As a band director whose primary instrument is trumpet, there were a lot of things that I took for granted when I started teaching low brass as a young teacher. Yes, brass is brass. However, not all brass is the same. Oftentimes, we underestimate the importance of both, and the pedagogy associated with each instrument.

While tone can vary from person to person, both the euphonium and tuba should have a resonant and warm tone quality. I have been blessed to work with some pretty amazing euphonium and tuba players and teachers over the years. I know my tuba teacher would say that often, too much stress is put on playing with an “open” sound, when really the goal is simply resonance.

Characteristic Tone

To achieve the tone quality that is resonant, the first step is to ensure that students have the correct fundamental set up to make that possible. With both, posture and the angle of the instrument is of the utmost importance. This has to be monitored. As students grow, this has to be adjusted. When you have Euphonium students who are taller, they will need to hold the instrument off their lap or use a cushion or rolled towel to keep it elevated. Some Tuba students might need to use a Tuba stand, move the instrument up and down on their legs or even position it on the chair. 

Euphonium Height and Angle

The breath is crucial. Breathing to play an instrument is not like breathing in life. However, getting students to have an airstream that is of a sigh, or air that is free moving, will yield better results. No matter what instrument you teach, all students should have a relaxed and natural body.

Tuba Airstream (“Sigh Airstream”)

With euphonium, the embouchure should be so that the mouthpiece doesn’t sit too low on the embouchure or push too hard into the upper lip. I have learned from some pretty smart teachers that students are most successful when the mouthpiece placement is placed higher than center, allowing for a somewhat downward airstream for all but the lowest notes. The oral cavity should be comfortably round and open. However, students can try to open too much causing tension and fuzziness to creep into the tone quality. 

Euphonium Mouthpiece Placement

Euphonium Oral Cavity

In regards to tuba, mouthpiece placement can vary from student to student, but should generally be in the middle or slightly below. The aperture should be tall in the center, with the corners reinforced on the sides. Like with all brass, the chin should be flat and the lips should be flat against the teeth. The inside of the mouth should be open. Like with euphonium, students can try to open too much causing tension and fuzziness to creep into the tone quality. 

Tuba Embouchure

 Tuba Mouthpiece Placement

From my experience, I have learned that most of the time, there is a misconception about how the sound is actually produced, given clarity, and maintained on both of these instruments. Students often confuse playing with a big, resonant sound by creating a tight, pinched buzz. Yes, if you squeeze, the buzz will be loud. However, the tone quality will not be correct and it will not project. A free buzz should be airy, supported with a calm and relaxed column of air. High pitched sounds come from the teeth or lips being too close together or from creating friction too far inside the lips.

Tone and Production Effort

Keep It Simple: Natural Faces and Air

The mirror is the best teacher. I say that constantly in my band hall. I am also a firm believer that demonstrating fundamental skills for young musicians is key, but the importance of teaching students how to think and listen critically, by utilizing practice “tools” like recording themselves, and a regular practice routine are critical ways to reinforce and maintain growth within developing tone quality. Hearing kids play individually is a critical tool used to check in and monitor the development of tone. While some believe there is not enough time to do this, you really do not have time not to hear them.

Demonstration and Teaching Critical Listening

To maintain and grow the players, students need to find the ideal spacing between their lips to allow the air to create a characteristic vibration. It should sound steady and strong but without fuzz or extra noise. My euphonium teacher absolutely loves using pedal tones and lip/pitch bends to help students find a more open spacing between the lips. 

In closing, there are a few non-negotiables of playing the instrument that I think are monumental in the success of the student. Remember, the face and the corners should be natural. Never let the posture be compromised when a student is playing any instrument, and monitor their angles as they grow. Mouthpiece placement should be adjusted based on the space between the student’s top lip and nose, as well as how their natural face sits. Feet placement, hand position (playing on the fingerprints of the hand) and articulation are all necessary non-negotiables to monitor for the overall student success on the instrument.

Remember, your students (and yourself) only grow from failure, and failing is proof that one is trying!

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I firmly believe that focusing on the fundamental skills (specifically tone production, articulation, rhythm, technique, and style as appropriate) lead to both individual development and ensemble development since each of these skills build on the one before it.

Once students are able to produce a great sound, the next most important aspect of their playing is articulation. I believe that articulation should be worked on every day. One of the best parts of working on articulation is that kids can hear the improvement. It’s an immediate change. They want instant gratification—everything to happen right away—and articulation is one of those things that you can hook them on and give them the feeling of “Oh, this is cool. I do sound better.” Even in the first year of playing, I encourage everyone to work on the development of fundamental articulation, and to do an articulation exercise. It can be very short at the start and develop over time as the students continue to progress.

Check out these recommended articulation exercises from Alfred Music’s Sound Innovations: Ensemble Development for Intermediate Concert Band series.

Open the Playlist

Just like when you speak, articulation is important for clarity of what is being said or played. Ensuring that all students articulate correctly requires individual attention. Since you cannot see what they are doing inside their mouth, you must be persistent when you teach. Never be afraid to teach and reteach again!

Sample Articulation Exercise, courtesy of Robert Herrings: click here to download

As the teacher, having an understanding of where the tongue should touch inside of the mouth or on the reed is part of what we need to define for our students. Even within brass playing, where the tongue touches will vary from instrument to instrument. I am a firm believer in only giving the students the information they need. We don’t want to complicate things for them. Be short, clear, and concise. If we start trying to dissect it and get really “scientific” about what’s happening inside the mouth, then things will start to get distorted.

Articulation also changes with each student depending on their teeth structure. These days they will come to school with all sorts of orthodontic contraptions in their mouths! We are sometimes stuck trying to figure out different ways to get students to articulate clearly so they don’t distort their tone in spite of those devices.

One tool which is really helpful when teaching articulation is to have students start notes without their tongue: an air attack. An air attack is when you have the student make a fundamental sound with no distortion to the tone. Once that tone has been achieved, add the tongue back in at the start of the note. The goal is to have no change in the air speed or the embouchure from the successful air attack. Adding the tongue back in should only offer more clarity to the start of their sound. A phrase I often use and learned from a really smart band director is, “airspeed drives articulation.” We all know that if we want students to play with a great sound, they need to use great air. If the air is fast behind the tongue and the kids are able to execute very clear articulation, the tone qualities take care of themselves. A lot of times, some of the intonation takes care of itself, too!

As the students develop in their playing, define note starts and releases. So many bands do not start or end together! This is a skill that has to be taught and reinforced through repetition. Listen critically and address concerns as they arise. A beautiful note-start hinges on the intake of the breath and the tongue moving down quickly and together at the start of the note. The phrase “A band that breathes together, plays together,” stands true. With note releases, I stress that students should stop the note by breathing in, holding the vowel sound on the note-end and staying relaxed. The follow through of the note-end is often overlooked. No matter the duration, notes should all start and end together. With younger players, this is a skill that has to be monitored and reinforced consistently. To fully develop the students’ awareness and skill, vary articulation patterns to challenge their growth. 

Ensemble articulation consists of the combination of each individual performer’s articulation (consistency) and the overall transparency of the ensemble. This can be developed by modeling, the use of consistent language, working an articulation exercise, varying articulation patterns, the use of subdivision exercises, and vocalizations

Keeping these keys to successful articulation in mind—quality, strength, speed of tongue, and support of air—will make an immediate impact in the sound of your ensemble.

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