Euphony

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imsevimse
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Euphony

Post by imsevimse »

Hi

I just found a very rare instrument, made by the Swedish company Eric Petterson. Eric Petterson had a music shop at Linnegatan 9-11 in Stockholm in Sweden between 1923-1974.

Eric Petterson played the clarinet in the Swedish Radio Orchestra before he opened his shop. He is most known for his own design of clarinets under the name E.P. He took the best from the German and French style of clarinets and joined them into his own clarinet. He made two models the "kvalitet 1" and "kvalitet 2". Besides clarinets he also made all kinds of brass instruments. Most of these where based on "Ahlberg & Ohlsson" instruments, another Swedish brand. Ahlberg & Ohlsson was a company that existed between 1850-1958 and lots of instruments can still be found from their more than hundered years of production. They made high quality instruments in an old style - not old at the time of course :-). Most were valved instruments, though I have heard they did make some trombones too.

In Sweden the old military orchestras were the ones that needed these old style Swedish valved instruments. In the late 1950-ies the valved tenor called "ventil basun" (Bb-tenor) and the Swedish "Ess kornett" (Eb-cornet) grew out of popularity and were replaced by other instruments like saxophones and high reed-instruments.
These old Swedish instruments were played with "Svenska grepp" (Swedish fingerings). The first valve lowered the instrument a whole step, the second a half step and the third with two whole steps, not one and a half step like modern valved instuments. In the 50-ies this made them unpopular compared to imported valved instruments. At the same time the trombone also became favoured before the old style "Ventil basun" by new players. It all led to the end of all Swedish brassinstrument manufactering. Ahlberg & Ohlsson closed their company 1958 and the much smaller company Eric Petterson quit their production in the shop in Stockholm.

Eric Pettersons music shop lasted a little longer, until 1974. They still made the clarinets but imported most of the brass instruments. The imported brass instruments were sold under their own name "Royal Tone". They also imported some instruments from Germany by the name of "Brass Band" which still can be found at the Swedish aftermarket. All these imported instruments where marked "Imported by Eric Petterson".

The Euphony line was different, it was their own production, but I dont think they draw tubes so they likely imported some parts. What I know is the instruments were put together in the shop in Stockholm. Most of the Euphony instruments are marked "Made by Eric Petterson AB Stockholm. Sweden", but not all. I have an Eb-cornet that does not have this marking.

I had never seen one of their trombones until this last week. It is a very special trombone to me. It has a 7" bell and a .488 bore. It is silverplated and the serial number is 13xx. Here are some pictures. It is a heavy horn that plays with a dark compact tone. It can compete with other imported professional horns of this era. I'm exited to use it for jazz in public when this pandemic is over. I can guarantee it is the most rare trombone in my collection, even more rare than my Williams. I don't know the exact production year but it is probably made in the late 50-ies.

/Tom

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Last edited by imsevimse on Fri Sep 22, 2023 7:58 am, edited 9 times in total.
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BGuttman
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Re: Euphony

Post by BGuttman »

Interesting that you mentioned the Swedish Fingering. I have a "bass" Flugelhorn in Eb by Couesnon that fingers exactly the same way.

Enjoy the Euphony. Hope we all get to play again in groups soon.
Bruce Guttman
Merrimack Valley Philharmonic Orchestra
"Almost Professional"
imsevimse
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Re: Euphony

Post by imsevimse »

BGuttman wrote: Fri Oct 30, 2020 1:59 pm Interesting that you mentioned the Swedish Fingering. I have a "bass" Flugelhorn in Eb by Couesnon that fingers exactly the same way.

Enjoy the Euphony. Hope we all get to play again in groups soon.
Yes, the fingering is called "Svenska grepp" in Sweden but it is not a Swedish thing. German instruments had that fingering and apparently French too

/Tom
imsevimse
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Re: Euphony

Post by imsevimse »

Just found out from musiscians here who remember the Eric Petterson shop that the Euphony instruments came in parts from Germany and was put together at the workshop. This means Petterssons did not draw tubes or make their own bells. The manager at the shop was Gustav Egerstam who also was a sax and violin player as well as a conductor. The foreman that finalized the trombones was called Nystöm. Unfortunately I did not get a first name. Nyström assembled, stamped, silver plated and adjusted all the trombones since he was a trombone player himself. I wonder what German model my trombone is close to? After I got this information I consider the Euphony-brand, at least the trombones to be "almost" stencils.

