INSTRUMENTS OF THE TUBA FAMILY

Transcription

1 INSTRUMENTS OF THE TUBA FAMILY Bb Tuba C Tuba

2 F Tuba Eb Tuba

3 INSTRUMENTS IN THE TUBA FAMILY Bb Tuba School-oned instrument Available in ¾ size for beginners Can have 3, 4, 5, or even 6 valves Pitched in Bb; reads concert pitch (non-transposing) Instruments used ith beginners ill usually have only 3 valves Can be used ith beginners throughout middle school/junior high Some models ill have a compensating system C Tuba Not typically used at the high school level Would more likely be student-oned if used by high school Transposing instrument Can have either rotary or piston valves Collegiate and professional horn Can have 4, 5, or even 6 valves compensating style Used mainly in orchestral-style playing F Tuba Rarely ever seen at the high school level Usually school-oned at universities some serious performance majors ill have an F tuba Transposing instrument Professional style horn Can have up to 6 valves Used mainly for solo playing

4 Eb Tuba Not seen at the high school level or even at the university level Transposing instrument Professional style horn Used in traditional British-style brass bands Reads in treble clef

5 Beginner: Brand: Yamaha RECOMMENDED TUBA BRANDS Model: YBB-105WC Pricing: MSRP $5, b.com Description: School-oned instrument Great beginner tuba Non-compensating 3 valve Key: Bb Great price for quality and durability ¾ size.661 bore Brand: Yamaha Model: YBB-321WC Series Pricing: MSRP $9, $10, b.com Description: School-oned instrument Larger beginner tuba 4 piston valve top action Key: Bb 4/4 size.728 bore 17 ½ in bell size

6 Intermediate: Brand: Yamaha Model: YBB-641 Pricing: MSRP $13, b.com Description: School-oned instrument Great high school tuba 4/4 size Key: Bb.812 bore 4 rotary valves Modeled after early Meinl Weston models Brand: King Model: 2341 W Series Pricing: MSRP $9, $11, b.com Description: School-oned instrument Good middle school tuba 4/4 size Key: Bb.687 bore Front action piston valves Cost effective

7 Professional: Brand: Miraphone Model: 1292 Pricing: MSRP $23, b.com Description: Professional style tuba Used for orchestral playing 5/4 size Key: CC 5 valves 4 piston 1 rotary.772 to.835 conical bore 18.5 bell Brand: B&S Model: 3098 (PT-6) Pricing: MSRP $21, $23, b.com Description: Professional style instrument 5/4 size Key: CC 5 rotary valves.748 to.827 bore bell

8 Brand: Meinl Weston Model: 5450 Thor Series Pricing: MSRP $20, $22, b.com Description: Professional all-around tuba 5/4 size Key: CC 5 valves 4 piston and 1 thumbactivated rotary valve.748";.787" 4th Valve,.807" 5th Valve bell Brands to Avoid (only in my opinion ) Chervny Jin Bao Mack Brass Wessex Amati

9 RECOMMENDED TUBA MOUTHPIECES Beginner: Brand: Bach Model: 24AW Pricing: MSRP $ b.com Description: Used mainly for beginners Medium cup size Thicker rim Intermediate: Brand: Conn Model: Helleburg 7B Pricing: MSRP $ b.com Description: Great for middle school/junior high and high school students Used as a step-up mouthpiece from beginner year Medium cup size Thinner rim Brand: Perantucci Model: PT-50 Pricing: MSRP $ b.com Description: Great intermediate-advanced mouthpiece Mainly used for more advanced high school players Larger cup Can be used throughout college

10 Professional: *Advanced tuba mouthpieces are very subjective from player to player. Consider mouthpieces from companies such as Schilke, Giddings and Webster, B&S, Perantucci, and more.

11 PARTS OF THE TUBA MOUTHPIECE

12 TUBA MAINTENANCE KIT LIST RECOMMENDED ITEMS Al Cass Valve Oil MSRP b.com Students should oil valves at least once a day Selmer Tuning Slide & Cork Grease MSRP jpepper.com The Selmer cork grease is a liquid and lasts much longer than most tuning slide greases. Caution should be used hen using this because it is very sticky Must be stored in a plastic Ziploc bag as it may explode. If it hits something in the case or if exposed to heat, it ill damage other maintenance kit items. To apply, squeeze a tiny bit of the grease up and don onto the slide. Then, insert slide back into the instrument using a back and forth motion until lubricated. Remove any excess grease ith a cloth from the slide if necessary.

