ O'Connor 2007, pp. 15–16.
↑ Werden, David. "Baritone Horn or Euphonium?". Archived from the original on 12 February 2008. Retrieved 29 January 2008.
↑ Adler-McKean 2020, p. 69–70.
↑ Adler-McKean 2020, p. 68.
↑ Adler-McKean 2020, p. 70.
↑ Herbert, Myers & Wallace 2019, p. 484, Appendix 2: The Ranges of Labrosones.
↑ Adler-McKean 2020, p. 182.
↑ Adler-McKean 2020, pp. 60–63.
↑ Adler-McKean 2020, p. 105.
↑ Adler-McKean 2020, p. 32, 58.
↑ Bevan 2000, pp. 225–226.
↑ "Irineu Batina". Dicionário Cravo Albin da Música Popular Brasileira. Archived from the original on 19 September 2025. Retrieved 19 September 2025.
↑ Bierley 2006, pp. 68–69.
↑ ^70.0 ^70.1 Lehman, Arthur (July 2008). "A quick analysis of Simone Mantia's artistry on the euphonium". David Werden. Archived from the original on 30 September 2011. Retrieved 1 April 2011.
↑ "Leonard V. Falcone". Leonard Falcone Collection. Michigan State University. Archived from the original on 9 May 2008. Retrieved 24 April 2011.
↑ Template:Cite thesis
↑ Schudel, Matt (28 June 2009). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium with the Marine Band". The Washington Post. Archived from the original on 8 November 2012. Retrieved 5 July 2009.
↑ Morin 2002, p. 1113.
↑ Template:Cite AV media notes Discogs 23846084.
↑ "Artists: Toru Miura". Besson. Archived from the original on 25 January 2025. Retrieved 29 September 2025.
↑ "Artist Profile: Toru Miura". Jeju International Wind Ensemble Festival. 2007. Archived from the original on 5 October 2011. Retrieved 24 April 2011.
↑ Newsome 2006, p. 252.
↑ Bone, Paull & Morris 2007, pp. 309–313.
↑ "Meet our staff: David Thornton". Manchester: Royal Northern College of Music. Retrieved 22 September 2025.
↑ Matthew-Walker, Robert (October 2014). "The Symphonic Euphonium – David Childs plays Concertos by Alun Hoddinott, Joseph Horovitz, Karl Jenkins and Philip Wilby [BBC National Orchestra of Wales/Bramwell Tovey; Chandos]". The Classical Source. Archived from the original on 15 July 2024. Retrieved 29 July 2025.
↑ "David Childs / Brass, Euphonium, Instrumental Studies". College of Music. University of North Texas. Retrieved 29 July 2025.
↑ ^83.0 ^83.1 Dickman 2007, p. 515.
↑ Phillips, Harvey. "Goodbye Rich – We'll Miss You". Jazz Educators Journal. 26 (2). Archived from the original on 16 April 2014. Retrieved 16 April 2014.
↑ Smithies, Grant (21 July 2019). "Blam Blam Blam: Rising from the wreckage". Stuff. Retrieved 16 February 2026.
↑ Anderson, Vicki (18 June 2015). "Don McGlashan - counting his lucky stars". The Press. Retrieved 2 March 2023 – via Stuff.
↑ Milligan, Mercedes (27 June 2019). "Eleven Arts Announces English Cast for 'Sound! Euphonium: The Movie'". Animation Magazine. Archived from the original on 19 August 2025. Retrieved 1 October 2025.
↑ "Music to drive you round the u-bend". Liverpool Echo. 27 July 2006. Retrieved 12 January 2023.

Sources

Template:Ubli

External links

ITEA—The International Tuba Euphonium Association
Euphonium Music Guide—Online list of euphonium literature compiled by David Werden and Denis Winter
Dave Werden's Euphonium Tuba Forum—Online forum
History of the Tuba Podcast—Jake Kline & Jack Adler-McKean, also discusses the euphonium

Template:Brass instruments Template:Bass (sound)

[Euphonium-1] "Euphonium". Merriam-Webster. Archived from the original on 31 January 2013. Retrieved 26 May 2012.

[FOOTNOTEHerbertMyersWallace2019162"Euphonium"-2] 2.0 ^2.1 ^2.2 ^2.3 Herbert, Myers & Wallace 2019, p. 162, "Euphonium".

[Grove-3] 3.0 ^3.1 ^3.2 ^3.3 ^3.4 Template:Cite Grove

[FOOTNOTEBevan2000222-4] 4.0 ^4.1 Bevan 2000, p. 222.

[FOOTNOTEBevan2000266–268-5] Bevan 2000, pp. 266–268.

[Grove-flic-6] Template:Cite Grove

[7] Lyon & Healy's Band Catalogue (PDF) (35 ed.). Lyon & Healy. 1894. pp. 39–41. Archived from the original (PDF) on 7 April 2012 – via Horn-U-Copia.

[FOOTNOTEPirtle200274–76-8] Pirtle 2002, pp. 74–76.

[FOOTNOTEO'Connor20071-9] 9.0 ^9.1 ^9.2 O'Connor 2007, p. 1.

[FOOTNOTEYeo2021128–31"serpent"-10] Yeo 2021, pp. 128–31, "serpent".

[FOOTNOTEHerbertMyersWallace2019303"Ophicleide"-11] Herbert, Myers & Wallace 2019, p. 303, "Ophicleide".

[gmo-ophicleide-12] Template:Cite Grove

[FOOTNOTEYeo202199"ophicleide"-13] 13.0 ^13.1 Yeo 2021, p. 99, "ophicleide".

[FOOTNOTEO'Connor20072–4-14] O'Connor 2007, pp. 2–4.

[FOOTNOTEHerbert1997178–179-15] Herbert 1997, pp. 178–179.

[FOOTNOTEBevan2000214–215-16] Bevan 2000, pp. 214–215.

[FOOTNOTEO'Connor20077-17] 17.0 ^17.1 O'Connor 2007, p. 7.

[FOOTNOTEO'Connor20077–8-18] O'Connor 2007, pp. 7–8.

[FOOTNOTEBevan2000221,_226-19] Bevan 2000, pp. 221, 226.

[FOOTNOTEO'Connor20079-20] O'Connor 2007, p. 9.

[FOOTNOTEHerbertMyersWallace2019361"Saxhorn"-21] Herbert, Myers & Wallace 2019, p. 361, "Saxhorn".

[FOOTNOTEO'Connor200710-22] O'Connor 2007, p. 10.

[23] Template:Cite thesis

[FOOTNOTEO'Connor200710–11-24] O'Connor 2007, p. 10–11.

[FOOTNOTEHerbertMyersWallace2019303–306"Ophicleide"-25] Herbert, Myers & Wallace 2019, p. 303–306, "Ophicleide".

[FOOTNOTEO'Connor20076-26] O'Connor 2007, p. 6.

[FOOTNOTEHerbertMyersWallace2019436–437"Valve"-27] 27.0 ^27.1 Herbert, Myers & Wallace 2019, pp. 436–437, "Valve".

[Childs-history-28] 28.0 ^28.1 Childs, David. "The History & Development of the Euphonium". davechilds.com. Archived from the original on 19 October 2019. Retrieved 16 April 2021.

[FOOTNOTEO'Connor200715-29] O'Connor 2007, p. 15.

[30] "Adams Euphoniums". Adams Musical Instruments. Archived from the original on 16 April 2021. Retrieved 16 April 2021.

[FOOTNOTEYeo202168"harmonic_series"-31] Yeo 2021, p. 68, "harmonic series".

[FOOTNOTECampbellGilbertMyers2021274-32] Campbell, Gilbert & Myers 2021, p. 274.

[FOOTNOTEAdler-McKean202049–50-33] Adler-McKean 2020, pp. 49–50.

[34] Phillips, Harvey; Winkler, William (1999). The Art of Tuba and Euphonium Playing. Summy-Birchard. pp. 14–15. ISBN 978-1-45740-4382.

[FOOTNOTEAdler-McKean202051-35] Adler-McKean 2020, p. 51.

[FOOTNOTEBevan2000198-36] Bevan 2000, p. 198.

[FOOTNOTEO'Connor200711–12-37] O'Connor 2007, pp. 11–12.

[FOOTNOTEO'Connor200712–13-38] O'Connor 2007, pp. 12–13.

[39] H. N. White/King (1963). "H. N. White Made Euphoniums & Baritones: King 1963 Catalog (Baritone/Euphonium)". Archived from the original on 24 May 2013. Retrieved 26 September 2025.

[FOOTNOTEO'Connor200713-40] O'Connor 2007, pp. 13.

[wessex-doublebell-41] "Duplex B♭ Euphonium". Andover: Wessex Tubas. Retrieved 26 August 2025.

[FOOTNOTEMyers2000179-42] Myers 2000, p. 179.

[43] Besson, F. (1891). "Euphonium, Nominal Pitch B♭". Musical Instrument Museums Edinburgh. University of Edinburgh. Accession: 3415. Retrieved 10 October 2025.

[44] Rotary Valve Instruments (PDF). Kraslice: V. F. Červený & Synové. 2005. p. 7. Archived from the original (PDF) on 6 March 2023. Retrieved 25 June 2022 – via Big Band Instruments.

[marching-mfrs-45] Template:Multiref2

[FOOTNOTEPirtle200276-46] Pirtle 2002, p. 76.

[47] Template:Cite thesis

[TJ-bugles-48] Johns, Tiffany (12 August 2023). "G Bugles". Tiffany Johns Music. Retrieved 28 September 2025.

[49] Template:Cite thesis

[FOOTNOTEHerbertMyersWallace2019163"Euphonium"-50] 50.0 ^50.1 Herbert, Myers & Wallace 2019, p. 163, "Euphonium".

[FOOTNOTEHerbertMyersWallace2019385-51] Herbert, Myers & Wallace 2019, p. 385.

[FOOTNOTEO'Connor20072-52] O'Connor 2007, p. 2.

[FOOTNOTEBonePaullMorris200791-53] Bone, Paull & Morris 2007, p. 91.

[FOOTNOTEBonePaullMorris2007139-54] Bone, Paull & Morris 2007, p. 139.

[FOOTNOTEBonePaullMorris2007195-55] Bone, Paull & Morris 2007, p. 195.

[FOOTNOTEBonePaullMorris2007251-56] Bone, Paull & Morris 2007, p. 251.

[FOOTNOTEO'Connor200715–16-57] O'Connor 2007, pp. 15–16.

[DW-58] Werden, David. "Baritone Horn or Euphonium?". Archived from the original on 12 February 2008. Retrieved 29 January 2008.

[FOOTNOTEAdler-McKean202069–70-59] Adler-McKean 2020, p. 69–70.

[FOOTNOTEAdler-McKean202068-60] Adler-McKean 2020, p. 68.

[FOOTNOTEAdler-McKean202070-61] Adler-McKean 2020, p. 70.

[FOOTNOTEHerbertMyersWallace2019484Appendix_2:_The_Ranges_of_Labrosones-62] Herbert, Myers & Wallace 2019, p. 484, Appendix 2: The Ranges of Labrosones.

[FOOTNOTEAdler-McKean2020182-63] Adler-McKean 2020, p. 182.

[FOOTNOTEAdler-McKean202060–63-64] Adler-McKean 2020, pp. 60–63.

[FOOTNOTEAdler-McKean2020105-65] Adler-McKean 2020, p. 105.

[FOOTNOTEAdler-McKean202032,_58-66] Adler-McKean 2020, p. 32, 58.

[FOOTNOTEBevan2000225–226-67] Bevan 2000, pp. 225–226.

[68] "Irineu Batina". Dicionário Cravo Albin da Música Popular Brasileira. Archived from the original on 19 September 2025. Retrieved 19 September 2025.

[FOOTNOTEBierley200668–69-69] Bierley 2006, pp. 68–69.

[Mantia1-70] 70.0 ^70.1 Lehman, Arthur (July 2008). "A quick analysis of Simone Mantia's artistry on the euphonium". David Werden. Archived from the original on 30 September 2011. Retrieved 1 April 2011.

[71] "Leonard V. Falcone". Leonard Falcone Collection. Michigan State University. Archived from the original on 9 May 2008. Retrieved 24 April 2011.

[72] Template:Cite thesis

[73] Schudel, Matt (28 June 2009). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium with the Marine Band". The Washington Post. Archived from the original on 8 November 2012. Retrieved 5 July 2009.

[FOOTNOTEMorin20021113-74] Morin 2002, p. 1113.

[75] Template:Cite AV media notes Discogs 23846084.

[miura-besson-76] "Artists: Toru Miura". Besson. Archived from the original on 25 January 2025. Retrieved 29 September 2025.

[77] "Artist Profile: Toru Miura". Jeju International Wind Ensemble Festival. 2007. Archived from the original on 5 October 2011. Retrieved 24 April 2011.

[FOOTNOTENewsome2006252-78] Newsome 2006, p. 252.

[FOOTNOTEBonePaullMorris2007309–313-79] Bone, Paull & Morris 2007, pp. 309–313.

[80] "Meet our staff: David Thornton". Manchester: Royal Northern College of Music. Retrieved 22 September 2025.

[81] Matthew-Walker, Robert (October 2014). "The Symphonic Euphonium – David Childs plays Concertos by Alun Hoddinott, Joseph Horovitz, Karl Jenkins and Philip Wilby [BBC National Orchestra of Wales/Bramwell Tovey; Chandos]". The Classical Source. Archived from the original on 15 July 2024. Retrieved 29 July 2025.

[82] "David Childs / Brass, Euphonium, Instrumental Studies". College of Music. University of North Texas. Retrieved 29 July 2025.

[FOOTNOTEDickman2007515-83] 83.0 ^83.1 Dickman 2007, p. 515.

[84] Phillips, Harvey. "Goodbye Rich – We'll Miss You". Jazz Educators Journal. 26 (2). Archived from the original on 16 April 2014. Retrieved 16 April 2014.

[85] Smithies, Grant (21 July 2019). "Blam Blam Blam: Rising from the wreckage". Stuff. Retrieved 16 February 2026.

[86] Anderson, Vicki (18 June 2015). "Don McGlashan - counting his lucky stars". The Press. Retrieved 2 March 2023 – via Stuff.

