euphonium

Euphonium
Classification	Wind, brass Aerophone
Hornbostel–Sachs classification	423.232; (Valved aerophone sounded by lip movement)
Developed	1840s from the ophicleide
Playing range
	(A1) B♭1–E5 (A5) This image represents the range for the instrument as it is commonly played.
Related instruments
	Saxhorns Flugelhorn; Alto horn; Baritone horn; Mellophone; ; Ophicleide; Tuba;

ユーフォニアム
各言語での名称
英	euphonium [juːˈfoʊniəm]
独	Euphonium; (Euphonion, Bariton, Kaiserbariton)
仏	euphonium; (saxhorn basse)
伊	eufonio; (flicorno basso)
中	上低音号
	; ユーフォニアム
分類
	金管楽器
関連楽器
	チューバ; サクソルン;

WordNet

a bass horn (brass wind instrument) that is the tenor of the tuba family

PrepTutorEJDIC

ユーフォニアム(バリトンチューバに似た大型の金管楽器)

Wikipedia preview

出典(authority):フリー百科事典『ウィキペディア（Wikipedia）』「2017/12/20 06:41:19」(JST)

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この項目では、金管楽器のユーフォニアムについて説明しています。同楽器をモチーフとした武田綾乃著作の小説、及びにそれを原作とした京都アニメーション制作によるアニメについては「響け! ユーフォニアム」をご覧ください。

ユーフォニアム（別名：ユーフォニウム）は金管楽器の一種。一般的にB♭管で、幾重かに巻かれた円錐管と、通常4つのバルブ（弁）を持つ。音域はテナーやテナー・バスのトロンボーンとほぼ同じであるが、それよりも幾分か柔らかく丸みのある音色を奏でる。主な活躍の場は金管バンド（英国式ブラスバンド）、ファンファーレバンドと吹奏楽であるが、オーケストラにおいてもテナー・チューバなどとしてスコアに指定される事がある（チューバも参照）。

ユーフォニアムのマウスピースは多くのメーカーでカタログ上トロンボーンと共通に扱われているが、トロンボーンのものよりややカップの深い物が好まれる。

各国には、ユーフォニアムとほぼ同じ役割を担うものの、音色、形状、バルブシステムなどの異なる楽器が存在し、これら全てを統括したグローバルスタンダードな名称は、今のところ存在しない。従って、これらの楽器は、個々においてはその本来の名称を使い、日本において一纏めに呼ぶ必要がある時は、便宜上「ユーフォニアム」と呼ぶのが、今のところは妥当である（例：次項の「各国のユーフォニアム」「ユーフォニアムの歴史」のように）。

各国のユーフォニアム

サクソルン・バス

（ドイツ式）バリトン

カイゼルバリトン

バリトン・ホーン

日本のユーフォニアムの役割に相当する各国の楽器には大きく3つのタイプが現存し、各国で用いられている。

ユーフォニアム（euphonium）: 日本、イギリス、アメリカなどで普通に用いられている、ピストン・バルブを備えた、中低音域を担うB♭管の楽器。各国各地のバリトン音域の金管楽器が融合して、20世紀前半のイギリスで現在の形状に落着いた。
サクソルン・バス（saxhorn basse）: フランスにおいて、サクソルン属のバスとして発展した楽器。3本〜6本ピストンのアップライト（上向き）のベルを持つ楽器で、日本でも戦前・戦中の軍楽隊において、「ユーフォニオン（海軍）」「プチバス、小バス（陸軍）」として用いられた。現在も、フランスのクルトワ（Courtois）社によって新しいモデルが開発され続けている。6本のピストンを備えたC管のサクソルン・バスは「フレンチ・チューバ」とも呼ばれ、1970年頃まで、主にフランスのオーケストラで用いられた。
（ドイツ式）バリトン、カイゼルバリトン（Bariton, Kaiserbariton 古くはBaryton, Kaiserbaryton）: 別掲の「テノールホルン」と共に、ドイツや中欧・東欧でユーフォニアムの役割を担う楽器。バルブはロータリー式を採用。管体はいずれも卵形またはチューバ型で、カイゼルか否かはボアの広がり方によるため、見分けがつきにくい。後述のアメリカのバリトン・ホーン、イギリスのバリトンとは別の楽器。このように、バリトンという名称は、国や地域によっては別の楽器を指すことがあり、混乱を招き易い。対策としては、例えば「ドイツ式バリトン」というように、使用される主な地域名をつけると判り易くなる。

この他、以下のような楽器もある。

バリトン・ホーン（アメリカ）（baritone horn）: かつてのアメリカでは、初期のサクソルンに代わり、現在のユーフォニアムよりも若干管径が細い楽器が開発され、バルブが3本であれば「バリトン・ホーン」（baritone horn）、4本以上であれば「ユーフォニアム」（euphonium）と呼ばれた。出版譜におけるパート名は、いずれの楽器を用いようとも「バリトン」（baritone）に統一されている。現在のアメリカの吹奏楽では、イギリスや日本で使われるようなユーフォニアムが一般的に用いられるが、ジャズ・コンボや、ドイツの小編成バンドでは、今もバリトン・ホーンが好んで使われている。

楽曲

ポータルクラシック音楽

ユーフォニアムの音色は、トロンボーンやホルンにも似ているためか、一般的にはよく知られていない。ユーフォニアムの音色がよく感じられる代表的な作品には、以下のようなものがある。

グスターヴ・ホルスト：吹奏楽のための第2組曲ヘ長調〜第1曲「行進曲」: 吹奏楽曲。きびきびとしたリズムが奏でられる中に、ユーフォニアムの朗々とした長いソロがある。; 第4曲「『ダーガソン』による幻想曲」にもソロがある。
ケネス・アルフォード：行進曲「ボギー大佐」: 吹奏楽曲。全編で大らかな対旋律を奏でる。各国のユーフォニアムに相当する楽器も、行進曲において対旋律を奏でることが多い。
フィリップ・スパーク：「祝典のための音楽」: ブラスバンド曲。
リヒャルト・シュトラウス：交響詩「ドン・キホーテ」: 管弦楽曲。テノール・テューバ（ユーフォニアムとテナーチューバ」参照）の指定。ドン・キホーテの腹心、サンチョ・パンサのキャラクターをヴィオラ、バスクラリネットと共に演じる。
モデスト・ムソルグスキー／モーリス・ラヴェル編曲：組曲「展覧会の絵」〜「ビドロ」: 管弦楽曲。ラヴェルの指示ではテューバとなっているが、高音域が続くこのソロのみ、しばしばユーフォニアムで演奏される（詳細は「ユーフォニアムとテナーチューバ」参照）。
フィリップ・スパーク：「パントマイム」: ユーフォニアム独奏曲（伴奏はピアノ又はブラスバンド）。

