A Euphonium By Any Other Name Is Not a Baritone David R.

Werden

Over the years I have heard several different explanations of the difference between the euphonium and the baritone: A baritone is a small euphonium. A baritone has three valves and a euphonium has four. If the instrument is in treble clef it's a baritone, and if it's in bass clef it's a euphonium. (Attributed to Robert King) a euphonium is a baritone that's played well. Some of these distinctions are partly true, but none is a correct and complete definition. I would like to help clear up some of the fog surrounding these instruments. I have consulted 24 sources including general dictionaries, encyclopedias, music dictionaries, and texts trying to find an official definition of the difference between these two instruments. All the books agree on the following: the euphonium has mostly conical tubing, a larger bore and bell than the baritone, and a darker, bigger sound. The

baritone has mostly cylindrical tubing, a smaller bell and bore, and a smaller, brighter sound than the euphonium. None of the books mention specific measurements or dimensions, which are important aspects when distinguishing these instruments. In England the distinction between the euphonium and baritone is especially important because of the many brass bands. There, as well as in the rest of Europe, the bands use two baritone horns and two euphoniums with specific parts written for the different timbres of these instruments. Therefore, to illustrate the importance of dimensions, I will use my British made instruments as examples. My euphonium has a bore of .580", with almost entirely conical tubing (except for the section passing through the first three valves). It has a large bell, 11" in diameter, whose throat is large enough to accept a fist several inches down. My baritone has a .515" bore. Its bell is 10" in diameter, and proportioned similar

COLLEGE BAND DIRECTORS NATIONAL ASSOCIATION

National Conducting Symposium

The University of Northern Colorado School of Music and Band Department will host the 1984 National Conducting Symposium. Thirty applicants will be selected as conducting participants. A non-conducting participant track is open to all interested college and public school conductors. Clinic ensembles will include a wind ensemble, symphonic band and symphony orchestra. The Symposium will offer sessions on score analysis, rehearsal preparation, practical conducting experience and related discussion pertaining to all facets of the conductors art. CLINICIAN: Mr. H. Robert Reynolds, Director of Bands The University of Michigan Mr. Juan Carlos Zorzi Music Director and Conductor of National Symphony Orchestra of Argentina

to a trombone bell. Its tubing is mostly cylindrical, as demonstrated by removing the tuning slide and reinserting it with the two ends reversed. This is not possible with my euphonium, because, in order to maintain the taper, the two ends of the tuning slide are of a different diameter. Another instrument, the bellfront type with front valves (often seen in high school bands and sometimes referred to as a baritone) usually has a .560" bore and about a 10.5" bell. The throat of this bell is roughly as large as that of my euphonium. A glance at the tubing confirms that it is mostly conical, and the tuning slide is not reversible. I understand that this type of horn was originally developed with characteristics that would allow it to be used for both baritone horn and euphonium parts (its tone color is more or less centered between those two instruments). However, over the years its sound has grown darker as the manufacturers have tried to meet the demands of musicians desiring a fuller tone. As the instrument exists today, its sound is very close to that of euphoniums such as mine, and it has a much darker sound than that of the baritone horn. Having played most brands of this type of instrument, I see no reason to ever call it a baritone. It is best described as a small euphonium, and its characteristics are not different enough from its larger brothers to justify a different name. Certainly the range of bore sizes and tone colors among tenor trombones is at least as diverse as it is among euphoniums, yet I haven't heard any name other than trombone used to describe the smaller of these instruments. David R. Werden was recognized as "Euphonium Player of the Year" in 1980 by the British publication Sounding Brass, and in 1981 was elected Euphonium Coordinator of the Tubists Universal Brotherhood Association. In 1982 he was awarded the Coast Guard Commendation Medal for his work in promoting the euphonium. Werden is a clinician for Boosey & Hawkes.

JULY 30 - AUGUST 3, 1984

For complete information and enrollment application, please write: EUGENE CORPORON - Director of Bands - School of Music The University of Northern Colorado Greeley, Colorado 80639 Applications must.be completed and returned by June 4, 1984..
62 THE INSTRUMENTALIST/APRIL 1984

