Practical Hints

Practical Hints on playing the TUBA by Donald C. Little in collaboration with James D. Ployhar Foreword The “Practical Hints” series is a unique and highly informative set of books designed to answer the many important questions raised by the beginning musician as well as the more advanced student. Each book has been prepared by a nationally known instrumental specialist and covers such vital topics as CARE AND MAINTENANCE, REEDS AND MOUTHPIECES, PLAYING POSITION, EMBOUCHURE, TUNING, TONGUING, TONE QUALITY and RANGE as well as the methodology of PRACTICE. Every book contains a number of pictures along with practical playing exercises designed to rapidly improve basic musicianship. The “Practical Hints” series may be used along with the FIRST DIVISION BAND COURSE, the CONTEMPORARY BAND COURSE or any other recognized band method. ‘An appropriate book from this series should be in every young musicians’ library as a companion book to the method. The books in the “Practical Hints” series are for individual use only and may not be played together in a band class. Books are published separately for the following me Sura Published for: FLUTE ALTO SAXOPHONE BARITONE Bb CLARINET TENOR SAXOPHONE (Euphonium) ALTO CLARINET BARITONE SAXOPHONE TUBA (Bass) BASS CLARINET CORNET/TRUMPET PERCUSSION (Snare Drum, OBOE FRENCH HORN Bass Drum, Timpani, Cymbals) BASSOON TROMBONE MALLET PERCUSSION Belwin, “Mills esiarinecan EL 2713, MELVILLE, N.Y. 11747Introduction Congratulations on the selection of the tuba as your means of musical expression! The tuba is a very special and beautiful instrument that requires only a love of music and an earnest desire to play. It is difficult to explain the reasons why | chose the tuba. I think that it chose me instead. | remember when my first instructor and band director, Bernie Switzer, walked into the room with an old silver-plated EE-flat tuba, | immediately knew I wanted to play the tuba. ‘The tubais perhaps the newest of the band and orchestra intruments and has been well-established for only alittle more than one hundred years. We are presently enjoying a renaissance of the tuba in terms of overall popularity, quality of performers, and growth of repertoire. Composers and arrangers of all styles of music have added more to the tuba repertoire in recent years than in the entire history of the instrument, Itis an exciting time to play the tuba. This book is dedicated to my teachers, Bernard V. Switzer, |r., John Melick, Arnold Jacobs, and Cherry Beauregard. ‘Appreciation is expressed to Bill Cooksey and Mary Little for proof-reading, Special appreciation is expressed to ‘Amy Quate for additional proof-reading and editing. Photography by Duncan Engler. About the Author Donald C. Little is presently a professor of tuba and euphonium at North Texas State University and formerly taughtat the University of Northern Lowa. His earliest musical training included piano, trumpet, and tuba; and he partici- pated in the high school band program of Wildwood, New Jersey. Professor Little received his B.M.E, from the Peabody Conservatory of Music, where he studied tuba with John Melick, and his M.M. from Northwestern University, where he studied tuba with Arnold Jacobs. He has completed further musical studies at the Eastman School of Music, where he studied tuba with Cherry Beauregard. He has performed free-lance in the Chicago area and was a member of the Chicago Civic Orchestra. He is presently principal tubist with the Ft. Worth Symphony Orchestra and Ft. Worth Opera Orchestra. Mr. Little has served as an officer and a board member of the Tubists Universal Brotherhood Association. Numerous transcriptions and arrangements for the tuba and euphonium by Donald C. Little have been published and performed internationally. CONTENTS Unit. Choosing the Correct Tuba and Mouthpiece .......... 23 Unit Il. Proper Posture and Playing Position = oS Unit Ill. The Breath and the Tuba es : 7 Unit IV. The Embouchure 0 Unit V. Warming-Up = : seven 2 Unit VI. Tone Production and Long Tone Studies ...... ceed Unit VIL. Articulation soos . 6 Unit VIL Scale, Range, and Flexibility Exercises .. a Unit IX. Intonation, Tuning, and Fingerings sees woe 32 Unit X. Practicing for Results....... 36 Unit XI, Tuba Care and Maintenance 7 (© Copyright 1964 by Belwin-Mills Publishing Corp. 25 Deshon Drive, Molvlle, N.Y. 11747 nm International Copyright Secured "Made in USA. All Rights ReservedUnit I. Choosing the Correct Tuba and Mouthpiece ockwise starting irom the top-centet) Yamaha BBb, ne CC, Alexander, and Holton CC. Which of the above instruments is the correct one for you? Your choice may depend upon the type of ensemble that the instrument would be used in, the style of music to be performed, and the tradition of your school music program or locale. The most common tuba of today's school band program in the United States is the BBb tuba or sousaphone. The sousaphone is the most popular instrument of the tuba family for marching bands, and the upright tuba is preferred for the concert band. Tubas pitched in Bb are best for school or community bands for reasons of blend and intonation. Since most wind instruments of the band are pitched in flat keys, and most brasses are pitched in Bb (except French horns pitched in F), the BBb tuba best matches their intonation tendencies. The CC tuba is pitched one full step above the BBb tuba and is the instrument most frequently played in professional symphony orchestras and in the music departments of most colleges and universities in the U.S. The CC tuba is preferred because a professional tubist must be able to perform successfully in many diverse musical situations ranging from the orchestra to the recording studio. In recording sessions a tubist must instantly becomea harmonious member of any ensemble from a pop or jazz group to an orchestra or band. The CC tubais easier to play in tune with strings than the BBb tuba, and the CC tuba’s more focused sound works better in studio recording applications. Therefore, the versatile CC tuba continues to be the first choice of most professional in the U.S. The predominant instrument for the professional orchestral tubist in most of Europe is the FF tuba. Its sounding range is midway between the BBb or CC tuba and Bb euphonium. A substantial amount of the standard orchestral literature was scored with this instrument specifically in mind, and European tubists have maintained the tradition of the F tuba. In recent years however, American and European tubists have influenced each other and their amrespective traditions. CC tubas are becoming more common in European orchestras, and America tubists frequently use F tubas for specific literature such as the works of Berlioz. In Great Britain the EEb tuba has been traditional and remains popular in the brass bands and symphony orchestras. EEb and BBb tubas and sousaphones were both popular instruments in the U.S. through the middle of the 20th century. Since then, use of the EEb tuba has declined substantially in school music programs in the U.S. The inconvenience caused by using two fingering systems in the tuba section may have been the primary reason for this decline, An additional drawback of the three-valved EEb tubais ts limited lower register. Four-valved EEb tubas and sousaphones possess an extended lower register but were a rare luxury in the public schools of the mid 1900's. All music and parts for tubas and sousaphones are notated in bass clef concert pitch—regardless of the key of the instrument (except for some music in the British brass band tradition which is occasionally notated in treble clef) The note that is written is the note that sounds; itis the responsibility of the individual performer to use the correct fingering system for his/her tuba. In choosing your instrument, consider the tone quality and check the intonation with a reliable tuning device. If possible, select afour-value instrument because it provides additional value combinations for better intonation and an extended lower register. The valve action, piston or rotary, should be smooth and quick. Piston valves require ‘more maintanence than rotary values but are more practical for public school use and less prone to damage. Avoid string-action rotary values; maintaining them can be time-consuming, and strings often break at inconvenient times. Most tubas have a finish of either lacquered brass or silver-plating, however these various finishes have little effect on the tone quality. A silver-plated finish will last longer than lacquered brass but is more costly. Most importantly, the instrument you choose should be comfortable to hold and play. When purchasing an instrument, shop and compare prices as final costs can vary by hundreds of dollars— particularly on a new instrument. Also have your instructor or a professsional tubist play and test the tuba for you before purchasing it Although many schools provide a mouthpiece with the tuba, consider acquiring your own mouthpiece even if your choice is the same as the model provided by the school. The hygenic reasons for owning and playing only on your own mouthpiece should be obvious, and mouthpieces are easily affordable even if tubas [Link]. Choose a ‘mouthpiece similar to the one that originally came with the instrument you are playing; the mouthpiece and tuba were carefully designed by the manufacturer to complement each other in terms of tone quality, intonation, and response. INNER EDGE OF RIM- RIM THICKNESS: ‘A mouthpiece, new or old, should fit properly and securely in the mouthpiece receiver of the leadpipe. The mouthpiece should feel com- fortable, respond well, and provide a full, characteristic sound on the instrument. When testing a mouthpiece, remember that any brass instrumentsounds and responds best throughout the extended middle register. Since you will do most of your performing inthis register, choose a mouthpiece with this in mind. The physical characteristics of a mouthpiece affect most aspects of brass performance including tone, volume, endurance, intonation, and range. There are many manufacturers of tuba mouth- pieces who skillfully design and blend the characteristics of the mouthpiece rim, cup, throat, and backbore to produce fine, well-balanced tuba mouthpieces. amThe rim of any mouthpiece should be comfortable but must efficiently seal and isolate the embouchure. The h of the rim facing affects endurance and flexiblity throughout the range — a wider rim will increase endurance but adversely affects flexibility, so a medium-wide rim is best for a successful combination of these qualities. The inner edge of the rim affects reliability of attacks somewhat — a sharper inside rim increases the accuracy of attack but can limit endurance and comfort. The proficiency, age, and facial characteristics of a player will naturally affect. the choice of rim. A player with orthodontic braces or dental irregularities might experience discomfortat the point of contact with anormal rim, so a wider rim with a smooth inside edge will alleviate this discomfort. The size of the mouthpiece cup affects the color of the tone as well as response throughout the registers. The diameter of the cup affects how much of the lip is allowed to vibrate. Logically, a large cup diameter allows more lip to vibrate and produces a fuller, richer tone; however, a small or medium-sized diameter is more practical for young students with small mouths. With age and maturity, a student can eventually progress to a larger cup diameter to encourage full