[AM2019-87] Milligan, Mercedes (27 June 2019). "Eleven Arts Announces English Cast for 'Sound! Euphonium: The Movie'". Animation Magazine. Archived from the original on 19 August 2025. Retrieved 1 October 2025.

[:7-88] "Music to drive you round the u-bend". Liverpool Echo. 27 July 2006. Retrieved 12 January 2023.

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Euphonium: Difference between revisions

Latest revision as of 09:12, 1 June 2026

Contents

Name

History

The invention of valves

The earliest modern euphoniums

Modern instruments

Construction

Compensating valves

Types

Double bell euphonium

Five-valved euphonium

Marching euphonium

Repertoire

Orchestral repertoire

Performance

Notation

Range

Notable players

20th century

21st century

Jazz and popular music

In popular culture

References

Sources

External links

Navigation menu

@@ Line 1: / Line 1: @@
 {{short description|Brass instrument}}
+{{good article}}
 {{Use dmy dates|date=June 2020}}
-{{more citations needed|date=December 2022}}
 {{Infobox instrument
 | name = Euphonium
-| image = Yamaha Euphonium YEP-621 (crop).tif
+| image = BC Euphonium ed1.jpg
+| caption = Compensating 4-valve euphonium by Besson
 | background = brass
-| classification = [[Wind instrument|Wind]], [[Brass instrument|brass]]
+| classification = {{hlist
-[[Aerophone]]
+  | [[Aerophone]]
-| hornbostel_sachs = 423.231.2
+  | [[Wind instrument|Wind]]
-| hornbostel_sachs_desc = Valved [[bugle]] with wide bore
+  | [[Brass instrument|Brass]]
+  | [[Bugle]]
+}}
+| hornbostel_sachs = 423.231.2<ref name="MIMO-HS">{{Cite web |title=423.231.2 Valve bugles with wide bore |work=Hornbostel-Sachs Classification |publisher=Musical Instrument Museums Online |url= https://vocabulary.mimo-international.com/HornbostelAndSachs/en/page/2166 |access-date=31 May 2026 }}</ref>
+| hornbostel_sachs_desc = Valved [[bugle]] with wide [[conical bore]]
 | developed = 1840s from the [[ophicleide]]
 | range = <div style="text-align: center; background-color: white;">
    <score lang="lilypond">
      {
-       \new Staff \with { \remove "Time_signature_engraver" }
+       \new Staff \with { \omit Score.TimeSignature }
-       \clef treble \key c \major ^ \markup "written" \cadenzaOn
+       \clef treble \key c \major
-       \tweak font-size #-2 \ottava #-1 fis, \finger \markup \text "pedal" \glissando c
+      \cadenzaOn \omit Stem
-       \ottava #0 \arpeggioBracket <des d'''>1 \arpeggio
+       s4 ^ \markup "in B♭"
+       \arpeggioBracket <cis d'''>1 \arpeggio
        \once \hide r1
-       \clef bass ^ \markup "sounds"
+       \clef bass
-      \tweak font-size #-2 e,,4 \finger \markup \text "pedal" \glissando bes,,4
        \arpeggioBracket <b,, c''>1 \arpeggio
+      ^ \markup "sounds"
+      e,,4 \finger \markup \text "pedal" \glissando bes,,4 s
      }
-   </score></div>The B♭ euphonium sounds an octave and a [[major second]] lower than written when notated in treble clef. It is also notated in [[concert pitch]] in bass clef.{{sfn|Herbert|Myers|Wallace|2019|p=484|loc=Appendix 2: The Ranges of Labrosones}}
+   </score></div>The euphonium is notated in bass clef at [[concert pitch]] or as a [[transposing instrument]] in treble clef sounding a [[major ninth]] lower{{sfn|Herbert|Myers|Wallace|2019|p=484|loc=Appendix 2: The Ranges of Labrosones}} (see [[#Range|§ Range]])
+| musicians = [[List of euphonium players]]
+| sound sample = {{listen|embed=yes |filename=The Bride of the Waves - U.S. Coast Guard Band.ogg |title=Herbert L. Clarke: ''The Bride of the Waves'' |description=[[United States Coast Guard Band|US Coast Guard Band]], euphonium: David Werden }}
+| builders = [[List of euphonium, baritone horn and tenor horn manufacturers]]
 | related = {{hlist
    | [[Tuba]]
@@ Line 29: / Line 39: @@
    | [[Tenor horn]]
    | [[Saxhorn]]
+  | [[Fiscorn]]
    | [[Ophicleide]]
    | [[Mellophone]]
@@ Line 35: / Line 46: @@
 }}
-The '''euphonium''' ({{IPAc-en|lang|j|u|ˈ|f|oʊ|n|iː|ə|m}} {{respell|yoo|FOH|nee|əm}}; {{langx|it|eufonio}}; {{langx|es|bombardino}}) is a [[tenor]]- and [[baritone]]-voiced [[brass instrument valve|valved]] [[brass instrument]]. The euphonium is a member of the large family of valved bugles, along with the [[tuba]] and [[flugelhorn]], characterised by a wide [[conical bore]]. Most instruments have three or four valves, usually [[Tuning compensation|compensating]] piston valves, although instruments with [[rotary valve]]s are common in Eastern and Central Europe.
+The '''euphonium''' ({{IPAc-en|lang|j|u|ˈ|f|oʊ|n|iː|ə|m}} {{respell|yoo|FOH|nee|əm}}; {{langx|it|eufonio}}; {{langx|es|bombardino}}) is a [[tenor]]- and [[baritone]]-voiced [[brass instrument valve|valved]] [[brass instrument]] pitched in [[Eight foot pitch|9-foot (9{{prime}})]] B{{flat}} an octave below the B{{flat}} [[trumpet]] or [[cornet]], employed chiefly in [[British brass band|brass]], [[military band|military]], and [[concert band]]s. As with any brass instrument, sound is produced with a lip vibration or "buzz" in the [[mouthpiece (brass)|mouthpiece]]. The euphonium is a member of the large family of valved bugles, along with the [[tuba]] and [[flugelhorn]], characterized by a wide [[conical bore]]. Most instruments have four valves, usually [[Tuning compensation|compensating]] [[Brass instrument valve#Périnet valve|piston valves]], although instruments with four or five [[Brass instrument valve#Rotary valve|rotary valves]] are common in Eastern and Central Europe.
-[[Euphonium repertoire]] may be notated in the bass clef as a non-[[transposing instrument]] or in the treble clef as a transposing instrument in B{{music|flat}}. In [[British brass band]]s, it is typically treated as a treble-clef instrument, while in American band music, parts may be written in either [[treble clef]] or bass clef, or both.
+[[Euphonium repertoire]] can be notated in [[concert pitch]] in the [[bass clef]], or in the [[treble clef]] as a [[transposing instrument]] in B{{music|flat}}. In British brass bands, it is typically treated as a treble-clef instrument, while in American band music, parts may be written in either treble clef or bass clef, or both. A musician who plays the euphonium is known as a ''euphoniumist'', a ''euphonist'', or simply a ''euphonium player''.
-A musician who plays the euphonium is known as a euphoniumist, a euphonist, or simply a euphonium or "eupho" player.
 == Name ==
+The euphonium derives its name from the [[Ancient Greek]] word {{lang|grc|εὔφωνος}} (''euphōnos''), meaning "pleasant-sounding" or "sweet-voiced".<ref name="Euphonium">{{cite dictionary|url=http://www.merriam-webster.com/dictionary/euphonium|title=Euphonium|dictionary=Merriam-Webster|access-date=2012-05-26|url-status=live|archive-url=https://web.archive.org/web/20130131090408/http://www.merriam-webster.com/dictionary/euphonium|archive-date=31 January 2013}}</ref>{{sfn|Herbert|Myers|Wallace|2019|p=162|loc="Euphonium"}}
-The euphonium derives its name from the [[Ancient Greek language|Ancient Greek]] word {{lang|grc|εὔφωνος}} ''euphōnos'',<ref name="Euphonium">{{cite dictionary|url=http://www.merriam-webster.com/dictionary/euphonium|title=Euphonium|dictionary=Merriam-Webster|access-date=2012-05-26|url-status=live|archive-url=https://web.archive.org/web/20130131090408/http://www.merriam-webster.com/dictionary/euphonium|archive-date=31 January 2013}}</ref> meaning "well-sounding" or "sweet-voiced". ({{lang|grc|εὖ}} ''eu'' means "well" or "good", and {{lang|grc|φωνή}} ''phōnē'' means "sound", hence "of good sound".)
+The euphonium has many relatives in the large and diverse family of valved bugles to which it belongs. The ''[[baritone horn]]'' found in [[British brass bands]], although similar, has a narrower [[conical bore]], smaller bell, and often lacks a fourth valve.<ref name="Grove"/> The ''American baritone'' with three front-mounted piston valves, a narrower conical bore, and a curved forward-pointing bell, was dominant in American school [[marching band]]s throughout most of the 20th century. This instrument, along with the euphonium and similar-looking [[cylindrical bore]] instruments like the ''[[trombonium]]'', were almost universally lumped together and labelled ''baritone'' by both band directors and composers.{{sfn|Bevan|2000|p=222}} Band scores and manufacturers have sometimes treated them as the same instrument, or used the word ''baritone'' to refer to the euphonium, thus contributing to a confusion of terminology in the United States.{{sfn|Bevan|2000|pp=266-268}}
-The euphonium is a member of the large and diverse family of valved bugles, and thus has many relatives among the low brass. The ''[[baritone horn]]'', although similar, has a narrower [[conical bore]], smaller bell, and usually lacks a fourth valve.<ref name="Grove"/> In the United States, band scores and even some manufacturers have sometimes treated them as the same instrument, or used the word "baritone" to refer to the euphonium.{{sfn|Bevan|2000|pp=266-268}} As with the [[cornet]] and [[flugelhorn]], the two instruments are easily doubled by one player, with some modification of breath and [[embouchure]], since the two have essentially identical range and fingering.<ref name="DW">{{cite web| last = Werden| first = David| title = Euphonium, Baritone, or ???| url = http://www.dwerden.com/eu-articles-bareuph.cfm| access-date = 2008-01-29| url-status = live| archive-url = https://web.archive.org/web/20080212225121/http://www.dwerden.com/eu-articles-bareuph.cfm| archive-date = 12 February 2008}}</ref>
+Ferdinand Sommer's ''Sommerophone'' was patented in Berlin in 1844 as the ''Euphonion'', and adopted in Britain as the ''euphonium'' after Sommer toured it in the 1850s.<ref name="Grove">{{Cite Grove |last=Bevan |first=Clifford |author-link=Clifford Bevan |title=Euphonium |id=09077}}</ref> The euphonium is sometimes called the ''tenor tuba'' particularly by British composers, although this term can also refer to other [[Tuba#Tenor tuba|types of tuba]]. Names in scores in other languages include the French ''basse'', ''saxhorn basse'', and ''tuba basse''; German ''Baryton'', ''Tenorbass'', and ''Tenorbasshorn''; Italian ''baritono'', ''bombardino'', ''eufonio'', and ''flicorno basso''.<ref name="Grove"/> In Italy, {{lang|it|flicorno tenore}} refers to the narrower bore baritone, while {{lang|it|flicorno baritono}} and {{lang|it|flicorno basso}} refer to the euphonium with three or four valves, respectively.<ref name="Grove-flic">{{Cite Grove |title=Flicorno |id=51233}}</ref>
+The most common German name, ''Baryton'', may have influenced Americans to adopt the name "baritone" for the instrument, due to the influx of German musicians and instrument makers to the United States in the 19th century.<ref name="Grove" />
-German inventor Ferdinand Sommer's original name for his 1843 instrument was the ''Sommerophone'', but it quickly became known as the ''euphonion''.<ref name="Grove">{{Cite Grove |last=Bevan |first=Clifford |author-link=Clifford Bevan |title=Euphonium |id=09077}}</ref> It is sometimes called the ''tenor tuba'', notably in ''[[The Planets]]'' (1917) by English composer [[Gustav Holst]], although this can also refer to other [[Tuba#Types and construction|types of tuba]]. Names in other languages, as included in scores, can be ambiguous as well. They include French ''basse'', ''saxhorn basse'', and ''tuba basse''; German ''Baryton'', ''Tenorbass'', and ''Tenorbasshorn''; Italian ''baritono'', ''bombardino'', ''eufonio'', and ''flicorno basso''.<ref name="Grove"/> The most common German name, ''Baryton'', may have influenced Americans to adopt the name "baritone" for the instrument, due to the influx of German musicians and instrument makers to the United States in the nineteenth century.<ref name="Grove" />
+[[File:1894 Lyon & Healy catalog - tenor, baritone, and bass brass instruments.png|thumb|[[baritone horn|Baritone]] and euphonium instruments in the 1894 [[Lyon & Healy]] catalog|alt=Scanned page of an instrument catalog]]
+By the 1890s, American euphoniums were sometimes called the ''B{{flat}} bass'' (with only one "B"). The 1894 [[Lyon & Healy]] catalog depicts instruments called the ''B{{flat}} tenor'', ''B{{flat}} baritone'', and ''B{{flat}} bass'' with the same pitch and overall three-valve construction, differing only in bore and bell widths (while also listing "EE{{flat}} bass" and "BB{{flat}} bass" [[tuba]]s).<ref>{{cite book |title=Lyon & Healy's Band Catalogue |edition=35 |date=1894 |publisher=[[Lyon & Healy]] |pages=39–41 |url= http://www.horn-u-copia.net/books/L&H-1894.pdf |url-status=dead |archive-url= https://web.archive.org/web/20120407064700/http://www.horn-u-copia.net/books/L%26H-1894.pdf |archive-date=7 April 2012 |via=Horn-U-Copia }}</ref> In the 1930s, American [[Drum and bugle corps (modern)|drum and bugle corps]] introduced the ''baritone bugle'' (or ''Baro-tone'') in G with a single D piston valve, before a ''euphonium bugle'' in the same key but with a much wider bore had largely replaced it by the end of the 1960s.{{sfn|Pirtle|2002|pp=74–76}}
-Late 19th century American instrument catalogs often listed a euphonium-like instrument as the ''B♭ bass''. The 1894 catalog from [[Lyon & Healy]] depicts it alongside ''B♭ tenor'' and ''B♭ baritone'' instruments of the same pitch and construction, differing only in bore and bell widths, and the larger E♭ and BB♭ basses; all with three valves.<ref>{{cite book |title=Lyon & Healy's Band Catalogue |edition=35 |date=1894 |publisher=[[Lyon & Healy]] |pages=39–41 |url= http://www.horn-u-copia.net/books/L&H-1894.pdf |url-status=dead |archive-url= https://web.archive.org/web/20120407064700/http://www.horn-u-copia.net/books/L%26H-1894.pdf |archive-date=7 April 2012 |via=Horn-U-Copia }}</ref> Along the same lines, [[Drum and bugle corps (modern)|drum and bugle corps]] in the 1950s introduced the ''bass-baritone'' bugle, a wider-bore version of the existing baritone (or ''baro-tone'') bugle, which eventually replaced it.
