Euphonium practice as trombonist

[MStarke]

Dear all,

I am new here and primarily a trombonist, so please be nice :-)

I am a formerly professional trombonist, 37 years old and today would categorize myself as semi-professional level trombonist, but without financial ambitions in this field. Playing a paid gig very rarely, but not looking for them.

While theoretically my main instrument which I played mostly during my studies is bass trombone, in the last years I have worked a lot on being a better high trombonist and have developed a relatively satisfying level on alto, small and large tenor. Generally speaking I feel equally comfortable on them.
As a kid my playing started on a 4 valve German baritone (which is quite comparable to a euphonium), switching to trombone at around 12, but continueing to play baritone as well for quite some years and then from time to time playing some euphonium. However I have not owned and/or regularly practiced euphonium or baritone for around 20 years until about a year ago. (Got a very cheap Weril non-compensating 4 valve and a few weeks ago got a 4 valve non-compensating but very nice older Besson. BTW: In addition to the price tag of a good compensating horn, I currently prefer the non-compensating for various reasons).

As this is just a time-intense hobby and most of my practice time will remain with the trombone, I would be very happy about some practice suggestions.
My own impression:
- I don't necessarily have to use too much time specifically on range or endurance - this is largely covered by my trombone practice
- Fingering is not a general issue as I do have experience playing valve instruments, but I feel slow. Currently playing scales and chromatics
- Response and sound of the euphonium can certainly be improved for me, I think this has to do quite a bit with the different resistance as compared to trombone. I seem to get a grip on this by playing what I would call flow studies and e.g. Bordogni etudes
- One thing I don't even know if I want it: The vibrato style that's often found with euphonium. Some over-do it from my perspective, but I think I have to get accustomed to at least some of it. I would guess, listening and imitating will help here

What are you doing or would you be doing?

What are other recommendations that you would have for me?

[davewerden]

Welcome to the forum!

It sounds like you are already doing good routines. Scales are great for any valved instrument, of course. I would suggest doing them from memory and changing the pattern daily (to some extent). So extend the top and bottom by a few notes, maybe up to the 9th today, the 13th tomorrow, the 10, the next day. Same for the bottom end of the scale. That helps imprint the finger patterns associated with each key. The Arban book has plenty of exercises that can help develop facile fingers.

Vibrato is a personal thing. Some should be used; how much is up to the player. I like to vary mine, depending on the piece. I don't like using it on every note. I also like to control vibrato on long notes, possible starting with none and gradually adding it. If you use/d slide vibrato, then this is partly a new physical skill. Lip trill practice is great for developing control over lip vibrato, since the muscles are used similarly. Start slow, gradually speed it up, then gradually slow it down over a very long note. Also practice burst lip trills, where you immediately start a very fast trill for a very short time. That helps develop skills to use vibrato on a passing quarter/eighth note for emphasis.

For trombonists, the biggest hurdle is using "warm" or "slow" air to get a deeper euphonium sound. Trombonists typically have great support, but some can have a hard sound. Below is a recording of tubists Roger Bobo playing the Barat Introduction and Dance. I suggest listening to this, especially the opening, and trying to get close to that sound on euphonium. He is using an F tuba, so it is a good challenge. But it will require lots of warm air and a nice, open path for the air. My own efforts to do this amount to getting as loud as I can without getting edgy, and adding energetic vibrato for the great resonance Bobo produces.

https://youtu.be/mWHWyegL7R8

[MStarke]

Dear Dave,

thanks for the quick reply and great insights/advice!

Never owned the Arban (my brothers play(ed) the trumpet and I cannot stand hearing it :-D ). Maybe time to change my mind...
I have quite a lot of scale-like exercises in mind that I could be using if I had time.

On vibrato: On trombone I certainly use it much less. When playing jazz, there is of course some slide vibrato, but more classical playing typically has less lip/jaw vibrato than on the euphonium. I think it's really a matter of developing a good image and sound in my head.

I feel that at the moment playing these exercises more slurred than tongued is helpful for me, because it requires even more precision with the fingers and also lets me get used to slurred euphonium playing which is obviously different than on the trombone.

And thanks for the advice on sound and the example! That is certainly very very helpful.
For euphonium players my playlist is very much dominated by Steven Mead. Any euph players that you would specifically recommend for this aspect?

[MStarke]

BTW I have already been reading this forum from time to time for a few years, but never dared to jump in this pit before ;-)

[davewerden]

For euphonium players my playlist is very much dominated by Steven Mead. Any euph players that you would specifically recommend for this aspect?

I would go to David Childs and Mark Jenkins (Marine Band) for good, solid musicality and euphonium concept.

[Arnbone Euph]

A bit off topic, but Dave, do you know how one could get a copy of Mark Jenkins' doctoral dissertation on the history of the euphonium in the Marine Band?

--Arnie

[John Morgan]

A bit off topic, but Dave, do you know how one could get a copy of Mark Jenkins' doctoral dissertation on the history of the euphonium in the Marine Band?

--Arnie

Hey Arnold,

Go here: https://www.linkedin.com/in/mark-jenkins-4b6abb2b

That is the linked in page for Mark Jenkins. If you are a member (join if not, really easy to do), you can contact him through that page.