tone and embouchure development. The depth of a cup also affects the color of the tone and registral response. Large, deeper cups favor the lower register and lower overtones of the tuba thereby producing a fuller, more resonant tone and easier low register response. A shallow cup favors higher overtones and facilitates response in the middle through upper registers. Ultimately, a medium-depth cup is usually best for good overall sound and response. There isno mouthpiece that is perfect for every player or instrument, so the one that works well for you might not be best for someone else. Once you have found a mouthpiece that complements both you and your instrument, stay with it. Remember that the musical sounds that you create are a result of your practice and personal concepts of sound more than anything else. The tuba and mouthpiece only amplify what you, the performer and imaginative artist, put into them! Unit II. Proper Posture and Playing Position Good posture isa prerequisite for the proper playing position of any wind instrument. Correct posture is crucial for efficient, maximal useage of the lung capacity and for the development of breathing processes necessary for playing the tuba well. Understanding proper posture is an easy matter. Developing it as a habit requires regular Practice, but the result is worth the effort. ‘As shown in the photographic series, an easy way to find correct playing posture for tuba or sousaphoneis to as you stand”’so that the upper part of the body isin the same position sitting or standing (which includes having the feet placed firmly on the floor atall times). To find this position, put your instrument aside and stand directly in front of your chair with your feet where they would be if you were sitting. Stand straight and tall taking care to be relaxed and natural. Sit on the chair without bending your back or changing the position of the upper part of your body. ‘Avoid using the back of the chair — it is unnecessary and usually results in a poor playing [Link], have someone hand you your tuba, and become familiar with the feel of this position without playing, Then begin to play, but remain conscious of your posture and position. The actual holding of the tuba will vary somewhat depending on the size of the instrument and player. The tuba should be held relatively upright (as opposed to on it side) so that the mouthpiece is exactly level with the lips. Ideally you should not have to stretch or slump to make contact with the mouthpiece. Successful alignment of the mouthpiece and lips depends upon the placement of the bottom bow of the tuba, which will vary according to horn and player size. The tuba should be placed upon the lap whenever possible; however, small players may place the tuba on the chair between the legs. As young players grow, books should be added between the chair and tuba until the time when the tuba can be placed on the lap. Some players develop a comfortable playing position by sitting near the edge of the chair and placing the tuba in front of the lap, supported and balanced between the legs. The same “sit as you stand” posture and proper alignment of the lips and mouthpiece also apply to the sousaphone. Be sure that the sousaphone is balanced and supported by the left shoulder. The arms and hands can assist with balancing but should not support any of the weight of the instrument. As with the tuba, you should not stretch or slouch to properly align the lips with the mouthpiece. The tuning bits and gooseneck usually have enough flexibility in their adjustments so that this may be accomplished without compromising the “ideal” posture, amStep One- Stand erety. Step Two Sits youstand with your backlight and feet lat onthe floor. top Three - Hold the tuba while maintaining the body positon of Step Three (front) - Notice the correct arm, hand, and finger Hep one, posivons, Some band directors prefer that their students use tuba and sousaphone stands and chairs, particularly in elementary school. The use of a stand is helpful to a small student, but it can inhibit the desired feeling of the instrument being an extension of the performer. If a tuba stand or sousaphone chair must be used, be especially careful to maintain correct posture and playing position. As soon as you are able, put the stand aside and place the instrument on your shoulder or lap. Hand position is simple but important. The thumb is placed in the thumb ring, and the fingers should arch slightly with the fingertips resting on the appropriate keys. The left hand should hold a secure section of the large tubing on the left side of the instrument. Never sling the left arm over the tuba and/or grasp any of the smaller tubing or the azn‘Stand tll and erect with the sousaphone supported and balanced on the let shoulder. leadpipe. The joints and braces that hold these sections of smaller tubing to the main body of the instrument are not strong enough to sustain this extra strain over a long period of time. This incorrect left-hand position puts the left arm in an awkward position, adversely affecting correct posture and playing position. An exception to this rule are those tubists who improve intonation by adjusting the first valve slide as they play. Itis very important that tubists be relaxed when in proper playing position and consciously strive to avoid physical tension — especially in the shoulder area. Many players unknowingly develop the undesirable habit of tensing their shoulders in an upward position which nevers seems to relax until they are finished playing. This isa difficult habit to correct, and it can inhibit efficient breathing by creating a habitual tenseness in the shoulders as well as the upper chest. Tensed shoulders and chest also decrease the lung capacity. Although proper posture does not guarantee g00d breathing habits, proper posture is necessary for proper breath-related and will help prevent many breathing- related problems. Monitor your posture and playing position by observing yourself in a mirror while playing. Be aware of correct posture, and develop it as a normal habi UNIT III. The Breath and the Tuba The development of artistic imagination and concept of sound are the most important factors in learning to make musical sounds, but certain related skills must be developed and undestood to achieve complete success. For the tubist, the development of correct breathing habits is one of the most important skills. This unit will focus on the ways breathing affects tuba playing, describe proper breathing for tuba playing, and compare normal respiration to breathing for tuba playing. Although the tubist’s lips vibrate to create sound, air movement vibrates the lips and projects the music through the tuba to the audience. The proper formation of the embouchure isa prerequisite to the production of good tuba sound, but the embouchure cannot function properly to produce this sound without a healthy supply of air. Furthermore, our tuba-related breathing habits affect many other aspects of tuba playing including accuracy of attack, range, intonation, and phrasing. Normal breathing is usually comfortable, relaxed, and unnoticed. Ideally, breathing for tuba playing can be just as relaxed and natural. First, recognize the differences between normal respiration and breathing for tuba playing. amaDuring tuba playing much more air must be moved in and out than in normal breathing; furthermore, the air must be taken in much more quickly. Another difference is that during tuba playing the exhaled breath must be expelled and projected (rather than just released) ina smooth, controlled flow. The tubist must accomplish all of these things as efficiently and effortlessly as possible. This concept is expressed well by the great tubist and teacher, Arnold Jacobs, who has said, “With regard to the breath for the tuba player, what we want is maximal efficiency with minimal effort.” Correct breathing requires little work to quickly and easily move the large amounts of air necessary for tuba playing. Correct breathing for tubists begins with proper posture and playing position. Review the unit on playing position keeping in mind that correct posture for the tubist isto sit as you stand. Almost any variation of improper posture can decrease the amount of air inhaled and impair the ability to project this air comfortably and efficiently through the tuba. Become familiar with the feel of taking in large breaths. Since people seldom take full breaths except during strenuous physical activity or as the result of a yawn, its helpful to become familiar with the “feel” of a large breath This provides a tangible goal for learning to take full breaths. Once or twice daily, place the tuba aside and take in as much air as comfortably possible, While maintaining completely open air passages, retain the air for a few seconds and experience the feel of a full breath. Occasionally blow this lungful of air into a plastic bag. Seeing the large ‘quantity of air in the bag can help you visualize your breath potential for playing. Not only must the breath be full, but it must be comfortable and natural as well. As you breathe fully and deeply for tuba playing, avoid tension anywhere in the body — especially in the shoulder area. The necessity of a relaxed shoulder position has been mentioned in the unit on posture. Keep the shoulders relaxed and down, being careful not to actively hold them down. instead, think of the shoulders as free-floating.” Allow them to rise and fall lightly as you breathe and play. If tense shoulders are a problem, observe them in a mirror during practice. Often it is possible to see shoulder tension before feeling Be relaxed and avoid tension in the throat and neck areas. The throats the fuel line of the breathing system. The {uel (air) must travel freely from the lungs to the lips to carry your sound through eighteen feet of brass tubing then to the audience! If tension or tightness is prevalent during inhalation, it can remain and cause difficulty during exhalation when the tuba is blown. A good way to avoid or reduce tension in the throat area isto imitate the feeling of a yawn during inhalation. Also helpful is forming the word “hoe” during inhalation. Both methods help the throat to be more open and relaxed. The more open the throatis, the more air can be moved. To summarize, think of having an open fuel line from the lungs to the lips during inhalation. The resultant breath will be fairly quiet and will produce only an open “whoosh” sound. AAs air is taken in, think of taking in large volumes of air through the lips. A large breath will result in the simultaneous expansion of the entire chest cavity and abdominal area. Although it is biologically correct that physical expansion is first necessary to draw air in, it is more productive for the tubist to concentrate on drawing the air in through the lips and allowing the expansion to take place naturally. The knowledge that physical expansion ‘occurs when a breath is taken is helpful, but students often place too much emphasis on this expansion and are less attentive to the act of taking in enough air. Relax and think only of inhaling huge volumes of air through the lips. The breath should be taken in primarily through the mouth rather than the nose, as the nasal passages are too small to accomodate the air require- ments of tuba playing. Some performers of the higher brassinstruments such asthe trumpet breathe through the corners of the mouth while maintaining full embouchure contact with the mouthpiece. This isimpractical on the tuba because the tuba mouthpiece covers too large an area of the mouth to allow sufficient air to enter through the corners of the mouth only. This type of breathing can also resultin the problem oftheliipsbecomingstretched progressively tighter. An effective method of taking a breath while playing the tuba isto let the lower jaw and lip drop down slightly away from the mouthpiece while maintaining partial contact of the upper and the mouthpiece. This is demonstrated in the yyis ca photograph. ‘maintaining partial contact withthe mouthpiece. 