-The ''American baritone'', featuring three valves on the front of the instrument, a hybrid conical-cylindrical bore, and a curved forward-pointing bell, was dominant in American school bands throughout most of the 20th century. As a [[marching instrument]], its weight, shape, and configuration conform to the needs of [[marching band]]s. Along with similar-looking [[cylindrical bore]] instruments like the ''[[trombonium]]'', it was almost universally labelled a "baritone" by both band directors and composers, thus contributing to the confusion of terminology in the United States.{{sfn|Bevan|2000|p=222}}
 == History ==
 {{Multiple image
-   | total_width = 220px | align = right
+   | total_width = 260px | align = right
    | image1 = Mondstuk van een serpent, BK-NM-11430-77-1.jpg
    | image2 = Bass Ophicleide in C MET DP249364.jpg
-   | alt1 = A serpent
+   | alt1 = Photograph of a serpent
-   | alt2 = An ophicleide
+   | alt2 = Photograph of an ophicleide
    | footer = Euphonium ancestors: [[serpent (instrument)|serpent]], {{circa|1800}}, ''left''; [[ophicleide]], {{circa|1825}}, ''right''. Rijksmuseum, Amsterdam; Metropolitan Museum of Art, New York | footer_align = left
 }}
-Before the invention of [[brass instrument valve|valves]] in the 1820s, brass instruments were either restricted to a single [[harmonic series (music)|harmonic series]] like the [[natural trumpet]] or [[bugle]], or used a [[slide (wind instrument)|slide]] like the [[trombone]], or used keys and [[tone hole]]s like the [[cornett]], [[keyed bugle]], or [[serpent (instrument)|serpent]]. For low-pitched brass instruments, none of these solutions were ideal; the [[bass trombone]]s with slide handles were unwieldy for fast passages, and the ''timbre'' of the serpent was often criticised.{{sfn|Yeo|2021|pp=128-31|loc="serpent"}} The history of the euphonium is tied to the history of the tuba, which is itself the search for a practical valved bass-voiced brass instrument, suitable for use in bands and orchestras.
+The history of the euphonium is tied to the history of the [[tuba]], which is itself the search for a practical valved bass-voiced brass instrument suitable for use in bands and orchestras.{{sfn|O'Connor|2007|p=1}} Before the invention of [[brass instrument valve|valves]] in the 1820s, brass instruments were either restricted to a single [[harmonic series (music)|harmonic series]] like the [[natural trumpet]] or [[bugle]], used a [[slide (wind instrument)|slide]] like the [[trombone]], or used keys and [[tone hole]]s like the [[keyed bugle]] or [[serpent (instrument)|serpent]]. For low-pitched brass instruments, none of these solutions were ideal; the [[bass trombone]]s with slide handles were unwieldy for fast passages, and the ''[[timbre]]'' of the serpent was often criticised.{{sfn|Yeo|2021|pp=128-31|loc="serpent"}}
-The euphonium traces its origins to the [[ophicleide]], an all-metal, conical bore keyed brass instrument developed from the serpent in 1817 by French instrument maker [[Jean Hilaire Asté]]. While the serpent had been in use particularly in France since the late 16th century, it was difficult to play with consistent tone quality and intonation, partly due to its small tone holes. The ophicleide improved on the serpent by using keys covering larger tone holes sized proportionally to the bore width, in their acoustically correct positions. The wide conical bore of the ophicleide, similar to the [[keyed bugle]] and much later saxophone, imparted the warm, noble ''timbre'' characteristic of the modern euphonium. The ophicleide was widely used in French and British [[military band]]s, orchestras, and the emerging civic [[British brass band|brass band]] movement for several decades, even after the invention of valves, and as late as the 1870s.
+The euphonium can trace its origins partly to the [[ophicleide]], an all-metal, conical bore keyed brass instrument developed by the Paris instrument maker [[Jean Hilaire Asté]] in 1817 to extend the keyed bugle into the bass range and replace the serpent.{{sfn|Herbert|Myers|Wallace|2019|p=303|loc="Ophicleide"}} The ophicleide improved on the serpent, in use particularly in France since the late 16th century, by using keys covering larger tone holes sized proportionally to the bore width, in their acoustically correct positions.<ref name="gmo-ophicleide">{{Cite Grove |title=Ophicleide |first=Reginald |last=Morley-Pegge |id=40954}}</ref> The wide conical bore of the ophicleide, extrapolated from the keyed bugle, imparted the warm, noble ''timbre'' characteristic of the modern euphonium. The ophicleide was widely used in French and British [[military band]]s, orchestras, and the emerging civic [[British brass band|brass band]] movement for several decades, even after the invention of valves, and as late as the 1870s.{{sfn|Yeo|2021|p=99|loc="ophicleide"}}
-The invention of the Stölzel valve in 1814, the {{lang|de|Berlinerpumpenventil}} ("Berlin valve") in 1833 used on the 1835 {{lang|de|Baß-Tuba}} and [[Adolphe Sax]]'s early brass instruments, and especially the modern piston valve by [[François Périnet]] in 1839, allowed the construction of brass instruments with an even sound and facility of playing in all registers.
+=== The invention of valves ===
-As early as 1829, German military conductor [[Wilhelm Friedrich Wieprecht]] required for his trumpet corps a {{lang|de|Tenorbasshorn}} in B♭ with three valves, a name which was later sometimes used for the euphonium. It was probably a larger bore version of the {{lang|de|Tenorhorn}}, later often called the {{lang|de|Baryton}}.{{sfn|Bevan|2000|p=222}}
+The invention of the Stölzel valve in 1814, the [[Berlin valve]] in 1833 used on the 1835 {{lang|de|Baß-Tuba}} and [[Adolphe Sax]]'s early brass instruments, and especially the modern piston valve by [[François Périnet]] in 1839, allowed the construction of brass instruments with an even sound and facility of playing in all registers.{{sfn|O'Connor|2007|pp=2–4}} Combined with [[Steam power during the Industrial Revolution|steam power]] and other advances in manufacturing brought about by the [[Industrial Revolution]], this led to the 19th century becoming a time of intense transformation in brass instrument design.{{sfn|Herbert|1997|pp=178–179}}
-Several instruments appeared in the 1830s and 1840s that fit the broad description of a baritone valved bugle with a wide conical bore. [[Carl Wilhelm Moritz|Carl Moritz]] in 1838 built a tenor tuba in B♭ with four valves which survives in a Munich museum, and Ferdinand Sommer of Weimar built his {{lang|de|Sommerophone}}, later called the {{lang|de|Euphonion}}, in 1843.{{sfn|Bevan|2000|p=221}} While Sax's family of [[saxhorn]]s were invented {{circa|1843}} and the bass saxhorn is very similar to the euphonium, there are also differences—the bass saxhorn is narrower throughout the length of the instrument—although they were often used interchangeably, especially in British brass bands.<ref>{{Cite thesis|title=An Argument in Favor of the Saxhorn Basse (French Tuba) in the Modern Symphony Orchestra |last=Kleinsteuber |first=Carl |date=2017 |institution=University of North Texas |degree=DMA |url= https://digital.library.unt.edu/ark:/67531/metadc984120/m2/1/high_res_d/KLEINSTEUBER-DISSERTATION-2017.pdf |access-date=9 May 2019 |archive-url= https://web.archive.org/web/20190509133600/https://digital.library.unt.edu/ark:/67531/metadc984120/m2/1/high_res_d/KLEINSTEUBER-DISSERTATION-2017.pdf |archive-date=9 May 2019 |url-status=live}}</ref>{{sfn|Herbert|Myers|Wallace|2019|p=361|loc="Saxhorn"}}
+As early as 1829 in Berlin, the Prussian military conductor [[Wilhelm Friedrich Wieprecht]] required for his trumpet corps a {{lang|de|Tenorbasshorn}} in B{{flat}} with three valves, a name which was later sometimes used for the euphonium. No specimens or illustrations survive, but the historian [[Clifford Bevan]] claims it was likely to have been a larger bore version of the {{lang|de|Tenorhorn}}, later often called the {{lang|de|Baryton}}.{{sfn|Bevan|2000|p=222}}
-The ophicleide's system of 9 to 11 keys was an improvement over the serpent, but its complexity compared to valves, and its still unreliable intonation especially in the high register, eventually led to its obsolescence. By the end of the 19th century, they had been replaced by valved brass instruments, and in Britain particularly by euphoniums, which were offered in competitions as prizes for winning ophicleide players. One of the last great ophicleide players was the English musician [[Sam Hughes (musician)|Samuel Hughes]], teacher at the [[Royal Military School of Music]], and ophicleidist in [[Louis-Antoine Jullien|Jullien's]] orchestra and the Royal Italian Opera at [[Royal_Opera_House|Covent Garden]].{{sfn|Yeo|2021|p=99|loc="ophicleide"}}{{sfn|Herbert|Myers|Wallace|2019|loc="Ophicleide"|p=303–306}}
+Several instruments appeared in the 1830s and 1840s that fit the broad description of a baritone valved bugle (in B{{flat}} or C) with a wide conical bore. In Vienna, valves were applied to the ophicleide to replace its keyed tone holes, otherwise retaining its bore and shape. The larger versions of these became known as ''bombardons''.{{sfn|Bevan|2000|pp=214–215}}
-The "British-style" compensating euphonium was developed in 1874 by [[David Blaikley]], of [[Boosey & Hawkes|Boosey & Co]],<ref>{{cite web |title=The History & Development of the Euphonium |url=http://www.davechilds.com/reviews-and-articles/article=the-history |publisher=David Childs |access-date=2021-04-16 |archive-date=19 October 2019 |archive-url=https://web.archive.org/web/20191019170247/http://www.davechilds.com/reviews-and-articles/article=the-history |url-status=live }}</ref> and has been in use in Britain since then, with the basic construction little changed.
+In 1838, [[Carl Wilhelm Moritz]], son of [[Johann Gottfried Moritz]], who (with Wieprecht) had patented the five-valved {{lang|de|Baß-Tuba}} in F in 1835, built a similar but smaller tenor tuba in B{{flat}} with four valves.{{sfn|O'Connor|2007|p=7}} In Italy around this time, the Milan instrument maker [[Giuseppe Pelitti]] developed his {{lang|it|bombardino}} with four valves based on the larger {{lang|it|bombardone}}, a valved ophicleide in F. While Pelitti preferred to call his instruments {{lang|it|Pelittone}}, other makers in Italy made similar instruments and called them {{lang|it|flicorni}} (pl.; sing. ''flicorno''). Built in B{{flat}} with either three valves as {{lang|it|flicorno bombardino}} or four valves as {{lang|it|flicorno basso}}, they became the equivalent respectively of the modern baritone horn and euphonium.{{sfn|O'Connor|2007|pp=7–8}}
-Modern-day euphonium makers have been working to further enhance the construction of the instrument. Besson introduced an adjustable main tuning-slide trigger, which allows players more flexibility with intonation.<ref>{{cite web |title=Euphoniums |url=https://www.besson.com/en/instruments/euphoniums/ |publisher=Buffet Crampon |access-date=2021-04-16 |archive-date=11 April 2021 |archive-url=https://web.archive.org/web/20210411153217/https://www.besson.com/en/instruments/euphoniums |url-status=live }}</ref> Adams euphoniums have developed an adjustable lead-pipe receiver, which allows players to customise the timbre and responsiveness of the instrument.<ref>{{cite web |title=Adams Euphoniums |url=https://www.adams-music.com/en/adams/brass/adams_euphoniums |publisher=Adams Musical Instruments |access-date=2021-04-16 |archive-date=16 April 2021 |archive-url=https://web.archive.org/web/20210416010212/https://www.adams-music.com/en/adams/brass/adams_euphoniums |url-status=live }}</ref>
+=== The earliest modern euphoniums ===
+[[File:Ferdinand Sommer playing Sommerophone at the 1851 Great Exhibition.jpg|thumb|Ferdinand Sommer playing his Sommerophone at the 1851 [[Great Exhibition]], London|alt=Engraving]]
+Ferdinand Sommer, a bandmaster in Weimar, developed his {{lang|de|Sommerophone}} in 1843, which was built and patented as the {{lang|de|Euphonion}} by Franz Bock in Vienna the following year.{{sfn|Bevan|2000|pp=221, 226}} In Paris at around the same time, Sax invented his family of [[saxhorn]]s {{circa|1843–45}}. Sommer toured his instrument in solo performances, and at the 1851 London [[Great Exhibition]], presented it as both ''Sommerophone'' and ''Euphonion''. The latter term was rapidly adopted as the anglicised ''euphonium'', but it was the {{lang|fr|saxhorn basse en sí bemol}} (bass saxhorn in B{{flat}}) that can be considered the earliest modern euphonium.{{sfn|O'Connor|2007|p=9}} It had a slightly narrower bore, but was often used interchangeably with the euphonium in British brass bands.{{sfn|Herbert|Myers|Wallace|2019|p=361|loc="Saxhorn"}}
-== Construction ==
+{{Multiple image
+  | total_width = 260px | align = right
+  | image1 = MIMEd 4273. Saxhorn basse by Adolphe Sax, 1865.jpg
+  | image2 = MIMEd 3412. Červený Kaiserbaryton.png
+  | alt1 = Photograph of a bass saxhorn
+  | alt2 = Photograph of an oval euphonium
+  | footer = Early euphoniums: {{lang|fr|saxhorn basse}} by [[Adolphe Sax]], ''left''; {{lang|de|Kaiserbaryton}} by [[V. F. Červený & Synové|Červený]], ''right''. Musical Instrument Museums, [[University of Edinburgh]] | footer_align = left
+}}
-[[File:EuphoniumAndTuba wb.jpg|thumb|A euphonium (left) and tuba (right), the two lowest conical-bore instruments]]
