See also:

• EUPHONIUM (Fr. baryton; Ger. Tenor Tube)

EUPHONIUM (Fr. baryton; Ger. See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

Tenor See also:

• TUBE (Lat. tuba)

Tube)  , a See also:

• MODERN

modern See also:

• BRASS
• BRASS (O. Eng. braes)

brass See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument, known in military bands as See also:

• EUPHONIUM (Fr. baryton; Ger. Tenor Tube)

euphonium and in the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra as See also:

• TUBA

tuba . The euphonium consists of a brass See also:

• TUBE (Lat. tuba)

tube with a conical See also:

• BORE

bore of wide calibre ending in a wide-mouthed See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell; it is played by means of a See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup-shaped See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece . The See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound is produced as in the See also:

• BOMBARDON, or BASS TUBA

bombardon, which is the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass of the euphonium, by the varied tension of the lips across the mouth- ' For a discussion of this see See also:

• ARCHON (apywv, ruler)

ARCHON.piece, whereby the natural open notes or harmonics, consisting of the See also:

• SERIES (a Latin word from serere, to join)

series here shown, are obtained . The intervening notes of the See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic See also:

• SCALE
• SCALE (1) A

scale are obtained by means of valves or pistons usually four in number, which by opening a passage into additional lengths of tubing See also:

• LOWER

lower the See also:

• PITCH
• PITCH, MUSICAL

pitch =-m . i H Meemhnn — one, See also:

• HALF

half, one-and-a-half, -mi4' 4i two-and-a-halftones (see b~_ T BOMBARDON; TUBA; I z 3 4 6 8 VALVES) . The euphonium gives out the fundamental, or first See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of the See also:

• HARMONIC

harmonic series, readily, but no harmonic above the eighth . Euphoniums are made in C and in Bb, the latter being more generally used . By means of all the valves used at once, the Bb, an See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave below the fundamental, can be reached, giving a See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass of four octaves, with chromatic intervals . The bass clef is used in notation . The euphonium is treated by See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French and See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German composers as a transposing instrument; in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England the real notes are usually written, except when the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble clef is used . The quality of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone is See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and full, harmonizing well with that of the See also:

• TROMBONE (Fr. trombone, Ger. Posaune, Ital. trombono)

trombone . The euphonium speaks readily in the lower See also:

• REGISTER

register, but slowly, of course, owing to the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• DIP (Old Eng. dyppan, connected with the common Teutonic root seen in " deep ")

dip of the pistons . Messrs Rudall See also:

• CARTE, THOMAS (1686-1754)

Carte have removed this difficulty by their patent See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• ACTION

action pistons, which have but half the dip of the old pistons .

On these See also:

• INSTRUMENTS

instruments it is easy to execute rapid passages . The euphonium is frequently said to be a See also:

• SAXHORN

saxhorn, corresponding to the baryton member of that See also:

• FAMILY

family, but the statement is misleading . The bombardon and euphonium, like the saxhorns, are the outcome of the application of valves to the See also:

• BUGLE

bugle family, but there is a See also:

• RADICAL (Lat. radix, a root)

radical difference in construction; the tubas (bombardon and euphonium) have a conical bore of sufficiently wide calibre to allow of the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the fundamental harmonic, which is absent in the saxhorns . The Germans classify brass wind instruments as whole and half' according to whether, having the wide bore of the bugle, the whole length of the tube is available and gives the fundamental proper to an See also:

• ORGAN

organ See also:

• PIPE

pipe of the same length or whether by See also:

• REASON (Lat. ratio, through French raison)

reason of the narrow bore in proportion to the length, only half the length of the instrument is of See also:

• PRACTICAL

practical utility, the harmonic series beginning with the second harmonic . (See BOMBARDON.) (K .