3 eliclendy ake ln ale while amaDuring inhalation, keep the throat open and the tongue down and out of the way of the airstream. Anticipate the breath and drop the jaw quickly when it is time to breathe. When inhalation isefficient and relaxed, itis easier to “blow the tuba.” Remember that the breath cannot just be released; it must be projected through the tuba. It should always be projected with the thought of sending the sound to the listener in the audience. Setting the embouchure and blowing air at real or imaginary objects on the other side of the room can strengthen this concept. The physical effort of blowing the tuba should be energetic but unforced so that the result isa free and even flow of air. Avoid holding or “locking in” air after inhaling a breath. This is not beneficial to tuba playing and may create unnecessary tension. Instead, play off of the “rebound of the breath” by starting to blow just at the moment the lungs are full. The following exercise reinforces this concept, 1. Inhale a large breath, then immediately play a mid-range note for several seconds. 2, Repeat step one, only this time hold in the air for ten seconds before playing the note. 3. Repeat step one again exactly as you did the first time. You will notice that itis more comfortable to play off of the “rebound of the breath.” Avoid excess tension in the stomach, or properly termed, abdominal area, Some muscular activity in this area is normal and another short experiment will illustrate this: Place your hand on the abdominal area and blow out a match held an arm’s length away. A quick, light contraction of the abdominal muscles will be felt. A similar action normally occurs when the tuba is blown. This type of muscular activity is normal for tuba playing, but avoid inducing unnecessary tension in this area. A constant tension in the abdominal area accomplishes no positive result, and this undesirable tension can reduce your lung capacity as well. When your band director asks you to support the tone, do not automatically respond by tensing your abdominal area! Your director is requesting a sound, not a physical sensation. Try to produce that sound. A supported sound on the tubaisa full, vibrant tone resulting physically from the proper coordination of embouchure and air, and esthetically from the concept of sound within the musician, the tuba player. EXERCISES AND HINTS TO IMPROVE BREATHING FOR TUBA PLAYING This is an exercise to help develop comfortable breathing for tuba playing: J= 60-72 m4 [1 2 3 4]1 2 3 4]a 2 3 4 Inhale Exhale fully Inhale | Exhale fully ete, 1. Inhale fully using all of beat four. 2, Exhale fully and evenly over seven counts projecting the air at a distant object. Control the air flow rate by adjusting the opening of the lips so that the air lasts comfortably over the seven counts. 3. Repeat steps one and two several times, then rest. More repetitions might cause dizziness from hyperventilation (too much oxygen in the blood). i. Next, try inhaling on the (+) of beat four so that you learn to inhale more quickly. 9. Create your own variations on this exercise to correspond with your musical demands. Always be sure that your breathing is full and relaxed. ae An exercise like this does not guarantee correct breathing, butit can help you understand how your body works and how to make it work for you when you play the tuba. Plan your breaths and mark your music accordingly. Editing marks are excellent aids because they help to develop consistent breathing habits. Since we all vary in the amount of air we can inhale (called vital capacity), your breath marks re personal and may not work for someone else. There are ensemble situations in which the music requires ‘more beats of continuous sound than one breath can produce. The alternation or “staggering” of breaths wit section of two or more tubas can successfully and comfortably accomplish this musical requirement. In planning your breaths, keep in mind the effects of volume and range on the air supply. More airis required to play loud tone; ess air is needed to play a soft tone. Try this experiment: Choose any mid-range tone, and (timing yourself) hold the tone as long as possible at these three volumes: ama10 Experimenting with different volumes on any single tone will show that the louder a noteis, the more air it requires. Range also affects the breath. The lower a note is, the more air it requires. Try another experiment: Play the following three tones at exactly the same volumes, perhaps _. Time yourself again to see how long each note can be sustained. a ms s Observe how much more airis required to play in the lower register. Consider volume and range as you edit and plan your breaths. Although the music of the higher brasses (transposed to lower octaves) provides excellent technical and musical challenges for the tuba, the tubist could require twice as many breaths as a trombonist playing the same passage. If the tubist attempts to breathe only as often as the trombonist, he/she will gasp most of the time and probably have a pinched, thin tone as well. Play and enjoy the literature of the upper brasses, but recongize the differencesin breath requirements and edit accordingly. Ifyou experience tension and gasping which make it difficult to take comfortable breaths in an extended passage ‘of music, consider the following suggestions: 1. The first breath at the beginning of a passage is usually more efficient and comfortable than those which follow. Consciously be aware of the openness, generalfeeling, and amount of air taken in during the first breath, Maintain this awareness o that you are able to anticipate and reproduce every aspect of the first breath — especially the open sound it creates moving through your air passages. 2. Divide the extended passage into smaller phrases and play one section at a time. This sub-division helps maintain a higher level of concentration on the challenges within each phrase and allows each part of the passage to be approached with a fresh breath. When all of the phrases have been comfortably mastered, gradually reunite them. 3. If the passage is loud, temporarily decrease the volume without sacrificing the quality of sound. Gradually work back to the louder volume. ‘The creation of beautiful musicon the tubais always the ultimate goal. Make the breath an integral, beautiful part of the musical artistry you convey to the audience rather than an ugly hurdle to be passed over as quickly as possible. This concept can be strengthened by practicing music of a melodic nature. In melodies and songs, the breathing ‘occurs more musically than in the typical tuba parts of marches and other band literature. Here are several highlights of this uni Maintain proper posture and playing position. Breathe fully, quickly, and quietly. Know the sound and feel of a proper breath. Avoid tension — be relaxed and natural. Project the breath through the tuba. Edit and plan your breathing. Make the breath part of the music. UNIT IV. The Embouchure Embouchure is derived from the French word bouche which means mouth. Embouchure can be defined as the lips and surrounding facial musculature which are cooperatively shaped in an ideal position for producing sound on the instrument when air is blown through the lips causing them to vibrate. The surrounding facial musculature includes the mouth, chin, and cheeks as well as the lips. The proper shaping of the lips to form an embouchure depends upon coordinated muscle control in all of these areas, but the amount of control exerted is actually very small. An embouchure should be formed firmly, but gently. Correct sound is always the best guide to proper embouchure development. People learn the complex maneuvers of speech largely through the imitation of sound rather than through physical analysis. Similarly, the development of a correct embouchure should be based on the imitation and creation of fine sound. The formation of the tuba embouchure is a combination of forming the word “emm’” and a slight puckering of the lips. The teeth should be separated, and the corners of the mouth should be firm. The corners are drawn gently a7against the teeth but never into a smile. The jaw is thrust slightly out, and the chin should be firm and somewhat pointed — never bunch up the chin, The lips should be lightly touching or slightly parted but never characterized by extreme pinching or puckering. Some instructors teach that the lips should be slightly parted, while others fee! that the lips should always touch lightly at the initiation of any tone. Both concepts are valid, and most players subconsciously do either depending on the range or dynamic level of the tone. Unless there isa tendency to pinch the lips together, it is recommended that the lips be lightly touching when forming the “ideal” embouchure. The player who has a problem with pinching may benefit from the concept of slight separation. This separation can also be helpful to any tubist for low range development, Although forming the tuba embouchure requires some muscular activity, avoid excess tension. Ittakes very litle effort to properly form and maintain a tuba embouchure. Always maintain some separation of the teeth and avoid clenching them at any time. Naturally, this separation is greater as the jaw drops slightly in the lower register, and the jaw must not be rigid or tense so that dropping the jaw is possible. Although the progressive and slight dropping of the jaw in the lower register is helpful for low range development, it does not necessarily guarantee the correct embouchure setting. Again, correct sound, rather than physical analysis, is the best guide for low register embouchure development. Mi Pie al The fat photo ifs correct embouchure formalin. The second photo shows an incorrect smile peo embouchure. The hed photo hows anlncrect ‘onbouchore thats chased by ecesepuheigo psd ako macs a comer ofthe mouth cng ped aoc Nearly every caricature or cartoon of tubists in the media features huge, puffed cheeks. Despite the fact that the public has been conditioned to expect puffed cheeks to be normal for tuba players, avoid doing it. Minimal cheek-puffing might be tolerated in the extreme low register or pedal tones, but otherwise it should be completely avoided. A valuable observation is that cheek-puffing is usually less of a problem for those tubists who maintain a ~ proper firmness in the corners of the mouth. Chin impropery bunched wp. am2 The development of strength and control in an embouchure can come only through continued fine playing and regular practice, but there are various exercises that are helpful when used as supplements to basic etude, solo, and ensemble practice. Mouthpiece practice is always beneficial for embouchure development, especially at the beginning level. Long-tones, dynamic studies, and flexiblity exercises are also useful atall levels. Itisimportant that long-tones be played in all registers at varying dynamics and that short