+Adolphe Sax's saxhorns became popular in bands in Britain and the United States due largely to the [[Distin family]], who helped popularise the British brass band movement by promoting and performing widely on Sax's brass instruments. By 1850, Distin & Co. was manufacturing them in London, and in New York and Pennsylvania by the 1870s after the London business was purchased by [[Boosey & Hawkes|Boosey & Co.]]{{sfn|O'Connor|2007|p=10}} The bass saxhorn also formed the basis of the six-valve French tuba in C, the standard tuba used by French composers and orchestras well into the 20th century.<ref>{{Cite thesis|title=An Argument in Favor of the Saxhorn Basse (French Tuba) in the Modern Symphony Orchestra |last=Kleinsteuber |first=Carl |date=2017 |institution=University of North Texas |degree=DMA |url= https://digital.library.unt.edu/ark:/67531/metadc984120/m2/1/high_res_d/KLEINSTEUBER-DISSERTATION-2017.pdf |access-date=9 May 2019 |archive-url= https://web.archive.org/web/20190509133600/https://digital.library.unt.edu/ark:/67531/metadc984120/m2/1/high_res_d/KLEINSTEUBER-DISSERTATION-2017.pdf |archive-date=9 May 2019 |url-status=live}}</ref>
-The euphonium, like the tenor trombone, is pitched in [[Eight foot pitch|9-foot (9′)]] B♭. When no valves are in use, the instrument will produce partials of the B♭ [[Harmonic series (music)|harmonic series]] which result from the vibrating air column within its {{convert|9|ft|abbr=off}} of tubing. As with other valved brass instruments, the valves each add lengths of tubing to lower the pitch of the instrument and produce a fully chromatic scale and range.
-Professional models have three top-action valves, played with the first three fingers of the right hand, plus a fourth valve, generally found midway down the right side of the instrument and played with the left index or middle finger. These models usually have compensating valves to resolve intonation issues below E{{sub|2}}. Beginner models often have only the three top-action valves and no fourth valve, while some intermediate "student" models may have a non-compensating fourth top-action valve placed next to the other three, and played with the fourth finger of the right hand.
+In [[Austria-Hungary]], the instrument maker [[Václav František Červený]] built his ''Baroxyton'', a baritone instrument with four valves, in 1852. Červený developed several instrument families in ophicleide, [[Helicon (instrument)|helicon]], and tuba shapes, but is especially notable for his later ''Kaiser'' instruments, with [[Brass instrument valve#Rotary valve|rotary valves]] and large conical bores. These included the ''Kaiserbaryton'', in a distinctive oval shape. This design was quickly adopted by other makers, and has become the standard configuration for euphoniums in central and eastern Europe.{{sfn|O'Connor|2007|p=10–11}}
-=== Compensating valves ===
+=== Modern instruments ===
-The modern compensating euphonium uses four valves, and routes the tubing of the fourth valve back through the other three valves to add small correcting lengths of extra tubing. This achieves correct intonation in the lower range of the instrument when using the fourth valve, the range being from E{{sub|2}} down to B{{sub|1}}.
+With their more consistent ''timbre'' and playing facility throughout the range, and simpler fingering using three or four valves, valved brass instruments eventually led to the disappearance of the ophicleide by the end of the 19th century. In Britain, ophiceides were replaced by euphoniums, offered in competitions as prizes for winning ophicleide players.{{sfn|Yeo|2021|p=99|loc="ophicleide"}}{{sfn|Herbert|Myers|Wallace|2019|loc="Ophicleide"|p=303–306}}
-Less commonly, there are three-valve compensating euphoniums. Usually older instruments, these routed the tubing of the third valve back through the first two, which added small correcting lengths of tubing in "knuckles" in order to bring the notes C{{sub|3}} and B{{sub|2}} in tune. This three-valve compensating configuration is also found on three-valve British style [[baritone horn]]s, usually on the premium tier models.
+The modern "British-style" compensating euphonium was developed in the 1870s by [[David Blaikley]], the factory manager at Boosey & Co.{{sfn|O'Connor|2007|p=6}} Blaikley, after experimenting with a three-valve compensation system, obtained a patent in 1878 for a four-valve version where the fourth valve returns the airway through the first three valves a second time, adding smaller tubing loops to rectify intonation. Similar designs were patented earlier by [[Gustave Auguste Besson]] in 1859, and [[Pierre-Louis Gautrot]]'s {{lang|fr|système equitonique}}, found on his instruments of the period, was patented in 1864.{{sfn|Herbert|Myers|Wallace|2019|pp=436–437|loc="Valve"}} Blaikley's compensation system was the most successful and has since been in continuous use in Britain, little-changed, on instruments by Boosey & Co. (later, Boosey & Hawkes), and [[Besson (music company)|Besson]] after their acquisition by Boosey & Hawkes in the mid-20th century.<ref name="Childs-history">{{cite web |title=The History & Development of the Euphonium |first=David |last=Childs |work=davechilds.com |url= http://www.davechilds.com/reviews-and-articles/article=the-history |access-date=2021-04-16 |archive-date=19 October 2019 |archive-url= https://web.archive.org/web/20191019170247/http://www.davechilds.com/reviews-and-articles/article=the-history |url-status=live }}</ref> In 1974, the patent expired, and many euphonium manufacturers added the compensation system to their euphonium models, including Hirsbrunner, Miraphone, Sterling, Willson, and Yamaha.<ref name="Childs-history"/>
-Compensating systems are expensive to build, and there is in general a substantial difference in price between compensating and non-compensating models.
+Modern euphonium makers have introduced some improvements, such as tapered and wider-bore valve tubing, small adjustments to the compensation tubing to soften some of the sharp bends, and [[trigger (brass instrument)|triggers]] for the main tuning slide.{{sfn|O'Connor|2007|p=15}} Adams developed an adjustable lead-pipe receiver for their euphoniums, which allows players to customise the timbre and responsiveness of the instrument.<ref>{{cite web |title=Adams Euphoniums |url=https://www.adams-music.com/en/adams/brass/euphonium |publisher=Adams Musical Instruments |access-date=2021-04-16 |archive-date=16 April 2021 |archive-url=https://web.archive.org/web/20210416010212/https://www.adams-music.com/en/adams/brass/adams_euphoniums |url-status=live }}</ref>
-=== Timbre ===
+== Construction ==
-As with the other conical-bore instruments like the [[flugelhorn]], [[French horn|horn]], and [[tuba]], the euphonium's tubing (aside from the valve tubing, which is necessarily cylindrical) gradually increases in diameter throughout its length, resulting in a softer, gentler tone compared to cylindrical-bore instruments such as the [[trumpet]] or [[trombone]]. While a truly characteristic euphonium sound is rather hard to define precisely, most players would agree that an ideal sound is dark, rich, warm, and velvety, with virtually no hardness to it. This also has to do with the different models preferred by British and American players.<ref name="Harvard Dictionary of Music">{{Cite book|last=Apel |first=Willi |date=1972 |title=Harvard Dictionary of Music |pages=105–110 |location=Cambridge |publisher=[[Harvard University Press]] |isbn=978-0-674-37501-7 |oclc=21452 |url= https://archive.org/details/harvarddictionar0000apel/page/104/mode/2up}}</ref>
+{{Multiple image
+  | total_width = 260px | align = left
+  | perrow = 2
+  | image1 = BC Euphonium ed1.jpg
+  | image2 = Yamaha Euphonium YEP-211 (crop).tif
+  | alt1 = Photograph of a euphonium with 4 compensating valves
+  | alt2 = Photograph of a bell-forward euphonium
+  | footer_align = left
+  | footer = Euphoniums: with four compensating valves by Besson, ''left''; marching bell-forward model with three valves by Yamaha, ''right''
+}}
+The euphonium, like the tenor trombone, is pitched in [[Eight foot pitch|9-foot (9{{prime}})]] B{{flat}} an octave below the [[trumpet]] or [[cornet]], and played with a [[mouthpiece (brass)|mouthpiece]] similar to those used on the ophicleide or [[bass trombone]].{{sfn|Herbert|Myers|Wallace|2019|p=162|loc="Euphonium"}} When no valves are in use, the instrument will produce partials of the B{{flat}} harmonic series which result from the vibrating air column within its {{convert|9|ft|abbr=off}} of tubing.{{sfn|Yeo|2021|p=68|loc="harmonic series"}}
-== Notation and range ==
+The euphonium has a wide [[conical bore]], gradually increasing in diameter throughout its length (apart from the necessarily [[cylindrical bore|cylindrical]] valve tubing). The bore ranges from {{convert|.563|to|.654|in|mm|order=flip}} at the first valve, and the bell ranges from {{convert|10|to|12|in|mm|order=flip|abbr=on}}.{{sfn|O'Connor|2007|p=1}} Like the [[flugelhorn]] and tuba, the conical bore of the euphonium emphasises lower frequency spectral content by favouring the lower partials, resulting in a mellower tone compared to cylindrical-bore instruments such as the trumpet or trombone.{{sfn|Campbell|Gilbert|Myers|2021|p=274}}
-In [[British brass band]]s, all instruments except the [[bass trombone]] are [[transposing instrument]]s using the [[treble clef]] notation popularized in France by instrument maker [[Adolphe Sax]] for his families of instruments. Thus the euphonium, along with the tenor trombones and [[baritone horn|baritones]], are notated as B♭ instruments in treble clef sounding a major ninth lower than written, like the [[tenor saxophone]] and [[bass clarinet]].<ref name="Grove" />
+The valves each add lengths of tubing to lower the pitch of the instrument, combining to produce a fully chromatic scale and range.{{sfn|Adler-McKean|2020|pp=49–50}} Euphoniums commonly have three top-action piston valves, played with the first three fingers of the right hand, plus a fourth valve, generally found midway down the right side of the instrument and played with the left index or middle finger. On most models, the fourth valve is a compensating valve which resolves intonation issues below E{{sub|2}}.{{sfn|Herbert|Myers|Wallace|2019|p=162|loc="Euphonium"}} On European instruments with rotary valves, the three or four valves are operated together by the right hand and are non-compensating; some include a fifth valve to allow for alternate intonation fingerings instead.{{sfn|O'Connor|2007|p=1}} Beginner models often have only the three top-action valves and no fourth valve, while some intermediate models may have a non-compensating fourth top-action valve placed next to the other three and played with the fourth finger of the right hand.{{sfn|Herbert|Myers|Wallace|2019|p=162|loc="Euphonium"}}<ref>{{Cite book |last1=Phillips |first1=Harvey |author-link1=Harvey Phillips |title=The Art of Tuba and Euphonium Playing |last2=Winkler |first2=William |publisher=[[Summy-Birchard]] |year=1999 |isbn=978-1-45740-4382 |pages=14–15}}</ref>
-In orchestral, [[concert band]], and US [[military band]] music, the euphonium is generally written at [[concert pitch]] in the [[bass clef]], treating the euphonium as a non-transposing instrument like the [[trombone]], with high passages often written in [[tenor clef]]. [[Concert band]] music often provides the euphonium parts in both bass and B♭ treble clef, to accommodate players from either background. In continental European band music, parts for the euphonium may also be written in transposing bass clef in B♭, sounding a major second lower than written.<ref name="Grove" />
+=== Compensating valves ===
-{{Image frame |align=center |innerstyle=background:white;padding:0.5em;
+The modern compensating euphonium uses four valves and routes the tubing of the fourth valve back through the other three valves to add an extra set of small correcting tubing loops.{{sfn|Adler-McKean|2020|p=51}} This achieves correct intonation in the lower range of the instrument when using the fourth valve, the range being from E{{sub|2}} down to B{{sub|1}}.{{sfn|Herbert|Myers|Wallace|2019|pp=436–437|loc="Valve"}}
-  |caption = Range of the modern euphonium <br> (''4v'' indicates notes requiring a compensating instrument with four valves)
-  |content = <score lang="lilypond"> {
-    \new Staff \with { \omit Score.TimeSignature }
-    \clef bass \key c \major \cadenzaOn \omit Stem
-    \tweak font-size #-2 b,,,4 \finger \markup \text "4v" ^ "pedals"
-    \glissando
-    \tweak font-size #-2 ees,,4
-    e,,1 \glissando bes,,1
-    \bar "|"
-    \tweak font-size #-2 b,,4 \finger \markup \text "4v"
-    \glissando
-    \tweak font-size #-2 ees,4
-    e,1 \glissando f' \tweak font-size #-2 c''4 \finger \markup \text "poss."
-  }</score>
-}}
-The euphonium has a large range of at least four octaves. Intermediate players can access a range from E<sub>2</sub> to about F<sub>4</sub>, while professionally the range includes the pedals, and the upper range is limited only by the fitness of the players' [[embouchure]]. A working ''[[tessitura]]'' in solo repertoire extends to C<sub>5</sub>, and as low as B<sub>0</sub> and as high as B♭<sub>5</sub> in contemporary works.{{sfn|Herbert|Myers|Wallace|2019|p=484|loc=Appendix 2: The Ranges of Labrosones}}{{sfn|Adler-McKean|2020|p=}}
-The lowest notes obtainable depend on the valve set-up of the instrument. All instruments are chromatic down to E<sub>2</sub>, but four-valved instruments extend that down to at least C<sub>2</sub>. Non-compensating four-valved instruments suffer from intonation problems in this range and cannot produce low B<sub>1</sub>; both problems are solved with compensating valves, providing a full chromatic range. European models with five non-compensating rotary valves also provide a full range, using a flat whole-tone tuning for the fifth valve, as is common on five-valve tubas. Although less satisfactory, a good player can also provide these notes on a three-valve instrument using [[Falset (music)|falset tones]], which are more distinct on instruments with wide conical bores and large bells.{{sfn|Adler-McKean|2020|p=105}} From B♭<sub>1</sub> down lies the [[pedal tone|pedal range]], the fundamentals of the instrument's [[Harmonic series (music)|harmonic series]]. They are more easily produced on the euphonium and tuba than on other brass instruments, and the extent of the pedal range similarly depends on the instrument. A compensating four-valved instrument can produce a B<sub>0</sub> six ledger lines below the bass clef with all valves down, sometimes called ''double pedal'' B.