/Tom
Dennis
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Re: Euphony

Post by Dennis »

I've seen it referred as "Belgian" tuning.

It has some real advantages: low written Eb and Ab (transposing treble clef) are fingered 3, low D and G are fingered 2+3 and low Db and Gb are fingered 1 + 3. That's one fewer two valve combinations, and no three valve combinations. As we know, two valve combinations are sharp, but closer than the three-valve combination is.

The Conn/King 2280 (??) Euphonium has enough pull in its third valve slides that you can use this 2/1/4 semitone tuning.
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Finetales
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Re: Euphony

Post by Finetales »

Quite a few (most?) modern euphs actually have a long enough 3rd slide for it - it's the only reason the slide goes all the way up the outer tubes instead of only enough to tune.

I've messed with it before, and when I did I quickly learned why nobody uses that system anymore. Having D/G playable with either 1+2 or 3 is much more useful than any of the advantages the longer 3rd gives IMO, especially when you have kickers on trumpets and 3 or 4 valve compensating systems on euphs.
Dennis
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Re: Euphony

Post by Dennis »

Finetales wrote: Sat Sep 30, 2023 8:25 pm I've messed with it before, and when I did I quickly learned why nobody uses that system anymore. Having D/G playable with either 1+2 or 3 is much more useful than any of the advantages the longer 3rd gives IMO, especially when you have kickers on trumpets and 3 or 4 valve compensating systems on euphs.
Horses for courses, as they say.

If I were playing a Bb instrument in an orchestra where I needed to play lots of concert F# and C#, I think I might find the 2-1-4 tuning more useful.

The fact of the matter is that I learned to play valves on 2-1-3 systems, and that's how my brain works. The few times I've noodled around on a 2-1-4 set, I played lots of wrong notes...basically anything involving the third valve. Could I adapt? Sure, but it would take time, commitment, and a place where I was playing euph/baritone/tuba.

If I was playing a horn set up as 2-1-4 I would definitely want a kicker on the first valve slide.

Four-valve compensating systems clean up the second partial F and E and the third partial C and B, F, but F# and C# are still a problem. Three-valve compensators clean up C#, F#, C, and F, but B and E are a lesser problem.

Let's face it: slides > valves.
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Burgerbob
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Re: Euphony

Post by Burgerbob »

I can't say I've ever really had problems with 2+3 making a good F# or C#.
Aidan Ritchie, LA area player and teacher
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spencercarran
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Re: Euphony

Post by spencercarran »

Finetales wrote: Sat Sep 30, 2023 8:25 pmHaving D/G playable with either 1+2 or 3 is much more useful than any of the advantages the longer 3rd gives IMO, especially when you have kickers on trumpets and 3 or 4 valve compensating systems on euphs.
D/G in 3 is going to be unacceptably flat unless you're on a 3v compensator. On an uncompensated instrument (or 4v compensator) you need the 3rd valve tubing long enough to make 2+3 usable, which requires making the 3rd valve alone unusable in most circumstances.

Kickers (or any other fast adjustment/pull options) and compensating systems can help resolve these problems. As a static system, Belgian tuning is just a mathematically inferior choice compared to the standard 2-1-b3 system.
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Finetales
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Re: Euphony

Post by Finetales »

Like Burgerbob, I've never once had a problem playing D/G or C#/F# in tune on 3 valves, nor have generations of brass players around the world. The amount that 2+3 is sharp when tuned to 3 is close enough to easy lip into tune. If it was really a problem, trumpet players would use their 3rd kicker for 2+3, but...they don't.

If you're going to be really picky about fingering combinations and lipping, 1+2 is sharp too. So you either tune the 3rd valve to be an in-tune 1+2 and make 2+3 a bit sharp, or you tune the 3rd valve to be an in-tune 2+3 and make 3 a bit flat. Everything is a compromise, but either one of those compromises is perfectly easy to play in-tune and a much better compromise than not having 2 ways to play G/D. The lower notes with a Belgian/Swedish 3rd valve are not in tune either, so it's not like it just solves all intonation problems. It's like taking the massive intonation issues of a non-compensating 4th valve and moving them further up.
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