歴史

ユーフォニアムは、ヴァイマルのコンサートマスターであったフェルディナント・ゾンマー（Ferdinand Sommer）が自身専用のソロ楽器として発案したゾンメロフォン（Sommerophone）を元に、改良が加えられ、一般に使われるようになった。^[1]元々はオイフォニオン（Euphonion）と呼ばれたが、この名前はギリシア語の“euphonos”「良い響き」（eu=良い、phone＝響き）に由来する。^[1]

ユーフォニアムとチューバの分離

ゾンマーのゾンメロフォンが登場する以前は、セルパンやバスホルン、オフィクレイドなどが金管低音の役割を担ってきた。1835年に、プロイセンの軍楽隊長だったW.ヴィープレヒトの要請を受けて、C.モリッツによってF管のアップライトベル、フロントピストン式バスチューバ（Basstuba）が作られた。続いて1837年には、それよりも小型のB♭管のアップライトベル、フロントピストン式テノールチューバ（Tenortuba）が作られた。こうして、金管の低音域をバスとテナーという別々の楽器で演奏するようになり、前者がバスそしてコントラバスチューバへと発展し、後者がユーフォニアムへと発展していった。^[2]

ソロ楽器としての発展

1843年にゾンマーは、モリッツのテノールテューバやその後各地で作られた同じような楽器を元に、ゾンメロフォンという楽器を発案する。これはゾンマー自身がソロを演奏するために発案したものである。1851年のロンドン万国博覧会にて、アルバート公を始めとするイギリス王族の御前で、オルガンを伴奏に、ゾンマーがこのゾンメロフォンを用いてソロ・リサイタルを開催した記録が残っている。^[3] そのリサイタルのスケッチ（ゾンマーがゾンメロフォンを演奏している）はVictoria and Albert Museumにて見ることができる。この楽器は、C.モリッツの製作したテノールチューバと同じような、細いチューバ型であった（ただし、バルブはロータリー式）。^[4]

ゾンメロフォンが完成した翌年の1844年、ゾンメロフォンを製作したウィーンのフランツ・ボック（Franz Bock）とフェルディナント・ヘル（Ferdinand Hell）が、それぞれゾンメロフォンを改良させた「Euphonion」「Euphonium」という楽器を作った（いずれもバルブはロータリー式）。特にボックが作った「Euphonion」（オイフォニオン）は、バルブこそロータリー式であるが、現在のユーフォニアムに近い太い楽器であり、その音色は「オーケストラのチェロに匹敵する」と、ボック自身が特許出願の際に記している。^[5]この楽器は、後にチェルヴェニー（Cerveny）社（現チェコのメーカー）からも「オイフォニオン」として一般向けに製造販売されるに至った^[6]。19世紀中頃に登場した「オイフォニオン」が実際に楽曲に使われた例としては、ブルックナーの「行進曲変ホ長調」（1865年作曲）が挙げられる。

サクソルン族「バス（Basse）」からの発展

こうした流れとは別に、ベルギーでは1843年にアドルフ・サックスが、高音域から低音域までを同一の音色でカバーする一連の金管楽器「サクソルン」を製作し、1845年に特許を取得した。現在のユーフォニアムは、このサクソルンのバス（Basse）のスタイル（アップライトベル、アップライトピストン）を踏襲している。^[7]

総括

ユーフォニアムは、セルパンやバスホルン、オフィクレイドの高音域を担うために生まれてきた楽器や、またサクソルン一族のバスとして生まれた楽器などが元になっている。そして、ゾンマーによる発案と彼自身の演奏活動をきっかけに、ソロを担う楽器として、またオーケストラのチェロのような役割を担う楽器として改良が加えられ、現在の形状と音色とに至ったのである。なお、現在の一般的なユーフォニアムの形状は、1890年代のイギリスのブージー社（Boosey & Co.）製のユーフォニアムとほとんど変わらない。この画像は歴史的楽器展示室にて見ることができる。

日本

日本におけるユーフォニアムの歴史は、明治3年（1870年）にイギリスよりユーホーニオンが到着した事により始まった。^[8]日本人初のユーフォニアム奏者は、明治2年（1869年）に薩摩藩によって集められた軍楽隊の伝習生、尾崎惟徳^[9]（平次郎^[8]）であった。軍楽隊の伝習生は、当初イギリス式教育を受けたが、明治3年に陸海軍が分離された後、海軍軍楽隊はイギリス式教育（後にドイツ式教育）、陸軍軍楽隊はフランス式教育を導入した^[10]ため、ユーフォニアムに相当するパートに関しては、海軍では「ユーフォニオン、バリトン」^[11]、陸軍では「プチバス^[12]、小バス^[13]」等と様々な名称で呼ばれていた。遺されている多くの画像によれば、いずれも主にフランス式の楽器（サクソルンバス）が使われていたことがわかる^[14]^[15]が、一時期の海軍や音楽学校、各種音楽隊、学校教育における吹奏楽部などでは、指導者の方針により、ドイツ式バリトンや（小バスではない）ユーフォニアムなども使われていた。^[16]

第二次世界大戦敗戦後に米国より導入されたスクールバンドの普及により、現在、日本においては名称は「ユーフォニアム（ユーフォニウム）」に定着し、楽器もイギリスで発展したピストン式のユーフォニアムが一般的になっている。

おおよそ1960年代からユーフォニアムを専門とする演奏家が活躍を始めた。^[17]その後、ユーフォニアム部門のコンクール開催や海外演奏家の来日等により、専門家としての能力と指導力を身につけたユーフォニアム奏者達は、続々と音楽大学の講師として赴任し、日本の演奏家による国外での活躍も見られるようになった。^[18]