+Less commonly, there are three-valve compensating euphoniums. Usually older instruments, these have a similar compensating mechanism, but route the tubing of the third valve back through extra loops on the other two valves. This corrects the intonation, of C{{sub|3}} and B{{sub|2}} in particular. This compensating system is also found on some three-valve British-style baritone horns.{{sfn|Bevan|2000|p=198}}
-Though the euphonium's fingerings are no different from those of the trumpet or tuba, beginning euphoniumists will likely experience significant problems with intonation, response and range compared to other beginning brass players.<ref>{{Cite book |first=David |last=Kish |title=Brass Methods An Essential Resource for Educators, Conductors, and Students. |date=2021 |publisher=GIA Publications |isbn=978-1-57463-545-4 |oclc=1267765869}}</ref>
 == Types ==
-{{Multiple image
-  | total_width = 220px | align = right
-  | perrow = 3/1
-  | image1 = Yamaha Euphonium YEP-621 (crop).tif
-  | image2 = Yamaha Euphonium YEP-211 (crop).tif
-  | image3 = MIMEd 3487. Conn double-belled Euphonium (edit1).png
-  | image4 = Marchingeuph (crop).jpg
-  | alt1 = Euphonium by Yamaha
-  | alt2 = Yamaha bell-forward euphonium, suitable for marching bands
-  | alt3 = Double-bell euphonium by Conn
-  | alt4 = Marching euphonium by King
-  | footer_align = left
-  | footer = Euphoniums: modern 4-valve model by Yamaha; bell-forward model for marching, by Yamaha; double-bell euphonium by Conn; marching euphonium by King
-}}
-=== Double-bell euphonium ===
+=== Double bell euphonium ===
 {{Main|Double bell euphonium}}
-A creation unique to the United States was the [[Double bell euphonium|double-bell euphonium]], featuring a second smaller bell in addition to the main one; the player could switch bells for certain passages or even for individual notes by use of an additional valve, operated with the left hand. Ostensibly, the smaller bell was intended to emulate the sound of a trombone (it was cylindrical-bore) and was possibly intended for performance situations in which trombones were not available. The extent to which the difference in sound and timbre was apparent to the listener, however, is up for debate. Michele Raffayolo of the Patrick S. Gilmore band introduced the instrument in the U.S. by 1880, and it was used widely in both school and service bands for several decades. ''Harold Brasch'' (see "List of important players" below) brought the British-style compensating euphonium to the United States c. 1939, but the double-belled euphonium may have remained in common use even into the 1950s and 1960s. In any case, they have become rare (they were last in Conn's advertisements in the 1940s, and King's catalog in the 1960s),<ref>1963 H.N. White/King catalog (Baritone/Euphonium), {{cite web |url= http://www.hnwhite.com/Euphoniums%20and%20Baritones.htm |title=H N White Euphoniums & Baritones |access-date=20 April 2013 |url-status=live |archive-url= https://web.archive.org/web/20130524063626/http://www.hnwhite.com/Euphoniums%20and%20Baritones.htm |archive-date=24 May 2013}}</ref> and are generally unknown to younger players. They are chiefly known now through their mention in the song "[[Seventy-Six Trombones]]" from the musical ''[[The Music Man]]'' by [[Meredith Willson]].
+[[File:MIMEd 3487. Conn double-belled Euphonium.png|thumb|left|upright=0.6|Double bell euphonium by [[C. G. Conn|Conn]] |alt=Photograph of a double bell euphonium]]
+First built as early as 1847 by the Italian maker [[Giuseppe Pelitti]], the [[double bell euphonium]] was a creation uniquely popular in the United States in the early 20th century, featuring a second smaller bell in addition to the main one. The player could switch bells for certain passages, or even for individual notes, by use of an additional valve.{{sfn|O'Connor|2007|pp=11–12}} The smaller bell, using a narrower and more cylindrical bore, was intended to emulate the sound of a trombone. Harry Whittier of the [[Patrick Gilmore|Gilmore Band]], and Josef Michele Raffayalo in [[John Philip Sousa|Sousa's]] band introduced the instrument to the United States in the late 1880s, and it was used widely in both school and service bands for several decades, as late as the 1960s, built largely by American manufacturers.{{sfn|O'Connor|2007|pp=12–13}} They were last listed by [[C. G. Conn|Conn]] in the 1940s and [[King Musical Instruments|King]]'s catalog in the 1960s.<ref>{{cite web |author=H. N. White/King |url= https://www.hnwhite.com/euphoniumsbaritones |title=H. N. White Made Euphoniums & Baritones: King 1963 Catalog (Baritone/Euphonium) |date=1963 |access-date=26 September 2025 |archive-url= https://web.archive.org/web/20130524063626/http://www.hnwhite.com/Euphoniums%20and%20Baritones.htm |archive-date=24 May 2013}}</ref> They are now rare, chiefly known through their mention in the song "[[Seventy-Six Trombones]]" from [[Meredith Willson]]'s 1957 musical, ''[[The Music Man]]''.{{sfn|O'Connor|2007|pp=13}} A model with four compensating valves (and a fifth to switch bells) is made by Wessex Tubas.<ref name="wessex-doublebell">{{Cite web |title=Duplex B♭ Euphonium |location=Andover |publisher=Wessex Tubas |url= https://www.wessex-tubas.com/products/duplex-eb-euphonium-ep105 |access-date=26 August 2025}}</ref>
-=== Marching euphonium ===
-Marching euphoniums are used by [[marching band]]s and in [[Drum and bugle corps (modern)|drum and bugle corps]]. Typically in a drum corps, there will be two baritone parts and one euphonium part, with the euphonium playing the lower parts. Some corps (such as the [[Blue Devils Drum and Bugle Corps|Blue Devils]]) march all-euphonium sections rather than only marching baritone or a mix of both.<ref>{{Cite book|last=Legget|first=John A.|url=https://ttu-ir.tdl.org/bitstream/handle/2346/10257/31295019541480.pdf?sequence=1|title=Aspects for Arranging for Drum Corps: It's All About the Music!!!|year=2004}}</ref> In high school marching bands, the two will often be used interchangeably.
-Depending on the manufacturer, the weight of these instruments can be straining to the average marcher and require great strength to hold during practices and performances, leading to nerve problems in the right pinky, a callus on the left hand, and possibly back and arm problems.{{cn|date=June 2025}} Marching euphoniums and marching baritones commonly have three valves, opposed to the regular euphonium having four.
-Another form of the marching euphonium is the convertible euphonium. Recently widely produced, the horn resembles a convertible tuba, being able to change from a concert upright to a marching forward bell on either the left or right shoulder. These are mainly produced by Jupiter or Yamaha, but other less expensive versions can be found.{{cn|date=June 2025}}
 === Five-valved euphonium ===
-In central and eastern Europe, euphoniums usually have rotary valves, and an oval form. [[V. F. Červený & Synové|Červený]] and other manufacturers make several models with five non-compensating [[rotary valve]]s.<ref>{{Cite web |title=Rotary Valve Instruments |url=https://www.bigbandinstruments.com.au/wp-content/uploads/Catalogues/Cerveny_Rotary_Valve_Instruments.pdf |archive-url=http://web.archive.org/web/20230306105145/https://www.bigbandinstruments.com.au/wp-content/uploads/Catalogues/Cerveny_Rotary_Valve_Instruments.pdf |archive-date=2023-03-06 |access-date=2025-06-25 |website=www.bigbandinstruments.com.au}}</ref>
+[[File:MIMEd 3415. Besson five-valve euphonium, 1891.png|thumb|upright=0.6|Five-valved euphonium by Besson, 1891 |alt=Photograph of a five-valve euphonium]]
+In Britain, a non-compensating five-valve euphonium was manufactured in the late 19th and early 20th centuries by Besson, and Highams of Manchester. The five-valve euphonium improved intonation by providing more valve fingering combinations, and was more economical to build than complex compensating instruments, but they were not widely adopted.{{sfn|Myers|2000|p=179}}
+The Besson five-valved euphonium mounted the first three piston valves horizontally, and an additional two off to the side.<ref>{{Cite web |author=Besson, F. |title=Euphonium, Nominal Pitch B♭ |date=1891 |work=Musical Instrument Museums Edinburgh |publisher=[[University of Edinburgh]] |id=Accession: 3415 |url= https://collections.ed.ac.uk/mimed/record/15311 |access-date=10 October 2025}}</ref>
-In Britain, a rare, non-compensating five-valve euphonium was manufactured in the late 19th and early 20th centuries by [[Besson (music company)|Besson]], and Highams of Manchester. The five-valve euphonium improved intonation by providing more valve fingering combinations, and was more economical to build than complex compensating instruments, but they were not widely adopted.<ref name="Arnold Myers 2000">Arnold Myers, in Trevor Herbert, ed., ''The British Brass Band: A Musical and Social History'' (Oxford, 2000), 179. {{ISBN|0191590126}}</ref>
+In central and eastern Europe, euphoniums usually have rotary valves, and an oval form. [[V. F. Červený & Synové|Červený]] and other manufacturers make models with five non-compensating rotary valves.<ref>{{Cite book |title=Rotary Valve Instruments |page=7 |date=2005 |publisher=[[V. F. Červený & Synové]] |publication-place=Kraslice |url= https://www.bigbandinstruments.com.au/wp-content/uploads/Catalogues/Cerveny_Rotary_Valve_Instruments.pdf#page=7 |access-date=25 June 2022 |archive-url= https://web.archive.org/web/20230306105145/https://www.bigbandinstruments.com.au/wp-content/uploads/Catalogues/Cerveny_Rotary_Valve_Instruments.pdf#page=7 |archive-date=6 March 2023 |via=Big Band Instruments |url-status=dead }}</ref>
-The Besson five-valve euphonium featured the first three [[piston valve]]s mounted horizontally, and an additional two piston valves off to the side.
-The term 'five-valve euphonium' does not refer to variations of the [[double bell euphonium]] where a fifth valve was added to a four-valve instrument, to switch the sound to the second smaller bell.
+=== Marching euphonium ===
-== Notable euphonium players ==
+[[File:Marchingeuph (crop).jpg|thumb|left|upright|Marching euphonium by [[King Musical Instruments|King]] |alt=Photograph of a marching euphonium]]
-{{Main|List of euphonium players}}
+Euphoniums built in a horizontal bell-forward configuration are used in the [[marching arts]]. Marching euphoniums lack a fourth valve, partly to conserve weight. They are currently produced by B.A.C. Music, Eastman, Jupiter, King, and Yamaha, as well as by several Chinese-made [[white-label product|stencil brands]] like Schiller, John Packer, and O'Malley.<!-- TODO: more mfr links --><ref name="marching-mfrs">{{Multiref2
+  | {{Cite web |title=825 Marching Euphonium |work=Eight To Five Marching |publisher=B.A.C. Musical Instruments |publication-place=Kansas City |url= https://www.825marching.com/marching-euphonium-hybrid |access-date=7 November 2025 }}
+  | {{Cite web |title=Marching Baritones and Euphoniums |work=Schiller Band & Orchestral Instruments |publisher=Schiller |publication-place=Frankfurt |url= https://www.schillerinstruments.com/store/marching/ |access-date=7 November 2025 }}
+}}</ref>
-German Ferdinand Sommer, if one discounts the claims of Moritz and Sax each of whose horns also approached a euphonium in nature, in addition to being credited with inventing the euphonium as the Sommerhorn in 1843, as a soloist on the horn, qualifies as the first euphonium player to significantly advance and alter the understanding of the instrument.<ref>Baritone History, North Dakota State University, at {{cite web |url=http://www.nd.edu/~baritone/history.html |title=Baritone History |access-date=2011-10-15 |url-status=dead |archive-url=https://web.archive.org/web/20120221235020/http://www.nd.edu/~baritone/history.html |archive-date=21 February 2012}} retrieved 10/15/2011</ref><ref>{{cite book|editor1=Lloyd E. Bone Jr.|editor2=Eric Paull|editor3=R. Winston Morris|title=Guide to the Euphonium Repertoire: The Euphonium Source Book|publisher=[[Indiana University]] Press|date=1 March 2007 |page=7|isbn=9780253348111|oclc=611786614|url=https://books.google.com/books?id=y7UWPZNqmXYC&pg=PA7}}</ref>
+In American [[Drum and bugle corps (modern)|drum and bugle corps]], the Canadian instrument maker Whaley, Royce & Co. introduced the euphonium bugle in the mid-1960s, pitched a third lower in G with two valves.{{sfn|Pirtle|2002|p=76}}<ref>{{Cite thesis |last=Legget |first=John A. |title=Aspects for Arranging for Drum Corps: It's All About the Music!!! |date=2004 |degree=Master's |publisher=[[Texas Tech University]] |url=https://ttu-ir.tdl.org/bitstream/handle/2346/10257/31295019541480.pdf?sequence=1 |page=49}}</ref> These were mainly made by the American makers [[F. E. Olds|Olds]], [[King Musical Instruments|King]], [[C. G. Conn|Conn]], and Kanstul.<ref name="TJ-bugles">{{Cite web |title=G Bugles |first=Tiffany |last=Johns |work=Tiffany Johns Music |date=12 August 2023 |url= https://tiffanyjohns.com/blog/g-bugles |access-date=28 September 2025 }}</ref> Whether a drum corps uses marching euphoniums, marching baritones, or a combination of both depends on the preference of the arranger. In mixes, euphoniums will typically play the lower parts, and the baritones will play the higher.<ref>{{Cite thesis |last=Brennan |first=John Michael |title=Show Design and Wind Arranging for Marching Ensembles |date=2014 |degree=Master's |publisher=[[Ohio State University]] |url=http://rave.ohiolink.edu/etdc/view?acc_num=osu1397561909 |page=83}}</ref>
