Baritone horn
Template:Short description Template:Infobox instrument The baritone horn, or often simply the baritone, is a valved brass instrument pitched in B♭ in the saxhorn family, employed chiefly in brass, military and concert bands.Template:Sfn It has three or sometimes four valves, usually piston valves, although rotary valves are common in Eastern and Central Europe, where it is called the Tenorhorn. The bore is moderately conical, like the E♭ tenor horn and cornet, although narrower than the closely related euphonium and other valved bugles, like the flugelhorn and tuba. It uses a wide-rimmed cup mouthpiece of similar dimensions to trombone and euphonium mouthpieces. Like the trombone and the euphonium, the baritone can be considered either a transposing instrument reading B♭ treble clef, or a non-transposing instrument in bass clef.
In British brass bands, the standard instrumentation includes parts for two baritones, in addition to two euphoniums. In US concert band music there is often a part marked baritone, but these parts are commonly intended for, and played on, the euphonium. A baritone can also play music written for a trombone due to similarities in timbre and range.
Name
The name baritone has been applied to several related valved brass instruments in different places, languages, and times in history, generally pitched in 8-foot (8′) C or 9′ B♭ and developed in the 19th century.Template:Sfn The euphonium, although similar, has a wider conical bore and larger bell that places it closer to the tuba.<ref name="Grove-euph"/>
Names in other languages include the French Template:Lang, from which the modern British brass band instrument was derived, and in Italian, Template:Lang; Template:Lang and Template:Lang refer to the euphonium, the basso always having a fourth valve.<ref name="Grove-flic">Template:Cite Grove</ref> In Germany, the baritone usually has an oval shape and rotary valves, and is called the Template:Lang (while the smaller E♭ tenor horn is called the Template:Lang), and Template:Lang or Template:Lang refer to a similar instrument but with the euphonium's larger bore and bell size.<ref name="Grove-bar-ii">Template:Cite Grove</ref> The American tendency to confuse the baritone and euphonium may have been due to the influx of German musicians and instrument makers to the United States in the 19th century.<ref name="Grove-euph">Template:Cite Grove</ref>
The 1894 Lyon & Healy catalog depicts instruments called the B♭ tenor, B♭ baritone, and B♭ bass (with only one "B"), with the same pitch and overall three-valve construction and differing only in bore and bell widths.<ref>Template:Cite book</ref>
The American-style baritone, with three piston valves on the front and a curved forward-pointing bell, was dominant in American school marching bands throughout most of the 20th century. This instrument, along with the British-style upright baritone, concert euphonium, and similar-looking cylindrical bore instruments like the trombonium, were almost universally lumped together and labelled baritone by both band directors and composers.Template:Sfn Band scores and manufacturers have sometimes treated them as the same instrument.Template:SfnTemplate:Sfn
History
The baritone horn found in British brass bands was derived from the French Template:Lang, a lower-pitched member of the family of saxhorns, although bore measurements of historical instruments show it is closer to the baritone saxotromba.Template:Sfn These were two families of conical-bore piston valve instruments developed in the 1840s by Adolphe Sax. Other members developed into instruments now common in bands, such as the E♭ tenor horn and the E♭ and B♭ tubas.Template:Sfn
By the 1850s, Sax had convinced French military bands to use exclusively saxhorns in their bands, giving the instruments one of its first staples in the military field.<ref>Template:Cite web</ref>
Adolphe Sax's saxhorns became standard in bands in Britain and the United States due largely to the Distin family, who helped popularise the British brass band movement, promoting and performing widely on Sax's brass instruments. By 1850 Distin & Co. was manufacturing them in London, and in New York and Pennsylvania by the 1870s after the London business was purchased by Boosey & Co.Template:Sfn
In central and eastern Europe, the Template:Lang, patented in 1835 by the Prussian military conductor Wilhelm Friedrich Wieprecht and Berlin maker Johann Gottfried Moritz, inspired several related instruments. These eventually utilized rotary valves, and their characteristic oval shape was developed by Václav František Červený in the late 19th century.Template:Sfn The equivalent of these to the baritone in bore, bell size, and sound is called the Template:Lang in German.Template:Sfn