ユーフォニアムとテナーチューバ

オーケストラのスコアに、テナーチューバのパートが設けられていることがある。これは作曲者がユーフォニアム、ドイツ式のバリトン、B♭管のワグナーチューバなどを想定して設けるパートであり、作曲者がどの楽器を想定してこのパートを設けたかは、記譜や他楽器からの持替え指定、作曲年代、曲想などにより判断されている。現在、ユーフォニアムやドイツ式のバリトンで演奏される楽曲に、リヒャルト・シュトラウスの『英雄の生涯』、『ドン・キホーテ』、ホルストの『惑星』、ヤナーチェクの『シンフォニエッタ』などがある。

フレンチ・チューバ

ラヴェル編曲の『展覧会の絵』（原曲はムソルグスキー作曲のピアノ曲）にはチューバのパートが設けられているが、当時のチューバはユーフォニアムに近いフランス式の楽器（フレンチ・チューバ）であったとして、高音域が続く「ビドロ」のソロのみ、しばしばユーフォニアムで演奏される。

日本においてはピストン式のバルブを持つ楽器を「ユーフォニアム」、ロータリー式を「テナーチューバ」と区別する場合がある。しかしその結果、「テナーチューバ」はパート名であるにもかかわらず、オーケストラで使用される「楽器」である、という誤解が生じる原因となっている。

オーケストラにおいては、前述のような「テナーチューバ」のパートの他に、マーラーの交響曲第7番では「テノールホルン」の指定があり、ショスタコーヴィチのバレエ音楽「黄金時代」は「バリトン」の指定、レスピーギの「ローマの松」では「フリコルノ・バッソ」の指定がされている。

ユーフォニアムと音域が近い楽器

バリトン

テノールホルン

フリコルノ・バッソ（左）とテノーレ（右）

バリトン（フランス、イギリス）（英: baritone、仏: baryton): サクソルン属のバリトン。フランスやイギリスで、ピストン・バルブを備えていて細身のB♭管の楽器を「バリトン」（baritone）と呼ぶ。同じサクソルン属のバスや、一般に使われるユーフォニアムよりもずっと管が細く、現在はフランスのファンファールや英国式金管バンド（ブラスバンド）で使用されている。
テノールホルン（ドイツ）（独: Tenorhorn）: ドイツや中欧・東欧では、ロータリー・バルブを備えていて、ユーフォニアムよりもやや管の細いB♭管の楽器を「テノールホルン」（Tenorhorn）と呼ぶ。元々はトランペット型でテノール音域の楽器だったが、次第にトランペット型から、卵形やチューバ型に移行したようである。別掲のドイツの「ドイツ式バリトン」や「カイザーバリトン」と同じ外観だが、これらに比べてベルの直径は小さく、管の内径は細めである。便宜上、イギリスのバリトン（baritone）と同じ種類の楽器と見なされる場合が多いが、テノールホルンの管はイギリスのバリトンよりももっと太く、その役割はむしろユーフォニアムに近い。マーラーの交響曲第7番「夜の歌」にはテノールホルンのパートがあり、冒頭から荘厳なソロを奏でる。; なお、イギリスで「テナーホルン（テナーホーン）」（tenor horn）と呼ばれる楽器（日本やアメリカでは「アルトホルン」（英: alto horn、独: Althorn）とも呼ばれる）は、4度高いサクソルン属のE♭管の楽器である。両者は英語圏においても時折混同されることがあるため、「B♭管」「E♭管」と調を付け加えるなどして区別されることもある。
フリコルノ・テノーレ（イタリア）（伊: flicorno tenore）: 英国でバリトンと呼ばれるピストン式の楽器、またドイツでテノールホルンと呼ばれるロータリー式の楽器の、イタリアでの名称。時代や地域によって、ピストン式、ロータリー式、トランペット型、チューバ型など、様々な楽器が製作され、用いられてきた。レスピーギの「ローマの松」では、フリコルノ・バッソ（ドイツでバリトンと呼ばれる楽器に相当）と共にブッキーナ（バンダ）としてこの楽器の指定がある。

様々な形態のユーフォニアム

ダブル・ベル・ユーフォニアム（ツイン・ベル・ユーフォニアム）: 2つ以上の楽器の役割を1つにまとめた楽器を意味する「複合楽器」（duplex）として考案されたユーフォニアム。ユーフォニアム本来のベルとトロンボーンのような小さいベルの2つのベルを持った楽器。バルブによって音の出るベルを切り替えることができる。
マーチング・ユーフォニアム: マーチングやパレードで使用され、ベルが正面を向いている楽器。古くはベルだけを曲げたものが使われたが、現在ではトランペットのように両手で楽器を支えるタイプのものと、本体を肩に担ぐタイプのものがある。肩に担ぎベルが後方に向くタイプは米国の南北戦争時に出現、行軍に使用された。
アップライトベル、フロントベル: 体の前で構えるタイプの楽器で、ベルが上方に向いているタイプをアップライトベルというが、これに対しベルが前方に曲がっているタイプをフロントベルという。フロントベル・タイプは音が前方に向かうため、マーチングに用いられた他、レコーディング向きであるともされ、広く用いられていた。

著名な奏者

日本

青島可奈（Raffine 代表）
阿部竜之介（ユーフォニアム、トロンボーン）
新井秀昇（ユーフォニアム、作曲家、編曲家）
安東京平
石橋美奈子
岩黒綾乃（東京佼成ウインドオーケストラ団員）
牛上隆司（VIVID BRASS TOKYO)
河野健　（RUSH BRASS 首席）
木村寛仁（大阪音楽大学　准教授）
斉藤充
坂岡裕志（ユーフォニアムグループ　GLOW　他)
庄司恵子（シエナ・ウインド・オーケストラ団員）
竹内広三（陸上自衛隊第2音楽隊）
露木薫
照喜名俊典（チューバマンショー、鬼頭哲ブラスバンド）
深石宗太郎
福田昌範
外囿祥一郎（東京音楽大学准教授、エリザベト音楽大学、洗足音楽大学、昭和音楽大学各客員教授および相愛大学音楽学部特別講師）
三浦徹（国立音楽大学　教授）
ミサ・ミード（ユーフォニアム、作曲家、編曲家）
荒木玉緒

