The euphonium, like the mellophone, is a descendant of the bugle. It is one of the larger members of the tuba family of brass instruments. The tuba group also includes the baritone, sousaphone, and the tuba itself.
The bell of the modern euphonium, like the tuba, orchestral baritone horn, and alto or tenor horn — it goes by both names, which is confusing — points up. This, however, was not always the case. A double-belled euphonium was made from the 1880s to the 1960s in an attempt to combine the characteristics of both the trombone and the euphonium in one instrument. Both bells are angled between upright and forward in some of these hybrids. In others, one bell is raised and the other is pushed forward.
The euphonium looks the most like a baritone horn of all the tuba instruments, and the two instruments are strikingly similar. Both instruments are in the key of Bb, and their ranges are similar. Both instruments are commonly used in bands but are less common in orchestral music, and each is frequently substituted for the other. Because of the frequent substitutions and the fact that the euphonium is also known as the tenor tuba in English, Baryton in German, and baritono in Italian, there has been some confusion about composers’ intentions with regard to which instrument should be played.
Nonetheless, there are some significant differences between the baritone and the euphonium. Aside from the number of valves — the euphonium usually has four, while the baritone usually has three — the main differences are variations in the bore and bell, with the result that the sound of the baritone is described as “brighter,” while the sound of the other instrument is described as “darker.” Because of the difference in the number of valves, the fingering is also different. There are also a few brass quartets that call for two cornets, horn or alto horn, and euphonium.
There is also more orchestral repertoire for euphonium, which may be related to the sound difference, though in some cases it is a case of traditional substitution rather than the composer’s original designation. The solo in “Bydlo” in Maurice Ravel’s arrangement of Modest Musorgsky’s Pictures at an Exhibition, “Mars” in Gustav Holst’s work The Planets, Shostakovich’s The Golden Age, and Richard Strauss’s Don Quixote are all notable examples of the instrument today. Diran is a piece for euphonium and string orchestra by Allen Hovhaness. A number of Havergal Brian’s works appear to have been written specifically for this instrument.
There are a lot of pieces for solo euphonium and band. Euphonium Concertos by Joseph Horovitz, Derek Bourgeois, John Golland, and Philip Sparke, as well as Bourgeois’ Euphoria for Euphonium and Brass Band, are just a few examples. Fantasy for Euphonium was also written by Philip Sparke. Simone Mantia (1873–1951) and his teacher, Joseph Raffayola, were notable players. Wendy Picton, Nick Childs, and Steven Mead are some of the current players.