-=== United Kingdom ===
+== Repertoire ==
-* [[Alfred James Phasey]] (1834–1888), English [[ophicleide]], baritone and euphonium artist credited with modifying the bore of the baritone [[saxhorn]], precursor of the [[baritone horn]], to enlarge it and make it more resonant thereby creating the first true euphonium which he went on to popularize as a performer and author of an early instructional method for tenor brass.<ref>Bouldersdome, H. J., The Late Mr. A. J. Phasey, The British Bandsman, November 1888, Derby, England, P.33</ref>
+{{Main|Euphonium repertoire}}
-* [[Steven Mead]], English euphonium soloist and professor at the [[Royal Northern College of Music]] noted internationally for advancing the British euphonium sound.<ref>Roy Newsome, ''The Modern Brass Band: From the 1930s to the New Millennium'', Ashgate Publishing, Ltd., 2006, p. [https://books.google.com/books?id=O6-iHNQwga8C&pg=PA338 252]. {{ISBN|0-7546-0717-8}}.</ref>
-* [[David Thornton (musician)|David Thornton]], principal euphonium of the [[Brighouse and Rastrick Band]] and student of [[Steven Mead]] noted for winning several prestigious international competitions and advancing the British euphonium sound through broadcast as well as recording media.<ref>{{cite web|url=http://www.perfectpeople.net/biography/6610/david-thornton.htm |title=David Thornton biography from Perfect People |access-date=2011-04-24 |url-status=dead |archive-url=https://web.archive.org/web/20110721014958/http://www.perfectpeople.net/biography/6610/david-thornton.htm |archive-date=21 July 2011}}</ref>
-* David Childs, professor of euphonium at the [[University of North Texas]], soloist and recording artist; commissioned euphonium concerto ''The Sunne Rising – The King Will Ride'' (2004) from the Welsh composer [[Alun Hoddinott]].<ref>{{Cite web |title=The Symphonic Euphonium – David Childs plays Concertos by Alun Hoddinott, Joseph Horovitz, Karl Jenkins and Philip Wilby [BBC National Orchestra of Wales/Bramwell Tovey; Chandos] |last=Matthew-Walker |first=Robert |work=The Classical Source |date=October 2014 |url= https://www.classicalsource.com/cd/the-symphonic-euphonium-david-childs-plays-concertos-by-alun-hoddinott-joseph-horovitz-karl-jenkins-and-philip-wilby-bbc-national-orchestra-of-wales-bramwell-tovey-chandos/ |access-date=29 July 2025 }}</ref><ref>{{Cite web |title=David Childs / Brass, Euphonium, Instrumental Studies |work=College of Music |publisher=[[University of North Texas]] |url= https://music.unt.edu/people/david-childs.html |access-date=29 July 2025 }}</ref>
-=== United States ===
+[[File:Amilcareponchielli.jpg|thumb|upright|[[Amilcare Ponchielli]], composer of the first original euphonium solo |alt=Portrait photograph of Amilcare Ponchielli]]
-* [[Simone Mantia]] (1873–1951), an Italian-born American baritone horn/euphonium virtuoso and also trombone artist at the start of the 20th century. Playing as soloist with the [[John Philip Sousa|Sousa]] and the [[Arthur Pryor|Pryor]] Bands, Mantia was the first euphonium virtuoso to record and popularized this non-orchestral instrument in the United States.<ref>Bierley, Paul A., The Incredible Band of John Philip Sousa, Board of Trustees of the University of Illinois, Urbana, IL. 2006</ref><ref name="Mantia1">Lehman, Arthur, A Quick Analysis of Simone Mantia's Artistry on the Euphonium, 2008, {{cite web |url=http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm |title=Euphoniumist Simone Mantia Remembered (2008) - by Euphoniumist Arthur Lehman |access-date=2011-04-01 |url-status=live |archive-url=https://web.archive.org/web/20110930213508/http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm |archive-date=30 September 2011}}, retrieved 4/1/2011</ref>
+The euphonium repertoire began in the mid-19th century with adaptations of existing {{lang|fr|air varié}} ({{Lit.|[[Theme and variations|air and variations]]}}), a large body of music particularly popular in France and Britain. Works such as [[Jean-Baptiste Arban]]'s ''Fantaisie et variations sur "Le carnaval de Venise"'' (1864) were quickly adapted for ophicleide, and then euphonium. The earliest surviving solo composition written specifically for euphonium is the ''Concerto per Flicorno Basso'' (1872) by the Italian composer [[Amilcare Ponchielli]].{{Sfn|Herbert|Myers|Wallace|2019|p=163|loc="Euphonium"}} The solo and band repertoire grew in the period from around 1880 to 1920, as the euphonium became an important instrument in bands, and exemplified in the United States by the bands and publications of [[John Philip Sousa]] and [[Arthur Pryor]].{{Sfn|Herbert|Myers|Wallace|2019|p=385}}
-* [[Leonard Falcone]] (1899–1985), Italian-born American baritone/euphonium soloist, arranger, professor, Director of Bands at [[Michigan State University]], and teacher of many noted euphonium artists. Falcone advanced an operatic passionate baritone style and is the namesake of the [[Leonard Falcone International Tuba and Euphonium Festival]], the leading venue for the instrument in the United States.<ref>{{cite web|website=[[Michigan State University]] Archives - Leonard Falcone Collection |url=https://www.msu.edu/unit/msuarhc/falcone1.htm |title=Leonard V. Falcone |access-date=2011-04-24 |url-status=dead |archive-url=https://web.archive.org/web/20080509104649/http://www.msu.edu/unit/msuarhc/falcone1.htm |archive-date=9 May 2008 }}</ref><ref>{{cite book|title=Life and Work of Leonard Falcone|author=Myrna Delford Welch|publisher=[[University of Illinois]] Press|date=1973 }}</ref>
-* [[Arthur W. Lehman]], (1917–2009), American euphonium soloist known as 'Art', Recording Artist, United States Marine Band, noted euphonium author of works such as ''The Art of Euphonium''. Lehman was a student of Harold Brasch and [[Simone Mantia]] and advanced the concept of a rich resonant sound with no vibrato pioneered by Mantia.<ref name="Mantia1"/><ref>Schudel, Matt (28 June 2009). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium With the Marine Band". The Washington Post. {{cite news |url=https://www.washingtonpost.com/wp-dyn/content/article/2009/06/27/AR2009062702268.html |title=Arthur W. Lehman, 91, Retired Sergeant Played Euphonium with the Marine Band |newspaper=[[The Washington Post]] |access-date=2009-07-05 |url-status=live |archive-url=https://web.archive.org/web/20121108112434/http://www.washingtonpost.com/wp-dyn/content/article/2009/06/27/AR2009062702268.html |archive-date=8 November 2012}}. Retrieved 2/24/2011</ref>
-* [[Brian Bowman]], former soloist with the U.S. Navy Band (1971–75) and [[U.S. military bands#Air Force Band|U.S. Air Force Band]] (1976–91); former professor of euphonium at the University of North Texas, co-editor of "Arban's Method for Trombone and Euphonium". Bowman innovated a fusion of the mellow British sound with deep passion heard in Falcone recordings, becoming the best known American artist at the end of the 20th century through recording, teaching and the first euphonium recital at [[Carnegie Hall]].<ref>Morin, Alexander J., Classical music: the listener's companion, Backbeat Books, San Francisco CA, 2002, Page 1113</ref><ref>Brian Bowman Euphonium, ''[[The Instrumentalist (magazine)|The Instrumentalist]],'' Volume 63, 2008, P.34</ref>
-* Bernard Atwell McKinney, later [[Kiane Zawadi]] (1932–2024) jazz trombonist and euphonium player, one of the few jazz soloists on the latter instrument.
-=== Japan ===
+American composers writing for the [[concert band]] since the mid-20th century continued the British brass and concert band tradition of using the euphonium as the principal tenor-voiced solo instrument, akin to the [[cello]] in the string section of the orchestra.{{Sfn|O'Connor|2007|p=2}} A large body of more serious works, including challenging concertos for solo euphonium with brass or concert band accompaniment, has been amassed since 1960 including works from American, German, Scandinavian and British composers.{{Sfn|Bone|Paull|Morris|2007|p=91}} This has also included concertos for euphonium and orchestra, newly commissioned and recorded, as well as existing band concertos newly adapted for orchestra.{{Sfn|Bone|Paull|Morris|2007|p=139}}
-* [[Toru Miura (Musician)|Toru Miura]], professor of euphonium at the [[Kunitachi College of Music]]; soloist and clinician who was awarded a lifetime achievement award by the [[International Tuba Euphonium Association]] (formerly TUBA) for his role in promoting the instrument.<ref>Artist profile: Toru Miura, Jeju International Wind Ensemble Festival 2007, at {{cite web |url=http://jiwef.org/english/competition/sub_01_07_view.php?jd_no=31&jd_typ=15&PHPSESSID=06d3bdf28359df449e07590a1deac751 |title=♬ 제주국제관악제 ♪ |access-date=2011-04-24 |url-status=dead |archive-url=https://web.archive.org/web/20111005161633/http://jiwef.org/english/competition/sub_01_07_view.php?jd_no=31&jd_typ=15&PHPSESSID=06d3bdf28359df449e07590a1deac751 |archive-date=5 October 2011}} , retrieved 4/12/2011</ref>
-=== Brazil ===
+Music for unaccompanied solo euphonium until the late 20th century had been largely adaptations of works for other instruments, often trombone, cornet, tuba, cello, or bassoon. The [[International Tuba Euphonium Association]] (ITEA) sponsored new solo works for euphonium through its "GEM Series" published in its journal.{{Sfn|Bone|Paull|Morris|2007|p=195}}
-* Irineu de Almeida (known as Irineu Batina) (1863–1916), one of the most influential musicians and professors of the genre of [[Choro]], the first Brazilian typical music. Irineu was an active composer, euphoniumist, ophicleidist and professor, and has participated in the first commercial recordings of Brazilian music, from 1900 onwards, in Rio de Janeiro, playing both euphonium and ophicleide, as a composer, soloist and counterpointist. De Almeida was also professor of the prodigy [[Pixinguinha]], who later became the most important developer of the whole genre of Choro, and one of the most important creators in Brazilian music history. Due to Irineu Batina and his contemporaries, the bombardino is an essential part of the genre of Choro, which is an intangible cultural heritage in Brazil.<ref>{{Cite web |url=https://dicionariompb.com.br/irineu-batina |title=Irineu Batina - Dicionário Cravo Albin da Música Popular Brasileira<!-- Bot generated title --> |access-date=30 October 2021 |archive-date=30 October 2021 |archive-url=https://web.archive.org/web/20211030194212/https://dicionariompb.com.br/irineu-batina |url-status=live }}</ref>
-== Repertoire ==
+=== Orchestral repertoire ===
-{{Main|Euphonium repertoire}}
-{{Unreferenced section|date=April 2020}}
-The euphonium repertoire consists of solo literature, band parts, and occasionally orchestral music written for the euphonium. Since its invention in the mid-19th century, the euphonium has been an important instrument in [[military band]]s, [[concert band]]s, and [[British brass band]]s. Some composers have featured it in [[Classical music|orchestral music]]; notably, it has iconic appearances in British composer [[Gustav Holst]]'s ''[[The Planets]]'' (1914–1917):
+Though the euphonium is primarily a brass and symphonic band instrument, it also finds occasional use in orchestral repertoire, where it is often scored as ''tenor tuba''. It appeared as early as 1898 with important excerpts in the tone poems ''[[Don Quixote (Strauss)|Don Quixote]]'' and ''[[Ein Heldenleben]]'' by [[Richard Strauss]], and it has notable solo appearances in ''[[The Planets]]'' (1914–1917) by the British composer [[Gustav Holst]]:
 {{Image frame
    | align = center | innerstyle = background:white;padding:0.4em
-   | caption = Tenor tuba solo at bar 68 of "Mars, the Bringer of War" in [[Gustav Holst|Holst]]'s ''[[The Planets]]'' (1914–17) <br>
+   | caption = Tenor tuba solo at bar 68 of "Mars, the Bringer of War" from [[Gustav Holst|Holst]]'s ''[[The Planets]]'' (1914–17) <br>
    {{Listen
-    | filename = Gustav Holst - the planets, op. 32 - i. mars, the bringer of war.ogg
+  | filename = Gustav Holst - the planets, op. 32 - i. mars, the bringer of war.ogg
-    | title = Recording, by Skidmore College Orchestra
+  | title = Recording, by Skidmore College Orchestra
-    | embed = yes | type = music
+  | embed = yes | type = music
-    | alt = Skidmore College Orchestra recording of "Mars, the Bringer of War" from Gustav Holst's The Planets; Tenor tuba solo begins at 2m 34s (bar 68).
+  | alt = Skidmore College Orchestra recording of "Mars, the Bringer of War" from Gustav Holst's The Planets; Tenor tuba solo begins at 2m 34s (bar 68).
-    |start = 2:30 | pos = center | plain = yes
+  | start = 2:30 | pos = center | plain = yes
    }}
    | content = <score lang="lilypond">
    \layout { ragged-right = ##t \context { \Score \omit BarNumber } }
-   \relative c'' {
+   \relative c' {
-     \clef treble \time 5/4 \key c \major
+     \clef bass \time 5/4 \key c \major
-     e4 ^ "Solo" \ff e e \tuplet 3/2 {e8( dis e) } \tuplet 3/2 { e( dis e) }
+     d4 ^ "Solo" \ff d d \tuplet 3/2 {d8( cis d) } \tuplet 3/2 { d( cis d) }
-     g2 e8. e16 g4 e~
+     f2 d8. d16 f4 d~
-     e2.~ e8 r8 r4
+     d2.~ d8 r8 r4
+  }</score>
+}}
+The euphonium is also called for in [[Leoš Janáček]]'s ''[[Sinfonietta (Janáček)|Sinfonietta]]'' (1926), Shostakovich's ballet ''[[The Golden Age (Shostakovich)|The Golden Age]]'' (1930), and several symphonies by the composers [[Havergal Brian]], [[Roy Harris]], [[Arnold Bax]], and [[Samuel Barber]]. Despite the successes of these early works, and of its larger tuba cousin, the euphonium has not gained a permanent place in the regular symphony orchestra. It is sometimes employed to play parts originally scored for ophicleide, bass (in F) [[Wagner tuba]], or the small French C tuba.{{Sfn|Bone|Paull|Morris|2007|p=251}}
