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ITEA Journal Volume 45 Number 4 (Summer 2018)

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LOOKING BACK
By Ken Drobnak

Vibrato and the Euphonium - Thoughts on Using and

Teaching Vibrato
The following article originally appeared in Volume 5, No. 2 of the TUBA Journal
(Winter 1978).

One of the 2016 ITEC clinics I had highlighted on my schedule was Brian Bowman's
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presentation, "Giants of the Euphonium History: A Presentation of Historic
Euphonium Artists of the Past Century with Some Recordings and Biographical
Information." Not only did Dr. Bowman discuss Harold Brasch, Art Lehmann,
Leonard Falcone and Raymond Young, but also how he tried to incorporate the
strengths of these players into his own playing. As I write this, Brian is in the
process of wrapping up his final year at the University of North Texas, and it
seemed appropriate to reprint an article he had written for the Journal. For Volume
5, Bowman contributed an article on euphonium and vibrato where he compiled the
teaching techniques and thoughts of artists from the 1970s. Surprisingly, or
perhaps not, Bowman discussed some of those same artists at his 2016 ITEC
lecture! If you are unfamiliar with any of these artists, search for recordings on
YouTube and you will find plenty of options. In addition, if you missed Bowman's
retirement concert at UNT, search for the performance of The Melody Shop with Dr.
Bowman and his alumni studio. The biographies at the end of the article have been
updated to reflect information available in 2018.

Compiled and Edited by Brian L. Bowman

Brian Bowman: Webster defines vibrato as "a slight tremulous or pulsating effect
(but not a tremolo) for adding warmth and beauty to the tone or for expressing
changes in emotional intensity." Perhaps no playing technique is more
misunderstood and ignored than the vibrato, especially as applied to the
euphonium. Vibrato is not mentioned in 99% of all method books (including those
called melodious etudes or vocalises) and rarely treated with any comprehension in
brass texts. It is hoped that this article, bringing together the ideas, opinions and
teaching technics of some of the finest American euphonium artists and teachers,
will be of use to all who are interested in the euphonium.

HAROLD T. BRASCH

VIBRATO: Effective vibrato on brass instruments is achieved by two principal

means: the right hand and the lower jaw.

The hand vibrato is to be confined to cornet, trumpet and trombone. Its use is
chiefly in popular music, and the description of its production is best left to method
books and teachers of trumpet and trombone. Latest Journal

Harold Brasch

The jaw vibrato has been used with excellent results on ALL the brass instruments,
and in a comprehensive study of baritone, euphonium or bass, it must be
recognized as the ONLY effective vehicle for these instruments. Only ineffective
vibrato will be achieved through the use of other means: as lips, breath, throat,
diaphragm, etc.
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Admittedly, any study of vibrato on brass instruments is to evoke a rash of
opinions. It is only reasonable then, to consider first of all, the use of vibrato as
applied to the most perfect musical instrument of all - the human voice. A cursory
observation of all vocalists, ranging from the prima-donna of grand opera to the
housewife with no formal training, is to reveal interesting facets of vibrato:

a) vibrato is used throughout the entire range of any single voice.

b) vibrato is common to all voices - male and female - coloratura to basso.

c) apparently no effort is made to unify the vibrato of one soprano with that of
other sopranos, or with other voices. The blend seems quite natural.

d) the solo voice or the choir seem to blend quite effectively with instruments using
vibrato (i.e. the string orchestra), or with instruments not using vibrato (i.e. piano
or organ).

3) tests have proven that 6 or 7 waves per second are the norm for all voices.

The queen of musical instruments is unquestionably the violin. Careful observation

of the string section of an orchestra verifies the identical findings that pertain to the
vocalists:

a) vibrato is common to all the strings - violin to string bass.

b) vibrato is used throughout the entire range of any member of the string family. Advertisement

c) apparently no effort is made to unify the vibrato of one violin with that of the
other violins, or with the larger stringed instruments. The blend seems quite
natural.

d) the violin soloist and the entire violin section seem to blend effectively with other
instruments, whether or not vibrato is used on these accompanying instruments.

e) tests have proven that 6 or 7 waves per second are the norm for all strings.

