Is there a “correct” euphonium sound?
The words dark, rich, mellow, sweet, and full are commonly used to describe the ideal euphonium sound. Those words are subject to interpretation and personal taste.
Different players, all striving to achieve a sound that aligns with those words, have different ideas about what, exactly, dark or rich (or whatever) actually sound like.
While there are nuanced differences in how various players sound, there is a broad, general consensus about what a euphonium sounds like. As you develop your personal concept of the instrument, beware of deviating too far from the general consensus, or you will not pass any professional or university auditions.
People don’t want players whose sound “sticks out” from the section, because it muddies the ensemble sound.
For solo work, audiences usually expect each instrument to sound a particular way, and they won’t enjoy hearing an instrument played in a highly unusual way.
There are some links to YouTube videos at the bottom of this page that might help you get a sense of a “good” euphonium sound.
Many players emphasize embouchure development over most or all other aspects of playing. They build their embouchures in much the same way as a bodybuilder sculpts their muscles.
When taken to an extreme, this can result in a “muscular” sound that some people find inconsistent with ideas like mellow and sweet. Some players are unable to eliminate “air” sounds mixed with their tone at softer dynamic levels.
Yet, embouchure development is very important. We can’t progress very far on the euphonium without a well-developed embouchure. Advantages of a highly-developed embouchure include precision in note initiation, both in terms of pitch accuracy and clean attack; extended range, especially in the upper register; increased endurance; and consistent tone at all dynamic levels.
At the other extreme, a single-minded focus on relaxed playing and developing a sweet tone can leave the player with limited range, reduced endurance, imprecise note initiation, and a “cracked” sound at louder dynamic levels.
The key is to avoid both extremes; but exactly what constitutes “extreme” is a matter of personal judgment. Some players find the “muscular” tone perfectly suited to the instrument, while others find it harsh or rough.
The players in the following two videos both have a sound consistent with the general consensus about the character of the euphonium. One has a more “muscular” sound than the other. Can you hear the difference? Do you have a preference?
Example 1: Pasquale Cerone, “Gabriel’s Oboe”
Example 2: David Childs, “Gabriel’s Oboe”
You must decide for yourself what sort of sound you prefer.
Another subjective aspect of euphonium concept is the use of vibrato. Individual players may choose to use vibrato at all times. Others prefer to play with a straight tone most of the time and to apply vibrato selectively, for musical effect. Some say we should play with vibrato when soloing and not when playing in a section.
There are also different musical traditions regarding vibrato on the euphonium. In Brass Bands, we use vibrato at all times, including when playing in a section. In orchestral music, we use a straight tone except when playing a solo passage.
Finally, there are two widely-used methods to produce vibrato - jaw vibrato and diaphragm vibrato. Is one of these more characteristic of the instrument than the other?
My view is that diaphragm vibrato is preferable. One reason is that vibrato is related to air stream control, and the diaphragm controls the air stream. With jaw vibrato, we must move our mouths to create the effect; and that is not the primary role of our mouths in playing. Doing this can interfere with embouchure control.
Another reason is that players who learn jaw vibrato have difficulty turning it off when they need a straight tone. They have similar difficulty bringing vibrato into play and phasing it out in a controlled way when playing a long tone. In general, we do not see top-tier soloists using jaw vibrato.
Valve noise itself isn’t a matter of “concept.” It’s a physical reality. But each player’s tolerance of valve noise is definitely part of their concept of the euphonium.
The valves redirect the air stream from one path to another through the intrument. They do this by channeling the air stream between the ends of different tubes. “Tunnels” in the valves line up with the ends of different tubes. When the “tunnel” aligns with the end of a tube, the air flows through that tube on its way to the bell. Otherwise, the solid part of the valve blocks access to the tube. This is the same for rotary and piston valves.
Inevitably, there will be a non-zero length of time when the air stream is split between the old and new paths as we close or open a valve. Both tubes are partially blocked and partially open.