+== Performance ==
+Although modern performers and composers are pushing the boundaries of the instrument into other genres, the euphonium remains predominantly a band instrument, with full-time professional positions almost entirely with military bands. This has not deterred new players from learning the instrument, partly due to the increasing worldwide popularity of British-style brass bands, with substantial repertoire that commands much from the euphonium's agility and expressive tone.{{Sfn|O'Connor|2007|pp=15–16}}
+As with the cornet and flugelhorn, the euphonium and baritone horn are easily doubled by one player, with some adjustment of breath and [[embouchure]], since they have essentially identical range and fingering.<ref name="DW">{{cite web|last=Werden |first=David |title=Baritone Horn or Euphonium? |url= http://www.dwerden.com/eu-articles-bareuph.cfm |access-date=2008-01-29 |url-status=live |archive-url= https://web.archive.org/web/20080212225121/http://www.dwerden.com/eu-articles-bareuph.cfm |archive-date=12 February 2008}}</ref>
+=== Notation ===
+In British brass bands, all instruments except the bass trombone are [[transposing instrument]]s using the [[treble clef]] notation popularized in France by instrument maker Adolphe Sax for his families of instruments.{{Sfn|Adler-McKean|2020|p=69–70}} Thus the euphonium, along with the tenor trombones and baritones, are notated as B{{flat}} instruments in treble clef sounding a major ninth lower than written, like the [[tenor saxophone]] and [[bass clarinet]].<ref name="Grove" />
+{{Image frame |align=center |innerstyle=background:white;padding:0.5em;
+  | caption = Euphonium notation: the same notes in transposing treble clef a ninth above pitch, and in concert pitch in bass clef
+  | content = <score lang="lilypond"> \relative {
+    \cadenzaOn
+    \clef treble \key c \major
+    c'8[ ^ \markup \tiny "transposing" d e f] g4 c
+    s4 \bar "|"
+    \clef bass \key bes \major \time 4/4
+    bes,,!8[ ^ \markup \tiny "concert pitch" c d ees!] f4 bes!
    }</score>
 }}
-Still, solo literature was slow to appear, consisting of only a handful of lighter solos until the 1960s. Since then, however, the breadth and depth of the solo euphonium repertoire has increased dramatically.
+In orchestras, concert bands, and US military bands, the euphonium is generally written at concert pitch in the [[bass clef]], treating the euphonium as a non-transposing instrument like the orchestral trombone, with high passages often written in [[tenor clef]]. Concert band music often provides the euphonium parts in both bass and B{{flat}} treble clef, to accommodate players from either background, although professional players are usually familiar with either notation.{{Sfn|Adler-McKean|2020|p=68}} In continental European band music, parts for the euphonium are occasionally written in transposing B{{flat}} in bass clef, sounding a major second lower than written.{{sfn|Adler-McKean|2020|p=70}}
-[[File:Amilcareponchielli.jpg|thumb|upright|[[Amilcare Ponchielli]], composer of the first original euphonium solo]]
+=== Range ===
-Upon its invention, it was clear that the euphonium had, compared to its predecessors the serpent and ophicleide, a wide range and had a consistently rich, pleasing sound throughout that range. It was flexible both in tone quality and intonation and could blend well with a variety of ensembles, gaining it immediate popularity with composers and conductors as the principal tenor-voices solo instrument in [[Brass band (British style)|brass band]] settings, especially in Britain. It is no surprise, then, that when British composers – some of the same ones who were writing for brass bands – began to write serious, original music for the concert band in the early 20th century, they used the euphonium in a very similar role.
+The euphonium has a large range of at least four octaves. The range from E{{sub|2}} to about G{{sub|4}} is easily accessible, but the full working range from contemporary solo repertoire includes the [[pedal tone|pedal range]] from B{{flat}}{{sub|1}} down to B{{sub|0}}, and extends up to at least D<sub>5</sub>.{{sfn|Herbert|Myers|Wallace|2019|p=484|loc=Appendix 2: The Ranges of Labrosones}}{{sfn|Adler-McKean|2020|p=182}} Higher notes are possible since the upper range is limited only by the fitness of the players' embouchure, although notes above the ''[[Cutoff frequency|bell cutoff frequency]]'', around the tenth harmonic in tuba family instruments (D{{sub|5}} on euphonium), are difficult to centre and continuous ''[[glissando|glissandi]]'' are possible, making valve fingering largely redundant.{{sfn|Adler-McKean|2020|pp=60-63}}
-When American composers also began writing for the concert band as its own artistic medium in the 1930s and 1940s, they continued the British brass and concert band tradition of using the euphonium as the principal tenor-voiced solo.
+{{Image frame |align=center |innerstyle=background:white;padding:0.5em;
-This is not to say that composers, then and now, valued the euphonium only for its lyrical capabilities. Indeed, examination of a large body of concert band literature reveals that the euphonium functions as a "jack of all trades."
+  | caption = Range of the modern four-valve euphonium
+  | content = <score lang="lilypond"> {
+    \new Staff \with { \omit Score.TimeSignature }
+    \clef bass \key c \major \cadenzaOn \omit Stem
+    b,,,4 ^ "pedal" _ \markup \tiny "B₀"
+    \glissando s bes,, _ \markup \tiny "B♭₁"
+    \bar "|"
+    b,,1 _ \markup \tiny "B₁"
+    \glissando \clef tenor d'' ^ \markup \tiny "D₅"
+    \grace f''4 ^ \markup \tiny "↑"
+  }</score>
+}}
-Though the euphonium was, as previously noted, embraced from its earliest days by composers and arrangers in band settings, orchestral composers have, by and large, not taken advantage of this capability. There are, nevertheless, several orchestral works, a few of which are standard repertoire, in which composers have called for instruments, such as the Wagner tuba, for which euphonium is commonly substituted in the present.
+The lowest notes obtainable depend on the valve set-up of the instrument. All instruments are chromatic down to E<sub>2</sub>, and four-valved instruments extend that down to at least C<sub>2</sub>. Non-compensating four-valved instruments suffer from intonation problems in this range and cannot produce low B<sub>1</sub>. These problems are solved with the modern compensating fourth valve, or with five non-compensating rotary valves on some European models, using a flat whole-tone tuning for the fifth valve, as is common on five-valve tubas. Although less satisfactory, a good player can also provide these notes on a three-valve instrument using [[Falset (music)|falset tones]], which are more distinct on instruments with wide conical bores and large bells.{{sfn|Adler-McKean|2020|p=105}} From B{{flat}}<sub>1</sub> down lies the pedal range, the fundamentals of the instrument's harmonic series. They are more easily produced on the euphonium and tuba than on other brass instruments, and the extent of the pedal range similarly depends on the instrument.{{sfn|Adler-McKean|2020|p=32, 58}}
-In contrast to the long-standing practice of extensive euphonium use in wind bands and orchestras, there was, until approximately forty years ago, literally no body of solo literature written specifically for the euphonium, and euphonium players were forced to borrow the literature of other instruments. Fortunately, given the instrument's multifaceted capabilities discussed above, solos for many different instruments are easily adaptable to performance on the euphonium.
+=== Notable players ===
+{{Main|List of euphonium players}}
-The earliest surviving solo composition written specifically for euphonium or one of its saxhorn cousins is the ''Concerto per Flicorno Basso'' (1872) by Amilcare Ponchielli. For almost a century after this, the euphonium solo repertoire consisted of only a dozen or so virtuosic pieces, mostly light in character. However, in the 1960s and 1970s, American composers began to write the first of the "new school" of serious, artistic solo works specifically for euphonium. Since then, there has been a virtual explosion of solo repertoire for the euphonium. In a mere four decades, the solo literature has expanded from virtually zero to thousands of pieces. More and more composers have become aware of the tremendous soloistic capabilities of the euphonium, and have constantly "pushed the envelope" with new literature in terms of tessitura, endurance, technical demands, and extended techniques.
+{{Multiple image
+| total_width       = 260px
+| align             = left
+| perrow            = 2
+| image1            = AJ_Phasey.jpg
+| image2            = Simone Mantia.jpg
+| image3            = Irineu de Almeida - MIS JBandolim 002 1906-11-01.png
+| image4            = Arthur lehman.jpg
+| alt1              = Portrait of Alfred James Phasey
+| alt2              = Portrait of Simone Mantia
+| alt3              = Portrait of Irineu de Almeida
+| alt4              = Portrait of Art Lehman
+| footer_align      = left
+| footer            = Early euphonium players: [[Alfred James Phasey]] (1834–1888); [[Simone Mantia]] (1873–1951); Irineu de Almeida (1863–1916), pictured with [[ophicleide]]; [[Arthur W. Lehman|Art Lehman]] (1917–2009), pictured with [[double bell euphonium]]
+}}
-Finally, the euphonium has, thanks to a handful of enterprising individuals, begun to make inroads in jazz, pop and other non-concert performance settings. One well-known euphonium player from the world of popular music is [[Don McGlashan]], the New Zealand musician who began his musical career as an orchestral brass player<ref>{{Cite web |last=Anderson |first=Vicki |date=2015-06-18 |title=Don McGlashan - counting his lucky stars |url=https://www.stuff.co.nz/the-press/christchurch-life/69470819/don-mcglashan---counting-his-lucky-stars |access-date=2023-03-02 |website=Stuff |language=en}}</ref> before finding success in popular music with bands such as [[Blam Blam Blam]] and [[The Mutton Birds]].
+Ferdinand Sommer toured Europe with [[Louis-Antoine Jullien|Jullien's orchestra]] to promote the ''Sommerophone'' he invented in 1843, patented the following year as ''Euphonion''. As a virtuoso soloist, his performances in Britain helped to popularise the euphonium in British brass and military bands.{{Sfn|Bevan|2000|pp=225–226}}{{sfn|O'Connor|2007|p=7}} [[Alfred James Phasey]] (1834–1888) was a distinguished British ophicleide player who, unlike his fellow ophicleidist [[Sam Hughes (musician)|Samuel Hughes]] (1823–1898), switched to euphonium and became just as renowned for his euphonium playing.{{Sfn|Herbert|Myers|Wallace|2019|p=163|loc="Euphonium"}}
-== See also ==
+In Brazil, {{Ill|Irineu de Almeida|pt}} (1863–1916) was an influential musician and professor of the genre of [[Choro]] music, composing and performing on ophicleide and {{lang|pt|bombardino}} (euphonium). He participated in the first early 20th century recordings of Brazilian music, and he and his influential student [[Pixinguinha]] (1897–1973) established and popularized Choro music and its instruments.<ref>{{Cite web |title=Irineu Batina |work=Dicionário Cravo Albin da Música Popular Brasileira |url=https://dicionariompb.com.br/artista/irineu-batina/ |access-date=19 September 2025 |archive-url=https://web.archive.org/web/20250919232247/https://dicionariompb.com.br/artista/irineu-batina/ |archive-date=19 September 2025 |url-status=live }}</ref>
-* [[List of euphonium players]]
-* [[Baritone Horn]]
+==== 20th century ====
-* [[William Bell (tuba player)]]
-* [[Brian Bowman]]
+In the United States, the Italian-born trombone, baritone and euphonium virtuoso [[Simone Mantia]] (1873–1951) toured with the bands of both John Philip Sousa and Arthur Pryor, made some of the first solo euphonium recordings, and helped to popularize the instrument in the United States.{{Sfn|Bierley|2006|pp=68–69}}<ref name="Mantia1">{{Cite web |last=Lehman |first=Arthur |date=July 2008 |title=A quick analysis of Simone Mantia's artistry on the euphonium |publisher=David Werden |url= http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm |access-date=1 April 2011 |url-status=live |archive-url= https://web.archive.org/web/20110930213508/http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm |archive-date=30 September 2011}}</ref> [[Leonard Falcone]] (1899–1985), also Italian-born, was appointed Director of Bands at [[Michigan State University]] in 1927, and, as professor of euphonium, taught many artists until his death in 1985. The [[Leonard Falcone International Tuba and Euphonium Festival]], a principal venue for the instrument in the United States, was established in his honour.<ref>{{cite web|publisher=[[Michigan State University]] |work=Leonard Falcone Collection |url= https://www.msu.edu/unit/msuarhc/falcone1.htm |title=Leonard V. Falcone |access-date=24 April 2011 |url-status=dead |archive-url= https://web.archive.org/web/20080509104649/http://www.msu.edu/unit/msuarhc/falcone1.htm |archive-date=9 May 2008 }}</ref><ref>{{cite thesis|title=The life and work of Leonard Falcone, with emphasis on his years as director of bands at Michigan State University, 1927 to 1967 |last=Welch |first=Myrna Delford |degree=DMA |institution=[[University of Illinois]] |date=1973 }}</ref>
-* [[List of euphonium, baritone horn and tenor horn manufacturers]]
-* [[Steven Mead]]