As brass players, let us follow the example set before us by the vocalists and the
string players - a discriminating use of vibrato to improve our capabilities.

a) all brass players (except French horn) should be taught vibrato.

b) Most professional brass players use vibrato in solo passages.

c) There are no method books for brass that teach HOW to produce the vibrato.

d) The players within a section need not attempt to use similar vibration.
e) A competent performer can readily play without vibrato; or he can use the
vibrato that fits the style of the music:

1) A very moderate vibrato is used in the playing of hymns.

2) A medium vibrato is used in most band work.

3) A wider vibrato is used when playing an aria.

4) A faster vibrato seems to be called for in playing types of brass solos.

PRODUCING JAW VIBRATO

Preliminary to sounding a vibrato on a given tone, the actual motion can be

effected without an instrument. With the teeth parted about 1/8 th of an inch, and
the lips parted a like distance, the syllables rerererererer or rururururururur are
sounded with the voice, as though singing. This resulting motion of the lower jaw is
the actual mechanics of the vibrato for euphonium or tuba. Needless to say, no
sound is ever made with the voice when playing or when producing vibrato on a
brass instrument.

A single tone in the middle register is used for the initial trial, holding for several
seconds, in an effort toward self-control. The resultant sound should be compared
with the following chart, to determine the faults that need be overcome. Once the
vibrato has been developed to the place of application in a tune, it should be used
on every note that has sufficient duration. The cello performance is always to be
emulated.

VIBRATO MUST BE ACCEPTED AS THE SIMPLEST AND MOST EFFECTIVE MEANS TO

IMPROVE THE TONE.

VIBRATO MUST BE ACCEPTED AS A MEANS TO IMPROVE THE INTONATION.

VIBRATO DIAGRAMS

Vibrato Diagram (Harold Brasch)

(Harold T. Brasch)

No. 1. This line is to illustrate the straight tone, having no vibrato. This type of tone ITEA News Headlines
is required of brass players in the symphony orchestra for sectional playing.
New Hire: David Childs, University Of
No. 2. This wavy line illustrates a vibrato that is too slow, having but two waves per North Texas
second.
New Hire: Jace Vickers, East Central
No. 3. This vibrato has proven very effective for dance orchestras, has three and University
one-half to four waves per second, and is a trifle heavy.
No. 4. This vibrato is too rapid, having eight or nine waves per second. The New Hire: Alex Avila, Texas A&M
resulting sound will be a nervous, shaky tone. University - Kingsville

No. 5. This vibrato has the correct wave-length, but is too heavy. This type of New Hire: Genevieve Clarkson,
vibrato will affect the pitch, making the tonality questionable. Oklahoma City University

No. 6. This vibrato is too wide and too fast. It is probably the "nanny-goat" tone of
certain European brass players. New Hire: Aaron Campbell, University
Of Tampa
No. 7. This vibrato is too slow and too narrow to be effective. It will hardly be
noticeable in the tone quality. New Hire: Geoff Durbin, Ouachita
Baptist University
No. 8. This represents the ideal vibrato for the euphonium. It is heavy enough to be
effectively heard; it has six to seven waves per second. It will blend with other
New Hire: Joe LeFevre, Kansas City
instruments, whether or not the other instruments use a vibrato. This is to be used
Symphony
on all sustained tones in the high, medium, and low registers. For tones in the
pedal register, vibrato No. 7 will be the best choice.
New Hire: Aubrey Foard, Baltimore
PAUL DROSTE Symphony Orchestra