Some players don’t care much about this and consider the noise part of the character of the instrument. Others strive to minimize the noise to achieve smooth transitions between notes.
For what it’s worth, I’m in the latter camp. I tend to focus on clean playing to a greater extent than most players I know - to the point that they sometimes tease me about it.
Many euphonium players insist they don’t hear any valve noise when they play, even when it seems obvious to me. It’s possible they have become accusomted to it and don’t notice it. To make it easier to hear, let’s compare some tuba players.
Why tuba? Valve noise is more obvious on larger brass instruments than on smaller ones. The valves are larger and the tubes are larger in diameter, so on a larger instrument the time during a transition between notes when two tubes are partially covered is longer than on a smaller instrument. This kind of noise isn’t really a problem on trumpet or cornet; it can be a problem on baritone or euphonium; and it’s definitely a problem on tuba.
Listen to these examples and see if you hear any valve noise. Note: These are all professional-level players. The point is not to criticize them, but to help you cultivate a concept based on the most “perfect” result you can imagine. A secondary point is to give you a sense of the expectations I will want you to set for yourself, should you engage me as a private teacher.
Example 1: Jeremy Lewis, professor of tuba and euphonium at West Texas A&M University (2024)
In this video, Lewis demonstrates an etude that is used in auditions, to help students master it. It’s a lyrical etude that consists mostly of slurred phrases. Valve noise is very noticeable in every transition between notes. We need to be conscious of this and not train our ears to ignore it.
Example 2: Eduardo Nogueroles, tuba solo from James Barnes’ Third Symphony for Band
In contrast, Nogueroles’ performance of this solo, played on a large tuba, illustrates clean transitions between notes without noticeable valve noise. This is the kind of smoothness we want to become part of our concept.
Example 3: Øystein Baadsvik plays Czardas in his TED talk about the tuba
Baadsvik is a professional soloist who brings the instrument to general audiences to raise awareness and appreciation for it. There’s no question that he’s an accomplished musician. But listen to the fast passages here and you may notice that while his fingers are manipulating the valves with great speed, almost all we can hear is valve noise and not clean notes.
Example 4: Wilfried Brandstötter and the Mnozil Brass
In this video, Brandstötter shows us that it’s possible to play fast passages in any register on the tuba without introducing valve noise. This is what we want in our minds as part of our concept of the euphonium. (His audience engagement is also pretty intense.)
Another detail to notice in these examples is the players’ embouchures. Nogueroles and Brandstötter maintain an embouchure with tight corners and a flat chin throughout all registers of the instrument, while Lewis and Baadsvik tend to puff out their cheeks in the low register.
Some teachers call this an embouchure “collapse.” Many players do this on low brass instruments when they haven’t developed their embouchures suffiently to play consistently in all registers, especially when descending to the low register after having played in a higher register. Be aware it is a workaround and not something to aim for; and don’t overlook the difference in the results of players who develop their embouchures properly.
A second type of noise can occur when metallic parts come into direct contact. The instrument is made almost entirely of metal.
The valves are designed to enable free movement while avoiding metal-on-metal contact. Some of the parts are made of non-metal materials - plastic, nylon, rubber, felt, etc.
These parts - valve guides, silencer pads - wear out through normal use of the instrument, and must be replaced. This is part of routine maintenance of the instrument, but many players let a lot of time pass before they get around to doing it, and their valves may become quite noisy.
I’ve seen this on all brands and models of euphonium. It seems to be a bigger issue on Bessons, because the valve caps are shaped like inverted cups, and their (relatively) sharp edges tend to cut through the silencer pads.
But it happens on all euphoniums, even high-end models like Willson and John Packer Sterling, which have flat valve caps.
Top professional soloists may not worry about this so much, as they receive instruments from manufacturers as a way for the manufacturers to promote their products through the soloists’ public appearances, and through clinics sponsored by the manufacturers. They don’t play a horn long enough for the non-metal parts to wear out. But for us mortals, regular maintenance of our equipment is advisable.
