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(Valved aerophone sounded by lip movement)
|Inventor(s)||J. W. Pepper & John Philip Sousa|
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The sousaphone ( /ˈsuːzəfoʊn/ SOO-zə-fohn) is a brass instrument in the tuba family. Created around 1893 by J. W. Pepper at the direction of American bandleader John Philip Sousa (after whom the instrument was then named), it was designed to be easier to play than the concert tuba while standing or marching, as well as to carry the sound of the instrument above the heads of the band. Like the tuba, sound is produced by moving air past the lips, causing them to vibrate or "buzz" into a large cupped mouthpiece. Unlike the tuba, the instrument is bent in a circle to fit around the body of the musician; it ends in a large, flaring bell that is pointed forward, projecting the sound ahead of the player. Because of the ease of carrying and the direction of sound, it is widely employed in marching bands, as well as various other musical genres. Sousaphones were originally made of brass. Beginning in the mid-20th century, some sousaphones have also been made of lighter materials such as fiberbrass & plastic.
The first sousaphone was built by James Welsh Pepper in 1893 at the request of John Philip Sousa,   who was dissatisfied with the hélicons in use by the United States Marine Band. Some sources credit C.G. Conn with its construction, because of the first sousaphone he built later in 1898.  Sousa wanted a tuba-like instrument that would send sound upward and over the band, much like a concert (upright) tuba. The new instrument had an oversized bell pointing straight up, rather than the directional bell of a normal hélicon.
The sousaphone was initially developed as a concert instrument rather than for marching. Sousa wanted the new instrument for the professional band which he started after leaving the Marines, and this band marched only once. Sousa mainly used sousaphones built by C.G. Conn.  Although less balanced on a player's body than a helicon, because of the large spectacular bell high in the air, the sousaphone retained the tuba-like sound by widening the bore and throat of the instrument significantly. Its upright bell led to the instrument being dubbed a "rain-catcher". Some versions of this design allowed the bell to also rotate forward, projecting the sound to the front of the band. This bell configuration remained the standard for several decades and is the standard today.
The instrument proved practical for marching, and by 1908 the United States Marine Band adopted it. 
Versions with the characteristic extra 90° bend making a forward-facing bell were developed in the early 1900s. Early sousaphones had 22-inch-diameter (560 mm) bells, with 24-inch (610 mm) bells popular in the 1920s. From the mid-1930s onward, sousaphone bells have been standardized at a diameter of 26 inches (660 mm). Some larger sousaphones (Monster, Grand, Jumbo, Giant or Grand Jumbo, depending on brand) were produced in limited quantities.
The sousaphone is a valved brass instrument with the same tube length and musical range as other tubas. The sousaphone's shape is such that the bell is above the tubist's head and projecting forward. The valves are situated directly in front of the musician slightly above the waist and all of the weight rests on the left shoulder. The bell is normally detachable from the instrument body to facilitate transportation and storage. Except for the instrument's general shape and appearance, the sousaphone is technically similar to a tuba.
For simplicity and light weight, modern sousaphones almost always use three non-compensating piston valves in their construction, in direct contrast to their concert counterparts' large variation in number, type, and orientation. Both the tuba and sousaphone are semi-conical brass instruments. No valved brass instrument can be entirely conical, since the middle section containing the valves must be cylindrical. While the degree of bore conicity does affect the timbre of the instrument, much as in a cornet and trumpet, or a euphonium and a trombone, the bore profile of a sousaphone is similar to that of most tubas.
To facilitate making the mouthpiece accessible to players of different height or body shapes, most sousaphones contain a detachable tubing gooseneck which arises from the lead pipe on the upwind side of the valves. One or two slightly-angled bit(s) (short tubing lengths) are inserted into the gooseneck, and then the mouthpiece is inserted into the terminal bit. This arrangement may be adjusted in height and yaw angle to place the mouthpiece comfortably at the player's lips.
Most sousaphones are manufactured from sheet brass, usually yellow or silver, with silver, lacquer, and gold plating options, much like many brass instruments. However, the sousaphone (uniquely) is also commonly seen manufactured from fiberglass, due to its lower cost, greater durability, and significantly lighter weight.
The weight of a sousaphone can be between 18 pounds (8 kg) and 50 pounds (23 kg). 