13 Denis Wick Flexible Tuba Snake Brush MSRP $16.99 at b.com A snake is used to clean the inner and outer slides at least every six months Be sure to not use metal snakes, as they ill scratch the plating of the horn. Yamaha Brass Mouthpiece Brush MSRP b.com Used to clean the inside of the mouthpiece Insert from the shank and tist to clean out the mouthpiece Does not go all the ay through the mouthpiece Could scratch the inside of the cup of the mouthpiece if not used correctly

14 Denis Wick Valve Casing Brush MSRP b.com Used to clean inside valve casing of piston-valved tubas Must take out entire valve, spring, and top and bottom valve caps The Ultimate BERP Tuba Large/Small Shank MSRP b.com The BERP allos students to air, position, and vibrate hile simulating playing position. It is a good tool for ear training as the student advances.

15 8x10 Plexiglass Binsangerglass.com Road man ill not supply these Prices vary depending on here mirrors are purchased. Mirrors purchased through Binsanger can be purchased in bulk and cut to a desired size. They ill also be made of plexiglass. Purchasing mirrors at a home improvement store is also an option; hoever, mirrors ill have to be individually cut by a band parent or yourself. No matter here mirrors are purchased, it is vital that they are made of plexiglass and not glass. Students ill not hurt themselves on the corners of the mirrors; nor ill the mirrors shatter hen dropped. To receive a better price, attempt to find other band directors ho ould be illing to place an order as ell. Assuring the company that you ill place annual orders may also result in a discount. Self-portrait mirrors from art supply stores are acceptable. Car clip-on mirrors are not recommended because they are too small and the hinges break easily. Makeup mirrors are not recommended because they are too small and oddly shaped. It ould be best if there as a box for the mirrors in each separate class location. Students can then easily obtain a mirror out of the box before class and return the mirror after class.

16 TUBA MAINTENANCE KIT OPTIONAL RECOMMENDED ITEMS Hetman 7 or 8 Premium Slide Grease Standard MSRP b.com The Hetman Slide Grease is a cream and lasts much longer than most tuning slide greases. Caution should be used hen using this because it is very sticky To apply, remove a small amount of cream from container and smear onto slide. Then, making a ring ith the thumb and forefinger, ork the slide grease onto the slide to create enough friction to properly lubricate the cork. Insert slide back into the instrument using a back and forth motion until lubricated. Remove any excess grease ith a cloth from the slide if necessary Bach Deluxe Silver Polishing Cloth MSRP b.com A silver polishing cloth is helpful in maintenance of a tuba, as it may accumulate many fingerprints and a lot of dust that ill destroy the lacquered finish of the brass. The silver polishing cloth is specifically designed to prolong the life of the finish of a silver brass instrument. Removes moisture, acid, excess valve oil, and slide grease from the student s fingers.

17 Protec A204 Large Brass Deluxe Padded Mouthpiece Pouch MSRP b.com Students can carry mouthpieces home ithout instrument cases every day to and from school. Padding and nonabrasive lining prevent dents, dings, and scrapes. Provides more protection than Ziploc bags. Husky Shelf Liner Home Depot Used for positioning of tuba Non-slip fabric allos for the student to have tuba positioned for correct posture Drape across left leg or lap to stabilize the instrument Available in rolls of 18 in. x 100 in.