My approach to vibrato evolved from experimentation with several different New Hire: Ryan Robinson, Oklahoma
techniques. My first instrument was the trombone, which I started in the sixth State University
grade; I didn't really pick up the baritone until I was a sophomore in high school.
Working under the advice of two teachers, I tried to transfer my trombone slide New Hire: Aaron Tindall, Sarasota
vibrato to the baritone horn; that is, I used a hand vibrato, similar to what a Orchestra
trumpet player might do, but this proved very unsuccessful for me. It didn't make
any difference how hard I practiced or how long, it just didn't happen. I would get
New Hire: David Childs, University Of
the comments on some of my solo sheets that said, "I see your hand moving, but I
North Texas
don't hear anything happening in the sound," and, after a while, you just have to
come to the point, if your teacher doesn't, that you have to try something else.
New Hire: Jace Vickers, East Central
University

New Hire: Alex Avila, Texas A&M

University - Kingsville

New Hire: Genevieve Clarkson,

Oklahoma City University

New Hire: Aaron Campbell, University

Of Tampa

New Hire: Geoff Durbin, Ouachita

Baptist University

New Hire: Joe LeFevre, Kansas City

Symphony

Paul Droste New Hire: Aubrey Foard, Baltimore

Symphony Orchestra
At that time, I fell under the influence of a graduate assistant who was completely
open-minded on the subject of vibrato and suggested that we make the rounds of New Hire: Ryan Robinson, Oklahoma
some of the other studios and talk to other teachers. I remember sitting in on an State University
oboe lesson where the oboe teacher was explaining and teaching the concept of
vibrato to a student. We discussed, with the oboe teacher, afterward, the concept of
New Hire: Aaron Tindall, Sarasota
diaphragm, or breath, vibrato. For the next week or so, I tried this on euphonium.
Orchestra
I've heard some people play this way successfully, but very few.

It was another disaster on the euphonium, so I felt that with two strikes against
me, there seemed to be only one direction to go and that was to the lip-chin vibrato
or, as we sometimes call it, the lip-jaw vibrato. It was a very simple vibrato to learn
and I was able, within a relatively short period of time, to feel very confident in
using it in a band situation, if the part called for it, or in a solo situation.

So from that time on I have taught and used the chin-lip vibrato. I think if we were
to poll the euphonium players in the country, we would find that 90, 95, 98, 99
percent maybe, of the euphonium players and teachers use this type of vibrato. I
start my students with long tones, turning the metronome to 60, which is, of
course, one beat a second, and have them vibrate with the lip and the jaw and the
chin at two pulses per beat, "wa-wa-wa," and have them play through a series of
tones. The first warm-up exercise in the Remington Warm-Ups is very useful, or
maybe just a major or chromatic scale. But, have them vibrate at only two pulses
per beat, very slow and very wide, and very unmusical. Then we progress to three
pulses per beat, again with the metronome on 60, and then to four pulses. By then,
we are to the place where we can begin to use some of this in the literature. Then,
of course, we can continue to five pulses per beat and six pulses per beat. This is
probably a little too fast for euphonium, but certainly some of the higher pitched
instruments would vibrate at that rate of speed.

From this point, we go into the very simple melodies and melodious exercises. The
Cimera Fifty-Five Phrasing Studies (which actually has 60 studies) is very useful for
this purpose. The ReinhardtConcone Studies and the easier exercises in Book I of
Rochut's Melodious Etudes are very useable for this. When we start in on the
melodious exercises, however, the mechanical and metronomic approach goes out
the window and it becomes strictly a matter of musical taste from that point on.
With the mechanical, metronomic approach, we are trying to teach control of the
vibrato, so we can make it wider, narrower, faster, or slower. Once we have these
tools at our disposal, then it's a very simple matter to go into the melodious
literature and start using vibrato with our musicianship and our musical taste being
the guidelines.

LEONARD FALCONE

There are several types of vibrato. The first is the diaphragmic vibrato which is used
primarily by woodwind players such as oboe, flute, and bassoon. There is also the
throat vibrato which is used in Italy a great deal. I'm entirely opposed to throat
vibrato because it creates problems in the upper register. The throat becomes very
tense and the constriction of the muscles in the throat becomes quite audible in the
tone quality. This is the worst type of vibrato.