Most modern sousaphones are made in the key of BB♭ (Low B Flat) and like tubas (which are commonly made in pitches of BB♭, CC, EE♭, and F) the instrument's part is written in "concert pitch", not transposed by key for a specific instrument. Although sousaphones may have a more restricted range than their concert tuba counterpart (most sousaphones have 3 valves instead of 4 to reduce weight), generally they can all play the same music and usually have parts written in the bass clef and the indicated octave is played (unlike double bass or electric bass that sound an octave lower than the indicated note). Many older sousaphones were pitched in the key of E♭, but current production of sousaphones in that key is limited.
Although most major instrument manufacturers have made, and many continue to make, sousaphones, Conn and King (H.N. White) instruments are generally agreed among players to be the standards against which other sousaphones are judged for tone quality and playability.[ citation needed ] Perhaps the most highly regarded sousaphone ever built is the 0.734-inch-bore (18.6 mm) Conn model 20K, introduced in the mid-1930s and still in production. Some players, especially those who find the 20K too heavy for marching, prefer the slightly smaller 0.687-inch-bore (17.4 mm) King model 1250, first made in the late 1920s and also still in production as model 2350. Historically, Holton, York and Martin sousaphones have also been considered fine horns.
Very large bore (>= 0.750 inch) sousaphones, with oversized bells as large as 32 inches (81 cm) in diameter, were made by Conn ("Grand Jumbo" [46K (3-valve) & 48K (4-valve)]) and King ("Jumbo" [1265 (3- & 4-valve versions)] & "Giant" [1270 (3-valve) & 1271 (4-valve)]) in the mid-1920s and 1930s, and by Martin, York, & Buescher, but they disappeared from the catalogs during the Depression or at the onset of World War II. Because of their weight and cost, few were made and even fewer survive, especially the 4-valve models.
In recent years, sousaphones have been available made of fiberglass reinforced plastics instead of brass. The fiberglass versions are used mainly for marching, with brass instruments being used for all other situations. Fiberglass sousaphones can be found commonly in younger marching bands, such as middle schools, due to their lightened weight load. Depending on the model, the fiberglass version does not have as dark and rich a tone as the brass (King fiberglass sousaphones tended to have smooth fiberglass and a tone somewhat more like a brass sousaphone; Conn fiberglass sousaphones often had rough fiberglass exteriors and a thinner sound; the Conn is also lighter).[ citation needed ]
In the 1920s and 1930s, four-valved sousaphones were often used by professional players, especially E♭ sousaphones; today, however, four-valved B♭ sousaphones are uncommon and are prized by collectors, especially those made by Conn, King (H.N. White), and Holton. Jupiter Company started production of four-valve BB♭ sousaphones in the late 2000s, and Dynasty USA makes a four-valve BB♭ sousaphone as well. Criticisms of the fourth valve on a sousaphone center around additional weight, although the fourth valve improves intonation and facilitates playing of the lower register.
Due to the large size of most sousaphones, the sub-contra register (for which the fourth valve is largely intended) is already covered by alternate resonances, known as "false tones" (see Tuba article). Many beginners are not aware of the false-tone resonances on their sousaphones because these notes reside in the sub-contra register, which is nearly impossible for most beginners to access. Some professionals develop a "raised embouchure" to securely play these notes. This is where either the upper or lower lip (depending on the player) takes up most of the mouthpiece area. The embouchure provides almost twice the room for vibration of the single lip (compared to the 50–50 embouchure).
Asian sousaphones made in China and India are gaining popularity in the street band market. In Switzerland and Southern Germany, "Guggenmusik" bands often use these instruments that provide great display and passable tone. Most are tuned in E♭. Brands like Zweiss with older British designs make affordable sousaphones that have broken the €500 barrier. These are mostly in the medium-bell size of 23 inches (580 mm). Chinese brands are mostly reverse-engineered models and quite passable.
In large marching bands of the United States, the bell is often covered with a tight fitting cloth, called a sock, which enables the sousaphone section to spell out the school's name, initials, or mascot. The Leland Stanford Junior University Marching Band Tööbz! have a tradition of painting the front surface of their sousaphone bells with a variety of images.
Sousaphone players are also known to perform the 'flaming tubas' in which flash paper is ignited in the bell, thus making it appear as if the musician is breathing fire. David Silverman developed a propane powered flaming sousaphone with a trigger valve to control an array of flame jets across the top of the bell of his horn. The Yale Precision Marching Band has made a tradition of setting fire to the tops of the bells of their sousaphones, including in the fall of 1992 when sousaphones served as the "candles" of a "wedding cake" formed by the band when two band alumni were married during a halftime show. They also utilize what they refer to as the "Überphone", a sousaphone that was disassembled from its coiled format and welded back together on a twelve-foot frame to extend straight up from the player's shoulders.
