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Baritone or Euphonium?
Compensating System
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Book: Art of Tuba and Euphonium - Guide to the euphonium and tuba for students, teachers, and professional performers
Euphonium CD: David Gaines Concerto - Played by Jiri Vydra with the Moravian Philharmonic Orchestra
Jazz Euphonium CD: Tom Ball - Fishleather Jacket - great small combo jazz featuring Euphoniumist Tom Ball
Euphonium CD: Adam Frey - Beyond the Horizon - Adam featured with other artists in an exciting program
Euphonium CD: Uther Pendragon - Baritone horn artist Gilles Rocha
Jazz Euphonium CD: Marc Dickman - A Weaver of Dreams, great jazz euphoniumist!

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Glenn Call: the French Tuba

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A favorite arguing point of mine has been resolved in print, I have often been told by “authorities" (the type who assume "common knowledge" -- their opinion that is – needs no factual foundation or documentation) that the "small C French tuba" has a bore size substantially larger than any Euphonium used today. This "fact" is used to argue that euphoniumists have no business bothering with the enormous range of fine literature written for this instrument often referred to as "Saxhorn bases In B-flat" or "tuba ut". The bore size of today's euphoniums Is quite as large as many large bass trombones, however, and self compensation makes playing below the bass clef staff quite practical. The "tuba ut" has a length one foot shorter than the nine foot Bb euphonium. Is it very logical to give it a bore size much larger than the already quite large Bb euphonium? I say not.

The lower brass family has lately been blessed with a marvelous book that takes the Euphonium and its kin out of the dark ages of speculation and heresy. Mr. Clifford Bevan has given us "The Tuba Family" to resolve our arguments and to salve our curiosities as well as to bring us and our instruments to a better understanding. In the most explicit terms, filled with facts, figures and illustrations, and very readable, Clifford Bevan's "The Tuba Family" (which includes a special chapter devoted to the euphonium!), is a must for all of us who take our instruments seriously,

NOTE: this article is reprinted from Euphonia magazine, January, 1979, with permission of the publisher, Glenn Call.

   
 
 
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