rest periods always be a part of long-tone practice. The placement of the tuba mouthpiece will vary somewhat according to each tubist’s particular dental and facial structure. As an initial point of reference, the beginner should start with the mouthpiece centered both vertically and horizontally on the mouth. This way the mouthpiece is placed at the center of the mouth with one-half top lip and one-half bottom lip in the mouthpiece. Thisis an “ideal” placement, and individual physical characteristics will slightly alter this placement. After a beginner has played long enough to start developing an embouchure, the student usually finds that there is an ideal spot where the mouthpiece feels and fits comfortably on the mouth and where the best characteristic sound is produced. This happens naturally and unconsciously for most players. Any comfortable mouthpiece placement which produces good results for the performer is probably the best for that individual. Unless your instructor decides that asmall change is necessary for you, itis advisable not to experiment with your normal setting, Mouthpiece pressure is a subject that is often debated among brass players. A small amount of pressure is required to maintain a sufficient seal between the lips and the mouthpiece to prevent air from escaping around the sides (rim) of the mouthpiece, so there is little reality to a “'no pressure” system of brass playing. However, the amount of pressure necessary to provide an adequate seal is quite small — hence a small amount of pressure must be tolerated while guarding against excess pressure. Excessive pressure will cause the lips to tense and harden in a natural effort to resist the mouthpiece. This results in a rather stiff and inflexible embouchure, inadequate ‘endurance, and poor tone aualitv. How much pressure is excessive? This is larzelv a matter of common sense, but if the area where the mouthpiece rim contacts the lips is sore or tires before the vibrating portion of the embouchure, there is probably too much pressure. Consciously avoid pressure as a crutch for the high range — let the embouchure and the air do the work for you. Mouthpiece practice in the high range seems to help many tul alleviate the habit of excess pressure in the upper register. Excessive mouthpiece pressure can be caused by too much upper range practice and not enough lower and mid-range practice, so balance your practice sessions carefully when working on the upper register. Most tubists use a wet or moist embouchure while playing, although some prefer a dry embouchure. This is a matter of personal preference. A moderate dependence on either system is normal, butastrong dependence either way can bea hindrance. The player who depends on completely dry lips finds it necessary to frequently dry his/her lips as they automatically become moist from playing or perspiration. The player who depends on totally wet lips and mouthpiece has difficulties if his lips or mouth become dry from nervousness during a performance. There are advantages to a moist embouchure because a tuba mouthpiece placed on dry lips will tend to stick to the exact spot of initial contact. This can make the slight manuevering to the ideal position difficult. Moist lips will allow the mouthpiece to move quickly and naturally to that spot. Sore lips are less likely to occur when a moist embouchureis used, and some professionals feel that a greater flexibility is attainable with a moist embouchure. Knowledge of the embouchure is important, but only regular musical practice will develop an embouchure. A facsimile of an embouchure can be formed away from the instrument, but in reality, the only time a true embouchure is formed is during playing. Always let beautiful sound be your primary guide to proper embouchure development. Unit V. Warming-Up ‘A warm-up is a musical routine that physically and mentally prepares a musi practice. The mental aspects of warming-up are at least as important as the physical elements because this discip! prepares the thinking as well as the playing apparatus. A musician must focus all of his/her thoughts and totally concentrate on playing the instrument. A warm-up routine is a personal and individual process — the amount of time and the type of material used can vary greatly from player to player. Also, in individual's warm-up can vary depending upon the musical demands of a particular day. Each tubist should experiment with various types of warm-up procedures and develop a personal routine which satisfies his/her needs. azThe benefits of warming-up are many, and the necessity of doing so is obvious if we consider how most professional athletes warm-up before a game, competition, or practice session. Can you imagine any great baseball pitcher who would walk out of the locker room onto the field and, with no preparation, immediately throw his most spectacular fast-ball? Of course not! Most tubists find that a regular warm-up increases endurance, aids general response, and makes for better performances and more productive practice sessions, The end results that playing is more fun and rewarding. ‘What constitutes good warm-up material? A warm-up can take many forms, but it commonly includes some or all of the following: long-tones, lip-slurs, mouthpiece buzzing, scales, tonguing, and flexibility exercises. In addition, many professionals recommend that a warm-up include something of a melodic, musical nature. Simple, familiar tunes can serve this purpose well. Mouthpiece buzzing can be especially helpful as part of a warm-up or pre-warm-up routine. Mouthpiece buzzing is also excellent for the development of pitch recognizition, endurance, and flexibility. Although a v of music can be used successfully for mouthpiece practice, for warm-up purposes simple tunes and familiar melodies are recommended rather than long-tones or scales. This buzzing of familiar tunes allows us to become immediately involved in making music without the need for written music. Choose tunes of alively character such as those suggested at the end of this unit. Ahelpful prelude to warming-up on the mouthpiece of tuba is to run warm water through your mouthpiece. This helps maintain a clean mouthpiece and warms the mouthpiece to a comfortable temperature. Included in this manual are exercices for long-tones, lip-slurs, tonguing, scales, and other skills. Experiment with various exercises and use a balanced variety of materials. Regardless of your choices, itis important that the entire warm-up be as musical as possible — from beginning to end. eo Try these tunes on your mouthpiece as part of your warm-up. “Row, Row, Row" Other familiar tunes which could be used are: “Camptown Races,” “Happy Birthday,” “London Bridge,” “Yankee Doodle,” “Dixie,” “Jingle-Bells,” “I've Been Working on the Railroad,” and your own favorites. az 3“ Unit VI. Tone Production and Long-Tone Studies The production of a good characteristic tuba sound is dependent upon proper embouchure and breath support. However, the playing apparatus can be physically correct, but fine sound cannot be created unless itis first conceived by the performer. The tubist who desires to improve and maintain fine tone quality must havea definite goal and concept of exactly how he/she wishes to sound. The development of this concept involves imagination and listening. Listen carefully to your tuba teacher as well as the many fine tuba recordings now commercially available. If a tubist can mentally create fine sound, it is only a matter of time and practice before he/she will produce that sound on the tuba. ‘A good characteristic tuba tone has a resonant center or “core” to it. This is where the tone sounds best, and tubists should strive to fine and reinforce it. The opposite of a focused or centered tone might be a sound characterized by fuzziness and/or extraneous air sounds. This can be caused by an inefficient or underdeveloped embouchure, but poor sound is more often caused by a player's lack of tone concept. Consequently, poor sound develops as a habit and becomes progressively more difficult to improve or correct. Another frequent problem of tone quality is a sound that is pinched and thin. This usually results from improper breathing habits or from atense or smile-type of embouchure. Most sound problems can be related to physical problems discussed in the posture, breathing, and embouchure units; nevertheless, the primary cause of poor sound remains a lack of concept. Attention to proper demonstrations and recordings combined with imagination are the best tools for the development of fine sound. Listen, remember, imagine, and create! Vibrato should be mentioned when discussing tone production. Vibrato is a slight modulation of pitch used to create expression on longer tones. Vibrato is most easily produced on the tuba by aslight jaw movement. Itcan also be produced by breath pulsation/fluctuation which is sometimes termed “diaphragm vibrato.” This is not recommended for tuba because “diaphragm vibrato” often produces an unpleasant sound and is more difficult to control than jaw vibrato. Vibrato can be used effectively on the tuba in melodic and solo playing but is seldom appropriate in large ensembles. Develop your vibrato by listening to the types of vibrato used by all musicians — singers as well as instrumentalists. Imitate styles that sound best and inspire you the most. Vibrato sounds best on the tuba if executed alittle slower than upper brass vibrato because of the lower pitch of the tuba. The most important rule of vibrato is to use it appropriately and to have the ability to turn ton and off as you desire. Ultimately, vibrato should enhance your tone and performance without creating any distraction from the musi LONG-TONE STUDIES The following long-tone studies serve not only as excellent warm-up material but also as studies to help your tone ‘quality. Always try to make every note a “solo” in the sense that you make every tone your best — regardless of range or dynamic level. As you play these studies, find notes in your range that have the best tone quality and use them as models for all other tones. Itcan be helpful, especially if your tone sounds pinched or thin, to occasionally play sections of these tone studies on your mouthpiece. Group One is useful for this purpose. You will use much more air on the mouthpiece than on the tuba, so you will have to accelerate some of the tempos when these are performed on the mouthpiece alone. Consistency of response in the lower range of the mouthpiece requires time to develop, so do not be concerned if you cannot play as low on the mouthpiece as on the tuba. GROUP ONE: Use this exercise as a daily long-tone study and transpose it to two or three different keys each day using both higher and lower registration. ol (simile) AB15 Consider a mid-dynamic of mf as a normal dynamic level for this study, but occasionally use loud and softer dynamics, Also use crescendos and decrescendos as in the following examples: io} 2 a GROUP TWO: Many low brass performers use a long-tone warm-up pattern like the following, which is similar to a pattern taught by the famous trombone teacher, Emory Remington: i ve : s be = = Be conscious of rhythm and tempo with all long-tone studies. Playing lower tones takes more air, and you may have to increase the tempo. It might be comfortable to begin this study at quarter note =60, but below thestaff the tempo might need to be increased to quarter note =90 (or more). At any tempo always take full and relaxed breaths Also introduce