John Philip Sousa was a benefactor of the University of Illinois music program and a friend of the university's Director of Bands Albert Austin Harding. The Marching Illini became the first band to march in a football halftime show, and were the first band to use sousaphones on the field. 
The sousaphone sections of some marching bands have developed specialized performance traditions. The University of California Marching Band Bass section traditionally "struts" during the band's pregame show. During the "strut" the section separates from the rest of the band, circles the North goal post, and rejoins the band to complete the Script Cal. The University of Southern California Trojan Marching Band sousaphones play John Williams' "Imperial March" from Star Wars in single file when crossing streets on their way to and from performances on the USC campus. When The Ohio State University Marching Band performs its traditional Script Ohio formation, a senior sousaphone player dots the "i".
The Fightin' Texas Aggie Band sousaphone section (called "Bass Horns" within the university but never, ever "tubas") execute a distinct two-step and four-step counter-march during marching performances. During halftime performances this is accompanied (specifically for the last rank consisting all of 12 bass horns) by a "huh! huh!" from the crowd.
The University of Delaware Fightin' Blue Hen Marching Band has several traditions involving sousaphone players. During pre-game, they branch off from the rest of the band. From here, the sousaphone players run in a snake around the field jumping to drum line cadence. At most pre-games they act out a skit as well. At post game, "In My Life" by The Beatles is played featuring a sousaphone solo while the band sings.
The sousaphone is an important fixture of the New Orleans brass band tradition and is still used in groups such as the Dirty Dozen Brass Band by Kirk Joseph. Soul Rebels Brass Band from New Orleans features sousaphone player Edward Lee Jr.
Sinaloa, a state of Mexico, has a type of music called Banda Sinaloense, and the sousaphone is used there as a tuba.
Damon "Tuba Gooding Jr." Bryson from The Roots plays the sousaphone on Late Night with Jimmy Fallon.
Nat Mcintosh is the sousaphone player and co-founder of Youngblood Brass Band, who play a mixture of traditional New Orleans style brass band music and hip hop.
The Lemon Bucket Orkestra, a Canadian self-described "Balkan-Klezmer-Gypsy-Punk-Super-Party-Band", features a sousaphone as one of their instruments.
Red Baraat, a Brooklyn-based dhol & brass band that fuses North Indian Bhangra with hip-hop, go-go and jazz music, features John Altieri on sousaphone.
Warren G. Harding, the 29th President of the United States, was a sousaphone player who played well enough to join the band celebrating his election. 
Jeanie Schroder of the band DeVotchKa plays sousaphone on several of the band's songs.
Tuba Gooding Jr. (Damon Bryson) plays sousaphone for The Roots 
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones or labrophones, from Latin and Greek elements meaning 'lip' and 'sound'.
The cornet is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B♭, though there is also a soprano cornet in E♭ and cornets in A and C. All are unrelated to the Renaissance and early Baroque cornett.
Embouchure or lipping is the use of the lips, facial muscles, tongue, and teeth in playing a wind instrument. This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument. The word is of French origin and is related to the root bouche, 'mouth'. Proper embouchure allows instrumentalists to play their instrument at its full range with a full, clear tone and without strain or damage to their muscles.
The euphonium is a medium-sized, 3 or 4-valve, often compensating, conical-bore, tenor-voiced brass instrument that derives its name from the Ancient Greek word εὔφωνος euphōnos, meaning "well-sounding" or "sweet-voiced". The euphonium is a valved instrument. Nearly all current models have piston valves, though some models with rotary valves do exist.
The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras and bands, although the descant and triple horn have become increasingly popular. A musician who plays a horn is known as a horn player or hornist.
The trombone is a musical instrument in the brass family. As with all brass instruments, sound is produced when the player's vibrating lips cause the air column inside the instrument to vibrate. Nearly all trombones use a telescoping slide mechanism to alter the pitch instead of the valves used by other brass instruments. The valve trombone is an exception, using three valves similar to those on a trumpet, and the superbone has valves and a slide.
The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet—with the highest register in the brass family—to the bass trumpet, pitched one octave below the standard B♭ or C trumpet.