In my opinion, these players exemplify the “ideal” euphonium concept with respect to timbre, clean transitions between notes, precision, expressive playing, technic, and audience engagement:
In my opinion, these players are very close to the level of those listed above. Each is impressive in many ways.
Dave Werden’s website has a list of links to excellent euphonium and baritone horn performances: Werden’s euphonium videos page
The same page features a video of Werden playing Claude T. Smith’s Rondo for Trumpet on euphonium with the United States Coast Guard Band in 1979; a fantastic performance.
Bastien Baumet with l’Orchestre Voltige
Thierry Deleruyelle, “Dragonfly”
Bastien Baumet with l’Orchestre d’harmonie de la Ville du Havre
Ricardo Molla, “The Unknown Soldier”
Bastien Baumet with the Taichung Philharmonic Wind Ensemble
Philip Sparke, “Harlequin”
Bastien Baumet with unidentified wind band
Ricardo Molla, “The Overton Window”
Bastien Baumet with the Banda Jovem Do Estado de Sao Paulo
Johan De Meij, “UFO Concerto”
Bastien Baumet with the Paris Police Band
(composer?), “Riverdance”
Bastien Baumet with pianist Heera
Georges Bizet, “Carmen fantasy”, arr. Luc Vertommen
Bastien Baumet with the Societat Musical Lira Relleuense
Astor Piazzolla, “Oblivion”
Bastien Baumet with the Societat Musical Lira Relleuense
Bert Appermont, “The Green Hill”
Bastien Baumet with Peter Graham (trumpet) and the Taichung Philharmonic Wind Ensemble
Alexis Demailly, “Bravura”
Bastien Baumet with the Artenium Brass Band
(composer?), “Once Upon a Time”
Demondrae Thurman with the Bozeman Symphony Orchestra
Anthony Barfield, “Heritage Concerto”
Demondrae Thurman with Martha Fischer, piano
“Deep River”
Demondrae Thurman with prerecorded accompaniment
Ben McMillan, “Mandelbrot’s Dream”
Brian Bowman and Demondrae Thurman
Tom Davoran, “A Song From Wales”
Dave Werden with the U.S. Coast Guard Band
John Hartmann, “La Belle Americaine”
Roger Behrend with Judy Buttery, piano
William Wiedrich, “Reverie”
New England Tuba Festival, 1984
Roger Behrend with Caryl Conger, piano, and Emily Fisher, harp
Album - “Roger Behrend: Euphonium”, 10 tracks
David Ceste with the Orchestra Fiati di Valle Camonica
Johann de Meij, “UFO Concerto”
Boonyarit Kittaweepitak with the Thailand Philharmonic Orchestra
Vladimir Cosma, “Euphonium Concerto”
Hiram Diaz with the U.S. Marine Band
Kevin Day, “Euphonium Concerto”
Soichiro Tonomura with Fukuoka Institute of Technology Wind Instrument Orchestra
Philip Sparke, “Euphonium Concerto No. 1”
Soichiro Tonomura with Ami Fujiwara, piano
Martin Elleby, “Euphonium Sonata”
Soichiro Tonomura with Yasuhide Ito, piano
Yasuhido Ito, “Fantastic Variations”
Kevin Fenske with the University of Texas at Austin Symphony Band
Patrick Schulz, “Concerto for Euphonium and Wind Ensemble”
Glenn van Looy with the BrassBand Uberetsch
Steven Verhelst, “Once Upon a Time”
Anthony Caillet
Astor Piazzolla, “Cafe 1930”
Anthony Caillet with the Brassage Brass Band
Caillet, “What if…?”