18 One of the folloing can be used depending on socio-economic environment, availability, or preference hen selecting a suitable metronome. Qik Time QT-5 Metronome MSRP b.com This metronome does not have a subdivision function. Credit card-sized A-440 tuning tone Lo-battery indicator Korg MA-1 Metronome MSRP b.com Beat-Counting display makes it easier to practice rhythm and phrasing. Tap Tempo function makes it easier to quickly set the desired tempo. Beat display offers from 1 to 9 beats, plus 8 rhythm types to practice any style of music. Can tune any instrument using the 12-step (C4 B4) chromatic reference pitch Adjustable calibration setting ( Hz) Earphone jack ith adjustable volume Memory backup function and auto poer-off function Up to approximately 290 hours of continuous operation

19 Korg TM-50 Digital Tuner/ Metronome MSRP b.com Offers both a tuner and metronome, hich function simultaneously or independently Contains 13 types of rhythms that cover 0-7 beats per measure as ell as doublets, triplets, triplets ith center beats omitted, quadruplets, and quadruplets ith center beats omitted Tempo is easily adjustable in a range of BPM. Earphone jack ith adjustable volume One of the folloing music stands can be chosen depending on socio-economic environment, availability, or preference. Hamilton Folding Music Stand MSRP b.com Collapsible and easy to transport Selmer Music Stand ith Bag MSRP b.com Collapsible and easy to transport

20 TUBA MAINTENANCE Mouthpiece Maintenance Over time, grime and other dirty objects build up in the mouthpiece. To clean the mouthpiece: 1. Take a mouthpiece brush and run it through the mouthpiece under arm ater in the sink. " The brush ill not go all the ay through, so insert the brush to the throat, tist and pull out. " Soap is not necessary, but it does not hurt the mouthpiece to use it. The same goes for mouthash. If these are used, simply rinse the mouthpiece thoroughly afterards and let it air dry so that the alcohol evaporates. This process should be done every eek to to eeks. Slide Maintenance The insides of the slides and various tubes build up grime, various dirt particles, and germs, so the slides must be snaked at least once a month. To snake a horn: 1. Take out the appropriate slide, pressing don the appropriate valve hile taking it out, and place the slide on a toel or soft surface. 2. Run ater through the unattached slide, preferably in the opposite direction of air flo. " In the case of the main tuning slide and the lead pipe, also run ater through the lead pipe starting on the end ith the tuning slide, not the end ith the mouthpiece receiver. 3. Take the snake and run it through the slide hich as taken out, preferably in the opposite direction of air flo. 4. Repeat the above step ith all slides, including the main tuning slide, the 1 st valve slide, 2 nd valve slide, 3 rd valve slide, and 4 th valve slide. 5. Apply slide grease as necessary according to the belo steps. Depending on the model of tuba, there can be many slides that require maintenance. Each of these must be ell-lubricated ith slide grease. Refer to the Maintenance Kit handout for pictures of slide greases. To apply the grease: 1. Take out the slide to be greased, pressing don the appropriate valve. 2. With some cheesecloth, ipe off the slide to clean the grease and any grime on the slide. 3. If the grease is a liquid, squeeze the bottle and apply a line of grease don to sides of the slide. If the grease is more of a cream, use the index finger to apply the grease along most of the length of the slide. " Do not apply too much grease, as the slides can become too lubricated and fall out.

21 4. Re-insert the slide and slide it fully in and out a fe times. Insert only one side of the slide in and rotate the slide hile moving it in and out. Press don the appropriate valve the entire time during this process. 5. Push the slide all the ay in and use a paper toel to ipe off any extra grease located here the immovable and movable parts of the slide meet. 6. Repeat this process for all slides as needed. This process should be done every month or so. Valve Maintenance If consistently played on, a tuba should have no sticky valves for a fe eeks. On the other hand, a tuba that is not played on for 2-3 days in a ro the valve can begin to stick. To re-oil the valves: 1. Begin tisting from the top valve cap until the cap comes off of the valve casing. 2. Holding the valve by the finger button, completely remove the valve ithout tisting or rotating it inside the casing. 3. With some cheesecloth, ipe don any old oil from the piston. 4. Apply a healthy coat of oil on the hole piston, but do not intentionally apply any oil inside the ports as it ill simply go to aste once air is blon through the horn. 5. Take a look inside the valve casing: " There should be to notches on the sides of the valve casing; this is here the guides on the valve ill be placed. " One notch should be slightly bigger/different from the other one. Be sure to align the correct guide ith the correct slot. 6. Carefully insert the valve, ithout tisting or rotating it, inside the appropriate valve casing. 7. Repeat for any other sticky valves.