アメリカ

アダム・フライ
ブライアン･ボーマン

イギリス

スティーブン・ミード
デイヴィッド・チャイルズ（ユーフォニアム、トロンボーン）
ニコラス・チャイルズ
ロバート・チャイルズ
デリック・ケイン
デヴィット・ソーントン
モーガン・グリフィス
ゲイリー・カーティン

フランス

アントニー・カイエ（サクソルンパス）
イヴォン・ミリエ

ドイツ

エルンスト・ヒュッター（テノールホルン、トロンボーン）

スイス

トーマス・リューディ

主なメーカー

日本において入手し易い代表的なメーカーは以下の3社である。各社とも音色・操作面において明確なオリジナリティを有する。

Besson（ベッソン）：イギリス
Willson（ウィルソン）：スイス
YAMAHA（ヤマハ）：日本

脚注

^ ^a ^b Clifford Bevan The Tuba Family 2nd edition, Winchester: Piccolo Press, 2000, p.221
^ Anthony Baines BRASS INSTRUMENTS New York: DOVER PUBLICATIONS, INC. 1993, p.250-252
^ Lytton Strachey Queen Victoria, London: Chatto & Windus, 1921
^ Lloyd E. Bone Jr. 他 Guide to the Euphonium Repertoire Bloomington & Indianapolis: Indiana University Press, 2007, p.8
^ Herbert Heyde Das Ventilbrasinstrument, Wiesbaden: Breitkopf & Härtel, 1987, P.217-219, 298
^ 1853年発行のCerveny社のカタログより
^ Anthony Baines BRASS INSTRUMENTS New York: DOVER PUBLICATIONS, INC. 1993, p.253-258
^ ^a ^b 楽水会編 海軍軍楽隊, 国書刊行会, 1984, P.10
^ 小山作之助 國歌君が代の由來, 小山真津, 1941, P.87
^ 阿部勘一他 ブラスバンドの社会史, 青弓社, 2001, P.91-94
^ 楽水会編 海軍軍楽隊, 国書刊行会, 1984, P.237, 266-271
^ 阿部勘一他 ブラスバンドの社会史, 青弓社, 2001, P.163
^ 山口常光 陸軍軍楽隊史, 三青社, 1968, P.159
^ 楽水会編 海軍軍楽隊, 国書刊行会, 1984,
^ 山口常光 陸軍軍楽隊史, 三青社, 1968,
^ 大石清 テューバかかえて, 音楽之友社, 1999, P.49, 61, 98
^ 三浦徹 うまくなろう！　ユーフォニアム, 音楽之友社, 1999, P.76
^ 三浦徹 うまくなろう！　ユーフォニアム, 音楽之友社, 1999, P.76-79

参考文献

楽水会編海軍軍楽隊, 国書刊行会, 1984
小山作之助國歌君が代の由來, 小山真津, 1941
阿部勘一他ブラスバンドの社会史, 青弓社, 2001
山口常光陸軍軍楽隊史, 三青社, 1968
大石清テューバかかえて, 音楽之友社, 1999
三浦徹うまくなろう！　ユーフォニアム, 音楽之友社, 1999
Apel, Willi (1969). Harvard Dictionary of Music. Cambridge:: Belknap Press of Harvard University Press, 1972
H.N. White/King catalog (Baritone/Euphonium) (1963)
Baritone History, North Dakota State University, at http://www.nd.edu/~baritone/history.html
Bone, Lloyd E., The Euphonium Sourcebook, University of Indiana Press, 2007 edition
Bouldersdome, H. J., The Late Mr. A. J. Phasey, The British Bandsman, November 1888, Derby, England
Roy Newsome, The Modern Brass Band: From the 1930s to the New Millennium, Ashgate Publishing, Ltd., 2006 ISBN 0-7546-0717-8.
Bierley, Paul A., The Incredible Band of John Philip Sousa, Board of Trustees of the University of Illinois, Urbana, IL. 2006
Lehman, Arthur, A Quick Analysis of Simone Mantia's Artistry On the Euphonium, 2008
Schudel, Matt (2009-06-28). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium With the Marine Band". The Washington Post
Morin, Alexander J., Classical music: the listener's companion, Backbeat Books, SanFrancisco CA, 2002
Brian Bowman Euphonium, The Instrumentalist, Volume 63, 2008

外部リンク

ユーフォニアム講座　各国の楽器研究、情報サイト
Saxhorn mania Mackey の音楽室　サクソルン研究サイト
ゆーふぉ吹きのほーむぺーじ　各国の楽器研究、情報、コミュニケーションサイト
EUPHONIUM CD Club　CD、情報サイト　
Euphists' Paradise　情報、コミュニケーションサイト

wiki en

[Wiki en表示]

The euphonium is a large, conical-bore, baritone-voiced brass instrument that derives its name from the Ancient Greek word εὔφωνος euphōnos,^[1] meaning "well-sounding" or "sweet-voiced" (εὖ eu means "well" or "good" and φωνή phōnē means "sound", hence "of good sound"). The euphonium is a valved instrument; nearly all current models are piston valved, though rotary valved models do exist. Outside of Brass Bands (in the British tradition where the instrument plays in B♭ and in treble clef) the euphonium is a non-transposing instrument. A person who plays the euphonium is sometimes called a euphoniumist, euphophonist, or a euphonist, while British players often colloquially refer to themselves as euphists, or euphologists. Similarly, the instrument itself is often referred to simply as eupho or euph.

