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The article offers information on inStands, a company founded by Werner Schwarz in Nals/Südtirol, offering innovative wooden stands for brass instruments like the tenor horn, French horn, and euphonium.

The article presents a reprint of the article "Intonation Problems of the Euphonium" by Royce Lumpkin, which appeared in the May 1981 issue of "The Instrumentalist." It discusses euphonium's intonation problems, their possible solutions, and the examination of interrelated factors common to all brass instruments. Details relating to overtone series discrepancies, harmonic modes and valve combination discrepancies are also discussed.

The article discusses the use of Fred L. Clinard's "Sonata for Unaccompanied Euphonium" as a musical exercise piece for euphonium students. It is described as a good opportunity for students to develop their interpretive creativity because of its lack of an accompaniment. Players are advised to practice daily using soft air attacks across a wide range in order to achieve a level of comfort with the piece's introduction. Techniques for highlighting the piece's compositional techniques are described, such as alternating the volume.

The article presents the highlights of the Tubonium workshop that was held at Gustavus Adolphus College in Saint Peter, Minnesota on April 2-4, 2009. The workshop started out with the Solo Competition. On Friday morning, the official opening concert by the Gustavus Adolphus College Tuba-Euphonium Ensemble under the direction of Paul Budde was held. The workshop concluded with the second of two collaborative recitals featuring various artists like Nat Dickey, Marty Erickson and Jim Lyon.

The article presents the author's compilation of tips related to music. Instructional tips include checking the corks on flutes twice a month to ensure that the instrument is in tune, using euphoniums in extending the harmony of the horn section downward, and compiling and using a list of melodies for beginning brass players. Conducting and Rehearsal tips include bopping helps in centering the tone and increasing the rhythmic accuracy, listening to second-rate orchestra, and using an hourglass approach to rehearsals. Conducting tips and memorable quotes are also presented.

The article presents guides on how to teach young students to play trombone. According to the author, young learners of trombone often find it awkward to play music while reading on an euphonium. Students should hear a good sound from trombone before he, or she, plays anything. The first step mentioned was for students to hear a buzz on a mouthpiece from a teacher that they would imitate afterwards. Young students should also see the correct way on how to breathe. While holding a trombone, students must be relaxed, and straight, and the instrument should be straight from the face, and forms a letter L with the body.

The article presents several opinions from various music industry experts in response to the International Euphorium Institute (IEI) debriefing for the year 2006. One comments on how the event was well attended by participants from all over the U.S. and especially mentions a Jiri van der Kaay from Holland. Another one recalls her lessons with IEI 2006 international guest artist Tormod Flaten. Another letter gratifies her lessons with Brian Bowman and Steve Call, both euphonium icons.

Presents an update of issues and events related to the activities of the International Tuba-Euphonium Association (ITEA) as of April 2006. Information on a blues band known as Someday, Baby! and their new music recording; Details of the 2006 Musical Creativity Workshop for tuba and euphonium.

The article presents information on the benefits and drawbacks of auxiliary valves in brass instruments. Many young brass players completely ignore the auxiliary valves on their instruments because they do not know how to use it. Others know the mechanics but their teachers never encouraged them to use them. Lowering the pitch of a brass instrument takes a progressively greater increment of tubing to lower the pitch of each successive half step in a descending scale. Although the second valve lowers the open pitch when the first valve is already depressed and the second valve is added to lower the pitch another half step, the note will be sharp because it takes a greater increment of tubing to lower that pitch by a half step. The precise tuning of the perfect fourth can be easily achieved with a trombone slide. However, such ready pitch adjustment is not possible with the valves on a euphonium or tuba, which have to extend the first or third valve slides to play in tune. The fourth valve is very important on a piccolo trumpet because these additional five semitones make it possible to play notes down in the soprano trumpet register.

The article focuses on the correct way of using tuba and euphonium in band music. One of the major components of tuba playing is tone quality because bad sound cannot be tuned properly. To improve the tone and intonation of virtually any player, the first step is a clean mouthpiece. A mouthpiece brush will return the shank to its original diameter and produce instant improvement. If the shank of the mouthpiece is dented, a mouthpiece truing tool and a rawhide mallet will correct the problem. The size of a mouthpiece should match the size of the student using it. For correct posture and playing positions the tuba and the euphonium should be played with the bell upright; holding the horn parallel to the floor looks slovenly and muffles the sound. Stands should be used to reduce muscular tension and improve concentration by alleviating worries about dropping an instrument that is precariously perched on the corner of a chair. A chemical bath at a repair shop will open clogged leadpipes and do wonders for the tone and intonation. Students should be encouraged to breathe deeply and to expel a lot of air in a relaxed fashion because the conical design of the tuba and euphonium responds best to a large volume of air moving at a relatively slow rate.

An essay is presentedÄon the history of several low brass musical instruments, including the serpent, bass horn, and the ophicleide. Topics discussed include the characteristics of the low brass instruments, introduction of the tuba or euphonium by Wilhelm Wieprecht in 1835, and the components of a musical performance. The historic use of the serpent for church choral music is also mentioned.

The article offers information on old models of euphoniums from 1891 to 1992. The Highams Clearbore 5-valve model, which was built in 1891, gave alternative fingerings to improve intonation but is uncomfortable to hold. The Besson Enharmonic Euphonium has three tuning slides for the middle and upper register notes that are at the back of the instrument. The Hawkes & Dictor Euphonium, which dates from around 1915, is only compensated on the fourth valve.