dynamics to this study as in Group One. amUnit VII. Articulation Accurate articulation isto fine tuba playing as correct diction isto singing or speaking properly. Asthe singer must carefully pronounce or articulate the words of a song so that they are clearly understandable toan audience, tubists ‘must precisely articulate all of the notes they play. Accurate articulation is important, but it can only be successful when used harmoniously with all the other musical and technical skills (tone, rhythm, phrasing, etc.,) In tuba playing there are two ways to begin (articulate) any tone: starting the tone with a coordinated action of the tongue and the breath (tonguing), or connecting the tone smoothly to the previous tone (slurring). Hence this unit on articulation will be presented in two sections — tonguing and slurring. Tonguing ‘Atone is produced and sustained by a moving column of air which causes the embouchure to vibrate, but the exact start of the tone is determined by the action of the tongue. Experimentation will show that any tone may be begun without tongue movement, but itis difficult to control the precise time at which the tone starts. Therefore, "we use the tongue to produce predictable beginnings to tones. Normal tonguing is similar to the speech patterns “tu,”"“ta,” or “toe.” As the tongue makes brief contact with the palate, it briefly interrupts the flow of the air column. Thisaction defines the beginning of the air column by causing a slightly increased air compression which helps set the lips in motion upon the moment of tongue release. An immediate response will occur only ifthe lips are properly set for the desired pitch and ifthe fingering of the valves is properly coordinated with the action of the tongue and air. Listed below are concepts that are important for accurate and efficient tonguin 1. The tongue is an articulator, nota tone producer, so accurate tonguing is also dependent upon the action of the breath. 2. Proper diction can be helpful in coordinating approxi should not touch between the teeth of lips. ate placement of the tongue. Ideally the tongue . The tongue is not normally used to end notes. . Accurate tonguing is dependent upon precise pitch. . The tongue should be relaxed, not tense, whether articulating or at rest. ‘The motion of the tongue should be more of an up-an-down motion than a back-and-forth motion. 3 4 5. 6. The action of the tongue should be brisk and quick. 7. 8. Concentrate on using the tip of the tongue. 9. 1. Keep the jaw set in position to avoid chewing attacks, 10. The action of the valves must be coordinated with that of the tongue and breath. 11. Multiple-tonguing should be learned only after single-tonguing has been mastered. Adequate air flow is necessary for all tongued articulations. Often tonguing and initial attack problems are caused more by lack of air projection than by a faulty tongue. Provide sufficient air flow for all articulations, and follow through with air and sound after the attack. The use of diction can be a helpful guide for tongue placement using the syllables “tu,” “ta,” or “toe.” The tongue placement will closely approximate the pronunciation of these syllables, but the exact position may vary slightly because of individual physical make-up and habit. The tongue placement will come slightly forward for the lower range and slightly back for the upper range. Avoid tonguing between the teeth or lips. This habit will work but is less efficient and becomes a hindrance in the development of clean and consistent tonguing, particularly for tubists. The tongue should not be used for stopping the air or tone, even in very rapid articulation. If you sing the word “hoe” and sustain it for a few beats, you will observe that no tongue movement is needed to end the sound. Students who end notes with the tongue often produce unpleasant tones that sound like “taa-what.” In rapid articulation, distinctly articulating the beginning of each new tone should automatically take care of ending the previous tone. wanAnother problem associated with producing accurate attacks is not actually a tonguing problem, but a pitch problem. Ifthe lips do not produce the correct pitch, it is doubtful that articulation can be clean even if all else is correct. Always be sure of the correct pitch of any note before playing. Extra concentration on pitch immediately helps many tonguing problems. If you are not sure of a pitch, try buzzing it on the mouthpiece. This may reveal whether or not you are hearing the pitch correctly. f you can produce the correct pitch on the mouthpiece, you can do the same on the tuba. In order for all types of articulation to be successful and efficient, the tongue must be relaxed and not tense. Yet many tubists, in the effort to tongue correctly, unconsciously tense the tongue, making tonguing diffcult and labored. Tongue movement should be characterized by a rapid flick to the point of contact, then back to rest Position. Often a tense tongue does not return to rest position, and the sides of sthe tongue press on the upper teeth and obstruct the airstream. Resting frequently during tonguing practice wilt help avoid this problem. ‘The motion of the tongue is actually a combination of back-and-forth and up-and-down motion. Tonguing is most efficient for tubistsif itis primarily an up-an-down motion using the tip of the tongue. If the tongue isin alow rest position while a tone is sustained, it has less distance to travel with an up-and-down motion than if the entire ‘tongue is thrust back-and forth. Using an up-and-down motion places emphasis on moving the tip of the tongue, rather than the entire tongue, for each attack. Another undesirable tonguing habit for tubists is the “chewing” of attacks characterized by a jaw movement for each articulated tone. While a small amount of movement may be tolerated, it should be minimized as much as possible. Observation of the jaw in a mirror (while playing) can be helpful in eliminating this problem. Correct valve manipulation is essential for successful articulation, tongued or slurred. Precisely coordinate valve movement with the action of the tongue. Always depress valves quickly and firmly, then let them pop up. In striving for correct valve action, do not allow your hand or fingers to become tense. Relaxed fingers will respond quickly and easily. Multiple-tonguing should be used only when single tonguing is inadequate for proper execution of a passage. Double and triple-tonguing abilities are valuable skills to possess, but they should not be used when single- tonguing is adequate. This inappropriate use results in a lazy and under-developed single-tongue technique. Maintain your single-tonguing technique and use it often. TONGUING EXERCISES 4=60-120 emf) Continue lower as range permits. 7BJ=60-120 = 60-120 The Bb scale is used for these exercises. However, these patterns should be played in all keys throughout your range. Invent your own patterns using varying dynamics and tempos. MULTIPLE-TONGUING Single-tonguing is used for most playing because of, the uniformity of each attack. However, when a tongued passage must be performed with greater speed than is possible for the single-tongue, double-tonguing or triple-tonguing may be used. Single-tonguing is used more often than multiple-tonguing, so itis essential that the tubist possess a highly developed and accurate single-tongue technique before learning multiple-tonguing techniques. One should consider that the single-tongue comprises one-half of the double-tongue pattern and two-thirds of the triple-tongue pattern. Hence, a consistent single-tongue will greatly help in developing multiple- tongue technique. Multiple-tonguing is based on the use of consonant “K” combined with the normal “T” consonant. Double- tonguing articulates the pattern “TKTK” and is typically used on fast duple-division material. Triple-tonguing articulates the pattern “TK” and is used on fast triple-division material. There are two primary skills to be mastered for the successful development of multiple-tonguing technique. The first skill isthe smooth alternation of the““T” and “k” consonants so that the patterns are rhythmicagd even at both [Link] fast speeds. This coordination is developed only through careful, slow practice; no reliable fast technique furscan be attained until it has been thoroughly mastered at slow tempos. Using speech to practice these patterns (away from the tuba) is useful in reinforcing this skill. The other skill is to develop the “K” consonant so that the sound of the “K” articulation closely matches the sound of the “"T” articulation. The “K” articulation is awkward and less distinct at first. Use extra air with the “K” consonant to help clarify its articulation and response. Iti also helpful to place the articulation of the “K” consonant further forward in the oral cavity than in normal speech. Most importantly, balance the “T” and “K” consonants by listening critically and analytically. The use of a metronome is invaluable in improving the speed of all tonguing techniques. Tempos can be gradually increased on a daily basis. The following multiple-tonguing exercises should be completely mastered with the single-tongue before multiple-tonguing is attempted, The first rule for this type of practice is: Always playit slowly at first, then gradually progress to faster tempos. DOUBLE-TONGUING EXERCISES Master these studies with the single tongue before using double-tongue technique. J=60-132 1 KT K) 4=60-132 2. (KTKTKTRK) aa 1920 TRIPLE-TONGUING EXERCISES Master these studies with the single-tongue before using triple-tongue technique. d= 72-144 wrk 2sams Continue this pattern upward, then downward, as range permits. 22 SLURRING ‘Smooth slurs are the result of the proper rhythmic coordination of the breath, fingers, and embouchure. A slur smoothly connects two or more different notes, and only the first note of each slur group is tongued. Slurs should sound as smooth as possible regardless of whether the slurs ascend or descend, Slurs should be practiced daily in exercise form and in the musical context of your solo and etude materials, The following are general hints to help develop and maintain good slurs: 1. Know precisely how the slur should sound, 2. Use no tongue after the first note of any slur or slur group. 3. Blow through slurs, and avoid conscious embouchure adjustment. 