1 Name recognition and misconceptions
2 History and development
3 Construction and general characteristics
4 Popular models
- 4.1 Compensating
- 4.2 Double-bell
- 4.3 Marching
- 4.4 Five valves
5 The euphonium in ensembles and professional job opportunities
6 College use in the United States
7 Notable euphonists
- 7.1 United Kingdom
- 7.2 United States
- 7.3 Japan
8 Repertoire
9 See also
10 References
- 10.1 Explanatory notes
- 10.2 Citations
- 10.3 Sources
11 External links

Name recognition and misconceptions

The euphonium is part of the family of brass instruments. It is sometimes confused with the baritone horn. The euphonium and the baritone differ in that the bore size of the baritone horn is typically smaller than that of the euphonium, and the baritone is primarily cylindrical bore, whereas the euphonium is predominantly conical bore. The two instruments are easily interchangeable to the player, with some modification of breath and embouchure, since the two have identical range and essentially identical fingering.^[2] The cylindrical baritone offers a brighter sound and the conical euphonium offers a mellower sound.

The so-called American baritone, featuring three valves on the front of the instrument and a curved, forward-pointing bell, was dominant in American school bands throughout most of the 20th century, its weight, shape, and configuration conforming to the needs of the marching band. While this instrument is in reality a conical-cylindrical bore hybrid, neither fully euphonium nor baritone, it was almost universally labeled a "baritone" by both band directors and composers, thus contributing to the confusion of terminology in the United States.

Several late 19th century music catalogs (such as Pepper and Lyon & Healy) sold a euphonium-like instrument called the "B♭ bass" (to distinguish it from the E♭ and BB♭ bass).^[3]^[4] In these catalog drawings, the B♭ Bass had thicker tubing than the baritone; both had three valves. Along the same lines, drum and bugle corps introduced the "Bass-baritone", and distinguished it from the baritone. The thicker tubing of the three-valve B♭ bass allowed for production of strong false-tones, providing chromatic access to the pedal register.

Ferdinand Sommer's original name for the instrument was the euphonion.^[5] It is sometimes called the tenor tuba in B♭, although this can also refer to other varieties 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.^[5] The most common German name, Baryton, may also have caused the American use of the term "baritone" for the instrument with the influx of German musicians to the United States in the nineteenth century.^[5]

History and development

The serpent, the oldest ancestor of all low brass instruments

As a baritone-voiced brass instrument, the euphonium traces its ancestry to the ophicleide and ultimately back to the serpent. The search for a satisfactory foundational wind instrument that could support masses of sound above it took some time. While the serpent was used for over two centuries dating back to the late Renaissance, it was notoriously difficult to control its pitch and tone quality due to its disproportionately small open finger holes. The ophicleide, which was used in bands and orchestras for a few decades in the early to mid-19th century, used a system of keys and was an improvement over the serpent but was still unreliable, especially in the high register.

With the invention of the piston valve system c. 1818, the construction of brass instruments with an even sound and facility of playing in all registers became possible. The euphonium is said to have been invented, as a "wide-bore, valved bugle of baritone range", by Ferdinand Sommer of Weimar in 1843, though Carl Moritz in 1838 and Adolphe Sax in 1843 have also been credited. While Sax's family of saxhorns were invented at about the same time and the bass saxhorn is very similar to a euphonium, there are also differences^{[citation needed]}.

The "British-style" compensating euphonium was developed by David Blaikley in 1874, and has been in use in Britain ever since; since that time, the basic construction of the euphonium in Britain has changed little.

Construction and general characteristics

The euphonium, like the tenor trombone, is pitched in concert B♭. For a valved brass instrument like the euphonium, this means that when no valves are in use the instrument will produce partials of the B♭ harmonic series. It is generally orchestrated as a non-transposing instrument like the trombone, written at concert pitch in the bass clef with higher passages in the tenor clef. Treble clef euphonium parts transposing down a major ninth are included in much concert band music:^{[note 1]} in the British-style brass band tradition, euphonium music is always written this way. In continental European band music, parts for the euphonium may be written in the bass clef as a B♭ transposing instrument sounding a major second lower than written.

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 at the top of this page. 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.

A euphonium (left) and tuba (right), the two lowest conical-bore instruments

The euphonium has an extensive range, comfortably from C₂ to about B♭₄ for intermediate players^{[citation needed]} (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 four-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 B₁.^{[note 2]} 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^{[citation needed]}. This also has to do with the different models preferred by British and American players.^[6]

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.

Popular models

Very generally speaking, the most popular professional models of euphonium in the United Kingdom are Besson Prestige and Sovereign models. The most popular in the United States are the Willson 2900 and 2950.^{[citation needed]} In both cases, these models have gained popularity through the use and sponsorship of extremely highly respected players and teachers; in Britain, by Steven Mead, and in America, by Dr. Brian Bowman. In recent years, the Yamaha YEP-842 Custom has gained popularity in the United States due to similar activities by Adam Frey.^[7] Most recently, Demondrae Thurman has worked in conjunction with Miraphone to develop the Ambassador 5050.

In recent years, the Besson company fell into financial difficulties and various aspects of the business and name were acquired by Buffet Crampon of France. The remaining assets were acquired by the German company Schreiber-Keilwerth who quickly introduced rival instruments with the York brand name to market. In 2010, Schrieber-Keilwerth was also acquired by Buffet Crampon, and the York brand was dropped.

Other highly regarded professional models found around the world are the Yamaha 642, the Hirsbrunner Standard, Exclusive, and Stealth, the Sterling Virtuoso, the Meinl-Weston 451 and 551, and more recently, the Adams Custom Euphonium, models E1, E2 and E3.

A well-selling and school-inventoried intermediate-model horn in the United States is the Yamaha YEP-321 (and silver-plate 321S), which has four valves and is non-compensating (though a removable 5th valve was offered as an option early on, but discontinued pushing buyers to their "professional" instruments). Other similar models of euphonium are made by Besson, Willson, Jupiter, and under the names of many storied American manufacturers now within the Conn-Selmer umbrella among others. Besson produces a four-valve non-compensating euphonium with the fourth valve on the side.

Double bell euphonium being played

Compensating

The compensating euphonium is common among professionals. It utilizes a three-plus-one-valve system with three upright valves and one side valve. The compensating valve system uses extra tubing, usually coming off of the back of the three upright valves, in order to achieve proper intonation in the lower range of the instrument. This range being from E₂ down to B♭₁. Not all four-valve and three-plus-one-valve euphoniums are compensating. Only those designed with extra tubing are compensating. There were, at one time, three-valve compensating euphoniums available. This configuration utilized extra tubing, just as the three-plus-one compensating models did, in order to bring the notes C₂ and B₁ in tune. This three-valve compensating configuration is still available in British style baritone horns, usually on professional models.

