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Tuba

arm

ps and ally Routine

DAILY

ROUTINE

There seems to always be a demand for daily routine studies, therefore the following pages

have been written with just that in mind.

LONG TONES

Long tone practice

is

invaluable

to the

student for it develops both tone control and breath

control at

the

same time. I

will

endeavor to discuss breathing as applied

to

brass

instruments, particularly

the

TUBA.

PRINCIPALS OF BREATHING

It is my belief, that

the

principles of same are diametrically opposed

to

those used

in singing

where

much less breath

is

required

to

sustain the vocal tone.

SINGING

VERSUS WIND

IN

PLAYING

In singing it is important

to

keep any constriction whatsoever away from the vicinity of

vocal chords. The diaphragm remains

in

a pushed out position which is concurrent with the

taking of a deep breath. I believe that for tuba playing the breath reservoir should always be

kept as near its full capacity as is possible. The breath should be held back constantly and

the diaphragm should always act as a bellows, being muscularly sucked

in

and upwards.

NOSE BREATHING

Nose breathing in my opinion,

is

an important factor for the following

two

reasons:

First The replenishment

of the

breath supply through frequent sniffs.

Second: Nose breathing enables one

to

maintain his mouth position.

In

addition, it in-

sures separation of notes that otherwise might be run together at the wrong time.

ARTICULATION

Articulation

is

another subject I would like

to

discuss briefly. Since the proper placing of the

tongue can become confusing

to the

tubaist, especially in

his

lower register, my suggestion

is

to ke.ep the tongue behind the teeth at all times by plaCing the tip of the tongue behind the

lower teeth.

TO INSURE A GOOD ATTACK

To insure a GOOD ATTACK, be sure that the breath

is

completely stopped by the tongue

prior

to

its release, which

sets·the lips

to vibrating.

Be

sure that you

DO NOT

STOP

YOUR SOUND WITH THE TONGUE Do it as you would vocally, that is in the

pronunciation of the syllable tu .

STACCATO

The development of a

GOOD

STACCATO is dependent upon one's ability

to

stop the

breath quickly just as you :,yould vocally. The major difference being that a great deal more

breath

is

required in order to sustain the tone

of

the tuba.

DOUBLE AND

TRIPLE

TONGUING

I believe

five or ten minutes a day devoted to triple and double tonguing is a GOOD IDEA

because several months practice is necessary for the proper development

of

this medium.



SYSTEMATIZING ONE S PRACTICE

The tubaist should systematize his practice according to the amount of time he has allotted

for himself (or herself) each day

If

time

is

limited, be careful not to spend too much time on

anyone

thing thereby crowding out

to the

exclu.sion

of

the

other

important sections of the

routine.

METRONOMIC MARKINGS

The metronomic markings are approximate and may be varied somewhat according

to

the

player s ability. However,

the

tubaist should stay on

the

conservative side for these are not

velocity exercises.

MOUTH POSITIONS

A word about mouth position and the lower jaw.

If there is

any doubt in

the

player s

mind

as to how he should properly produce his sound. let me suggest

that

he use his lips

jUst

as

he did when he had

water

fights

as

a youngster. The one who projected a mouthful of

water the farthest was

the

winner.

ry

this position

on

the mouthpiece. Release

the

breath.

and the result should be a very

satisfactory sound. Keep this position

at all

times.

USE OF

THE

JAW

Use the jaw as the propelling factor in lowering your pitch. the former moving

in

the

direction of the pitch. The jaw always moves in the same direction (up or down) as the pitch

of the notes.

EXCEPTIONS

TO

THE RULE

In

cases where

the lips

are automatically pulled apart

by

the JAW DESCENDING and when

ASCENDING the jaws are brought

to

together by the COMPRESSION

OF

THE LIPS

CORNERS

OF

THE MOUTH

DO

NOT

move

the

corners

of the

mouth forward

or

backward. Keep them

out of

sight in

the mouthpiece as much as possible. This

will

necessitate a slight forward push which

provides a cushion for the teeth.

JAW VIBRATO RECOMMENDED

A jaw vibrato (also referred

to

as a

lip

vibrato) can be used effectively at times. tuba

players. It could also serve as an antidote

to

a tight embouchure at times. Use the syllable

tu-wu-wu-wu. etc. Keep them on the SLOW

SIDE

You

may

rhythmatize them also if you

wish. DO

NOT

allow the pitch

to

fluctuate.

SIGHTSINGING OF

VITAL

IMPORTANCE

In

conclusion. let me point

out

the importance of sight-reading

to the

brass player. Since

there are so many different pitches to be played with each finger combination. it

is

necessary

for the player to HEAR EACH PITCH BEFORE

HE

PLAYS IT

If

you are not adept at this.

make it a necessary objective

to

practice vocalizing your exercises with

the

aid

of

a piano

Use syllable or numerals at your best discretion.