Developments in North America
.png)
In the US at the start of the American Civil War, there were only a small number of military bands; the few that did exist included the United States Marine Band, the United States Military Academy Band, several Regular Army regimental bands, and bands associated with state militias. The War Department General Order no. 48 issued on 31 July 1861 entitled 2 field musicians (buglers or fifes and drummers) per company of soldiers and a band of 16-24 musicians for each regiment.<ref name="villanueva"/> These groups adopted bugles and saxhorns, including B♭ baritones and euphoniums.Template:Sfn Over-the-shoulder varieties were frequently employed, as the backward-pointing bell of the instrument allowed troops marching behind the band to more easily hear the music.<ref name="villanueva">Template:Cite web</ref>
During the course of the American Civil War from 1861 to 1865, US instrument makers produced tens of thousands of brass instruments, and many have survived in museums.Template:Sfn After the war, the bands and their music remained popular, and manufacturing demand for bugles and saxhorns remained strong. From these ensembles and musicians emerged the American drum and bugle corps tradition, standardising on instruments in G by the early 1890s.Template:Sfn
By the early 1930s, the narrow bore bass bugle in G used up until then had evolved into the baritone bugle (originally known as a bass baritone), with a wider bore, pitched in G with a single piston valve that lowered the pitch a fourth into D. Ludwig (then a subsidiary of C. G. Conn) called theirs the "Baro-tone" bugle.Template:Sfn In the following decade, an additional semitone rotary valve was added, then replaced with a second F piston valve as permitted by a rule change in 1967.Template:Sfn By 1990, Drum Corps International (DCI), the governing body for competitive drum and bugle corps in North America, changed the rules to permit three-valved instruments in any key, not just G. This allowed instruments common in other band movements to be used in the ensemble, including both regular and bell-forward marching versions of B♭ baritones and euphoniums.<ref>Template:Cite web</ref>
The modern instrument
The modern baritone horn was developed in Britain from the French Template:Lang. In the 1870s, a three-valve compensation system was developed by David Blaikley, the factory manager at the London-based manufacturer Boosey & Co.Template:Sfn He developed a compensating third valve, where its tubing returns the airway through the first two valves a second time, adding smaller tubing loops to rectify intonation. Similar designs were patented earlier, by Gustave Auguste Besson in 1859, and Pierre-Louis Gautrot's Template:Lang in 1864.Template:Sfn Blaikley's compensation system was the most successful, and has since been in continuous use in Britain, little-changed, on instruments by Boosey & Co. (later, Boosey & Hawkes), and Besson after their acquisition by Boosey & Hawkes in the mid-20th century.<ref name="Childs-history">Template:Cite web</ref> The three-valve system is still made on baritones from Besson, as well as Blaikley's four-valve compensating system found more commonly on euphoniums.<ref name="manuf-Besson">Template:Cite web</ref>
Construction
Template:Multiple image The baritone horn, like the euphonium, is pitched in 9-foot (9′) B♭ an octave below the trumpet or cornet. When no valves are in use, the instrument will produce partials of the B♭ harmonic series which result from the vibrating air column within its Template:Convert of tubing.Template:Sfn
Like the euphonium, the baritone has a predominantly conical bore, but it is narrower, with less expansion of the bell flare and a consequently smaller bell diameter. It has a tighter wrap, and is thus smaller and lighter overall.Template:Sfn These characteristics favour higher frequency overtones in the sound, rendering a brighter, more trombone-like timbre than the euphonium.Template:Sfn Similar to cornet and flugelhorn, the two instruments are easily doubled by one player, with some adjustment of breath and embouchure, since they have essentially identical range and fingering.<ref name="DW">Template:Cite web</ref>