4, Accurate slurring depends on precise rhythm and valve manipulation. The ideal way to play excellent slurs is to have a strong concept of how the slur will actually sound in terms ofits smoothness, tone quality, pitch, and rhythm. Avoid thinking about the physical adjustments and maneuvers used to produce the slur. The importance of hearing exact pitch cannot be over-emphasized, especially with wide intervals. Sing or play an interval on the mouthpiece to strengthen the pitch relationship. This immediately helps the embouchure function more accurately and will also build your confidence. Do not take step-wise intervals for granted; concentrate on exact pitch for all intervals — easy and difficult. Know your pitches and be able to hear every aspect of how the slur should sound before playing it! Never use the tongue within a slur group. The use of any tongue during slurs is an unnecessary crutch and undesirable habit. Do not even use a light legato-tongue. Instead, rely upon the air, embouchure, and fingers to produce good slurs. Any tonguing during slurs interrupts the air flow and prevents the embouchure from correctly and naturally producing the slur. Trombonists frequently (and correctly) are taught to use the ‘‘legato-tongue”™ technique because of the unique problems of producing slurs on a brass instrument that uses a slide rather than valves to produce various pitches. This technique is not appropriate for the tuba. Blow through slurred intervals and do not over-compensate with the embouchure. This over-compensation can contribute to poor air flow. A slur should be characterized by a continuous sound in which the pitch changes occur smoothly and evenly, and there must be a continuous flow of air to the embouchure to produce this continuous sound. Slurs must be rhythmically precise to small fractions of a beat, and valve manipulation must be carefully coordinated with the exact rhythm of a slur. The most common fingering problem of slurring is depressing and releasing the valves too slowly. This will not improve the smoothness of any slur. Always depress and release valves quickly and firmly for all slurs. Most tubists find the development of upward slurs more difficult than downward slurs. Despite this, upward slurs can be made to sound quite good if approached properly. The conscious arching of the tongue (“‘TAA-EE” method) on upward slurs is often over-done on the tuba. This method can become a crutch and will produce a thin and pinched sound, especially with a large interval. Because of the width of the tuba embouchure and the huge column of air necessary to fuel this large embouchure, the “TAA-EE” method should be used minimally if at all. Some arching of the tongue does occur in most upward slurs on the tuba, but this action will occur naturally if the attention of the player is directed towards the concepts of exact pitch, tone, rhythm, and air flow. IMPROVING PROBLEM SLURS I youare experiencing difficulty with a slur, you can improve it by isolating the slur from the passage, simplifying the rhythm, and practicing it slowly in both directions on the mouthpiece and the instrument. Upward and downward slurs strengthen each other and reinforce proper coordination. The following example illustrates this procedure: Isolate the problem slur. ‘on the mouthpiece and tuba. SSSInvent your own exercises based on the problem slur. A special hint involving downward slurs of large intervals is to remember that it requires more air to play lower tones at the same dynamic level as upper tones. Certain slurs on the BBb tuba are more difficult than others. The use of alternate fingerings can improve the smoothness and ease of execution of some of these slurs. These alternate fingerings should not be used permanently, and the student should endeavor to make these slurs sound as good with the normal fingerings. Here are two common problem slurs and suggested altnerate fingering SSS = = = Normal (0) 12 (0) 23 (0) Alternate 13 3 13 13 23 13 These suggestions do not guarantee perfect slurs but are ways to approach and improve problem slurs. Systematic methods like these are always more productive than playing the slur over and over again. Approach any problem slur patiently, systematically, and musically. The sound of a good slur, whether imagined or demonstrated by your teacher, is always the best guide. SLURRING EXERCISES These exercises are to improve, strengthen, and develop slurring. The easiest and smoothest slurs are usually downward by half-step from open notes. Use these slurs as models of good slurring. These studies may also be used as warm-up exercises or tone studies and should always be performed with your best tone quality. Group One Slowly Aso play one octave lower. az 234 Also play one octave lower. ce Veneto i Grou wo Interval slurs with same fingerings Slowly NEN (or (2) > (123) Sma! as 2 Play patterns 2, 3, 4, and 5 through all the valve combinations to the (123) or (24) combination as in Exercise 1 a sO “SF (0) 2) (0) (2) ‘Master the slower slurs before working on the faster ones. Do not develop velocity at the expense of smoothness. a7(o, > (2) GROUP THREE These slurs may be played on the mouthpiece (as range permits) to facilitate their development. (0) > (2) a) (12) (23) 413) (4) (123) (2a) CO) (2) (0) (2) we am 252% Interval slurs with different fingerings Begin these exercises on notes other than F and proceed up an down chromatically through an octave (or as range permits). AB7 Unit VIII. Scale, Range, and Flexibility Exercises SCALE EXERCISES Scales are integral part of the musical language from which most music is derived. Also, jazz improvisation is taught with an emphasis on a complete working knowledge of all scales and their modal variations. For these reasons, all musicians must know scales and practice them regularly. The following are several common scale patterns that should be practiced slurred and tongued with a variety of rhythms: 1 ‘As range permits, play all scales through their modal variations as shown in Exercises 6 and 7: ama28 RANGE EXERCISES Develop range through the tesselate challenges of the literature you perform as well as through exercises designed for this purpose. Balance your approach to range expansion by developing the upper and lower ranges simultaneously because the upper and lower registers strengthen each other. Constantly challenge yourself to increase your range, but always practice in a methodical, sensible, and regular manner. EXTENDING THE LOWER REGISTER: In each of these four groups, establish your very best tone on the first note of each group. Then carry the tone quality of the first note through each of the succeeding notes: Freely amsPerform Exercise 2 in a very musical and cadenza-like manner. 9 a Da» ™p SS_=r 9 FS ep —————— a 2 a (same dynamics throughout) Play this pattern lower as your range permits. (same dynamics throughout) EXTENDING THE UPPER REGISTER: (simile) ea30 FLEXIBILITY EXERCISES: Play all flexibility exercises slowly then gradually increase tempos as you gain facility d= 60-120 L (O1-> (> nt i (23)-> (13) oF (4) (123) 0r (2a Also practice Exercise 1 beginning on the upper note: — (0}> (2 (0) (2) (23) (13) oF (4) (123) or 124) az31 Also practice Exercise 2 beginning on the upper note: _ _———— Achieve a moderately rapid tempo on exercises one and two before continuing to Exercises 3 through 6. a 2) 2) 23) te igs ig ase fiz, | 2) 0 (4) (24) ‘ . (ete) (12> (ere.) Continue this flexibility pattern through all of the usual valve combinations to 123 (24).. azn32 Unit IX. Intonation, Tuning, and Fingerings The following can cause faulty intonation on the tuba: 1. Inability to distinguish correct pitch. 2. Notes characteristically out of tune on the instrument. 3. Inadequate breath support. 4, Underdeveloped or weak embouchure. 5. Improper position of tongue or closed air passages. 6 7. 8. 5. Mouthpiece design unsuitable for instrument. , Temperature variances. . Dynamics. Accurate intonation is dependent upon precisely hearing pitch before it is sounded. The ability to effectively compensate for physical problems is a necessity for accurate intonation, but the ability to distinguish correct pitch must come first. Pitch can be improved by singing or playing tunes on the mouthpiece with careful attention to intervals and relative intonation. Listen to pitch all of the time. The ability to hear fine intonation problems on the tuba is a skill which must be practiced to be attained. If the habit of listening for intonation is consciously developed, the ability to hear and produce accurate intonation will slowly but surely improve. Listen all of the time, even to notes that are usually in tune. The tuba is the foundation of the band, and it must be in tune. Frequently use the electronic tuning devices found in most bandrooms. They are accurate and easy to operate. These aids should be used to verify what you hear, but a dependency on them should be avoided. Using an electronic tuner as a reference, maintain a written record of the intonation tendencies of your tuba. Become familiar with these tendencies and learn how to compensate for them by proper use of alternate fingerings and appropriate tuning slide adjustments. Inadequate breath support is common cause of intonation discrepencies. Use proper air flow at all times, especially during tuning and low-register playing, Inadequate breath support and/or a closed throat tend to cause sharpness in the low register. The air passageways must be kept open and relaxed for reliable intonation and comfortable breathing, An underdeveloped, weak embouchure can cause intonation problems in any register. A weak embouchure often must squeeze, pinch, and force to produce tones. This usually results in poor tone quality and unreliable intonation. Poor practice habits are usually the most common cause for a weak or underdeveloped embouchure. Use a mouthpiece properly matched with the instrument you play, as mouthpiece design will affect the intonation tendencies of any tuba. A mouthpiece which is the same as or similar to the mode! which came with the instrument often produces the best intonation with that instrument. Know the effects of various temperatures on your instrument. Since sound travels faster in warm air, the conditions of a warm rehearsal hall or hot outdoor concert will cause the tuba or sousaphone to sound sharper than, normal. Conversely, cold temperatures will cause pitch to sound flatter than usual. Consequently, itis difficult to tune accurately at the beginning of a rehearsal or performance if your horn is not warmed up to normal playing temperature. Be aware of the effects of dynamics on pitch. There is a tendency to blow flat on very soft dynamics and sharp on very loud dynamics. A good exercise to help this problem is to use a tuner asa monitor and play tones at louder and softer dynamics while trying to maintain the same pitch. Also monitor pitch while playing crescendos and decrescendos on the same tones. These are the first twelve partials of the overtone series of the BBb tuba. All of these tones may be produced without the use of any valves, although numbers seven and eleven are very flat and seldom played as open tones. (Always play the seventh partial Ab with the first valve.) 2 e © 2 7 12 aznThere are certain characteristics of these partials that are consistent with most BBb tubas. Partials one, two, four, and eight are usually in tune. The eighth partial is flat on some tubas. Partials three and six are flat or sharp depending on the construction/brand of the tuba; however, on most tubas these notes are a little flat. Usually Partials three and six may be lipped in tune without using alternate fingerings. The first and third valve combination ‘or fourth valve may be used if these partials are noticeably flat. Partial five is usually flat (particularly on many European tubas). This flatness can require the third valve or the first and second valve combination as alternates. When partial five (D) is flat, the Db and C immediately beneath the D also tend to be flat and may require the second and third valve combination instead of the second valve on the Db, and the first and third valve combination (or fourth) instead of the first valve on the C. == = normal: 0. 