Euphonium - Construction and General Characteristics

Construction and General Characteristics

The euphonium (like the baritone; see below for differences) is pitched in concert B♭, meaning that when no valves are in use the instrument will produce partials of the B♭ harmonic series. However, it is often associated orchestrationally with "C" instruments, because when a euphonium player sees a note named "C," s/he plays a "C." This varies from transposing instruments such as a B♭ trumpet, that sees a "C" and sounds a "B-flat." In North America, music for the instrument is usually written in the bass clef at concert pitch (that is, without transposition), though treble clef euphonium parts, transposing down a major ninth, are included in much concert band music. In the British-style brass band tradition, euphonium music is always written this way. It can also be written in tenor clef at concert pitch, which is usually done to prevent too many ledger lines in case it is a high part. In continental European music, parts for the euphonium are sometimes written in the bass clef a major second higher than sounding.

Professional models have three top-action valves, played with the first three fingers of the right hand, plus a "compensating" fourth valve, generally found midway down the right side of the instrument, played with the left index finger; such an instrument is shown in the above picture. Beginner models often have only the three top-action valves, while some intermediate "student" models may have a fourth top-action valve, played with the fourth finger of the right hand. Compensating systems are expensive to build, and there is in general a substantial difference in price between compensating and non-compensating models. For a thorough discussion of the valves and the compensation system, see the article on brass instruments.

The euphonium has an extensive range, comfortably from E2 to about D5 for intermediate players (using scientific pitch notation). In professional hands this may extend from B0 to as high as B♭5. The lowest notes obtainable depend on the valve set-up of the instrument. All instruments are chromatic down to E2, but 4-valved instruments extend that down to at least C2. Non-compensating four-valved instruments suffer from intonation problems from E♭2 down to C2 and cannot produce the low B1; compensating instruments do not have such intonation problems and can play the low B-natural. From B♭1 down lies the "pedal range", i.e. the fundamentals of the instrument's harmonic series. They are easily produced on the euphonium as compared to other brass instruments, and the extent of the range depends on the make of the instrument in exactly the same way as just described. Thus, on a compensating four-valved instrument, the lowest note possible is B0, sometimes called double pedal B, which is six ledger lines below the bass clef.

As with the other conical-bore instruments, the cornet, flugelhorn, horn, and tuba, the euphonium's tubing gradually increases in diameter throughout its length, resulting in a softer, gentler tone compared to cylindrical-bore instruments such as the trumpet, trombone, sudrophone, and baritone horn. 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. On the other hand, the desired sound varies geographically; European players, especially British ones, generally use a faster, more constant vibrato and a more veiled tone, while Americans tend to prefer a more straightforward, open sound with slower and less frequent vibrato. This also has to do with the different models preferred by British and American players.

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. In addition, it is very difficult for students, even of high-school age, to develop the rich sound characteristic of the euphonium, due partly to the instrument models used in schools and partly to the lack of awareness of good euphonium sound models.