Originally Posted by
bbocaner
My latest epiphany about the baritone is that it is much like playing the sackbut with an original-style mouthpiece. It's not easy to do, but if you can back off the instrument and use no pressure, not force anything, think "warm air", you eventually get to a transcendent-like state where the instrument just starts playing itself and sounds absolutely beautiful. You can't force it, you can't play it like a euphonium or a trombone. You can get a very dark sound with a small mouthpiece (in fact, if the mouthpiece is TOO big you CAN'T get there at all -- too much lip becomes involved and it starts sounding gritty) and reach that place where the instrument really sings.
I absolutely agree with Barry. I have also had this same epiphany recently regarding my approach to baritone. In fact, I even switched to a slightly smaller MPC on euph so that I could switch between euph and baritone more easily. But the biggest issue for me is to realize that I must relax pressure, not get too much lip into the mouthpiece, and play EXACTLY in the center of each note in order to get a good sound on baritone. I listened to a recording of my solo competition at NABBA and actually really liked the overall sound. However, I was still forcing attacks in the fast technical sections and need to lighten my tongueing in order to make the horn sound smoother. I have to admit that the "Katrina" sound is my goal when playing the baritone.
Adams E3 0.60 Sterling bell - Prototype top sprung valves
Concord Band
Winchendon Winds
Townsend Military Band