Professional Documents
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Performance 2 Euphonium
Performance 2 Euphonium
T he ideal tuba and euphonium Marine Band plays a B^with purity and carefully hammer the mouthpiece
sound is dark and resonant clarity, it is the quality of sound cou- back to its original shape; take care not
with stable intonation, but pled with accurate intonation that pro- to jam the tool into the mouthpiece.
most bands do not have enough tuba duces the frequency of the note and The size of a mouthpiece should
and euphonium players for good bal- also B^s, Fs, and Ds in several octaves match the size of the student using it.
ance. Young players may not have a above. The result is that within a single A very large mouthpiece is seldom
characteristic tone or reliable intona- note there is an entire chord that pro- good for a young player who cannot
tion. Composer Francis McBeth vides a stable foundation and reference precisely control the airstream for a
observes in Effective Performance of point for the ensemble. I heard Les good tone. Tuba mouthpieces are often
Band Music that often a band sounds Linn of the Palo Verde Brass Quintet handed down for years from player to
"out of tune because it is out of bal- in Phoenix expertly convey this con- player, without regard to the size and
ance." He adds that properly adjusted cept during a masterclass when he told dental features of students, the size of
instruments may sound miserably out the students "You have to play in tone, the horn, or the desired sound. If cus-
of pitch. "There is one factor that as well as in tune." tom mouthpiece fittings are not possi-
looms above all others and this is: To improve the tone and intonation ble, a Bach 24AW or similar mouth-
Pitch is a direct result of balance." of virtually any player, the first step is piece generally works with tuba stu-
The other major component is tone a clean mouthpiece. Most student dents. A Bach 61/2AL mouthpiece
quality. The inescapable truth is that a mouthpieces are encrusted with gunk, works well for most euphonium/trom-
bad sound cannot be tuned properly. especially in the shank, but a mouth- bone players.
Because a poor tone lacks the over- piece brush will return the shank to its For correct posture and playing posi-
tones that integrate the upper and original diameter and produce instant tions the tuba and the euphonium
lower voices of an ensemble, an ensem- improvement. If the shank of the should be played with the bell upright;
ble with poor tone will be out of tune. mouthpiece is dented, a mouthpiece holding the horn parallel to the floor
When the tuba section of the U.S. truing tool and a rawhide mallet will looks slovenly and muffles the sound.
correct the problem. This tool, a The spinal column should be comfort-
tapered metal shaft with a handle, is ably upright but not ramrod straight;
shaped to fit a variety of brass mouth- the mouthpiece should be at a level
pieces and costs about $25. To fix a where it evenly covers both lips, cen-
mouthpiece, insert the truing tool into tered under the nose and meeting the
the shank and use a rawhide mallet to lips at an angle no greater than hori-
zontal or even a few degrees lower. No
student can generate a characteristic
tone while craning the neck or slouch-
ing to reach a mouthpiece. While
some students can place the horn on
their leg or chair to get the mouth- model their sound to match that of
piece in the optimum position, most tubists Sam Pilafian, Dan Perantoni,
should make other adjustments. Patrick Sheridan, or Mark Nelson or
Euphonium players can place a rolled- such euphonium players as Brian
up towel or a block of foam covered in Bowman, Steven Mead, and the
black cloth on their leg or chair to Childs Brothers. The Tubists Univer-
raise the instrument to a good posi- sal Brotherhood Association maintains
tion; a commercial euphonium stand a list of recordings, books, and instruc-
also works well. tional materials on tubaonline.org.
I strongly recommend using stands This worldwide community of tuba
for tuba players at every level. These and euphonium players seeks to edu-
CUSTOM-BUILT range from large devices that com- cate and motivate students.
pletely support the instrument to small After students have listened to a
INSTRUMENTS pedestals that bear the weight of the professional recording, talk with them
horn but require the player to balance about which aspects of the tone they
AND MOUTHPIECES it. Stands reduce muscular tension and want to incorporate in their playing.
improve concentration by alleviating Encourage students to describe the
worries about dropping an instrument sound in their own words, and offer
TRUMPETS that is precariously perched on the cor- leading questions about whether the
IN Bt>, C, D, Eb, Eb/D, F, G, ner of a chair. I scoffed at the use of sound is focused or fuzzy, whether it
E VF/G. 65 Models-Trumpets- tuba stands for many years until Dave has a core or center, and whether it is
Cornets . Ihlenfeld of Flagstaff, Arizona chal- consistent in all registers. Point out
lenged me to try his stand for ten min- extremes of range, tempos, and
utes. As he predicted I was more com- dynamics that are worthy of imitation.