Double-bell

A creation unique to the United States was the 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. Harry Whittier of the Patrick S. Gilmore band introduced the instrument in 1888, 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),^[8] 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.

King marching euphonium

Marching

A marching version of the euphonium may be found in a marching band, though it is often replaced by its smaller, easier-to-carry cousin, the marching baritone (which has a similar bell and valve configuration to a trumpet). Marching euphoniums are used by marching bands in schools, and in Drum and Bugle Corps, and some corps (such as the Blue Devils and Phantom Regiment) march all-euphonium sections rather than only marching Baritone or a mix of both. 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 callous on the left hand, and possibly back and arm problems.

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.

Five valves

The five-valve euphonium (noncompensating) is an extremely rare variation of the euphonium manufactured in the late 19th and early 20th centuries by Britain's Besson musical instrument company and Highams of Manchester Musical Instrument Company. Besson and Highams's Clearbore five-valve vintage euphoniums are among the rarest and most valuable in existence.^{[citation needed]}

The Besson five-valve euphonium featured the standard three piston valves horizontally on top, but had an additional two piston valves off to the side. The standard euphonium has eight possible fingering and non-fingering positions by which sound is produced. The Besson and the Highams "clearbore" model rare fourth and fifth extra "side" valves change the possible fingering and non-fingering positions from eight to thirty-two.^{[citation needed]}

The term 'five-valve euphonium' does not refer to variations of the double bell euphonium made by various brass instrument companies during the same time period.^{[weasel words]} Some of the double-bell euphoniums had five valves, with the fifth valve either on top with the other four, or by itself off to the side, but the double-bell fifth valve was used for switching the sound to the second smaller trombone-sized bell, and not for changing the fingering pitch of the instrument. Also, Cerveny (cs) Musical Instruments manufactures several euphoniums with five vertical rotary valves today, but this is an unrelated recent development.^{[citation needed]}

The euphonium in ensembles and professional job opportunities

The euphonium has historically been exclusively a band instrument (rather than an orchestra or jazz instrument), whether of the wind or brass variety, where it is frequently featured as a solo instrument. Because of this, the euphonium has been called the "king of band instruments", or the "cello of the band", because of its similarity in timbre and ensemble role to the stringed instrument. Euphoniums typically have extremely important parts in many marches (such as those by John Philip Sousa), and in brass band music of the British tradition.

Other ensembles including euphonium are the tuba-euphonium quartet or larger tuba-euphonium ensemble; the brass quintet, where it can supply the tenor voice, though the trombone is much more common in this role; and other mixed brass ensemble. Such ensembles are almost non-existent: they are more likely to be semi-professional or amateur in nature. Most of the United States Armed Forces service bands include a tuba-euphonium quartet made up of players from the band that occasionally performs in its own right.

The euphonium is not traditionally an orchestral instrument and has not been common in symphony orchestras. However, there are a few works from the late Romantic period, in which composers wrote a part for tenor tuba, all of which are played on the euphonium: most notably Gustav Holst's Planets Suite and Ein Heldenleben by Richard Strauss. In addition, the euphonium is sometimes used in older orchestral works as a replacement for its predecessors, such as the ophicleide, or, less correctly, the bass trumpet or the Wagner tuba, both of which are significantly different instruments, and still in use today.

Finally, while the euphonium was not historically part of the standard jazz big band or combo, the instrument's technical facility and large range make it well-suited to a jazz solo role, and a jazz euphonium niche has been carved out over the last 40 or so years, largely starting with the pioneer Rich Matteson (see "List of important players" below). The euphonium can also double on a trombone part in a jazz combo. Jazz euphoniums are most likely to be found in tuba-euphonium groups, though modern funk or rock bands occasionally feature a brass player doubling on euphonium, and this trend is growing.

Due to this dearth of performance opportunities, aspiring euphonium players in the United States are in a rather inconvenient position when seeking future employment. Often, college players must either obtain a graduate degree and go on to teach at the college level, or audition for one of the major or regional military service bands. Because these bands are relatively few in number and the number of euphonium positions in the bands is small (2–4 in most service bands), job openings do not occur very often and when they do are highly competitive; before the current slate of openings in four separate bands, the last opening for a euphonium player in an American service band was in May 2004. A career strictly as a solo performer, unaffiliated with any university or performing ensemble, is a very rare sight, but some performers, such as Riki McDonnell, have managed to do it.

In Britain, Australia and New Zealand the strongest euphonium players are most likely to find a position in a brass band, but even though they often play at world-class levels, the members of the top brass bands are in most cases unpaid amateurs.^{[citation needed]} There are hundreds, if not thousands, of brass bands in Britain (and the Commonwealth) ranging in standard from world class to local bands. Even The Salvation Army has strong ties to the brass band world, as this was a common and practical musical genre in the 1800s. Almost all brass bands in Britain perform regularly, particularly during the summer months. A large number of bands also enter contests against other brass bands of a similar standard. Each band requires two euphoniums (principal and second) and consequently there are considerable opportunities for euphonium players.

Due to limited vocational opportunities, there are a considerable number of relatively serious, quasi-professional avocational euphonium players participating in many higher-caliber unpaid ensembles.^{[citation needed]}

College use in the United States

Unlike a generation or two ago, many colleges with music programs now offer students the opportunity to major in euphonium. However, due to the small number of euphonium students at most schools (2–4 is common^{[citation needed]}), it is possible, and even likely, that they will study with a professor whose major instrument is not the euphonium. Most often tubas and euphoniums will be combined into a studio taught by one professor, and at small schools they may be grouped with trombones and/or French horns as well, taught by one low brass professor. Universities will usually require professors in this situation to have a high level of proficiency on all the instruments they teach, and some of the best college euphonium studios are taught by non-euphonium players.

Notable euphonists

The euphonium world is and has become more crowded than is commonly thought, and there have been many noteworthy players throughout the instrument's history. Traditionally, three main national schools of euphonium playing have been discernible: American, British, and Japanese. Now, euphoniumists are able to learn this specific art in many other countries around the world today.

