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Does anyone have any good reads on euphonium embouchure / placement? After looking more closely at my tuner while practicing I'm constantly sharp. I'm thinking some good reading or information would be a big help.

Lol thanks.. What about euphonium players?

No guarantees, but you might find something useful in a thread from a couple weeks ago, high intonation

If the "think" method actually worked, there would be a whole lot more virtuosi on brass instruments. There is definitely a time and place for that approach but it doesn't fix real problems.

I teach embouchure and overall playing mechanics... in addition to "music." My specialty is fixing problems, which I think is what a teacher should do. Pitch problems can come from lot of different issues.

bloke wrote:Surely, you're playing a "bonafide" euphonium mouthpiece, and not some 6-1/2AL (etc.) that came with the instrument...??
A "real" euphonium mouthpiece (vs. something like that) should drop the pitch down 5 or 10 hundredths of a semitone...
...and I have no idea whether you're a virtuoso-level player (I'm only a doubler...) or an up-and-coming secondary school student (??)

Two good questions, very much worth exploring. Euphonium intonation tends to be a very mouthpiece-sensitive thing, and your degree of advancement will help determine both the short-and long-term solution.

If you are not currently studying privately, then buy a lesson or two from a local pro who can give you more specific guidance.

bloke wrote:
OK...(again, sorry) "euphonium"...
Surely, you're playing a "bonafide" euphonium mouthpiece, and not some 6-1/2AL (etc.)

Does a Schilke 51D mouthpiece count?

I'll vouch for Doug's method. It was quite honestly amazing the difference in sound it makes when you take the time to figure out exactly what your ideal embouchure is supposed to do. It's also a surprisingly instantaneous difference as soon as the mouthpiece is in the right spot for you for each note. This became very clear when listening to another player from the opposite side of the horn and hearing an immediate shift in tone once the embouchure and mouthpiece were in sync. Also not everyone has the same embouchure so taking the time to analyze and find out exactly what works is a very important thing to do to be a better player and avoid injury and/or chop issues. I will 100% be studying with Doug for a long while to come.