2 1 alternate(s): 3 23 130r4 Individual valve tubings that are relatively in tune (alone) can become out of tune when combined. When the first and second valves are used in combination, the resultant tones tend to be sharp. If necessary, this can be corrected by lengthening the first valve slide or using the third valve as an alternate. Certain tubas are built with long first and second valve slides making the first and second combination better in tune. o s normal: 12 alternate: 3 Whether or not you regularly use the third valve instead of the first and second combination depends on the characteristics of your tuba. This same variability also applies to the fifth partial (D) and to the Db and C immediately beneath it. If these notes are only alittle flat on your instrument, appropriately use both the regular or alternate fingerings depending on the situation. In many sixteenth note passages the normal (but lightly flat) fingerings could be used. But a sustained middle-line D would sound better using the appropriate alternate fingering, since a long note makes any intonation problem more obvious. USING THE FIRST VALVE SLIDE TO IMPROVE INTONATION The first valve slide on most tubas is usually in a position that allows the slide to be easily adjusted with the left hand. Many tubists take advantage of this possibility and use it to improve intonation on notes that include the first valve in their fingering, Most notes that use the first valve are best in tune with the first valve slide pulled out slightly, except for the Cin the staff, which tendsto be flat. The most common manipulation of the first valve slide is to push itall the way in to raise the pitch of the C in the staff. Another manipulation is to pull the slide out further than normal position to help make the sharp first and second valve combination better in tune. Young tubists are encouraged to experiment with the many possible ways of improving intonation using the first valve slide. This photo shows 2tubis adjusting the length of the frst valve lide to improve Intonation, fans 3‘THE FOURTH VALVE ‘The fourth valve is a must for any serious tubist. If you are able to purchase your own instrument, do not considera three-valve model. On most tubas there are certain notes which are almost impossible to play in tune without the fourth valve. The low range of a three-valve tuba never sounds as good as the low range of a four-valve tuba because the three-valve instrument must use “false” or “privileged” tones instead of the additional fingerings fourth valve provides. Also, some tubas do not have useable “privileged” tones. fourth valve is equivalent to the first and third valve combination, and is tuned slightly flatter. When the first and third valve are used in combination, the resulting tones are noticeably sharp. The first, second, and third valves used in combination are very sharp. The fourth valve will correct the sharpness of the first and third combination. Similarly, the second and fourth combination is better in tune than the first, second, and third combination. o a 4 24 24 ‘The fourth valve should normally be used instead of the first and third combination, and the second and fourth combination should always replace the first, second, and third combination. The fourth valve should be used in this manner even in fast technical work. It has been argued that the little finger is not strong enough for demanding technical work. While this may be temporarily true for someone who has just begun work on a fouf-valve instrument, regular use of the little finger will gradually build up its strength to that of the other fingers. Many artist-line tubas are now available with an optional fifth valve. This valve provides additional combinations and alternate fingerings and makes it possible to play chromatically to the pedal Bb withaut the use of any “false” tones. Fifth valve lengths vary in design and usually are equivalent to a second and third combination or a flat first valve. Some F tubas even have a sixth valve! LOW REGISTER FINGERINGS Low register fingerings with the fourth valve: * F E B oD D D ck GC BRB Bb ss 4 24 Voor 124234 134 1234 : *Low Cb (B) is not playable on most four-valve BBb tubas without the use of “privileged” tones. Low register fingerings without the fourth valve: Some tubas produce “false” or “privileged” tones which can extend the low register of a three-value tuba. The tone quality is usually poor on these notes. be ys be fo (0) 2 1 LL “tatse” or “privileged” tones —___] Pedal tones: The following pedal tones are possible on most BBb tubas. Depending on your mouthpiece, embouchure, and instrument, even lower tones are possible. B A & G G F E uaum CHROMATIC FINGERING CHART FOR THE BBb TUBA (2a) (4) 0 g e & ” FO Gs 12 1 3) (0) 23 2 1 2 O} 12 1 2 (0) 1 2 Cy (13) or (4) (23) (12) or (3) 23 2 1 2 (0) 12 @) (2) (0) 1 2 (0) 1 2 (0) (23) 3536 Unit X. Practicing for Results Here are five considerations for practice that produces real results and noticeable improvement: 1. Imagination 4. Regularity q 2. Goals 5. Concentration 3. Balance Imagination canmake the difference between a technical performance and a musical performance. Proper technical execution, although necessary, will not createa meaning- ful, musical experience unless the performer is using his/her imagination to convey amood or feeling to the listeners. imagination is a performer's most powerful tool, and it can be improved like other musical skills. The real challenge of tuba playing is developing the mind and its musical potential. Combine technique with imagination to create the greatest tuba playing possible. Goals provide incentive as well as continuity in practice sessions. However, goals must be well-defined to make your practice effective. The most important clarification of goalsis the delineation of long-term and short-term goals. Short-term goals include what you hope to accomplish in an individual practice session such as the preparation of your weekly lesson assignment or challenging band passages Long-term goals are those which require grad- ual and constant effort over a period of time; they include, for example, improvement of tone, endurance, range, and/or musical phrasing. Of course, the most important goal is to play musically in every practice session. A balance of practice materials to crucial for @ well-rounded practice session. Balanced practice sessions include scales, technical etudes, melodic studies, sight-reading, and solos. A wide variety of tempos, rhythms, dynamics, and articulations should be included in your repertoire. Iti also important to maintain a registral balance in your sessions. Most practicing should be centered in the mid-register, but the high and low registers require daily attention. The challenge of new materials is important, but more than half of a practice session should consist of familiar repertoire. Using music that you already play well establishes a standard level of performance for you to maintain and improve upon. Regularity helps you fulfill your goals and attain measureable progress. All great virtuoso musicians practice regularly because although the mind remembers, the muscles forget. Practicing a minimum of six days a week is necessary toachieve a solid foundation of skills Make practicing a daily routine and plan a special time of the day for ‘Maintain a daily record of your practice times with personal [Link]-keeping seems to help many students plan their time more efficiently, practice more regularly, and achieve better results. Concentration is a necessity for productive practice. A high level of concentration must be attained to successfully realize your goals. When practicing, all conscious thought must be directed towards playing music on the tuba. A thirty or forty minute practice session with a high level of concentration is more beneficial than two hours of blowing the tuba while thinking about something else. Concentrate on every aspect of what you play —from the first notes to the last. If your concentration wanders, take short breaks. These brief rest periods are also beneficial for the embouchure. Do not be careless with your playing habits at any time. A young student once said that it did not matter if he “honked” in marching band because he could make up for it later with proper concentration and practice. However, careless playing is never acceptable because it reinforces bad habits. Each musician isa composite of every note he/she has ever played — good and bad, right and wrong! Concentrate afd be aware of how you sound. eaUnit XI. Tuba Care and Maintenance well-maintained tuba or sousaphone helps make practice and performance much more rewarding. Slow valves, frozen tuning slides, and other symptoms of a poorly-maintained instrument not only hamper a practice session, but tend to discourage practice in general. Listed below are six rules to help keep your instrument in good playing condition: 1. Brush your teeth before playing. Remove and clean the mouthpiece after each use, and place it in a pouch or case. Store the tuba or sousaphone properly when not in use. Handle a tuba or sousaphone carefully when carrying or moving it. Always place an instrument in its case when transporting it Keep your instrument clean and maintain it properly. ‘A. Oil piston valves daily. Linkage and bearing surfaces of rotary valves should be oiled regularly. B. Tuning slides should always be free-moving and adequately lubricated. C. Wipe your instrument after each use removing all fingerprints and watermarks. D. Thoroughly clean your instrument at least two or three times a year. The first and most important step in maintaining a clean tuba is to brush your teeth before playing. Unless the mouths clean, small bits of food will be blown directly in to the mouthpiece, leadpipe, valve section, and remainder of your horn. Always remove the mouthpiece from the instrument and protect it by storing it in a mouthpiece case or pouch when you are finished playing. Cases or pouches will protect the mouthpiece from dirt and accidental damage. The tuning bits should also be removed from the sousaphone when notin use. Larger pouches are available that will hold the mouthpiece, tuning bits, valve oil, lyre, etc. Develop the habit of washing the mouthpiece with soap and warm water before and after each use. Ifthe routine of regular washing is developed, the mouthpiece will seldom require any other cleaning because scale and slime will never have a chance to collect inside the mouthpiece. ‘Avoid storing or placing the tuba on its bell at all times. Most tubas are balanced precariously inthis position and are prone to being accidently overturned. Even one such accident could cause major damage to your instrument. If the tuba must be placed on its bell, then carefully place the side of the tuba opposite the bell against the wall. Ifatuba is stored on its side, the valve section must always face upwards. ‘Most tuba stands and sousaphone chairs are not secure enough for storage purposes. Ifa stand or sousaphone chair is used, be sure to remove the instrument from it after each use so that the instrument cannot be accidently overturned and damaged. The best place to store a tuba is in its case, storage bin, or locker. Always place a tuba ina protective hard or soft case when transporting it anywhere. Instruments need protection, especially for trips — but even for short distances such as from the car to the bandroom. Most hard cases afford excellent protection from damage and are worth the expense and small inconvenience. Lightweight and convenient soft cases will protect your tuba from dirt and outside elements, but protection against dents or damage to valves is negligible. Treat an instrument in a soft case very carefully — as if it had no case at all! COILING AND MAINTAINING PISTON VALVES Piston valves should be oiled daily with valve oil. Saliva should never be used as asubstitute for value oil because it, contains acids that