As with other valved brass instruments, the valves each add lengths of tubing to lower the pitch of the instrument and produce a fully chromatic scale and range. Baritones commonly have three top-action piston valves, operated with the first three fingers of the right hand. Some have a fourth valve, generally found midway down the right side of the instrument, and played with the index or middle finger of the left hand. Some may have a fourth top-action valve placed next to the other three, played with the fourth finger of the right hand.Template:Sfn
European instruments tend to have an oval shape, and three or four non-compensating rotary valves operated together by the right hand.Template:Sfn
Compensating valves
Many British-style three-valve baritones and some older American instruments have a compensating third valve. These route the tubing of the third valve back through the first two, which add a second set of small correcting lengths of tubing to correct the intonation of the lower notes, e.g. CTemplate:Sub and BTemplate:Sub. On premium models, the fourth valve is a compensating valve, resolving intonation and providing range below ETemplate:Sub.<ref name="manuf-Besson"/>
The fourth valve lowers the instrument a fourth, provides an alternate fingering for valves 1+3, and serves the same range-extending function as the F valve attachment on the tenor trombone. Although less common on baritones, its absence is not a defining characteristic.<ref name="confusion_bari_euph">Template:Cite web</ref>
Performance
The baritone typically forms part of the tenor harmony section of a band, and it can be used to play parts written for the similarly pitched tenor trombone or euphonium.Template:Sfn
Range
On the baritone, the second partial with no valves actuated is B♭Template:Sub on the second line of the bass clef. The eighth partial with no valves is concert B♭Template:Sub in the middle of the treble clef. The ETemplate:Sub second partial with all three valves actuated is the nominal lowest note on the instrument. Higher notes are possible above B♭Template:Sub since the upper range is limited only by the fitness of the players' embouchure, although notes above the bell cutoff frequency, around the tenth partial (DTemplate:Sub), are difficult to centre and continuous glissandi are possible, making valve fingering largely redundant.Template:Sfn
The lowest notes obtainable depend on the valve set-up of the instrument. All three-valve instruments are chromatic down to ETemplate:Sub, and four-valve instruments extend that down to at least CTemplate:Sub. Non-compensating four-valve instruments suffer from intonation problems in this range and cannot produce low BTemplate:Sub. These problems are solved with a compensating fourth valve. The pedals, from B♭Template:Sub down, are the fundamentals of the instrument's harmonic series. They are more difficult to produce on the baritone than the euphonium, due to its narrower bore and smaller mouthpiece. The extent of the lower end of the pedal range depends on the player's emouchure fitness, and the presence of a fourth valve.Template:Sfn
Notation
In British brass bands, all instruments except the bass trombone are transposing instruments using the treble clef notation popularized in France by instrument maker Adolphe Sax for his families of instruments.Template:Sfn This system allows band players to easily learn and switch between instruments, since the valve fingering is the same.Template:Sfn Like the tenor trombone and euphonium (and also the tenor saxophone and bass clarinet), the baritone when notated in treble clef is a B♭ instrument sounding a major ninth lower than written, an octave below the B♭ trumpet or cornet.<ref name="Grove-bar-ii"/>
In concert bands the baritone, when not confused with the euphonium, can be treated as a non-transposing instrument written at concert pitch in bass clef and, like the orchestral trombone, with high passages often in tenor clef. Concert band music often provides the baritone parts in both bass and B♭ treble clef, to accommodate players from either background, although professional players are usually familiar with either notation.Template:SfnTemplate:Sfn In continental European band music, the baritone or euphonium are occasionally written as B♭ transposing instruments in bass clef, sounding a major second lower than written.Template:Sfn
Performers