The article assesses several euphonium parts in band music. There is a tendency for euphonium players to use their tongue harder to project the accented note in "Variations of Scarborough Fair," composed by Calvin Custer. In this musical piece, the tongue should clarify each note with a bit more volume. One of the most famous and trickiest of the euphonium solos is included in the first movement of the "Second Suite in F," composed by Gustav Holst. This middle register solo should project over the accompaniment of trombone and tuba. Thus, natural and resonating sound projection with plenty of air is necessary. Another problem with this musical piece of Holst is the intonation. The 6th partial on the brass instrument tends to be noticeably sharp.

The article offers step-by-step instructions for playing the musical piece "Thunder and Blazes," by Julius Fucík, using the euphonium.

The article discusses the insights of a performer about improving the ergonomics of using a euphonium. Topics covered include the problems posed by the weight of a euphonium when performing while standing, Jouko Antere's invention of the ERGObone trombone support and the ERGObrass horn support, and the convenience of using the support for the euphonium.

The article presents tips on how music students can properly handle and play the tuba and euphonium. The bulky nature of the said instruments sometimes make it difficult for students to play with good mouthpiece placement, embouchure and posture. To deal with this problem, students should hold a mouthpiece with one hand, form an embouchure and the place the mouthpiece on the lips at the most comfortable spot. After a good mouthpiece placement is found, students should put the mouthpiece in the instrument, pick up the instrument and hold it in playing position while standing to verify that the mouthpiece and embouchure are the same as when the student was only holding the mouthpiece. Tall euphonium players should a stand to avoid slouching.

This article focuses on the musical instrument euphonium, an important but often overlooked member of the low brass section. Topics discussed include the view by many band directors that euphonium and its similarly shaped cousin the baritone horn are interchangeable, the comment from David Mathie, professor emeritus at Boise State University in Idaho, on euphonium, and the difference of a euphonium with the baritone. The role of euphonium in improving the sound of a band is also mentioned.

The article presents the warm-ups used by conductors before rehearsals for orchestra students in the U.S. Most conductors use scales as warm-ups because they are basic enough to be used with ensembles of all skill levels. Instructors should divide the ensemble into three groups and have each group play various scale degrees while the other two groups maintain the tonic pitch. On working in a key A flat, conductors should assign the root to the low brass and low reeds, the third to middle voiced instruments like the saxophones and euphoniums, the fifth and doubled octave to upper voices such as the clarinets, trumpets, oboes and flutes.

The author shares her views as president of the International Tuba-Euphonium Association (ITEA). She promises that the artistry and entertainment at the International Tuba-Euphonium Conference (ITEC) 2012 will exceed expectations. She admits owing her former teachers and mentors a whole hearted gratitude. She realizes that the role of educators is very powerful because they do not only teach about music and how to play the tuba and euphonium, but most importantly they teach lessons about life.

The article announces that Great Britain Wilson Euphonium artist Charley Brighton will premiere "Sonata for Euphonium" by U.S. composer Elaine Fine in November 2008. He has previously premiered her "Little Suite" for unaccompanied euphonium at Saint Mary's Slough, Berkshire, England. He will also feature some of the vintage euphoniums in his collection, including a recent addition presented to him by Doug Ruby of the U.S., a Conn Pan American euphonium.

The article reviews the Meinl-Weston's 751 Phoenix model euphonium, the Heritage Howard Johnson Gravity tuba line, and the Kodiak F-tuba.

The article presents the author's suggestions related to the problems faced by trombonists during their performance. The author says that sound quality can suffer if one plays flugel as a trumpet. Trombonists need to play different brass instruments, namely flugel, trombone and euphonium, and they do not get much time to practice. So, the author suggests alternating instruments during practice sessions.

The article presents a narrative of the author's experience playing the euphonium. He recalls the first time he attempted to play the euphonium and offers information on the bands he participated in. He discusses the influence of his chorale teacher and band teacher on his interest in music. He also explains the reason for his love for music.

The article presents a discussion on the upcoming events of the International Tuba Euphonium Association making year 2008 as the Year of the Tuba and year 2009 as the Year of the Euphonium. It calls for participation from the members to share their creative ideas to achieve greater awareness and exposure for these instruments.

The article reflects on the 2006 International Tuba Euphonium Association conference and how most participants should feel upon leaving any conference or workshop. The author introduces the journal's new features including upcoming summer programs, membership updates and eyeing year 2008 as the Year of the Tuba.

The article discusses the "Scherzo Allegro" for solo euphonium and piano by Joe Miserendino. It is a short piece and is a very difficult modern arrangement suited for a high level accomplished player. It has extreme ranges using both the upper and lower reaches of the euphonium and extreme interval skips in a very fast-paced meter.

Highlights the International Euphonium Institute (IEI) Seminar to be held at Emory University in Atlanta, Georgia, from June 1 to 17, 2006. Key features of the IEI event; Artists and master classes to be featured; Sponsors of the event.

The article reviews the music release "Little Suite # 4 for Solo Euphonium," by Barton Cummings.

The article presents a perspective on the sound produced by children learning to play musical brass instruments. Beginning low-brass players are lucky enough to produce a more open sound. the euphonium is like a fledgling calf finding its voice. The trombone is an adolescent moose that produces a shout for joy.