Brass Clinic

Developing Euphonium Tone

BY BRIAN L. BOWMAN

usicians often use the words deep, rich, smooth, warm, and lyrical to describe the euphonium's characteristic tone. Producing this idiomatic sound, though, can be difficult. To produce a characteristic euphonium tone a student first needs to refine his concept of the instrument's sound by listening to fine performers, both in live performances and on recordings. The next step is to work on breathing and embouchure, the two basic physical elements of tone production. Many tone production problems are caused by a lack of breath support and control, to which incorrect posture contributes heavily. Far too many players rest the instrument on the lap and then slouch to adjust the

head and mouth to fit the mouthpiece. This cramped position inhibits the ability to take deep, full breaths and results in a lack of breath support and air flow. In addition, the angle of the head may constrict the throat, resulting in a tight sound. This lack of air support and air flow caused by poor posture can easily be corrected, often by using a small cushion or folded towel. Placed on the lap, the cushion raises the instrument so that the chest is high and free for taking full, unencumbered breaths. A good rule for players is to sit as you stand, using the same relative posture of the upper body in both sitting and standing positions. Bring the mouthpiece to the embouchure, not vice versa. This simple change can improve

to breathe properly. Embouchure, the other physical factor in tone quality production, is sometimes neglected because producing a sound on the euphonium is fairly easy. To obtain embouchure control on the euphonium, the corners of the player's lips serve as a solid base for the center part of the embouchure inside the mouthpiece rim. This firm corner base contributes to the development of the small muscles inside the rim and gives the player control in the inner mouthpiece, resulting in stability and flexibility throughout the dynamic and tonal range of the instrument.

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Euphonium soloist with the United States Air Force Band in Washington, D.C., Brian L, Bowman has performed as soloist in all 50 states, Canada, Mexico, the Virgin Islands, Norway, Japan, and the People's Republic of China. He holds degrees from the University of Michigan and the Catholic University of America; and he now serves as adjunct professor of euphonium at the University of Maryland, George Mason University, and the Catholic University of America. This year he is visiting professor of euphonium at Michigan State University.
FEBRUARY 1989 / THE INSTRUMENTALIST 31

hen students have problems with producing an ideal tone quality, one or more of these attributes may be involved: Pitch and tonal center (in tune with a center or core) Shape (tones are often described as round, oval, or pear shaped) Clarity (no extraneous or distracting noises) Consistency (the same excellent quality in all registers and dynamics) Air control (support and air flow) In the area of tone quality, several problems commonly afflict students.

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Pinched, tight sound. This problem is apparent when the shape of the tone is flat, not round; the pitch is sharp. It is often caused by the lips, mouth, and teeth being too close together, constricting the air flow through the embouchure. Ask the student to think of swallowing a hot potato without burning the sides of his throat or to imagine swallowing a whole egg without breaking it so as to avoid feeling those icky raw egg whites. Check the player's pitch, having him try to lip down a little at times. Also check his posture, being sure the angle of the student's head is not pinching the throat; the player's chin may be too low. The ideal to work for should be the feeling of a relaxed throat, with firm (not tight) embouchure corners. To help keep the throat open suggest the feeling of yawning in reverse. Soggy hollow sound. Just the opposite of the pinched sound, here the tone's shape is oblong, not round; and the pitch is flat. The problem is often caused by the corners of the embouchure being too relaxed. Ask the student to firm the embouchure corners. He should concentrate the air into a smaller, more compact flow so that the sound is not spread and lacking in center or focus. Double buzzing and extra noise. Problems with clarity can arise because of poor development of the inner mouthpiece embouchure as well as a lack of a hermetic seal between all the surfaces of the mouthpiece and the embouchure, which occasionally occurs. Have the player think of snuggling the lips into the mouthpiece, making a complete and tight seal between the metal and lip tissues. Sometimes wetting the lips can enhance this process. Also, have the student make the corners of the embouchure firmer. Tone quality deterioration while tonguing. Problems with air control and consistency are apparent here. Many players constrict the air flow by tightening the throat muscles because of problems such as tonguing with the lips and chewing each note by moving the chin up and down. The front of the tongue has a tendency to float in the middle of the mouth and interfere with the air flow through the embouchure. When the tip of the tongue is not in use, it should move to the bottom of the mouth and out of the way. The player needs to practice articulated passages, first slurring them and then

working to create the same sound quality and dynamic while tonguing. Have him practice articulated passages one or two dynamics louder than marked (at least forte) to open the closed throat and improve the air flow. There should be no appreciable difference in the actual tone quality between legato slurred passages and separated articulated ones. The player should watch his embouchure in a mirror while practicing to eliminate excess chewing motions when tonguing. Tone quality varies between the upper and lower registers. To improve an inconsistent tone quality between registers have the student work on flexibility exercises, paying careful attention to embouchure stability; full breaths should help stabilize the tone quality. Ask the student to change syllables "toe" (low register), "tah" (middle register), and "tih" (very high register) so the back of the tongue can help change the speed of the air flow assisting in the change of register. Caution him to take care in the lower ranges not to relax so much that the tone becomes soggy and uncentered. Keep firm mouthpiece pressure on the upper lip of the embouchure in the low range; the opposite in the upper range (a firm pressure on the lower lip, less on the upper lip) often helps. Practice crescendo and decrescendo exercises to improve tone quality consistency in all dynamics. Trombonelike quality to the sound. The euphonium is a conical instrument with many convolutions in its physical construction. These curves, bows, and bends give a great deal of resistance to the airstream when compared to the two bends in the trombone. If air is too compressed as it enters the instrument, the tone will sound constricted and often will seem to have a narrow, forced quality. To make the instrument resonate fully, the student needs to produce an air column that is relaxed and well supported. Opening the throat, relaxing the air column slightly, and listening to oneself are all essential in overcoming this problem. Too often musicians become overly concerned with technical skills and do not hear the actual tone quality they are generating. Listening carefully and constantly to every note is the secret to a fine tone on the euphonium. D