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.^[9]^[10] Below are a select few of the players most famous and influential in their respective countries, and whose contributions to the euphonium world are undeniable, in terms of recordings, commissions, pedagogy, and increased recognition of the instrument.

United Kingdom

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.^[11]
Steven Mead, English euphonium soloist and professor at the Royal Northern College of Music noted internationally for advancing the British euphonium sound.^[12]
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.^[13]

United States

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 Sousa and the Pryor Bands, Mantia was the first euphonium virtuoso to record and popularized this non-orchestral instrument in the United States.^[14]^[15]
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.^[16]^[17]
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.^[15]^[18]
Brian Bowman, former soloist with the U.S. Navy Band (1971–75) and U.S. Air Force Band (1976–91); now 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.^[19]^[20]

Japan

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.^[21]

Repertoire

The euphonium repertoire consists of solo literature and orchestral, or, more commonly, concert band parts written for the euphonium. Since its invention in 1843, the euphonium has always had an important role in ensembles, but 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 the current age, there has been a huge number of new commissions and repertoire development and promotion through Steven Mead's World of the Euphonium Series and the Beyond the Horizon series from Euphonium.com. There has also been a vast number of new commissions by more and more players and a proliferation of large scale Consortium Commissions that are occurring including current ones in 2008 and 2009 organized by Brian Meixner (Libby Larson), Adam Frey (The Euphonium Foundation Consortium), and Jason Ham (David Gillingham).

Amilcare Ponchielli, composer of the first original euphonium solo

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 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.

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. 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."

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.

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 euphoniumists 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.

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.

Finally, the euphonium has, thanks to a handful of enterprising individuals, begun to make inroads in jazz, pop and other non-concert performance settings.

References

Explanatory notes

^ The major-ninth is transposition for the sake of trumpet players doubling on euphonium.
^ Thus, only on four-valved, compensating instruments is a full chromatic scale from the pedal range up possible.

Citations

^ "Euphonium". Merriam-Webster. Retrieved 2012-05-26.
^ Werden, David. "Euphonium, Baritone, or ???". Retrieved 2008-01-29.
^ "Lyon & Healy Catalog circa 1880".
^ "Lyon & Healy Catalog circa 1894" (PDF).
^ ^a ^b ^c Clifford Bevan. "Euphonium". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)
^ Apel, Willi (1969). "Harvard Dictionary of Music". Cambridge:: Belknap Press of Harvard University Press, 1972.: 105–110.
^ http://www.euphonium.com
^ 1963 H.N. White/King catalog (Baritone/Euphonium), http://www.hnwhite.com/Euphoniums%20and%20Baritones.htm
^ Baritone History, North Dakota State University, at http://www.nd.edu/~baritone/history.html retrieved 10/15/2011
^ Bone, Lloyd E., The Euphonium Sourcebook, University of Indiana Press, 2007 edition, P.7
^ Bouldersdome, H. J., The Late Mr. A. J. Phasey, The British Bandsman, November 1888, Derby, England, P.33
^ Roy Newsome, The Modern Brass Band: From the 1930s to the New Millennium, Ashgate Publishing, Ltd., 2006, p. 252. ISBN 0-7546-0717-8.
^ "David Thornton biography from Perfect People". Archived from the original on 21 July 2011. Retrieved 2011-04-24.
^ Bierley, Paul A., The Incredible Band of John Philip Sousa, Board of Trustees of the University of Illinois, Urbana, IL. 2006
^ ^a ^b Lehman, Arthur, A Quick Analysis of Simone Mantia's Artistry On the Euphonium, 2008, http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm, retrieved 4/1/2011
^ Michigan State University Archives - Leonard Falcone Collection https://www.msu.edu/unit/msuarhc/falcone1.htm retrieved 4/24/2011
^ Life and Work of Leonard Falcone, Myrna Delford Welch, University of Illinois Press, 1973
^ Schudel, Matt (2009-06-28). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium With the Marine Band". The Washington Post. https://www.washingtonpost.com/wp-dyn/content/article/2009/06/27/AR2009062702268.html. Retrieved 2/24/2011
^ Morin, Alexander J., Classical music: the listener's companion, Backbeat Books, SanFrancisco CA, 2002, Page 1113
^ Brian Bowman Euphonium, The Instrumentalist, Volume 63, 2008, P.34
^ Artist profile: Toru Miura, Jeju International Wind Ensemble Festival 2007, at "Archived copy". Archived from the original on 5 October 2011. Retrieved 24 April 2011. , retrieved 4/12/2011

Sources

https://web.archive.org/web/20051030200338/http://www.lowbrassnmore.com/euponiumhistory.htmRetrieved on 28 January 2008
https://web.archive.org/web/20051217074115/http://nikknakks.net/Euphonium/Retrieved on 28 January 2008
http://www.docstoc.com/docs/2198574/HISTORY-OF-THE-BARITONE-AND-THE-EUPHONIUM

External links

Euphonium.com Focused on the IEI, new repertoire, a forum for the euphonium, and the activities of Adam Frey.
Euphonium.net Steven Mead's personal website.
The International Tuba-Euphonium Association, a professional organization for tubists and euphonists.
Tuba News, a free monthly online publication for tuba and euphonium players.
Tuba-Euphonium Press, publishing house for new euphonium and tuba music.
Brass-Forum.co.uk, a UK-based brass discussion forum.
Tuba-Euphonium Forum, a discussion forum for euphonium and tuba.
Acoustics of Brass Instruments from Music Acoustics at the University of New South Wales.
Euphonium fingering chart
Euphonium Music Guide A list of original euphonium literature.
Chisholm, Hugh, ed. (1911). "Euphonium". Encyclopædia Britannica (11th ed.). Cambridge University Press.

English Journal

Effect of Posture during Trumpet and Marching Euphonium Performance on the Trunk and Lower Limb Musculoskeletal System.

Mitani Y1, Kitagawa T, Matsugi A, Mukai K.
Journal of physical therapy science.J Phys Ther Sci.2013 Sep;25(9):1115-7. doi: 10.1589/jpts.25.1115. Epub 2013 Oct 20.
PMID 24259926

Wind-instrument reflection function measurements in the time domain.

