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The Baritone

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 Steven,
	this maybe a silly question from a stupid bass player but what notes
  would you need a compensating sytem to play on 3 valves?  Our systems work
  only when you depress the 4th valve, adding that extra little bit of tubin
 g to make the note flat enough.
 Would it mean with three valves that the compensating tubing was used all
 the time ??  If so wouldnt all the notes in the higher register be flat ??
 Just interested.
 Phil Green
 BBS Fodens.

 Date: Sat, 15 Feb 1997 16:58:10 -0500
 From: Steven Booth <StevenBoothOcompuserve.com>
 Subject: The Baritone
 To: Angela Tregaskes <angelaOpharm.lon.ac.uk>
 Cc: Brass Band Mailing List <brass-bandOsmsltd.demon.co.uk>

 Angela, (and all other interested baritone / euph players)

	 Where to start ? Here goes (I'm sure this will stir up some
 discussion amongst euph and baritone players) :>

 The main and most important difference between the euphonium and the
 "Baritone-Horn" is the BORE SIZE. The baritone has a smaller bore than the
 euphonium, whilst the "American Baritone" (often used in schools) is a
 combination of the two instruments - almost a "hybrid".

 Another major difference used to be the number of valves, however there are
 now 4-valve baritones on the market (although I personally believe the
 4-valve baritone is moving dangerously close to a "small euphonium" and
 there is a danger the baritone will lose it's identity if we are not
 careful).

 The Baritone-horn has always been a purely brass band instrument, and has
 tended (until more recently) to remain hidden within the band. After a long
 hard struggle some people are at last starting to take the instrument more
 seriously as a soloist - for example last year I got a solo spot at the
 Nova Scotia International Tattoo - something which I don't think any
 euphonium has yet had (although I'm sure someone will tell me otherwise !).

 My personal thoughts are that a baritone should remain 3 valves,
 compensating (in fact I am working with Yamaha on such a model at present -
 this should be available soon ). I have played the 4 valve Boosey and,
 whilst it had it's good points I believe that moving to 4 valves will
 endanger the baritone's identity. Also I believe the Boosey's model uses
 the euphonium valve block design, turning into almost a "mini-euphonium".













 (Having said that the prototype I had a go at was still ok - so don't let
 me put you off !).
 the 4th valve can be useful (false fingering etc) and especially s a
 soloist to extend the range - however I haven't come across much band music
 that requires the use of 4 valve baritones yet, (akthough obviously there
 are one or two pieces) and I am managing fine on the 3 valve Sovereign and,
 more recently the new Yamaha prototype (3 valve compensating).

 Your references to forward facing bells, I have only come across American
 instruments which are in effect American Baritones (see above explanation).
 As for the 4th valve being operated by the little finger of the right hand,
 either they are contortionists or this is yet another version of the
 American Baritone (possibly Yamaha - based on the old Yamaha euph design
 with 4 in-line valves).

 As far as mouthpieces go I haven't yet seen or tried the Steven Mead
 mouthpieces and so cannot comment.

 Sorry for the length of this but I think that the explanation is warranted.

 (All opinions expressed are my own PERSONAL view - so please don't get too
 upet if you don't agree !)

 Thanks  (I'm getting ready for the backlash and exceptions which
 undoubtedly exist !)

 Steven Booth


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