SWITCHING A STUDENT TO EUPHONIUM OR TUBA Some Thoughts for Directors to Consider

Switching a student to euphonium or tuba from another instrument can be a rewarding process for both student and instructor. Here are a few suggestions to make the process smooth and successful for both parties.

Consider size and fit carefully. Any student switched to a larger instrument should be able to physically manage the horn. This issue can be particularly complex with the tuba, as instruments come in many different shapes and sizes. However, in considering the above suggestion, don’t forget to factor in a student’s desire to change instruments. If a student really wants to become a euphonium or tuba player there are many accommodations available today that can make even the largest horns accessible. For both euphonium and tuba there are several after-market products that can be used to carry some or all the weight of the instrument. Some instrument stands strap onto the horn and rest either on the chair or the floor, while others are designed like a typical three-leg folding drum stand with an adjustable pad on top that supports the entire weight of the instrument. All the student has to do is lift the horn into place and balance it. For tubas, there are also special chairs manufactured which take the entire weight of the horn.

Got 4 valves or even 5? USE ‘EM! Most of the better models of euphoniums and tubas manufactured today are available with 4 valves. On some tubas even a 5th valve is an option. Use of the 4th valve in place of the 1&3 combination or 2&4 in place of 1,2&3 greatly improves intonation and encourages smooth, fast finger technique as well. Students switched from a three-valve brass instrument should be adapted to the new system right away. In much the same way we teach trumpet players to use their left thumb and ring finger slides for 1&3 or 1,2&3 valve combinations or flute players to roll in and out to adjust pitch, use of the 4th valve on euphonium and tuba should be automatic.

Treble clef versus bass clef euphonium. Treble clef euphonium can be a good “quick fix” for the middle of the school year, but in the long run the student is best served by playing bass clef music. Perhaps the most common switch is from trumpet to treble clef euphonium. In this case, students read the same music and use the same valve combinations. However, the industry standard in America and most of the world is bass clef euphonium music. In fact, most of the “serious” literature for the instrument is published only in bass clef.

Any student can manage a change of instruments. There is really no “best switch” when considering a transfer to euphonium or tuba. From trumpet or horn, students must learn to relax their embouchure and breathing. Obviously there is a new clef in most cases and hopefully an extra valve involved. Changing a trombone player to euphonium or tuba is perhaps the easiest transition. Breath and embouchure are very similar, with only the valve combinations presenting a new challenge. Any woodwind player can make the transition to euphonium or tuba. The basics of music and breathing remain the same and the rest is completely new to the student. This can actually be a benefit as there are no old techniques to unlearn. A seemingly unusual but particularly successful switch can be from flute to tuba. Both instruments demand a focused air stream and great breath control. Several of the most successful tuba players in the business began on flute.

Economic factors may be a consideration. A student who might not be able to afford instrument rental fees may be a good candidate for tuba or euphonium as these higher cost instruments often belong to the school. Switching to an instrument the school owns can retain a good student who might otherwise drop out of your program due to cost factors. This is a “win-win” for both parties as you cover a needed instrument in your program and the student continues to enjoy positive life experiences through music.

Join the International Tuba Euphonium Association (ITEA). Because the euphonium and tuba can be rather foreign instruments, even to the instructor, I encourage a membership in the association, which will come with a subscription to the ITEA Journal. Particularly in the early days of training, music written for the euphonium and tuba can be simplistic and even dull. Therefore, students may begin to feel a bit disenfranchised from the rest of your program. The ITEA Journal helps students of all ages understand that there is a whole world of educational and professional support for their instruments. The euphonium and the tuba are COOL instruments to play. For more information on ITEA membership contact: Kathy Brantigan, ITEA Treasurer, 2253 Downing St., Denver, CO 80205. You may also download ITEA membership information at www.ITEAonline.org

Article Contact:

James E. Shearer New Mexico State University (505) 646-2601 e-mail: [email protected]