Keefe DH1.
The Journal of the Acoustical Society of America.J Acoust Soc Am.1996 Apr;99(4 Pt 1):2370-81.
PMID 8730084

Japanese Journal

楽器演奏時の脊柱アライメントと体幹筋活動 : フルート,トランペット,マーチングユーフォニアムに関する検討

日本臨床スポーツ医学会誌 22(1), 138-145, 2014
NAID 40019974737

Effect of Posture during Trumpet and Marching Euphonium Performance on the Trunk and Lower Limb Musculoskeletal System

Journal of Physical Therapy Science 25(9), 1115-1117, 2013
NAID 130004432068

ユーフォニアムにおける特殊奏法習得のための教材開発

愛知県立芸術大学紀要 = The bulletin of Aichi Prefectural University of Fine Arts and Music (42), 199-210, 2012
NAID 120005732795

Related Pictures

Euphonium Anatomy euphonium 3 pistons keys qep111 euphonium Barrington BRG204 Series 4-Valve Euphonium Yamaha YEP642II Neo Compensating Euphonium www.music123.com euphonium Kanstul 985 Series 4-Valve Euphonium Sovereign Series Compensating Euphonium 1270 XO Series Compensating Euphonium

[Bevan_The_Tuba_Family_p.221-1] Clifford Bevan The Tuba Family 2nd edition, Winchester: Piccolo Press, 2000, p.221

[2] Anthony Baines BRASS INSTRUMENTS New York: DOVER PUBLICATIONS, INC. 1993, p.250-252

[3] Lytton Strachey Queen Victoria, London: Chatto & Windus, 1921

[4] Lloyd E. Bone Jr. 他 Guide to the Euphonium Repertoire Bloomington & Indianapolis: Indiana University Press, 2007, p.8

[5] Herbert Heyde Das Ventilbrasinstrument, Wiesbaden: Breitkopf & Härtel, 1987, P.217-219, 298

[6] 1853年発行のCerveny社のカタログより

[7] Anthony Baines BRASS INSTRUMENTS New York: DOVER PUBLICATIONS, INC. 1993, p.253-258

[海軍軍楽隊_P10-8] 楽水会編 海軍軍楽隊, 国書刊行会, 1984, P.10

[9] 小山作之助 國歌君が代の由來, 小山真津, 1941, P.87

[10] 阿部勘一他 ブラスバンドの社会史, 青弓社, 2001, P.91-94

[11] 楽水会編 海軍軍楽隊, 国書刊行会, 1984, P.237, 266-271

[12] 阿部勘一他 ブラスバンドの社会史, 青弓社, 2001, P.163

[13] 山口常光 陸軍軍楽隊史, 三青社, 1968, P.159

[14] 楽水会編 海軍軍楽隊, 国書刊行会, 1984,

[15] 山口常光 陸軍軍楽隊史, 三青社, 1968,

[16] 大石清 テューバかかえて, 音楽之友社, 1999, P.49, 61, 98

[17] 三浦徹 うまくなろう！　ユーフォニアム, 音楽之友社, 1999, P.76

[18] 三浦徹 うまくなろう！　ユーフォニアム, 音楽之友社, 1999, P.76-79

[6] The major-ninth is transposition for the sake of trumpet players doubling on euphonium.

[7] Thus, only on four-valved, compensating instruments is a full chromatic scale from the pedal range up possible.

[Euphonium-1] "Euphonium". Merriam-Webster. Retrieved 2012-05-26.

[DW-2] Werden, David. "Euphonium, Baritone, or ???". Retrieved 2008-01-29.

[3] "Lyon & Healy Catalog circa 1880".

[4] "Lyon & Healy Catalog circa 1894" (PDF).

[Grove-5] Clifford Bevan. "Euphonium". In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press. (subscription required)

[Harvard_Dictionary_of_Music-8] Apel, Willi (1969). "Harvard Dictionary of Music". Cambridge:: Belknap Press of Harvard University Press, 1972.: 105–110.

[9] ttp://www.euphonium.com

[10] 1963 H.N. White/King catalog (Baritone/Euphonium), http://www.hnwhite.com/Euphoniums%20and%20Baritones.htm

[11] Baritone History, North Dakota State University, at http://www.nd.edu/~baritone/history.html retrieved 10/15/2011

[12] Bone, Lloyd E., The Euphonium Sourcebook, University of Indiana Press, 2007 edition, P.7

[13] Bouldersdome, H. J., The Late Mr. A. J. Phasey, The British Bandsman, November 1888, Derby, England, P.33

[14] Roy Newsome, The Modern Brass Band: From the 1930s to the New Millennium, Ashgate Publishing, Ltd., 2006, p. 252. ISBN 0-7546-0717-8.

[15] "David Thornton biography from Perfect People". Archived from the original on 21 July 2011. Retrieved 2011-04-24.

[16] Bierley, Paul A., The Incredible Band of John Philip Sousa, Board of Trustees of the University of Illinois, Urbana, IL. 2006

[Mantia1-17] Lehman, Arthur, A Quick Analysis of Simone Mantia's Artistry On the Euphonium, 2008, http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm, retrieved 4/1/2011

[18] Michigan State University Archives - Leonard Falcone Collection https://www.msu.edu/unit/msuarhc/falcone1.htm retrieved 4/24/2011

[19] Life and Work of Leonard Falcone, Myrna Delford Welch, University of Illinois Press, 1973

[20] Schudel, Matt (2009-06-28). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium With the Marine Band". The Washington Post. https://www.washingtonpost.com/wp-dyn/content/article/2009/06/27/AR2009062702268.html. Retrieved 2/24/2011

[21] Morin, Alexander J., Classical music: the listener's companion, Backbeat Books, SanFrancisco CA, 2002, Page 1113

[22] Brian Bowman Euphonium, The Instrumentalist, Volume 63, 2008, P.34

[23] Artist profile: Toru Miura, Jeju International Wind Ensemble Festival 2007, at "Archived copy". Archived from the original on 5 October 2011. Retrieved 24 April 2011. , retrieved 4/12/2011

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