Let us put to rest some mis:onceptions. The euphonium merican, European, or Japalese) may have three, four, or iore valves without its basic diicnsions or tone color changig. The baritone horn is almost Jways found with only three 'alves. However, if a manufacrer chose to add a fourth ,lve, the instrument would still a baritone. The direction the :11 points does not affect the finition, nor does the placelent of the valves. For example, me European manufacturer lakes a euphonium with the .me basic dimensions of bore id tubing taper in side-valve ipright bell, front-valve upright 11, and front-valve front bell mfiguration, all available with ee or four valves. Euphonium :Usic may be written in either iass or treble clef. Baritone iorn music is almost always in reble clef, though the reasons tor this have more to do with tralition than technical necessity. I would like to see music publishers use the correct terminoligy on the parts for these instruicnts. As a member of the nited States Coast Guard land, I read much music in the mrse of a year. While most of ie parts I play are labeled "bari<ne," they are meant to be ilayed on a euphonium. Brass lands, in which the distinction tween baritone and euphoum parts is critical, are beiming popular in the United itates. Thus, it will be all the iore important in the future to iliminate the existing confusion. My final plea is that the manufacturers of brass instruments :gin to use the correct titles for ritone horns and euphoniums their catalogs. The word "euihonium" should stand for more n just a high-quality version a particular instrument, and laritone" or "baritone horn" ihould only be applied to the rue, small-bore, cylindrical, Tighter-sounding instrument.
Expectations and a Little Magic
Donn Laurence Mills

music, and before he knows it, a well-meaning adult presses an instrument in his hands and packs him off to music lessons. The new toy is a delight for awhile, but then the going gets tough. Suddenly it's becoming a burden; practicing, a bore. A few agonizing months pass; the instrument is returned to the store and another musical career has ended in disappointment. Only one of three beginners will still be playing a year later, and many others will give up long before any musical satisfaction is reached. Lack of talent? Well, music isn't for everyone... or is it? Fortunately for us, just enough turtles reach the sea to provide players for our ensembles, and those survivors deserve our respect and gratitude. Now that they're in the high school orchestra, are their musical dreams to be fulfilled at last? For too many, the answer is "no." A lot of our students stick it out through years of tedious rehearsals long after the bloom of anticipation has faded. Like brushing teeth, it's become a monotonous habit. For some it's easier to continue than quit, even if the experience is boring. Many reach a minimum performance level, then stagnate. If you look carefully, you'll find these people in about half the chairs of your orchestra. At least

they make the yearbook photograph look impressive. Truthfully now, how can the rank and file of your orchestra be as thrilled with the experience as Helen Hotshot, your overachieving concertmistress? They can't see the promised land beyond the next page-turn as she does. As both leader and teacher, you must motivate everyone, including those chair-warmers but how? We all know that small, poorly balanced orchestras are demoralizing to everyone. Feeble groups convince weak players that making music isn't so wonderful after all. To stay on top we must anticipate our needs and prepare well in advance. Unless you savor martyrdom, make studies, lists, and alternatives. Do your homework and recruit with the fanaticism of a zealot. Never permit your orchestra to lose ground no matter what the circumstance. I hear you say, "Yes, fine, but every year we have to start all over again." No, you don't. You can edge the standards upward even with changing personnel. Just keep expecting a little more each year. Let incoming students strive to better last year's standards. Play a tape of your spring concert at the first rehearsal in the fall and challenge the group to surpass it. Successful athletic coaches operate that

Kent State University

School of Music

Summer Music Workshops 1984

College of Special Programs Kent State University
INSTRUMENTAL AND CHORAL CONDUCTORS WORKSHOP June 11-15 1 Hour Credit (morning) Clinician: John Boyd OBOE & BASSOON: PLAYING, TEACHING, AND REED MAKING June 11-15 I Hour Credit (afternoon) Clinicians: Warren DcFren, David DeBolt TEACHERS CAN IMPROVISE! TEACHERS CAN BE CREATIVE June 18-22 1 Hour Credit (morning) Clinicians: Virginia Hoge Mead, Lynn Freeman Olson MULTICULTURAL MUSICAL EXPERIENCES FOR ELEMENTARY & SECONDARY SCHOOLS June 18-22 1 Hour Credit (afternoon) Clinician: William M. Anderson MARCHING BAND WORKSHOP June 25-27 1 Hour Credit (afternoon) Clinician: Michael Lee WOODWIND INSTRUMENT REPAIRBEGINNING LEVEL July 2-7 2 Hours Credit (morning) Clinician: Arthur Bean WOODWIND INSTRUMENT REPAIRADVANCED LEVEL July 9-13 2 Hours Credit (afternoon) Clinician: Arthur Bean CHORUSES IN GRADES 5-9: TECHNIQUES AND MATERIALS July 16-20 2 Hours Credit (afternoon) Clinician: Joy E. Lawrence

At some point in a child's life, he lets it be known that he likes

For a complete brochure and registration information contact: The College of Special Programs, 327 Rockwell Hall. Kent State University. Kent, Ohio 44242; 216/672-3100.

APRIL 1984/THE INSTRUMENTALIST

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