could make the action sluggish and cause early wear. The procedure for oiling piston valves is simple: Unscrew the top value cap turning it counter-clockwise, and partially remove the piston. Do not touch the valve with your fingers. Distribute a few drops of valve oil on opposite sides of the piston. Return the valve into its casing making certain that the valve guide and the slot for the guide in the valve casing are accurately aligned (or else damage to the casing and guide could result.) Push the valve up and down to help distribute the oil, then drain excess oil from the water key. Itisnot unusual or difficult for dirt or slime to collect in the valve casing or on parts of the valve. This is due partially tothe dust and debris that may enter the vent holes in the lower valve caps as well as small particles of food that can be blown in through the leadpipe. The smallest amount of foreign matter can cause a sluggish or sticky valve, and az 3738 regular oiling will not always correct this situation. These conditions necessitate a regular cleaning of your valves. Although the valves would naturally be thoroughly cleaned when you give your instrument its periodic overall cleaning, a quick weekly cleaning of your valves will increase the life of the valve section and help it function more smoothly and dependably, Cleaning the piston vale Cleaning the piston valve casing Valve cleaning is easy and worth the small amount of time that it requires. Clean the valves one at a time by removing them and wiping them thoroughly with a clean, lint-free cloth that is either dry or sightly damp. First clean the portholes of the pistons by drawing a cloth thorugh them. Next, wipe the walls, tops, and bottom of the piston. The inside valve casing should also be cleaned, and the safest method is to remove the lower cap and pull a cloth through several times. Use a piece of string tied to the cloth to pull the cloth through. Do not use any object to push the cloth through, since the inside of the valve could easily be damaged. Being careful not to touch the cleaned piston or valve casing, blow off any dust or lint which may have collected, oil both piston and casing, and then return the piston into the casing. COILING AND MAINTAINING ROTARY VALVES (ithe top bushing of rotary rae withthe valve inthis poston, Clean the lower bushing ofa rotary vale beore alin. fmackplate Since rotary valves are sealed in the instrument, they seldom require valve oil when properly maintained. If rotary valve action becomes noticeably sluggish or sticky, the tuba is probably due for a thorough cleaning, and/or the valve linkage system or bearing surfaces need lubrication. Use alight all-purpose oil to lubricate the linkage system and bearing surfaces. Do not use valve oil for this purpose. Remove the lower cap by turning it counter-clockwise to expose the lower bearing (also called bushing). Remember that the top valve cap on rotary valve tubas is not removable! Remove any existing dirt or dirty oil with a cotton-tipped swab, then apply a drop of oil. Also oil the top or front bushing making certain that a small amount of oil runs into the slot. Excess or spilled oil should be removed. The valve linkage systems of rotary valve tubas also require regular cleaning and oiling with a light oil. Oil all moving parts of the rotary linkage system. Before these areas are lubricated, they should be cleaned thoroughly with acotton-tipped swab. Although oiling and lubrication will seem to make little difference in the action and response of the linkage system of a new instrument, this maintenance is mandatory to prevent premature wear and to maintain the system in top condition for a long time. Remove all dit rom rotary valve lokage surlaces with acoton-tipped swab beloe ing. Ifyou have thoroughly lubricated all of the moving parts of the rotary valve and the action remains sluggish, then rinse and flush the problem valve(s) with warm water through the leadpipe. After flushing and draining, re-lubricate the top and bottom valve bushings with light oil. Also re-lubricate the valve walls by squirting several drops of valve oil down the tuning slide. Drain excess oil. shaft ‘The alignment ofthese wo rotary vahesis comet Because the noche on the botiom of he shat ne up wit the notches onthe aed potion ‘ofthe backplate. One salve open, the other ale closed. am 39All rotary valve systems have bumpers made of cork, rubber, or synthesized rubber. The rubber bumpers usually provide the best service over an extended period of time but sometimes allow excessive bounce, which can contribute to bumpy slurs or inaccurate attacks. While cork bumpers eliminate most of the bounce problem, they wear out more quickly. The size and fitting of these bumpers is critical for proper rotary valve alignment because bumper size affects the alignment of the valve portholes with the valve casing openings. Bumpers needing replacement are easy to detect because of the obvious deterioration that can occur. Other faulty bumpers may appear adequate while causing improper valve alignment because they are worn and compressed. Itis bestto havea professional repairman or your instructor replace these bumpers when necessary. Rotary valve alignment may be checked by removing the bottom valve cap to see if the alignment notches on the back plate and bottom of the valve shaft line up precisely. Move the valves back and forth and the notches should line up precisely if the alignment is correct. MAINTENANCE OF TUNING SLIDES Tuning slides should be lubricated to keep them free-moving and to protect them from the corrosion that can be caused by saliva. Never allow them to dry out. Lubricants for this purpose are commercially available, but suitable substitutes range from petroleum jelly to certain automotive products. Keep your slides in good working order by moving each slide back and forth a few times daily. A hint to keep slides from acquiring unnecessary debris sto push all of the slides completely in when you are finished playing. This procedure will require valve slides to be quickly re-tuned each day. Occasionally a slide can become frozen from lack of lubrication or use. Never try to loosen it by hitting or banging itwith anything; severe damage will result. A frozen tuning slide can be loosened by following this procedure: Have a friend firmly anchor the instrument in position and depress the valve corresponding to the frozen tuning slide (unless the main slide is the problem). Next place a cloth or towel through the bow of the offending slide and pull firmly in the direction that the slide should move (so as not to bend the slide or disturb alignment). After the slide has been removed, thoroughly clean and re-lubricate both inner and outer slide tubings. Stubborn slides which have been immobile for long periods of time should be referred to a professional repairman. Lubricate all slides (and valves) before an instrument is stored to prevent frozen slides. (CLEANING THE WHOLE TUBA. Ideally, every piston-valve tuba and sousaphone should be thoroughly cleaned two or three times a year. Use your bathtub, and cover the bottom of the tub with rubber mats to protect the tub’s porcelain finish and to protect the instrument. First remove all tuning slides, valve caps, springs, valves, and any other removable parts of the instrument. To prevent accidental damage, soak and wash these items in an area separate from the tuba. Most valves are marked with numbers or dots to indicate where they belong. if you are not able to locate markings, then carefully lay out the valves in order and soak (and clean) each one individually. azCarefully disassemble each valve keeping track of pads and corks. Finger buttons may be removed by unscrewing them from their stems. Never use anything abrasive to clean the valves, especially steel-wool or similar products. Soak the valves and slides in lukewarm water with mild liquid dish detergent. Clean the insides of the tuning slides with a soft brush, and clean the portholes of the pistons with a soft brush or by drawing a soft cloth through them. After the pistons have been cleaned and wiped dry, re-assemble them being careful not to touch the piston walls, Even the slightest amount of dirt or perspiration from the fingers can cancel some of the positive effects of cleaning and can slow down the action. ‘The main body of the tuba should be soaked in lukewarm water and mild detergent. Never use hot water as this, can severely damage the lacquer finish. Thoroughly flush out the instrument and clean the leadpipe, valve casings, and slide casings with soft brushes and snakes designed for these purposes. Thoroughly remove all old lubricants as well as the normal sediment and sludge which accumulate throughout the instrument. Rinse often throughout the cleaning process (using a rubberhose if available) and finally drain the instrument. A water-filled tuba or sousaphone can be quite heavy and almost unmanageable, so be careful and use assistance if necessary. After draining, dry the accessible portions of the instrument and do not touch the inside valve casings with your fingers. Re-assemble the tuba and lubricate the slides, valves, and valve casings. Apply a small amount of lubricant on the valve cap threads to prevent future sticking. As the valves are re-assembled, be sure that all of the corks and/or pads are in their proper positions. The thickness of these pads is crucial for piston-valve alignment. Because these pads wear and break down in time, a professional repairman should check them periodically, Cleaning» pton-valve tubs ‘Cleaning rotary-alve tubs When washing a rotary-valve tuba, the same procedure should be observed, but the valves should not be removed. Their removal is seldom necessary and should be done only by a repairman. Remove the slides and soak the tuba, washing and cleaning with appropriate snakes and brushes. When pushing or pulling a snake-brush through the valve section, make sure that the valves are either open or closed (but never in between) by holding them in position with one hand and cleaning with the other hand. The remainder of this procedure is essentially the same as with a piston valve tuba, but also re-lubricate every moving part in the rotary-valve linkage system. OTHER GENERAL MAINTENANCE HINTS When any brass instrument has not been played for a long period of time, the valves can become frozen and immobile due to dried saliva and/or calcium deposits. Do not try to loosen frozen valves by hitting or forcing them in any manner. They can usually be loosened by running lukewarm water through them via the leadpipe. Then remove, clean, and re-lubricate them, Attimesa mouthpiece can become frozen in the leadpipe receiver because the instrument was accidently struck, dropped, or perhaps left with the mouthpiece in the receiver for a long time. Never use pliers to remove the mouthpiece as serious damage is likely to result. Instead, ask your instructor or band director to show you how touse a mouthpiece puller. Regularly turn the mouthpiece gently when placing it in the receiver (rather than shoving tin) to help lap the mouthpiece into a more precise fit and avoid sticking. When any brass instrument is new, its valves should be thoroughly cleaned on a daily basis for the first week or two. This should be done to remove microscopic bits of metal that can wear off as the valves are broken in Although this procedure may sound like a bother, it will definitely extend the operating efficiency and life of your valve section. ama a