Leonard Falcone

I use and teach the chin or lip vibrato which I do not call the jaw vibrato. I have
had the experience of some people calling it jaw vibrato and it was not successful,
because it moved the entire jaw. I believe in moving the chin which controls the
lower lip. I call this method lip vibrato and it is a pitch vibrato, not a dynamic or
volume vibrato. The diaphragmic vibrato is a dynamic vibrato with variations in
intensity or volume rather than pitch.

In teaching the lip or chin vibrato, I'll have the student play a straight tone, say a
concert Bb for four beats full tone. Just after the fourth beat, raise the chin, in
quarter rhythm, up and then down. In other words, the chin would go up and then
drop immediately to a rigid position on the beat. It is very exaggerated effect at
first of course, in order to get the feel of raising the chin which raises the lip. We
can't raise the lip without the chin. When the student reaches the point when they
can do this, it should be practiced in quarter-note rhythm at a speed of about MM
80 up and down a one octave chromatic scale alternating back and forth between
straight tones and the vibrato. When the quarter note rhythm is mastered, move to
eighth-notes, triplet eighth-notes and finally, sixteenth-note rhythms.

On a string instrument the vibrato is produced by moving the finger forward, or up,
shortening the string, then returning to the pitch. I like to make this clear; the
vibrato must not go flat and then sharp, it should go up (sharp) and then go down
to the correct pitch.

After mastering the vibrato on scales, it is then applied to music. At first, we still
use the rhythmic patterns until they become very free and the chin can move up
and down at any speed. By this time, the chin lifting motion I cut down
considerably and the pulsations should not be mechanical any more. It is best not
to count pulsations because if it is obvious that you're relying on a metered rhythm,
the vibrato is not artistic. The vibrato should be used based upon your own feelings
and your musicianship. Usually, when the music is very intense and especially in
the upper register, we would use a faster vibrato than in the lower registers where
the intensity is not so strong.

When first teaching the vibrato I stress holding straight tones (without vibrato)
because the student needs to be able to use the vibrato only when appropriate. I
have experienced some students that have used the vibrato continuously, which is
not right. Not all music should be played with the vibrato. In my own case, I can
stop using the vibrato immediately, just like shutting off a water faucet, and play
with a straight tone.

The determining factors in using vibrato are musical - what type of musical style
and who you are playing with. When properly used it is a great asset to the
euphonium tone's expressiveness and beauty.

ARTHUR LEHMAN

This brings up the matter of vibrato, and how can we speak of tone without
discussing vibrato? We cannot. Nothing adds more to a good euphonium tone than
a pleasing vibrato. Really, a pleasing vibrato is not too difficult to develop. Again,
your teacher will guide you in the right direction in your study of vibrato.

Arthur Lehman

I have seen diagrams of a vibrato; I have read formulas and seen tables on how to
play a vibrato which is mathematically correct; I have read this; I have read that. I
agree with it all - up to a point. A vibrato, as I produce it, is so personal a thing and
depends so much upon the motions that in my opinion it is wrong to consider a
vibrato in mathematical terms. Speed and width of the vibrato depend upon so
many things that saying that it must be so many beats per second would seem to
me to be foolish. Consider these facts, or, opinions:

1) Vibrato gets wider as you blow louder

2) Vibrato gets shallower as you blow softer

3) Vibrato gets faster as you go up in pitch

4) Vibrato gets slower as you go down in pitch

5) Vibrato changes with the character of the music - very emotional music demands
more vibrato, very calm music demands less vibrato, etc.