Anthony Caillet
Japanese traditional song, “Flower”
Brian Bowman with Miya Suen, piano
Benedetto Marcello, “Sonata in F Major” for bass, arr. Ostrander
Brian Bowman with the San Diego Summer Music Institute Wind Ensemble
H.L. Clarke, “Carnival of Venice”
David Childs with the North Texas Brass Band
Peter Graham, “Force of Nature”
David Childs with Chris Williams, piano
Karl Jenkins, “A Troika? Tidy!” from euphonium concerto
David Childs with the Greve Harmoniorkester
Philip Sparke, “Pantomime”
Daniel Thomas with the Black Dyke brass band
George Doughty, “Grandfather’s Clock”
Mark Glover with the Lion City Brass Band
“Devil’s Tongue”
Steven Mead with the Sopron City Wind Band
Arban, “Napoli Variations”
Emily Braverman with the Co-operative Funeralcare Band North West
Philip Sparke, “Pantomime”
Marina Boselli with the Civica Filarmonica di Lugano
Amilcare Ponchielli, “Concerto per Flicorno Basso”
Diego Lopez Ruiz with unidentified pianist
Vladimir Cosma, “Euphonium Concerto”
Bryan Fulcher, Philharmonia Principal Trombonist
Bydlo, Don Quixote, Mahler 7th, “Jupiter” from The Planets
U.S. Army Field Band
Roman Carnival Overture, Festival Variations, Festive Overture,
The Cowboys, Holst 2nd Suite in F
Adam Lessard and Irving Ray, U.S. Army Band
Hindemith Symphony for Band euphonium excerpts
Dave Childs
Allegro Mosso in Eb Minor by Luigi Gatti, Etude No. 3
Tyler Hardee
Voxman p. 2, Bb Major - Adagio Cantabile
Kevin Fenske
TMEA 2024-2025 Euphonium All-State Etudes
Voxman Db Major - Con moto
G Minor - Lento
A Major - Maestoso
The character of the euphonium is similar to the character of the male opera voice in the baritone range. Listening to top-level singers can help cultivate a good euphonium concept. This is particularly helpful with respect to timbre and expressive interpretation.
Jussi Björling
Puccini, “Nessun Dorma”
Jussi Björling
Donizetti, “Una Furtiva Lagrima”
Michael Spyres with the English National Opera Orchestra
Rossini, “Largo al Factotum”
Apollo Granforte (1932)
Rossini, “Largo al Factotum”
Igor Onishchenko at the 2021 International Opera Singers Competition, Moscow
Rossini, “Largo al Factotum”
Juan Carlos Heredia Seoul 2022
Rossini, “Largo al Factotum”
Ruffo Titto Cafiero (1877-1953)
Michael Spyres at Classic FM Live 2024
Puccini, “Nessun Dorma”
Luciano Pavarotti, The Three Tenors 1994
Puccini, “Nessun Dorma”
Luciano Pavarotti
Schubert, “Ave Maria”
Placido Domingo
Schubert, “Ave Maria”
Jose Carreras
Schubert, “Ave Maria”
Matteo Bocelli
Schubert, “Ave Maria”
Samson Setu, Australian Singing Competition 2019
Verdi, “Come Dal Ciel Precipita”
Bonus: There’s a cimbasso in the orchestra
I’ve mentioned you can find all kinds of accurate and useful information on your own via the Internet and books. Without the guidance of a teacher, you may not always recognize what is useful and what isn’t.
This video is from the MusicProfessor channel on YouTube. The presenter makes good points about tone quality, as well as the importance of listening to yourself and trying to match your sound with a reference sound (what I call “concept”). He demonstrates three kinds of “bad” tone quality and accurately explains the causes.
YouTube: MusicProfessor good tone quality on euphonium
But in my opinion, his demonstration of good tone quality still has some issues I do not think you should emulate, specifically:
In this video, Staff Sgt. Irving Ray with the United States Army Band offers a beginning lesson in playing the euphonium in which he demonstrates how to play the notes Bb, C, and D.
To qualify for the U.S. Army Band, one must be a top-notch musician. The auditions are highly competitive and the band is among the best in the world - probably in the top 5 globally.
And yet there are still some issues with this demonstration. If you’re trying to develop the best possible euphonium concept, be aware of the issues so that you can obtain useful information without also getting into bad habits.
YouTube: Irving Ray, First Notes: Bb, C, D
The issues I see in this case are: