Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
of the Euphonium
Harmonic Moi
Another ter
grasp the imp
Royce LumpkilA harmonic reopen tone cl
descending ch
1-2,2-3, 1-3, art
A thorough discussion of the euphonium's intonation problems, along with their possible solutions
is a lengthy and complex undertaking. Such a
discussion involves an examination of several interrelated factors common to all brass instruments, especially those with valves. Instrument
manufacturer and design considerations, the concept of compromise tuning, the individual
player's intonation tendencies, mouthpiece size,
temperature, and several other variables are a
part of this complexity. Running throughout this
entire discussion is a thread of logic and related
ideas that will enable both the teacher and performer to deal with the problems in a knowledgeable and confident manner. The intent of this article is to condense as much information as possible
into simpler concepts information that can be
filed away in the immediate memory and used on
recall. The more a performer knows about the intonation tendencies of the euphonium, whether a
student or experienced teacher, the more easily he
can deal with day to day tuning problems. It is
much easier to react quickly and confidently when
knowing what to expect in a given situation.
One of the first concepts a teacher or performer
must understand is that of compromise tuning. Instrument manufacturers are faced with the fact
that intonation on all brass instruments is inherently imperfect. They can only try to minimize
Royce Lumpkin is a music faculty member at
North Texas State University (Denton). He teaches
applied trombone, conducts the 30-piece N.T.S.U.
Trombone Choir, performs in the North Texas
Brass Quintet, and supervises instruction for the
brass methods courses. He received his degrees
from North Texas State University and the University of Oklahoma.
18
tion discrepan
struments hav
compromise 1
make the sepa
to lower each
valve slide
10
11
12
the other brasses: the octave, perfect 5th, perfec fir,s va.1.^e s/ld
4th, major 3rd, minor 3rd, minor 3rd, and majo valve s'!ae lov>
2nd, etc. The first note or partial is the fundamei steps, it is no
taj and is also referred to as a pedal tone. The sec bmatlon t"at
ond note is the second partial as well as the firs sur ae . P
overtone. Because the notes of an overtone serie :ng / one
are derived from laws of physics, various frequei tyan * e open
cies do not agree exactly with our man-madi f & u^ f t^L
system of equal temperament, the division of th !engu or tuDi
octave into twelve equal parts. When compare ^Per F*if?
with equal temperament, the following results an ce,n ,
c
obtained:
whole step, fo
partials 1, 2, 4, and 8 are in tune with ead second valve d
other
(al
snor f er "e ( t
g L , and coincide with equal
- i temperament
t v con
tinually ca
partials 3, 6, 9, and 12 are sharp to varyin]
degrees (F's and high C)
partials 5, 7, 10, and 11 are flat to varyini
degrees (D's, At, and E).
Because the bulk of the euphonium's standan
playing range falls between partials 1 and 8, a per
former can simplify and condense this informa
tion to the following:
partials 1,2,4, and 8 (all B^ s) are in tune
partials 3 and 6 (F's) are sharp
partials 5 and 7 (D and At) are flat.
Of these, partial 3 is so slightly sharp it can h
corrected easily by the embouchure, while partia
7 is too flat to be used. This leaves only partial, 1
(moderately flat) and partial 6 (noticeably sharp
that are of concern.
It is helpful to remember that the partials an
out of tune to a degree that corresponds to theii
numerical order: partial 3 is the least out of tune
followed in order by partials 5, 6, and finally 7.
L. Kent's The
Conn, 1956, p
amples chose
used individua
Example 3, Valve
correct Intonatio
Valv*
Used
0
2
1
3
1-2
2-3
1-3
1-2-3
Valve
Slide
Length
(inchai)
5.95
12.25
18.92
18.20
24.87
31.17
37,12
onic Modes
nother term needs to be defined in order to
.> the implications of the out-of-tune partials.
irmonic mode results from the lowering of any
i tone chromatically through the normal
icending chromatic valve sequence of open, 2, 1,
|2,2-3,1-3, and 1-2-3.
pi* 2. The fourth harmonic mode.
I
1-2-3
Valve
Used
0
2
1
3
1-2
2-3
1-3
1-2-3
_,Volve
1
?!
1
s3
'1-2
|2-3
1-1-2-3
5.95
12.25
18.92
18.20
24.87
31.17
37.12
Actual
Total
Length
(inches)
Correct
Total
Length
(inches)
Total
Length
Error
(Inches)
100
105,95
112.25
118.92
118.20
124.87
131.17
137.12
100
105.95
112.25
118.92
118.92
125.99
133.48
141.42
0
0
0
0
-0.72
-1.12
-2.31
-4.30
Correct
Total
Length
(inches)
Total
Length
Error
(inches)
100
106.25
112,57
120.35
118.82
126.60
132.92
139.17
100
105.95
112,25
118.92
118.92
125.99
133.48
141.42
0
+ 0.30
+ 0.32
+ 1.43
-0.10
+ 0.61
-0.56
-2,25
12,57
20.35
18.82
26.60
32.92
39.17
Tuning
Discrepancy
(semitones)
0
-0.05
-0.05
-0.21
+ 0.01
-.08
+ .07
+ .28
fro
Valve
Slide
Length
(inches)
Actual
Total
Length
(inches)
6.25
\k
Example 3. Valve slide length examples Individually
correct intonation.
Valve
Slide
Length
(inches)
tt
It
?'}
t)
It
tt
.gJMr- \-
~ iN^fe.
Tuning
Discrepancy
(semitones)
0
0
0
0
+ 0.11
+ 0.15
+ 0.30
+ 0.54
19
20
* *
2 3 1\
3 4 2
I**
Not
available
5 (|J5)
<
"
1
'
"'
* ^
~ b
4--
23
*
=^=[
e ^
Vibrato
a n di
commonly usec
satisfactory mei
euphonium is tl
controlled up a
Temperature
lower lip ("ya, y:
The effect of temperature on the pitch of the euwi11 alternately
phonium needs little explanation to those whi cent ^ r to slight!;
have marched at half time on a Friday night in No( or perhaps eve:
vember, or sat on the concert stage under blazini moderation and
lights in April. All brass instruments sharpen apriateness, this
the temperature rises, and vice versa. Thi hances and warn
phenomenon occurs because sound waves trave More and mo
faster through warmer, less dense air. They striki ensemD l e literat
the ear at a faster rate, and the listener perceive mute ror the eup
them as a higher frequency. Students sometime! that these mute
attempt to explain the sharping phenomenon bpitch.
arguing that the rise in temperature causes th
molecules of the instrument to agitate, resultinj Improving Inton
in an expansion of the instrument's metal. A littli ^n tne beginnii
logical thought should convince the student thai encourage the bt
an expanded (larger) instrument would produce;011 the mouthpie
lower sound, not a higher one.
familiar tunes, !
courage selectiv:
Mouthpiece and Instrument Design
v?ry start. Wh
Mouthpiece and instrument design also in pitches on the
fluence intonation. It is beyond the scope of thi easier to center t
article to go into great detail concerning the man; There is no SL
variables. In dealing with mouthpieces, cu|tals in the first
volume is the most important consideration thi w i tn the euphor
greater the volume, the flatter the pitch. The siavelP concepts o
of the throat opening, and the size and shape of th breath (tonal) su
backbore also interact to influence intonation. L lems with embc
designing an instrument, the manufacturer mai stream, the stuc
raise the flat fifth partial or lower the sharp sixti euphonium to re
partial, but the inherent proportionate differeno tonation.
must remain the same. Another manufacture ^n later stage
may flatten individual valves more than another needs to stress h
but the relationship between individual valves am regular basis. O
valves used in combination remains the same. Ii courage this can
either situation the inevitable is compromise. Thi to-day basis is 1
21
-3-1
(v) (','-;)
2-3
1-2-3
up Diameter
The student
an manage; i
reducing a la
endurance. I t
The mass tuba-euphonium ensemble assembled at North Texas State University during the Second National Tuba
ing excessive
Euphonium Symposium-Workshop in May, 1980.
thereby enco
The Tubists Universal Brotherhood Association
reviews of tuba-euphonium ensemble literature muscles,
euphonium disc reviews; plus articles, interviews There is no
represents the interests and aspirations of nearly
2,000 euphoniumists and tubists in more than two
and announcements of interest to euphoniumists, ^ne t> e g mnm g
T.U.B.A. considers the euphonium to be a vita habits. Consu
dozen countries. Our constitution states that
"T.U.B.A. is a worldwide organization of musi20th century instrument, and is working to give iran8e tor the
cians. . .who take a significant interest in the ina permanent and versatile position in the musica P .ay.ers w'''
world. For more information about T.U.B.A., ; millimeters,
struments of the tuba and euphonium family. . . . "
Even though "and euphonium" was added recently
free sample of the T.U.B.A. Journal, or an applica
by a majority membership vote, the euphonium
tion for membership write to Donald C. Little Cup Depth
has always been considered an equal partner in
Secretary-Treasurer of T.U.B.A., School of Music Cup depth is
the association.
North Texas State University, Denton, Texas. 1 pact on a mo
This equality of emphasis is illustrated in
you are a euphoniumist and are interested in th diameter. A de
several ways. First, all musical works commisfuture of your instrument, we need you and you will improve
sioned by T.U.B.A. have been evenly divided beideas, and you need us. In case you may have for may flatten th
tween the euphonium and tuba, and the premiere
gotten, we accept tubists for membership, too. I overall pitch
lessen endura
commission was Four Dialogues, for euphonium
and marimba, by Samuel Adler. Second, the
Donald C. Little is assistant professor of tuba am opposite effec
T.U.B.A. Journal devotes equal space to the coneuphonium at North Texas State University and't, torn will produ
cerns of the euphonium. In each quarterly issue
principal tuba with the Fort Worth Symphony 0\e beginner
there are reviews of solo literature on the college,
chestra. He received his degrees from Peabody Con with a medium
servatory and Northwestern University.
advanced play
professional, and junior/senior high school levels;
22
1H[ INSlkUMINIALISI/MAV 1