PICCOLO TRUMPETS fortable and relaxed, and the tone Because few students are trained to
improved instantly. 1 now use a DEC evaluate tone, they should refer back
IN Bf/A, C
tuba stand that costs less than $50. to the recording frequently with these
Tuba players can also try a rolled-up questions in mind.
towel, foam, or even hockey pucks. Students should begin to imitate the
TUNING-BELL TRUMPETS While it will take time and effort for professional sound on a single note in
With Detachable Bells - students to establish a new habit of the low register, such as Bt, practicing
Eliminates the tuning slide good posture, teachers can help by this note until a more open, relaxed,
improving intonation and reminding them to sit tall and by prais- and resonant sound develops. They
response. Additional bells ing improvements in their tone, into- should frequently refer back to the
offer varied tone color. nation, volume, and range. ideal sound on the recording. The next
Regularly maintained school tubas stage is to repeat the process a half step
and euphoniums produce better tone
and intonation. A chemical bath at a
MOUTHPIECES - repair shop will open clogged leadpipes
STANDARD AND SIGNATURE and do wonders for the tone and into-
Precision made for Trumpet, nation. Tuning slides should move eas-
Cornet, French Horn, Trom- ily to allow adjustments, water keys
bone, Euphonium and Tuba. should seal completely, and the bore of
the instrument should be smooth.
Dents are common in school instru-
Call or write ments, but a qualified repair techni-
cian can distinguish between cosmetic
for dealer in your area:
damage and dents that affect the tone
or pitch. If any slides or bows are badly
SCHILKE MUSIC, INC. dented, it will be impossible to pro-
duce a characteristic sound. Regular
4520 James Place maintenance is an extra incentive for
Melrose Park, IL 60160 students to practice and to take care of
the instrument.
312-922-0570 Beyond these mechanical aspects,
better tone results from a good concept Thomas Bough joined the Southern
PLEASE SEND: of a professional tuba or euphonium Illinois University - Cafbondale music
sound. Without this ideal sound in faculty in 1999 as assistant director of
D Instrument Catalog
mind, students will accept whatever bands and professor of tuba and eupho-
"• Mouthpiece Catalog tone happens to emerge rather than nium. Bough received master and doctor-
Name shaping the sound to imitate the tone, ate degrees in tuba performance from
Address range, and intonation of professionals. Arizona State University where he studied
Fine tuba and euphonium recordings with Sam Pilafian and Dan Perantoni.
City/State
are available, including those from From 1991 to 1999 Bough was director of
\'P Summit Records in Tempe, Arizona. bands at Westwood High School in Mesa,
With these recordings students can Arizona.
lower and work chromatically down to
w the low register while focusing on tones
DALCROZE without technical challenges. Daily
work in the low tuba or euphonium
Constance Mensch, Presidt
Dr. Indenbaum, Chairman
SCHOOL OF Music Yana Joseph, Exec. Director
joy Kane, Program Coordinator register will produce the most immedi-
129 West 67th Street, NYC ate improvement in tone quality.
MUSICIANS • TEACHERS • DANCERS • CONDUCTORS • SINGERS
Three Teacher Training Programs available, leading to Dalcroze Certification. .. 60 inhale deeply in each rest
„ Euph.
The Dalcroze Certificate is available to those wishing to utilize the Dalcroze philosophy
-?-f— ==
i
g
and techniques in the following categories: T^
V. *x X V -^
Tuba
Dalcroze Classes - Instrumental Classes - private and group - Dance
INDIVIDUAL CLASSES
Eurhythmies • Solfege • Improvisation • Theory • Choral Techniques • Child Development Wf
• 1 — •—t — •—'
W-
O"
Those who are not seeking Dalcroze Certification are welcome to enroll in our Classes for Adults without audition.