Now, this seems to indicate to me that other things are more important to the
understanding of vibrato than how many beats per second it should be. The matter
of "how many beats per second the correct vibrato has" never came up when I
learned the vibrato, and I learned it from the very best - Mr. Harold Brasch!
My personal preference in the type of vibrato is the jaw vibrato. Another acceptable
type of vibrato is the hand vibrato. I feel that a jaw vibrato is THE vibrato and I
have good reasons for this opinion, I feel. A hand vibrato gets away from the
source of the tone and tends to be impersonal and unemotional. A jaw vibrato is
very close to the source of the tone - as close as you can get - since the vibrating
lips cause the sound. Further, the air column itself is directly affected, not indirectly
as with the hand vibrato. In my opinion, it is easier and more natural to vary the
vibrato with the jaw, making it wider or shallower, faster or slower, etc. It seems to
be so natural to do, requiring very little thought once it is mastered. A hand vibrato
tends to tire the lips more than a jaw vibrato. The hand doing the movement
causing the vibrato is the hand doing the fingering, too. It would then seem that
with a hand vibrato you couldn't use a vibrato until the fingering stopped; that is,
on a long note. With a jaw vibrato there is no such limitation, not that you would be
using a vibrato while playing fast passages. But you could do so with the jaw
vibrato.

In the past such virtuosos as Jules Levy, Herbert L. Clarke, and Arthur Pryor used
jaw vibratos. Harold Brasch and Bob Isele use jaw vibratos. They sound great,
especially their vibratos. So beautiful! Why not emulate them?

EARLE LOUDER

By virtue of the definitions of the terms Baritone Horn, deep toned horn, and
Euphonium, well sounding instrument, the emphasis in both cases is on tone
quality - good tone quality. The element that gives warmth and expression to the
human voice, the original instrument, is the same element that gives warmth and
expression to the euphoniumists - vibrato. There is a great correlation between
voice vibrato and euphonium vibrato. For me vibrato comes very naturally because
of my bass singing voice. The warmth and expression which is achieved in my voice
is the same warmth and expression which is naturally imitated in my euphonium
tone quality. Vibrato is produced in various ways for the wind instrument
performer; lip, jaw, tongue, throat, diaphragm, and hand. Of these all except the
hand vibrato should be employed at some time or other in euphonium playing. The
lip, jaw, tongue, and throat vibratos are ones which affect the raising and lowering
of the pitch while the diaphragm vibrato affects the pulsation of the speed of the air
column. Each one by itself sounds very artificial while various combinations and
even all elements at once produce a vibrato similar to the natural singing voice. The
combination of the elements is dependent upon the mood and excitement of the
music being performed. At the most exciting loud climax more lip, jaw, and tongue
control is employed while at a very relaxed slow soft passage more throat and
diaphragm control is employed. In both cases, however, all vibrato producers are
employed to some degree or another.

Earle Louder

The preceding observations concerning vibrato are very personal to my own style of
euphonium tone quality and are very natural for me. However, how can the concept
and the skill of obtaining a good vibrato be introduced to someone who can only
obtain a good straight tone and cannot comprehend vibrato naturally? There are
two methods of teaching vibrato which have produced effective results in my years
of teaching and coaching euphonium players. The first method is one where the
tongue and jaw produce a motion similar to pronouncing the syllables: Tah - yah -
yah - yah . . . . . (as in opera). The second method is one where the lips produce a
motion similar to pronouncing the syllables: Waw - waw - waw - waw ….. (as in
was). The first method employs mainly the tongue and jaw while the second
method employs mainly the lip and jaw. They both should be practiced in the same
manner - controlled. A good exercise with which to start is the following time-tested
and proven tonguing exercise: (tongue the first note of each measure and pulsate
each written note in a steady MODERATO tempo).

Louder Diagram

Using either method that works more readily, have the student play the entire
exercise on tuning Bb and then move down chromatically, each time playing the
entire exercise on each pitch level until a complete octave has been encompassed.
After a period of time when this can be done with some degree of confidence, have
the student start on tuning Bb and ascend chromatically encompassing an octave.
When this can be done with some degree of confidence, variations of this exercise
can be played changing the speed and/or the intervals. The next step, after a long
period of concentrated fruitful practice, is to try vibrato on sustained notes within
the course of a melody. Well known and familiar hymn tunes are excellent melodies
on which to practice vibrato in the early stages. The preceding exercises are very
mechanical, however, when vibrato is employed in a musical melody of expression
it must become a very personal emotional experience. Do not try to measure
vibrato by a certain number of pulsations per measure and/or beat. Let the
emotional mood of the music being performed dictate the speed and width of the
vibrato just as you will when singing different mood songs. The end result should
be a relaxed, natural, and controlled vibrato giving warmth and feeling to a
beautiful instrument - the Euphonium.