22 TUBA METHOD BOOKS Essential Elements 2000 MSRP b.com Standard of Excellence MSRP b.com Best in Class MSRP b.com Accent on Achievement MSRP b.com

23 SUPPLEMENTAL TUBA BOOKS 43 Bel Canto Studies by Carl Fischer arr. by Joannes Rochut MSRP jpepper.com Used for lyrical playing and musical phrasing for high school students Contains etudes that may be used for TMEA All- State tuba music Advanced Method for Tuba by Rubank MSRP hallleonard.com A more advanced book ith etudes and scales Technical Studies for Bass Clef Instruments by Clarke- Gordon MSRP jpepper.com Good technique-building exercises for all ages and levels of playing Sixty Selected Studies for Trombone by Kopprasch MSRP jpepper.com Used for trombone players and adopted by tuba teachers and players, this book contains many different techniques and incorporates different clefs throughout the book Contains etudes that may be used for TMEA All- State tuba music

24 78 Studies by Boris Grigoriev MSRP jpepper.com Encompasses an essential collection of studies and etudes for advanced players. Complete Method for Tuba by John Baptiste Arban MSRP jpepper.com Scales, arpeggios, intervals, multiple tonguing exercises, duets, and technical solos 70 Studies by Vladislav Blazhevich MSRP Contains etudes that may be used for TMEA All- State tuba music

25 TUBA CASES, IDENTIFICATION OF PARTS AND REMOVING IT FROM ITS CASE General Information About All Brass Cases Most cases have distinguishing marks somehere on the case. Identify these marks, and their relationship to the top and bottom of the case. Most cases have the handles placed on the bottom section of each case. Check to make sure. Place all tuba cases on the floor in front of the student. Be sure the student understands here and hich direction each part of the instrument belongs in the case. Give detailed information on removing the parts from the case. Make sure the student aits for each instruction before performing the task. Be sure the parts of the instrument are returned to the case in the reverse order they ere removed. The tuba should be removed first, folloed by the mouthpiece. When putting instrument back, the order is reversed mouthpiece first, folloed by the tuba. All instruments must be assembled in a specific order. Follo this procedure explicitly every time. Never leave a closed case unlatched. Most latches open from the bottom up, but this is not alays the case. Sometimes buttons slide from side to side, etc. Check each opening mechanism carefully before presenting the information to your students. Cases should be protected at all times. Try to find a safe space in the classroom setup for each student s case. If using an ensemble room for the class, the cases may be opened in the hall. The empty case ill remain closed and latched in the hall during class. When instruments are in their cases, do not allo students to sit on their cases AT ANY TIME because the lead pipe and/or bell ill get bent.

26 PARTS OF THE TUBA Bell Leadpipe Mouthpiece Valve Tuning Slides Valves Tuning Slide Water Key

27 TUBA INSTRUMENT/BODY RATIO AND HAND POSITION Instrument/Body Ratio/Instrument Carriage Assuming that the student is either sitting ith correct posture, instruct them to pick up the body of the tuba ith both arms and simply move it into position on their laps. As students are doing this, have them notice ho it affects the balance of the body. Eventually, the body should feel as balanced ith or ithout the instrument in hand. Make sure students bring instruments to them and not them to the instruments. When done incorrectly, their body collapses and their air is obstructed. Shelf liner can be placed on the right leg or draped across both legs to help establish correct posture and positioning of the instrument. Depending on the size of the student and the space they have to ork ith, a tuba stand could be used. It is important that hen using a tuba stand, students are not contorting their bodies or doing anything abnormal. Shoulders should be straight across hen facing the director and it should feel the same ay hen doing breathing exercises (do not tist or shift the upper body out of the breathing position) The tuba should not be slanted in a manner in hich moves the students head from its natural position. Angles of mouthpieces should be slightly loer than level. Hand Position 1. The most natural shape of everyone s hands forms a flat C. 2. All hands ill fall in from the rist. The body of the hand must never fall behind the rist. 3. There should be no bends or rinkles in either arm hen holding the tuba. 4. The inside of the arms must never touch the outside of the chest cavity hen holding the tuba correctly. No body part touches another body part! 5. Elbos must hang naturally so the natural slope of the shoulders ill not be hampered. 6. Place both the left and the right hand in their correct position. Remember the left hand does not grip the instrument. No tension should be felt in this hand hen holding the instrument. 7. The left hand should not contain any tension, as it holds the majority of the eight of the instrument. The palm of the left hand should be placed naturally across the body of the tuba (similar to holding a baby). 8. The thumb must never bend in any direction! The index, middle, ring finger, and pinky are curved and the fleshy part of the fingertips are placed on the pearls of the valve caps (for piston valves), and on the largest part of the rotary (for rotary valves). The fleshy part of the fingertips should never lose contact ith these specific areas. 9. Right hand fingers should have curvature; the pads of the fingers should not extend past the pearls (or too far don any given rotary valve), hich incorrectly results students playing ith flat fingers.

