When I was in secondary school, my folks chosen to purchase another instrument for me to supplant the understudy demonstrate I had been utilizing. The music store demonstrated to me a first class King 3-valve “baritone.” The salesperson said it was a fine instrument, however in the event that I was a genuine player, I ought to spend another $80. For the additional cash I would get not a negligible baritone, but rather a honest to goodness EUPHONIUM. When I asked what the distinction was he clarified that a baritone has three valves, while an euphonium has four. He additionally disclosed to me that an euphonium has an alternate bore, and sounds more pleasant that a baritone. I requested the more costly instrument.
As the years passed, I discovered that the main distinction between those two horns was the additional valve. Both were American-style euphoniums. The businessperson wasn’t attempting to deceive me- – he was basically as befuddled as a great many people about the contrast between a baritone and an euphonium. Throughout the years I have heard numerous wrong clarifications of this distinction. Some are: an euphonium has four valves, a baritone three; if it’s in a bass clef it’s an euphonium, if it’s in treble clef it’s a baritone; a baritone is little euphonium; a baritone has the chime pointed forward, an euphonium focuses up; and (ascribed to Robert King) an euphonium is a baritone played well.
This perplexity of names may add to the to some degree mysterious nature of my picked instrument. In the USA, the normal man in the city doesn’t recognize what an euphonium is. This is incompletely because of an absence of presentation to the horn, yet in the event that he ever has seen one, it might have been alluded to as a baritone, a baritone horn, a tenor tuba, or an euphonium. Additionally, the name baritone is at times mistaken for baritone saxophone or the baritone voice.
I have counseled more than two dozen reference books to comprehend the qualification between these two instruments. These sources included lexicons, reference books, music word references, and music writings. All concurred on the general meaning of these two horns, albeit none offered anything as particular as estimations. They concurred on the accompanying: a baritone has a littler bore and ringer than an euphonium, with tubing that is generally round and hollow. Its sound is lighter and brighter. The euphonium has a bigger ringer and bore, and its tubing is for the most part cone shaped. It has a bigger, darker, all the more capable sound.
These announcements are adequate to classify the instruments now available, yet there is a detectable disarray about euphoniums and baritones.
The Conn American-style euphonium fits exceptionally well into the scope of estimations of the other customary style euphoniums, yet this instrument is all the more frequently called “baritone” than “euphonium.” The Conn line is fascinating in such manner. Their different models all offer similar measurements of tubing, chime size, and decrease, however Conn has generally recorded their most costly model as “euphonium” and their less expensive models as “baritones.” Other American organizations have taken after a similar way, obviously feeling that the name “euphonium” legitimizes a higher cost and hints better quality.
A practically hilarious case of the perplexity of definitions is found in the about wiped out twofold ringer euphonium. This was an instrument with an additional valve to send the sound either to its extensive euphonium-measure chime or to a substantially littler trombone-estimate ringer. The littler ringer gave it a brilliant sound, like a genuine baritone horn. To the best of my insight, this instrument was never called a twofold chime baritone. A similar instrument short the little chime was (and is) every now and again called a baritone. The irregularity is that the twofold chime variant could rough the sound of a baritone, while the single-ringer instrument could just stable like an euphonium.
My own particular instruments are made in England by Sterling and are run of the mill of the horns made by numerous different producers from Europe and Japan. My euphonium has an upright-chime, side-valves, and a drag of .592 inches. This kind of horn is rarely called a baritone. I additionally utilize an upright-ringer, side-valve baritone horn. This horn has a .522 inch bore and a ringer just somewhat bigger than that of a trombone. It has a substantially brighter sound than my euphonium. This kind of horn is basically never called an euphonium. The tubing of the euphonium is completely cone shaped. The tubing of the baritone is a great deal more about tube shaped. The idea of the baritone’s drag can be exhibited by hauling out the principle tuning slide and turning around it. It will in any case fit into the horn turned around, yet such is not the situation with my euphonium” tuning slide.
While most concur on the names of my specific instruments, such is not the situation with the instruments in a considerable lot of our government funded school groups in the USA. They are like the Conns said above, and for the most part have a .560 bore and forward-confronting ringers of around 10.5 inches width (albeit many are made with upright chimes also). Indeed, even an easygoing examination of the tubing will demonstrate that it is altogether cone shaped. I trust the breed was initially intended to give a solitary instrument a chance to play both euphonium and baritone music. While the early examples of this kind of “half and half” instrument may have had a sound almost focused between a baritone and an euphonium tone, the longing for a smoother, more full solid has driven the makers to steadily change the instrument’s qualities. The present day form have a sound near that of the European and Japanese euphoniums. They sound somewhat brighter, yet not so splendid as a genuine baritone horn. Additionally, contrasted with my own horns, their .560 bore is to some degree nearer to the .592 euphonium than to the .522 baritone bore.
Estimations aside, my experience from playing most brands of this chime front breed is that they seem like euphoniums. There is a well-known axiom that goes something like “In the event that it would appear that a duck and waddles and quacks, at that point call it a duck.” These ringer front sort instruments ought to surely be called euphoniums. Every one of the definitions I found would bolster this title in light of the attributes these horns have. The way that they are marginally littler in bore and sound than the euphoniums regularly found in Europe and Japan absolutely shouldn’t exclude them from the title “euphonium.” Consider the present day trombone. Most orchestra players utilize trombones with expansive bores (around .547 inches) and vast ringers. Be that as it may, numerous trombones are made with exhausts in the scope of .500 to .515 and littler ringers. They sound to some degree littler and brighter than their bigger siblings, yet they are still called trombones.
Music distributers share the perplexity. As an expert euphonium player I read an expansive amount of music every year. Approximately 80% of the music I played was stamped “baritone,” but then around 1% of it was really planned to be played on a genuine baritone.
While it might appear to be more clumsy to need to state “euphonium” rather than “baritone,” let us help other people start utilizing the right names for these instruments. The time has come to end the disarray.