It is most important that a performer know just what type of vibrato and tone
quality he will want to achieve. For this reason it is my recommendation that the
true euphonium student (we all fit into that category) listen to many good
euphonium and male vocal performers, in person or on recordings, and try to adopt
the best qualities from each performer.

Keep the sounds of good tone quality and vibrato ringing in your ears so that you
may try to emulate them in your personal practice. A concept that can be heard
and sung can be reproduced on your instrument. The key to good vibrato is
conscientious practice which will allow the maturation process to develop gradually
over a period of unhurried time. There are no magical shortcuts that will be lasting;
only hard, concentrated, determined work - individual practice.

HENRY C. SMITH

What is the musical reason for vibrato? Is vibrato something you do to make the
sound wiggle and to pretty it up a bit? No! A musically expressive vibrato is
something which comes from within the sound, which then has the effect of making
a phrase flow - of making a line move. A beautiful vibrato (which is a variation of
pitch and/or intensity, depending upon how it is produced) must be under the
complete control of the player. The performer must be able to speed it up, slow it
down, widen it, narrow it, or eliminate it completely. A vibrato which never varies in
any of its characteristics (like a Hammond Organ tremolo) is very unattractive.

Henry C. Smith

One should note that some players become a slave to vibrato. They can neither
control nor eliminate it. This is a serious problem. Players who vibrate all the time
rarely listen carefully to their intonation. Vibrato can cause tuning problems in
ensemble playing. Certain kinds of vibrato production can cause endurance and
range problems. Let's face it. The basis of fine brass is good straightahead sound. If
you can make a beautiful phrase with a straight sound, just think what you can do
when you add tasteful vibrato. One cannot be dogmatic so far as methods of
production are concerned. I have heard fine artists produce lovely results with the
lip, the jaw, the wind, the diaphragm, etc.

The most important fact is that you must not be a slave to your vibrato. You must
control it! Let it serve the beauty of the phrase - the motion of the line.

RAYMOND G. YOUNG

The first observation I must make about vibrato is that it's a very personal thing,
just like picking out your wife. You can teach vibrato to two students exactly the
same way, but it's going to come out different because it's a very personal thing.

My high school band director, Dale Harris, a fine clarinetist and a very fine band
director, was the first to advise me about vibrato. Even though he was a clarinetist,
he taught me to use the jaw vibrato. We started with moving the jaw on whole-
notes, "ooh-wah, ooh-wah," dropping the jaw down to change the pitch a full
quarter-step. Then we moved on to half-notes quarter-notes, etc., and by the time
we got to sixteenth-notes I was, more or less, using the "wah-wah-wah" approach
to jaw vibrato.

Later, in college, William Revelli encouraged me to produce a more singing tone. He

would sing for me in a dead, flat style, "not 'la-da-da,' but," (and then in good
Italian opera style) "'lu-lu-lu,'" wiggling his hand as if producing a violin vibrato. So,
in pure imitation of his singing quality, I began to use the breath vibrato - the same
one that flutists, oboists, and vocalists use.

In spite of my personal preference for breath vibrato, I teach the jaw vibrato
because it's been my experience that this is what most players use. My students
have been extremely successful with the jaw vibrato, producing a beautiful sound.

An occasional student will ask me to teach him the breath vibrato and I try to do so
using imitative/listening techniques and, also, by using a methodical system. Again,
the player should begin slowly, pulsating the air from well down in the diaphragm
region. We have to be careful not to let the vibrato get too high in the throat
because this will produce the undesirable "nanny-goat" sound - "eh-eh-eh-eh-eh."

To summarize: no matter what methods or concepts we use to learn vibrato, the

result for each player is going to be a personal one. Our vibratos are going to be as
different as our faces - it's just an individual thing.