28 10. Students ith fourth valves must move their pinky (NOT third finger) in the same manner that they move their other valves. Students ill have to build finger strength and dexterity once starting to play an instrument ith four valves. 11. Though not a part of the hand, the elbos must never feel as though they are pulling the instrument toard the student s face. Instruct students to keep their elbos soft hile playing the tuba. 12. The palms of both hands should feel soft. Regardless of hether piston or rotary valves are used, the palm of the right hand should never touch the instrument. 13. The student should understand that finger movement is aided by the soft tissue of the palm of the hand, rather than the bony texture of the top of the hand. Specific Information Regarding Piston Valves 1. Piston valves are approached basically the same as trumpet. 2. The right hand thumb and 1 st finger should point in same direction hen playing top action piston valves. The thumb should not be rapped around the valve casing hich results in the palm collapsing into the cross brace. 3. The right hand thumb is placed in its natural position ith the side/very tip of the right hand thumb being the only thing that touches the bottom of the cross brace. 4. If the student s right hand is in the correct position, the teacher should be able to clearly see a circular opening beteen the right hand and the instrument. Specific Information Regarding Rotary Valves 1. Rotary valves are basically approached the same as French horn. 2. The right hand thumb and 1 st finger should point in the same direction hen playing rotary valves. The thumb should be placed naturally into the thumb ring ithout any tension in the hand. 3. The palm should not collapse into the body of the instrument.

29 TUBA FACE/EMBOUCHURE Each student should use their on safe/unbreakable mirror both in the classroom and at home. Using the mirror, have each student notice ho natural their face looks. They ill have to later remember and memorize ho it looks and feels. The head must be balanced on the shoulders in a comfortable position not too far forard and not too far backard. The eyes should be soft and natural, and the sight line should be exactly level. The distance beteen eyebros should not change as air goes in and out of the body. Look for natural creases in the face, and allo any that are naturally present to exist hile playing. No other creases are alloed. The corners should move in toard the canine/eye teeth. The corners should never look or feel pulled back. The corners can move don from the natural position as the student progresses but they can never move up. The texture of both the upper and loer lip should be very soft and relaxed. There should be natural space beteen the inside of the lips and the gums and teeth. This space should not change or feel different hen the lips vibrate inside the cup of the mouthpiece. The back teeth are slightly apart and should feel the same as hen the student is reading, atching television, etc. The teeth should not be pressed into each other hen doing these other activities. Brass instrument embouchures are formed ith a natural overbite. A student ith an underbite should be steered aay from brass instrument. The thickness of a student s lips should correspond to the size of the cup of the mouthpiece for the chosen instrument. Students ith a very full top or bottom lip should be steered toards lo brass instruments rather than trumpet. The bottom of the front of the tongue should lie in the soft tissue area hich is located in the front of the mouth just behind the ridge of the bottom gum. Remember that hen playing the tuba, cheeks ill only puff out if the air is not freely going into the instrument. Assuming that the above has been achieved, the embouchure ill be formed ith special attention to the folloing: 1. The mouthpiece must be placed in the middle of the mouth up and don as ell as side to side. 2. The corners are in their natural position and should be set against the canine/eye teeth. 3. The lips must be alloed to freely vibrate in response to the airstream rather than made to buzz in front of the airstream. 4. The lips must feel natural so that air can freely move past them they must not be pulled back against the teeth or blon aay from the teeth and gums.