+[[Arthur W. Lehman|Arthur ("Art") Lehman]] (1917–2009), euponiumist with the [[United States Marine Band]], was an early proponent of the double bell euphonium and wrote ''The Art of Euphonium'', a significant pedagogical text. Lehman was a student of Harold Brasch and Simone Mantia, and advanced a rich sound concept with sparing use of vibrato, pioneered by Mantia.<ref name="Mantia1"/><ref>{{cite news|title=Arthur W. Lehman, 91, Retired Sergeant Played Euphonium with the Marine Band |newspaper=[[The Washington Post]] |last=Schudel |first=Matt |date=28 June 2009 |url= https://www.washingtonpost.com/wp-dyn/content/article/2009/06/27/AR2009062702268.html |access-date=5 July 2009 |url-status=live |archive-url= https://web.archive.org/web/20121108112434/http://www.washingtonpost.com/wp-dyn/content/article/2009/06/27/AR2009062702268.html |archive-date=8 November 2012}}</ref> [[Brian Bowman]], euphonium soloist with the [[United States Navy Band]] and [[United States Air Force Band]], was professor of euphonium at the [[University of North Texas]] and co-edited ''Arban's Method for Trombone and Euphonium'', an adaptation of Arban's 1864 [[Arban's Complete Conservatory Method for Trumpet|method for cornet]]. Bowman developed a sound based on a fusion of the mellow British sound and Falcone's recordings, and played the first euphonium recital at [[Carnegie Hall]].{{Sfn|Morin|2002|p=1113}}<ref>{{Cite AV media notes|title=The First Carnegie Hall Euphonium Recital |date=2009 |first=Brian |last=Bowman |author-link=Brian Bowman |type=CD booklet |page=1 |publisher=[[Crystal Records]] |id=CD393}} [[Discogs]] [https://www.discogs.com/release/23846084 23846084].</ref>
+In Japan, the euphonium soloist and clinician [[Toru Miura (Musician)|Toru Miura]] was a founding member in 1973 of the International Tuba Euphonium Association (ITEA; founded as TUBA).<ref name="miura-besson">{{cite web |title=Artists: Toru Miura |publisher=[[Besson (music company)|Besson]] |url=https://www.besson.com/artist/toru-miura/ |access-date=29 September 2025 |archive-date=25 January 2025 |archive-url=https://web.archive.org/web/20250125073757/https://www.besson.com/artist/toru-miura/ |url-status=live }}</ref> He is professor of euphonium at the [[Kunitachi College of Music]] in Tokyo, and in 2008 was awarded the ITEA Lifetime Achievement Award for his role in promoting the instrument.<ref>{{cite web |title=Artist Profile: Toru Miura |date=2007 |publisher=Jeju International Wind Ensemble Festival |url= http://jiwef.org/english/competition/sub_01_07_view.php?jd_no=31&jd_typ=15&PHPSESSID=06d3bdf28359df449e07590a1deac751 |access-date=24 April 2011 |url-status=dead |archive-url= https://web.archive.org/web/20111005161633/http://jiwef.org/english/competition/sub_01_07_view.php?jd_no=31&jd_typ=15&PHPSESSID=06d3bdf28359df449e07590a1deac751 |archive-date=5 October 2011}}</ref>
+==== 21st century ====
+{{Multiple image
+| total_width       = 260px
+| align             = left
+| perrow            = 2
+| image1            = Nuotauka.jpg
+| image2            = David Childs 2010 (1).JPG
+| alt1              = Portrait of Stephen Mead
+| alt2              = Portrait of David Childs
+| footer_align      = left
+| footer            = Euphonium players [[Stephen Mead]] ''left'', and [[David Childs (musician)|David Childs]], ''right''
+}}
+In the late 20th century, many players from brass and concert band backgrounds became virtuoso performers and promoters of euphonium music. English soloist [[Steven Mead]], professor at the [[Royal Northern College of Music]], is recognised for advancing the British euphonium sound.{{Sfn|Newsome|2006|p=252}} He has commissioned many solo works for euphonium, and his extensive discography includes most of the major modern works composed for euphonium.{{sfn|Bone|Paull|Morris|2007|pp=309–313}} [[David Thornton (musician)|David Thornton]], a student of Mead, has won several international competitions, and played principal euphonium in and conducted several prestigious British brass bands. He has also recorded many works, including a CD that won the 2016 ITEA Roger Bobo Award for Excellence in Recording. He is Director of Brass Band Studies at the Royal Northern College of Music.<ref>{{cite web|title=Meet our staff: David Thornton |publisher=[[Royal Northern College of Music]] |publication-place=Manchester |url= https://www.rncm.ac.uk/people/david-thornton/ |access-date=22 September 2025 }}</ref>
+The Welsh brothers Robert and [[Nicholas Childs]] have recorded and commissioned many works for euphonium, as well as conducting and adjudicating brass bands. Robert's son [[David Childs (musician)|David Childs]] is also a euphonium soloist and recording artist, and professor of euphonium at the University of North Texas, succeeding Brian Bowman. He commissioned a euphonium concerto, ''The Sunne Rising – The King Will Ride'' (2004), from the Welsh composer [[Alun Hoddinott]], and published and recorded an adaptation of the [[Ralph Vaughan Williams|Vaughan Williams]] [[Tuba Concerto (Vaughan Williams)|tuba concerto]] for euphonium and orchestra.<ref>{{Cite web |title=The Symphonic Euphonium – David Childs plays Concertos by Alun Hoddinott, Joseph Horovitz, Karl Jenkins and Philip Wilby [BBC National Orchestra of Wales/Bramwell Tovey; Chandos] |last=Matthew-Walker |first=Robert |work=The Classical Source |date=October 2014 |url=https://www.classicalsource.com/cd/the-symphonic-euphonium-david-childs-plays-concertos-by-alun-hoddinott-joseph-horovitz-karl-jenkins-and-philip-wilby-bbc-national-orchestra-of-wales-bramwell-tovey-chandos/ |access-date=29 July 2025 |archive-date=15 July 2024 |archive-url=https://web.archive.org/web/20240715093133/https://www.classicalsource.com/cd/the-symphonic-euphonium-david-childs-plays-concertos-by-alun-hoddinott-joseph-horovitz-karl-jenkins-and-philip-wilby-bbc-national-orchestra-of-wales-bramwell-tovey-chandos/ |url-status=live }}</ref><ref>{{Cite web |title=David Childs / Brass, Euphonium, Instrumental Studies |work=College of Music |publisher=[[University of North Texas]] |url= https://music.unt.edu/people/david-childs.html |access-date=29 July 2025 }}</ref>
+==== Jazz and popular music ====
+[[File:Muttonbirdsdebut.jpg|thumb|''[[The Mutton Birds (album)|The Mutton Birds]]'' album cover, 1992 |alt=Image of album cover]]
+In jazz, [[Rich Matteson]] (1929–1993) and Bernard Atwell McKinney, later [[Kiane Zawadi]] (1932–2024), were two of the few jazz soloists to use euphonium.{{sfn|Dickman|2007|p=515}} Matteson formed the [[Matteson-Phillips Tubajazz Consort]], a [[big band]] scored for tubas and euphoniums, with the tuba player [[Harvey Phillips]], founder of the annual [[Tubachristmas]] events.<ref>{{cite journal | url=http://www.richmatteson.com/article1.html | title=Goodbye Rich – We'll Miss You | last=Phillips | first=Harvey | journal=Jazz Educators Journal | volume=26 | issue=2 | accessdate=16 April 2014 | archive-date=16 April 2014 | archive-url=https://web.archive.org/web/20140416175741/http://www.richmatteson.com/article1.html | url-status=live }}</ref> Some trombone artists have occasionally used euphonium, such as Gus Mancuso, [[Bill Reichenbach Jr.|Bill Reichenbach]], and [[John Allred (musician)|John Allred]].{{sfn|Dickman|2007|p=515}}
+In popular music, the New Zealand musician [[Don McGlashan]] began his musical career as an orchestral horn player, before including euphonium in his switch to popular music with bands such as [[Blam Blam Blam]] and [[The Mutton Birds]].<ref>{{Cite web |last=Smithies |first=Grant |date=21 July 2019 |title=Blam Blam Blam: Rising from the wreckage |url=https://www.stuff.co.nz/entertainment/music/114018449/blam-blam-blam-rising-from-the-wreckage |url-status=live |access-date=2026-02-16 |website=[[Stuff (website) |Stuff]]}}</ref><ref>{{Cite news |last=Anderson |first=Vicki |date=18 June 2015 |title=Don McGlashan - counting his lucky stars |newspaper=[[The Press]] |url= https://www.stuff.co.nz/the-press/christchurch-life/69470819/don-mcglashan---counting-his-lucky-stars |access-date=2 March 2023 |via=[[Stuff (website)|Stuff]]}}</ref>
+== In popular culture ==
+* In Japan, the series of popular ''[[Sound! Euphonium]]'' novels (Japanese: 響け! ユーフォニアム; ''Hibike! Eūfoniamu'') about a student euphonium player, Kumiko, and her high school's concert band has been adapted into [[manga]] serials, an [[anime]] TV series, and translated into English.<ref name="AM2019">{{Cite web |title=Eleven Arts Announces English Cast for 'Sound! Euphonium: The Movie' |last=Milligan |first=Mercedes |work=[[Animation Magazine]] |date=27 June 2019 |url=https://www.animationmagazine.net/2019/06/eleven-arts-announces-english-cast-for-sound-euphonium-the-movie/ |access-date=1 October 2025 |archive-date=19 August 2025 |archive-url=https://web.archive.org/web/20250819043336/https://www.animationmagazine.net/2019/06/eleven-arts-announces-english-cast-for-sound-euphonium-the-movie/ |url-status=live }}</ref>
+* The [[Loophonium]] is a hybrid musical instrument and art installation built in 1960 by the [[Liverpool]]-based musician and artist [[Fritz Spiegl]], housed at the [[Walker Art Gallery]].<ref name=":7">{{Cite news |date=27 July 2006 |title=Music to drive you round the u-bend |url= https://www.liverpoolecho.co.uk/news/liverpool-news/music-drive-you-round-u-bend-3516978 |access-date=12 January 2023 |newspaper=Liverpool Echo }}</ref>
 ==References==
@@ Line 243: / Line 307: @@
 {{ubli
    | {{Cite Q|Q134349391|last=Adler-McKean |date=2020 |first=Jack}}
-   | {{Cite Q|Q111040769|last=Bevan |date=2000 |first=Clifford |author-link=Clifford Bevan}}
+   | {{Cite Q|Q111040769|last=Bevan    |date=2000 |first=Clifford |author-link=Clifford Bevan}}
-   | Cottrell, Jeff. [https://web.archive.org/web/20051030200338/http://www.lowbrassnmore.com/euponiumhistory.htm The History of the Euphonium and Its Use in Orchestral Music]—2005 archive; retrieved 28 January 2008
+   | {{Cite Q|Q135963380|editor1-last=Bone |editor1-first=Lloyd E. |editor2-last=Paull |editor2-first=Eric |editor3-last=Morris |editor3-first=R. Winston |editor3-link=R. Winston Morris|date=2007 }}
-   | {{Cite Q|Q114571908|editor1-last=Herbert |editor1-first=Trevor |editor2-last=Myers |editor2-first=Arnold |editor3-last=Wallace |editor3-first=John |date=2019 |url=unset}}
+  | {{Cite Q|Q136342539|last=Bierley  |date=2006 |first=Paul E. |author-link=Paul E. Bierley}}
-   | historyman 2008. [https://web.archive.org/web/20150623105708/http://www.docstoc.com/docs/2198574/HISTORY-OF-THE-BARITONE-AND-THE-EUPHONIUM History of the Baritone and the Euphonium]—2015 archive
+  | {{Cite Q|Q117322059|last1=Campbell |last2=Gilbert |last3=Myers |date=2021 |first1=Murray |first2=Joël |first3=Arnold }}
-  | Pilato, Nikk. [https://web.archive.org/web/20051217074115/http://nikknakks.net/Euphonium/ Euphonium Asylum site]—2005 archive; retrieved 28 January 2008
+  | {{Cite Q|Q135963380|last=Dickman  |date=2007 |first=Marcus |chapter=The Euphonium in Jazz |editor1-last=Bone |editor1-first=Lloyd E. |editor2-last=Paull |editor2-first=Eric |editor3-last=Morris |editor3-first=R. Winston |editor3-link=R. Winston Morris |pages=515–516}}
-   | {{Cite Q|Q111040546|last=Yeo |first=Douglas |date=2021 |author-link=Douglas Yeo |others=Peterson, Lennie (illustrator) }}
+  | {{Cite Q|Q112852613|last=Herbert  |date=1997 |chapter=Brass bands and other vernacular traditions |first=Trevor |editor1-last=Herbert |editor1-first=Trevor |editor2-last=Wallace |editor2-first=John |publication-place=unset |series=unset |url=unset |pages=177–192}}
+   | {{Cite Q|Q136027509|editor1-last=Herbert |editor1-first=Trevor |editor2-last=Myers |editor2-first=Arnold |editor3-last=Wallace |editor3-first=John |date=2019 |url=unset |publication-place=unset}}
+  | {{Cite Q|Q136346843|last=Morin    |date=2002 |first=Alexander }}
+   | {{Cite Q|Q116480763|last=Myers    |date=2000 |chapter=Instruments and Instrumentation |first=Arnold |editor-last=Herbert |editor-first=Trevor |publication-place=unset |pages=155–186}}
+  | {{Cite Q|Q136346757|last=Newsome  |date=2006 |first=Roy}}
+  | {{Cite Q|Q135963380|last=O'Connor |date=2007 |first=Michael |chapter=A Short History of the Euphonium and Baritone Horn |editor1-last=Bone |editor1-first=Lloyd E. |editor2-last=Paull |editor2-first=Eric |editor3-last=Morris |editor3-first=R. Winston |editor3-link=R. Winston Morris |pages=1–17}}
+   | {{Cite Q|Q136465477|last=Pirtle   |date=2002 |chapter=The evolution of the bugle |first=Scooter |editor-last=Vickers |editor-first=Steve |pages=63–90}}
+  | {{Cite Q|Q111040546|last=Yeo      |date=2021 |first=Douglas |author-link=Douglas Yeo |others=Peterson, Lennie (illustrator) }}
 }}
 {{refend}}
 == External links ==
-{{Commons}}
-{{Wiktionary}}
+{{subject bar|commons=y|wikt=y|s=y|Music}}
-* [https://www.iteaonline.org ITEA—The International Tuba Euphonium Association]
-* [https://www.tubaforum.net/ TubaForum.net]—Online forum
+* [https://www.iteaonline.org ITEA]—The International Tuba Euphonium Association
+* [http://www.dwerden.com/emg/ Euphonium Music Guide]—Online list of euphonium literature compiled by David Werden and Denis Winter
+* [https://forum.dwerden.com/homepage Dave Werden's Euphonium Tuba Forum]—Online forum
 * [https://historyofthetuba.substack.com/ History of the Tuba Podcast]—Jake Kline & Jack Adler-McKean, also discusses the euphonium
-* [http://www.dwerden.com/emg/ Euphonium Music Guide]—A list of original euphonium literature
-* {{Cite EB1911|wstitle=Euphonium |first=Kathleen |last=Schlesinger}}
 {{Brass instruments}}

Euphonium: Difference between revisions

Latest revision as of 09:12, 1 June 2026

Name

History

The invention of valves

The earliest modern euphoniums

Modern instruments

Construction

Compensating valves

Types

Double bell euphonium

Five-valved euphonium

Marching euphonium

Repertoire

Orchestral repertoire

Performance

Notation

Range

Notable players

20th century

21st century

Jazz and popular music

In popular culture

References

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