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Thread: The Classic Euphonium Sound

  1. The Classic Euphonium Sound

    I've been listening to the great players, or as many as I can locate on Youtube. 4 Bars Rest had a list that is pretty much what I find everywhere. But that leads to three questions.

    1. Who is on your list of the greatest players ever?
    2. When did the standard change for desirable sound?
    3. Did the sound goal change due to the instruments, the players or the circumstances (types of bands)?

    I ask about the sound change because I find many current players have a much duller or veiled sound than the greats of yesteryear.
    Richard


    King 1130 Flugabone
    King 2280 Euphonium
    King 10J Tuba
    Conn 22B Trumpet

  2. I think the "desirable sound" for a euphonium was/is somewhat different in the UK/Europe compared to the U.S. I'm not as familiar with the UK/European sound legacy, so hopefully someone more knowledgeable can chime in regarding this history.

    For the U.S., I believe the "American" sound concept started to evolve when the double belled euphoniums used by the US Military bands were replaced with the 3+1 compensating Boosey & Hawkes models imported from the UK in the 1960s. This change was spearheaded by Arthur Lehman of the US Marine Band. although his teacher Harold Brasch had started using the larger B & H euph a decade before).

    This led to a darker sound becoming "standard" with US players compared to the lighter, brighter tone quality that was characteristic of the smaller bore, bell front instruments used previously, like what Leonard Falcone recorded his albums with, and players such as Simone Mantia used on the recordings you can find online. This legacy continued through players such as Dr. Brian Bowman (who taught many of the current and past US military band players), Earl Louder, Michael J. Colburn, among many. many others.

    (this is what I can remember from my grad school exit exam studies. so if I messed up any of the information, please correct me!)

    Edit: wanted to add that in general, there seemed to be a shift towards larger equipment (bigger, deeper mouthpieces, larger bells, bores, etc) in recent decades, which in turn can contribute to a darker, broader sound quality than what you would get with an older, smaller instrument. For one such example, a newer Besson Sovereign/Prestige compared to the Imperial/Round Stamps that preceded them. So I think the sound concept change is due to a mix of all three reasons you listed: instruments, players and the ensembles/settings they are used in.
    Last edited by Fujiifilm; 11-16-2020 at 04:28 PM. Reason: added some extra information
    Willson 2900 TA-1 Euphonium - Denis Wick 4AM
    Yamaha YSL-643 Trombone - Bob Reeves BrassArk 5G "Gladstone"
    Yamaha YSL-8440 Trombone - Denis Wick 5BS
    VMI 3301S BBb Tuba - Schilke Helleberg

    Past:
    York Preference 3067 Euphonium - Denis Wick 4AL
    Benge 165F Trombone - Benge Marcellus
    Wessex BR140 Baritone - Denis Wick 6BS
    F.E. Olds Special Trombone (ca. 1941)

  3. Thanks so much for the response. You gave me some more players to explore.
    Richard


    King 1130 Flugabone
    King 2280 Euphonium
    King 10J Tuba
    Conn 22B Trumpet

  4. #4
    This is a fascinating topic of discussion, and one that I very frequently indulge myself in.

    I’d start by saying that my personal preference is for a more cantabile style, a lot of modern euphonium soloists today seem preoccupied with range and technique at the expense of expressiveness. I admire greatly the new breed who can play anything you put in front of them but too much is formulaic and mechanical. In the UK you can tell who has been taught by specific players because there is whole generation of mini-me players.

    My favourite sounds have all come from players using Boosey & Hawkes instruments, Lyndon Baglin, Graham McEvoy, Stephen Lord (amongst many others). They have a very direct sound. John Clough and Trevor Groom were lighter sounding players but perhaps capable of greater musical delicacy (and that’s something that is definitely lacking in the newest generation).

    This sums up my concept of a beautiful sound very nicely....

    https://soundcloud.app.goo.gl/QhMCWLfGfk4fJ1hd7

    As does this in a full band context, in one of the great brass band euphonium parts. 3 minutes of everything the euphonium does well.

    https://soundcloud.app.goo.gl/KS5TFFzUHNJFaps59

    I guess what I’m saying is a fatter sound is preferable to me.
    Nowt

    Retired

  5. #5
    It's interesting to note that John Clough and Trevor Groom only played Imperials/New Standards & not Sovereigns.
    2015 Besson Prestige 2052 - Denis Wick SM3U
    1990 Besson 982 - Bach 24AW
    1992 Bach 42B - Denis Wick 4BL

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