The tuba is the lowest-pitched musical instrument in the brass family. As with all brass instruments, the sound is produced by lip vibration – a buzz – into a mouthpiece. It first appeared in the mid-19th century, making it one of the newer instruments in the modern orchestra and concert band. The tuba largely replaced the ophicleide. Tuba is Latin for "trumpet".
The baritone horn, or sometimes just called baritone, is a low-pitched brass instrument in the saxhorn family. It is a piston-valve brass instrument with a bore that is mostly conical but it has a narrower bore compared to the similarly pitched euphonium. It uses a wide-rimmed cup mouthpiece like that of its peers, the trombone and euphonium. Like the trombone and the euphonium, the baritone horn can be considered either a transposing or non-transposing instrument.
The tenor horn is a brass instrument in the saxhorn family and is usually pitched in E♭. It has a bore that is mostly conical, like the flugelhorn and euphonium, and normally uses a deep, cornet-like mouthpiece.
The mellophone is a brass instrument typically pitched in the key of F, though models in E♭, C, and G have also historically existed. It has a conical bore, like that of the euphonium and flugelhorn. The mellophone is used as the middle-voiced brass instrument in marching bands and drum and bugle corps in place of French horns, and can also be used to play French horn parts in concert bands and orchestras.
The cimbasso is a low brass instrument that developed from the upright serpent over the course of the 19th century in Italian opera orchestras, to cover the same range as a tuba or contrabass trombone. The modern instrument has four to six rotary valves, a forward-facing bell, and a predominantly cylindrical bore. These features lend its sound to the bass of the trombone family rather than the tuba, and its valves allow for more agility than a contrabass trombone. Like the modern contrabass trombone, it is most often pitched in F, although models are made in E♭, and occasionally low CC or BB♭.
The superbone is a hybrid tenor trombone in B♭ that has both a slide like a regular trombone and a set of valves like a valve trombone.
The ophicleide is a family of conical-bore keyed brass instruments invented in early 19th century France to extend the keyed bugle into the alto, bass and contrabass ranges. Of these, the bass ophicleide in C or B♭ took root over the course of the 19th century as the bass of orchestral brass sections throughout Western Europe, replacing the serpent and its later derivatives, the bass horn and basson russe. Its popularity proved short-lived, however; by the end of the 19th century the ophicleide had been largely superseded by early forms of the modern tuba.
Marching brass instruments are brass instruments specially designed to be played while moving. Most instruments do not have a marching version - only the following have marching versions:
The mouthpiece on brass instruments is the part of the instrument placed on the player's lips. The mouthpiece is a circular opening that is enclosed by a rim and that leads to the instrument via a semi-spherical or conical cavity called the cup. From the cup, a smaller opening leads into a tapered cylindrical passage called the backbore. The backbore is housed in a tapered shank, which is inserted into an opening called the receiver on the main body of the instrument.
The contrabass bugle is the lowest-pitched brass instrument in the drum and bugle corps and marching band hornline. It is essentially the drum corps' counterpart to the marching band's sousaphone: the lowest-pitched member of the hornline, and a replacement for the concert tuba on the marching field.
The helicon is a brass musical instrument in the tuba family. Most are B♭ basses, but they also commonly exist in E♭, F, and tenor sizes, as well as other types to a lesser extent. una mentira como un piano
A horn is any of a family of musical instruments made of a tube, usually made of metal and often curved in various ways, with one narrow end into which the musician blows, and a wide end from which sound emerges. In horns, unlike some other brass instruments such as the trumpet, the bore gradually increases in width through most of its length—that is to say, it is conical rather than cylindrical. In jazz and popular-music contexts, the word may be used loosely to refer to any wind instrument, and a section of brass or woodwind instruments, or a mixture of the two, is called a horn section in these contexts.
The German horn is a brass instrument made of tubing wrapped into a coil with a flared bell, and in bands and orchestras is the most widely used of three types of horn, the other two being the French horn and the Vienna horn. Its use among professional players has become so universal that it is only in France and Vienna that any other kind of horn is used today. A musician who plays the German horn is called a horn player. The word "German" is used only to distinguish this instrument from the now-rare French and Viennese instruments. Although the expression "French horn" is still used colloquially in English for any orchestral horn, since the 1930s professional musicians and scholars have generally avoided this term in favour of just "horn". Vienna horns today are played only in Vienna, and are made only by Austrian firms. German horns, by contrast, are not all made by German manufacturers, nor are all French-style instruments made in France.