BIOGRAPHICAL MATERIAL (Updated 2018)

Aubrey- Perhaps this biological material could go in a second column lined

up with each entry? Or a sidebar?

Harold T. Brasch , a nationally acclaimed euphonium soloist, began his music

career in a Boy Scout Troop. On his 14th birthday, he was given a $50 student-
model trumpet with ten free lessons and attended San Pedro (California) High
School. A year later, Harold switched to euphonium on the advice of his bandmaster
E.A. Jarvis. While in high school, he appeared as soloist with numerous college
bands in concert and with the Long Beach Municipal Band, under the direction of
Herbert L. Clarke. In 1936, he was admitted into the U.S. Navy Band in
Washington, D.C. on the strength of a letter from Dr. Clarke. Harold Brasch became
the acclaimed "Mr. Euphonium" with his many performances with the Navy Band
where he displayed his technical mastery of the euphonium, a beautiful tone and
superb musical craftsmanship. Clarke described Brasch as " … unexcelled on his
instrument." E.F. Goldman described him as " … a great artist," and Arthur Lehman
noted, " … as a soloist, Brasch doesn't make mistakes." Simone Mantia described
his tone quality by saying, " … the tone I wish I had," and Commander C. Brendler
of the U.S. Navy Band stated that Brasch was "… the world's finest."

Paul Droste was born on October 14, 1936 in a small suburb of Cleveland, Ohio.
He was encouraged from a young age into music and took up the trombone in 6th
grade. Droste graduated from The Ohio State University in the Spring of 1958 and
would earn his M.M. from the Eastman School of Music while teaching high school
instrumental music near Columbus, Ohio. In 1970, Droste completed one of the
very first D.M.A. in Euphonium Performance degrees at the University of Arizona
and afterwards was appointed the Director of The Ohio State University Marching
Band, a position he held for fourteen seasons. Droste was one of the first clinicians
for the Yamaha Corporation in the United States, bringing both the YEP-321 and
YEP-641 to educational and performance-based institutions over the entire Midwest
region. Droste recorded two albums of euphonium solos, both of which are
considered definitive examples of formative solo repertoire for the instrument. An
early arranger for the euphonium, many of his settings for both euphonium and
euphonium ensemble are available from ECS Publishing and Ludwig Masters Music.
Droste formed the Brass Band of Columbus and was elected into membership in the
American Bandmasters Association.

Leonard Falcone was born April 5, 1899 in Roseto Valfortore, a Province of Foggia
in Italy, one of Dominico and Maria Filippa (Finelli) Falcone's seven children. In
1908, Leonard began his musical career at the age of nine by playing the alto horn
in the prestigious town band (known as the Roseto Valfortore Band or the "Banda
Municipale") directed by the famous Donato Donatelli. In 1917 Leonard Falcone
enrolled part-time at Michigan's University School of Music. Falcone was granted
citizenship in 1924, and in 1926 graduated with a diploma in violin. Leonard
became the director of Michigan State College Military Band in September 1927. By
the Fall of 1928, the Michigan State Institute of Music and Arts was established, and
Falcone was listed as "director of the band and instructor of wind instruments and
Italian." Notably, Falcone was a prominent Baritone artist, one of the few in the
country, and was lauded for bringing the previously obscure instrument into the
public eye. Beginning in 1929, Falcone made numerous solo appearances across the
country and even made multiple recordings of baritone solos with Joseph Evans,
Michigan State pianist. Falcone also collaborated with the First Division Band Course
company with the publication of The Leonard V. Falcone Baritone Solo Series and
The Leonard V. Falcone Trombone Solo Series. Leonard Falcone, who served on the
faculty of Michigan State University for 53 years, was truly a world-class brass
player, and his reputation for excellence touched all aspects of his career. His solo
performances, his bands, and his students were all characterized by his singular
dedication to the highest standards.