30 5. The students should remember that the mouthpiece gathers the air not the lips. 6. There must never be more energy placed against the upper lip than the loer lip; hence the instrument ill angle slightly donards.

31 TUBA ARTICULATION The tongue moves in the same manner hen articulating a brass instrument as it does hen you speak. The tongue moves up and don not back and forth both hen speaking and hen articulation on an instrument. The purpose of the tongue is to release the air hich causes the lips to vibrate and creates the sound. The tongue s release of the air simply defines the beginning/start of the vibration/sound. Articulation is used to define the vibrations necessary to create musical rhythm, style and movement--to contrast the use of slurring (hich also creates similar musical entities). The students should think that the tongue articulates the sound created by the airstream. If the student is taught to create the sound correctly, articulation ill be an easy transition. a. sound occurs hen the air moves past the naturally vibrating lips b. articulate the sound that is already present c. teach students to articulate at the moment the sound begins Without the instrument or mouthpiece, use the folloing procedure: 1. Say the ord DOG. 2. Sing the syllable DAH. 3. Once these are mastered, have the student use the mouthpiece and instrument and reproduce the DAH syllable in their brain to create an articulated sound. 4. The tongue should feel the same hen saying, singing and playing the mouthpiece and instrument. 5. The tongue should touch the enamel of the upper teeth directly belo the gum line in the same spot ith the same strength every time. 6. Use the syllable DAH because it creates smoother and more easily controlled air as opposed to the TAH syllable. 7. After each articulation, the tongue must immediately fall don into its natural at rest position. 8. The tongue ill be naturally soft at all times, but can touch the teeth ith different strengths. 9. The tongue ill be in its don position 98% of the time hen articulating correctly. Have the student start their sound ith the air. Using the information about the basics of articulation, have the student articulate as fast as they can ith no limitations of numbers, orries about evenness of articulation, etc. Simply get them used to articulating! Have the student then use the ta-day syllable to practice using the tongue in an organized manner. Have the student then articulate on command. The student ill start their sound, and articulate hen you snap your fingers to practice gaining more control of the tongue.

32 Once the student understands pulse and the foot pat, have the student articulate exactly hen the toe of the foot touches the floor. Have the student articulate ith the don and up position of the foot. Proceed to ritten rhythms as they begin to read music. Alays practice this entire routine. The student must alays go through the entire process, so he ill not lose the ability to move his tongue at various speeds and in a structured manner.

33 TUBA FLEXIBILITY AND RANGE EXTENSION Brass playing is based upon flexibility. There are to types of flexibility: flexibility ithin the instrument and flexibility ithin the note. Students eventually need to be flexible through each of the harmonic series in order to move up and don ithin the range of the instrument. Once the student can reproduce at ill a given pitch, the teacher must decide hether flexibility up or don is needed first. Flexibility is controlled by air direction and the isometrics created by the corners and canine/eye teeth. The head must alays stay in its natural, balanced position at all times. The angle of the instrument must not change at any time. Students must learn to angle the air in the cup of the mouthpiece ithout changing the position of the lips and/or the relationship of the upper and loer teeth. Flexibility is also enhanced by voel sounds used in various registers. These sounds can be ah for the middle register. ee for the upper register.and oh for the loer register. Have students practice saying these voel sounds ith vocalization on appropriate loer, middle and higher sounds. The speed of the air and the shape of the voel guide flexibility. The tongue assists the air speed similar to the ay one s thumb assists the ater speed from a hose. The tongue relaxes hen descending into the loer register and arches hen ascending into the upper register. Bring to the students attention that the shape of the tongue changes dramatically from voel sound to voel sound. All students should be aare that voel sounds are the middles of ords that they speak every day. Practice saying ords that use the required voel sounds (i.e. bo, ball, beep). Range is developed through flexibility. It is more important to create a resonant sound hile practicing flexibility than to create ider intervals. The student can enhance their range by making more resonant sounds in the middle register before trying to extend higher or loer. While it is important to create resonant sounds in the register students can play in, it is important for students to occasionally try exploring both the upper and loer range they struggle to make a good sound in. This should be practiced perhaps tice a eek. Make sure students understand the texture of the lips have nothing to do ith range. For example, students should never be told to tighten their lips in order to play in the higher register.