In the early 20th century in the United States, the Italian-born trombone, baritone and euphonium virtuoso Simone Mantia (1873–1951) toured with the bands of both John Philip Sousa and Arthur Pryor, made some of the first solo recordings, and helped to popularize the baritone and euphonium in the United States.Template:Sfn<ref name="Mantia1">Template:Cite web</ref> Leonard Falcone (1899–1985), also Italian-born, was appointed Director of Bands at Michigan State University in 1927, and as professor of euphonium taught many euphonium and baritone artists until his death in 1985. The Leonard Falcone International Tuba and Euphonium Festival, a principal venue for tuba family instruments in the United States, was established in his honour.<ref>Template:Cite web</ref><ref>Template:Cite thesis</ref>
Some artists within the wind and brass band traditions have championed the baritone horn. Katrina Marzella is a British Yamaha artist, and helped them develop their "Neo" model of baritone horn.<ref>Template:Cite web</ref> She has recorded two albums of baritone horn music, Katrina (2009) and Spotlight (2019), both premiering newly commissioned works.<ref name="4br-spotlight">Template:Cite web</ref> She played solo baritone with Black Dyke Band until her 2024 appointment as the first woman principal conductor of Scotland's champion brass band, The Cooperation Band.<ref>Template:Cite web</ref> Mike Cavanagh is currently principal baritone with Black Dyke Band, and professor of baritone horn at the Royal Northern College of Music.<ref>Template:Cite web</ref>
Helen Harrelson is a British baritone horn soloist, educator, and brass band advocate based in the United States, founding the National Youth Brass Band of America in 2019 and performing with Fountain City Brass Band in Kansas City. She promotes brass band music through teaching, performance, and research.<ref>Template:Cite web</ref> Robert Richardson is a Scottish baritone and euphonium player and held principal positions in the National Youth Brass Band of Scotland, before performing extensively with the US Brass Band of Columbus.<ref>Template:Cite web</ref> He was one of the four baritone soloists to record the band's album Baritones to the Fore! (2008), which included several new compositions.<ref name="4br-tothefore">Template:Cite web</ref>
Jazz
In jazz, trumpet players will sometimes double on lower valved instruments, including valve trombone and baritone horn. Maynard Ferguson was known to play valve trombone (including his own superbone variant) and baritone horn, for example the song "Gospel John".<ref>Template:Cite AV media</ref><ref>Template:Cite AV media notes</ref>
The soundtrack to the 2023 film Fremont by the Iranian-born Canadian composer Mahmood Schricker features Leandro Joaquim on baritone horn, accompanied by double bass and the Persian setar.<ref name="3CR">Template:Cite web</ref><ref name="bandcamp">Template:Cite web</ref>
Repertoire
In orchestral music, the baritone horn's contribution is rare. The German composer Gustav Mahler, in his Symphony No. 7, scores for a Tenorhorn, but the part is often played on the euphonium.Template:Sfn
Italian composers occasionally call for flicorni in the banda parts in Italian opera, and Ottorino Respighi's off-stage brass parts for his symphonic poem Pini di Roma (1924) include baritone parts marked flicorno tenore in Si♭ intended to be played, if possible, on replicas of the ancient Roman buccina.<ref>Template:Cite web</ref>
In bands, the baritone is used to fill the tenor and baritone texture, and sometimes given solo lines to bridge the gap between the trombones and euphoniums. For solo performances, the lack of original repertoire written specifically for the baritone has hampered its acceptance as a serious instrument.<ref name="4br-tothefore"/> Soloists often have to rely on concertos and other works written for the trombone or euphonium. In 1939, Leonard Falcone published an article in the Music Educators Journal advocating for more solo compositions for the baritone, stating "anyone well acquainted with the instrument cannot deny that the baritone is one of the most, if not the most, expressive of the brass instruments."<ref name="MEJ-Falcone">Template:Cite journal</ref>
In 1948, American composer Alan Hovhaness wrote his Divan Concerto No. 3 for baritone horn and orchestra. In the 21st century, there has been renewed interest in composing works for solo baritone horn, including Philip Sparke's Rhapsody (1991), and concertos with band by Boris Diev (1997), Roger Thorne (2003), Andrew Duncan (2004), Darrol Barry (2006), and Martin Ellerby (2007).<ref name="Richardson-2022">Template:Cite thesis</ref> Peter Graham wrote Turbulence, Tide & Torque (2018) in three movements, premiered and recorded by Marzella.<ref name="4br-spotlight"/>