Private instruction is available on all instruments. Day &L Evening Classes
For information and a brochure call 212-501-3380 ^7
www.dalcrozeschoolofmusic.com Fall semester begins 9/11
Established in 1915
\y' \J- vj.
Encourage students to breathe
deeply and to expel a lot of air in a
relaxed fashion because the conical
design of the tuba and euphonium
Quantz - by Pearl Flute responds best to a large volume of air
moving at a relatively slow rate.
Students who switch to the tuba or
euphonium from other instruments are
often unaware of the amount of air it
takes for the instrument to function
properly. To replicate the professional
sound heard on the recordings, stu-
dents should use a great deal of air cou-
pled with relaxed muscles in the head,
neck, and shoulders, which is facili-
tated by correct posture and mouth-
piece placement. Because the air that
creates the sound passes through the
neck and shoulders, strained muscles
restrict the airstream and thus the
sound as well.
When students can play a character-
istic sound even on a single note, this
new Quantz series flutes from Pearl
tone will begin to be heard on other
feature French Pointed Arms. Pearl's patented
s Mechanism, and their One-piece eore notes and may become a consistently
abar construction.
better tone over a two-octave range in
several months. Praise all signs of
This'flute series is an homage to the legendary progress and remind students of the
psque composer and flutist. Johann Joachim goal of a professional sound on every
^ui».»HP¥!BW» VWHHH note. I have had good results with this
dance of flute composition. method in my studio with students
Johann Joachim
Quantz
from age twelve to age seventy, and no
Quantz Features student is too young to produce a char-
(1697-1773)
acteristic tone on any instrument, as
• French Pointed Arms seen each year at the Midwest Band
• Heavy Wall thickness ,018"(.45) and Orchestra Clinic, where even very
3rnarnental Enhancements young bands demonstrate outstanding
« Trench Style Case with Emerald lining intonation and tone.
• Insulated Deluxe Case Cover As tone improves, so will intona-
• Headjoint options available tion. As players start to listen to and
There are two models
in this series: evaluate tone, they learn to evaluate
Orpheus Music, Inc. • PF-665 w/sterling pitch as well. Sam Pilafian, professor of
.14 Lookout Road head, and silver tuba and euphonium at Arizona State
•:San Antonio, TX 78233 clad body and foot University, explains that "our goal is to
^00.821.9448 Fax 210.637.0232 • PF-765 w/ sterling become ear-driven, rather than nota-
;Email: Pearlfiute@aol.com silver headjoint,
www.pearlflutes .com body and foot tion-driven or finger-driven players."
This co-founder of the Empire Brass
Quintet reminds us that music is about
40 THE INS-
TRUMENTALIST/JULY 2000
sound, not pushing the right valve at
Band Rehearsal Techniques the right time; while pushing valves is
an important element of making music
by Max Dalby
it is only the beginning of the process.
"A much needed book that answers All brass instruments have inherent
so many questions that are not answered intonation deficiencies due to compro-
in most music education classes in our mises made in design and construc-
university. - Harry Begian tion. On even the finest professional
Band Rehearsal Techniques is packed with practical instruments, the notes derived from
guidance on what to do at a new school before classes the fifth partial of the overtone series
begin, choosing repertoire, score study, rehearsal pro- are typically flat and the notes derived
cedures, developing musicianship, motivating students, from the sixth partial are typically
and more. Hardbound, 96 pages, $16. sharp. To solve these problems, a
Prepayment required (add $ 3 shipping) player can use an alternate fingering or
The Instrumentalist «200 Northfield • Northfield, Illinois 60093 adjust the embouchure. The following
Telephone: 847-446-8550 • Fax 847.446.6263
example shows the notes in question
for both tuba and euphonium. To
improve intonation for pitches derived
from the fifth partial, use the alternate
Tuba
1,2 (open) 2,3 <•'•> 1,3 <» 1,2(1.2)
Open 2 1
YEARS OF technique.
Adjust embouchure rather than using valves.
All-State Band in separate years.
Healthy displays of tuba/euphonium
pride reflect self motivation and a
PRACTICE , Euph.
^^
, _
group spirit that will reduce recruiting
problems for low brass players.
WE'D LIKE Even better than the four-valve
euphonium is a compensating eupho-
Tuba
^