34 TUBA COMPENSATING SYSTEM A compensating system is commonly found on more intermediate and advanced tubas; this system is not typically used on beginner instruments. A compensating tuba orks exactly like a compensating euphonium, just an octave loer. The compensating system orks like the F-attachment on trombone. When 4 th valve is depressed, the instrument is pitched in the key of F. The compensating system allos for the possibility to play a full chromatic scale beteen the 1 st and 2 nd partials (lo B-flat lo E specifically) With all valves depressed on a compensating Bb tuba ( ), the instrument ill sound a lo B-natural. That same valve combination on a non-compensating tuba ill only produce a lo C. This makes the lo B-natural a non-existent note on a non-compensating horn. When using a compensating-style instrument, one has the advantage of being able to play loer octaves using conventional fingerings and pressing don 4 th valve (for example, belo the staff D-flat ould be played 2-3). To play the octave belo, one ould depress the 2-3-valve combination and add 4 th valve. This ould be a different fingering on a non-compensating tuba (1-3-4) Having a compensating tuba is extremely beneficial in extending the loer range chromatically. 1-3 and valve combinations can be played 4 and 2-4, respectively, to help ith resonance, clarity, and tuning difficulties. Most 4 th valves ill be located directly next to the 3 rd valve, and is to be played ith the right hand pinky only. Some compensating tubas ill have a 5 th valve that is activated ith the right hand thumb or left hand index finger. This 5 th valve can either be a rotary valve or a trigger. Not all 4 valve instruments are compensating; you must look behind the valves to see if the instrument includes extra tubing that goes through the 1 st, 2 nd, and 3 rd valves.

35 TUBA GENERAL TUNING TENDENCIES The Overtone Series There are 7 possible combinations of fingerings: " Open " 2 " 1 " 1-2 (3 rd valve alone is about the same length) " 2-3 " 1-3 (4) " (2-4) Each valve combination plays a series of slotted notes. Displayed belo are all the possible notes that can be played ithout pressing any valves don (open). The order of valve combinations listed above ill loer every note on the staff by a half-step. The loest note on the 2 nd valve combination ould be an A the 1 st valve combination ould be an Ab, etc. Because each overtone series is in tune ith itself, sitching beteen all 7 ill cause tuning tendencies. To overcome a tuning tendency, the folloing can be done: 1. Valve slide adjustment 2. Voel shape/air direction adjustment 3. Alternate fingering Before going over hich adjustment should be used hen, it is important to go over the specific tuning tendencies.

36 1? 4 TUBA WARM-UP SHEET #1 b b? b 2?? b b b b b b b b 3 4?? b b b b b b b? œ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5? b b b b? b b b

37 1? 4 œ œ œ œ TUBA WARM-UP SHEET #2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 2? b œ œ œ œ œ? œ œ œ œœ œ œ œ œ œ b 3? b b b b b 4? b? b œ b œ œ Œ œ œ œ # œ œ œ œ Œ œ Œ? œ œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ Œ? œ œ œ # œ œ œ œ Œ 5? œ œ œ b œ # œ œ œ œ œ b œ œ œ œ? œ b œ œ œ œ œ # œ œ œ

38 TUBA CHROMATIC SCALE? 4 4 œ œ # œ œ # œ œ # œ œ œ # œ œ # œ œ œ # œ œ? # œ œ # œ Œ œ œ œ œ? œ œ œ œ œ œ œ Œ

39 TUBA CHRISTMAS TUNES? 4 4 Jingle Bells œ œ œ œ œ œ œ Ó? œ œ œ œ œ œ œ œ œ œ? œ œ œ œ œ œ œ Ó? œ œ œ œ œ œ œ œ œ b Good King Wenceslas? 4 œ œ œ œ b œ œ œ b? œ œ œ œ b œ œ œ b? œ œ œ œ b œ œ œ b? œ œ œ œ œ œ b b b