Arthur 'Art' Lehman (1917-2009) was a widely recorded American euphonium

virtuoso and soloist. He was noted for having radically changed the way the
instrument was technically performed and was a major influence on euphonium
soloists who followed him. Lehman retired as euphonium soloist and section leader
of the "President's Own" United States Marine Band in 1971 after twenty-four years
of service. During his time with the Marine Band, he performed many solos that set
the highest standards for euphoniumists who followed. Arthur Lehman was
instrumental in changing the euphonium section of the Marine Band from playing
the small-bore C.G. Conn Double-bell euphoniums of the Sousa Band era to the
large-bore Boosey and Hawkes self-compensating euphoniums, which he
demonstrated to be more functional and adaptable to modern performance
practices. Art Lehman was born in Doylestown, Pennsylvania, and attended Penn
State University, where he earned a B.A. in Electrical Engineering in 1940. Drafted
into the United States Army upon graduation, although initially assigned to an
aircraft factory based on his engineering background, Lehman wound up playing
euphonium with an Army band from 1944 to 1946. Having studied with Simone
Mantia, soloist of the Sousa Band, in the summer of 1946, Lehman began studying
euphonium with Harold Brasch, the noted euphonium soloist of the United States
Navy Band.

Earle L. Louder has been acclaimed by colleagues around the world as one of the
finest euphonium virtuosos of all time. In addition to his performances with the
New Columbian Brass Band, Louder served as the assistant conductor and soloist
with Leonard B. Smith's Detroit Concert Band. He also appeared as principal
euphonium and featured soloist with Keith Brion's New Sousa Band in concerts
throughout the United States. Louder achieved national prominence during his
tenure with the United States Navy Band in Washington, D.C. As a member of the
Navy Band, Louder served as Head of the Brass Department and euphonium soloist
for 12 years. Louder completed his undergraduate work at Michigan State
University, where he studied with the renowned euphonium artist, Leonard Falcone.
He earned his doctoral degree at Florida State University and achieved the
distinction of being the first person ever to complete the Doctor of Music degree in
Euphonium Performance. After leaving the Navy Band, Louder served as resident
artist and Distinguished Professor of Music at Morehead State University in
Kentucky.

In 1969, Henry Charles Smith won the Grammy for the "Best Classical Record of
the Year" with the Philadelphia Brass Quintet. He performed as trombonist with the
Philadelphia Orchestra from 1955-1967 under famed conductor Eugene Ormandy,
and numerous guest conductors. His recordings on trombone and euphonium in
solo and chamber ensemble are widely known. While on the conducting staff of the
Minnesota Orchestra, he commissioned and premiered the first major concerto for
euphonium and orchestra. Smith served as Music Director of the World Youth
Symphony at Interlochen for fifteen years and Music Director of the South Dakota
Symphony Orchestra for twelve years. He has served on the faculties of the Curtis
Institute of Music, Indiana University, Temple University, St. Olaf, Luther and Bethel
Colleges, Tanglewood and the University of Texas at Austin.

Raymond G. Young , the first Euphonium Coordinator of TUBA at its inception in

the early 1970s, was an internationally renowned euphonium artist, conductor,
clinician, and adjudicator. Mr. Young was a graduate of the School of Music at the
University of Michigan with a Bachelor of Music Education degree and Master of
Music degree in Performance. He held positions at Louisiana Tech University as
Director of Bands and Head of the Department of Music and at the University of
Southern Mississippi as Director of Bands. Mr. Young appeared throughout Europe,
Mexico, Canada, and Japan, in 35 of the 50 United States of America and on over
50 university and college campuses. In addition, he recorded with Golden Crest
records and Century records. He appeared as euphonium soloist in Carnegie Hall,
Symphony Hall in Boston, and as soloist with the University of Michigan Symphony
Band, conducted by the late William D. Revellli. His former euphonium and tuba
students hold important positions in educational institutions and professional bands
and orchestras across the globe. He was elected a member of the American
Bandmasters Association and named Bandmaster of the Year by the Louisiana
Bandmasters Association.

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