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The euphonium is a medium-sized, 3- or 4-valve, often compensating, conical-bore, tenor-voiced brass instrument that derives its name from the Ancient Greek word εὔφωνος euphōnos, [2] meaning "well-sounding" or "sweet-voiced" (εὖ eu means "well" or "good" and φωνή phōnē means "sound", hence "of good sound").
Double bell euphonium being played. The double bell euphonium is a duplex instrument based on the euphonium. The larger bell produces the mellow tone of a standard euphonium; the second smaller bell has a brighter tone, similar to a baritone horn or valve trombone. The instrument is sometimes dismissed as a novelty, but has had some ...
Euphonium: B ♭ 2: When notated in treble clef fife Folk B ♭ fife: A ♭ 4: Flute: D ♭ piccolo: D ♭ 5: Piccolo: C 5: Treble flute: G 4: F soprano flute: F 4: Soprano flute: E ♭ 4: D ♭ Flute D ♭ 4: B ♭ flûte d'amour: B ♭ 3: A flûte d'amour A 3: Alto flute: G 3: Bass flute: C 3: Contra-alto flute G 2: Contrabass flute C 2 ...
Fingering charts published in 1830 indicate these early cimbassi were most likely to have been pitched in C. [8] Later, the term cimbasso was extended to a range of instruments, including the ophicleide and early valved instruments, such as the Pelittone and other early forms of the more conical bass tuba.
Fingering charts can be found for example in this reference. [ 1 ] In the case of finger systems for the clarinet, which are based on the Oehler system, one speaks today mostly of the German system , and of finger systems that are based on the Boehm system (clarinet) , of the French system.
This is not to say that composers, then and now, valued the euphonium only for its lyrical capabilities. Indeed, examination of a large body of concert band literature reveals that the euphonium functions as a jack of all trades, at times doubling the tuba in octaves, at times adding warmth to the trombone section, at times adding depth to a horn line, and at times adding strength to rapid ...
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Cross-fingering is any fingering, "requiring a closed hole or holes below an open one." [ 9 ] "Opening successive tone holes in woodwind instruments shortens the standing wave in the bore. However, the standing wave propagates past the first open hole, so its frequency can be affected by closing other tone holes further downstream.