WILLIAM

BELL



C

P RT ONE

INTRODUCING

THE

Long tone

Exercise

p

p

C Bau uba

r./I './ 1' Nu J

p fWiltl

ff

I

Io B uba

T.p 'r- 10 l . j l l l 10. /

ipou

--=====-ff

.:==-1

- ' -

Where slurs are indicated reserve your last bit

o

breath to slur to ensuing

pitch. Then before beginning next long tone slur from preceding note.

~ / ~ i ; . ~ ? ~ , ~ t ~ I ~ ~ i ' ~ i

The purpose o this

is to

keep you from changing your position especially as the intervals

become very wide.

3 opylight

©

1975 Charles Co"n Pub .

315

W.

53

51. New York,

NY

1 1



INTRODU ING THE

J.60

TONGUING Detached)

1 1 1

1 . 1

2 1 . 2 . 1 . 2 , 1 , 2 . 1 2 3 1

2 3

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The accomplished musician must be able to count the beats

in

any given measure and the

fractional divisions

of

these beats as well.

I. Follow your metronomic beat carefully.

2. If

it is too difficult

to

play the eight thirty-second notes in one beat at

first,

set a slower tempo

on the metronome.

3.

Be

sure that

your

notes are separated.

4 Don not run them together

5.

In Ex.

1 breathe through nose

as indicated

by

commas.

6. The fractional part

of

each beat that you actually use for each breath

is

indicated below the rest.

J.60

1 1 1 1 1 2 1 2 1 2 1 2 1 2 8 1 2 3

p ~ j , ~ ~ 7 ~ 7 ~ t i Y i Y i ~ i ~ i Y ' 9 ' y ' y E r J 9 f " r i 1 i ~

Play these exercises on

other pitches;

Tlllprovise

your own sequences

or

follow the

long tone routine

4



c

INTRODU ING THE

TONGUING Legato

or Soft

J _ 6 ~ - - - - - - - - - - - - 3 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - r . \

r - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ~

__------------,-------,---------------------

r \

ONE

BRE TH

RECOMMENDED

Obviously this exercise must be done in one breath. After the initial attack, use the du for

articulation as indicated. The objective is

to

sustain the sound and still articulate. In other

words, be careful not

to

stop the sound completely when pronouncing the du syllable.

Using this

as

a pattern, the player may improvise other exercises as he pleases.

The

Slur

Ex.

I

J 60

~

Ex 3

1 : \

c

~

o

~ _

1 :\

o

-

The thing to strive for in the perfect execution of the slur is an absolutely smooth

continuation

of

sound without letdowns occasioned by change

of

notes. When going from

one pitch to another, especially when there

is

a valve change, augment the breath

somewhat

as

you would in making a glissando You will notice in Ex.2 that the alternate

fingering

is

used on the ascending part

of

the slur. This

is

for

ultimate facility

The

greatest velocity can be attained on ascending slurs

in

arppeggi by changing the fingering

in

the case of each interval. Using these three (3) exercises

as

a pattern, repeat a half-step

lower, and continue by half steps as far as the player s ability and compass of the

instrument allow. Maintain your mouth position and keep your

jaw very flexible

5



1

#2

C

,

INTRODU ING

THE

he riple tongue

> >

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: -

: -

=-

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~ - - - - - - - V E R Y M P O R T A N T - - - - - - - - - - ~

There are 3 vitally important aspects in

the

proper development

of

both

the triple tongue and double tongue. these are strong rhythmic contrasts,

separation of notes and regularity

of

notes. Practice with a metronome is

greatly. to be desired so that each note may be synchronized with

it.

il 1 1

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I. Nose breathing may

be

used to assure

proper

separation of notes.

,

,

: -

,

=-

2. The metronomic speed of the eight notes may be quickened very gradually.

3. Patience is necessary.

4.lmprovisefreely.

5.

Use Ex. #2 in different keys.

6.

Give yourself time.

6

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INTRODU ING THE

THE

DOUBLE

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The attacks

in

double-tonguing should be practiced in a very aggressive fashion as

indicated by accents. Be sure

to

keep the Ku syllables on a par with the Tu s. While I

believe that a good triple-tongue and double-tongue are a very necessary part of every

brass player s technical equipment, they should be used intelligently, i.e. use them only

when necessary, according

to

the velocity of the piece you are playing. Neither is a

perfect substitute for the single-tongue, and should be used when velocity requires it.

7

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fErrhrr:



Part Two: Problems of Beginners

.

Selection of Instmment and

Mouthpiece:

Since tubaists often begin study

of

the instrument as young as eight years

of

age, it

is

certainly a good idea to have them use a small instrument befitting their physical

equipment. Eb tubas

are

as a general rule, for the younger age group. F tubas would be

very good also, but they are rarely found in this country since our domestic manufacturers

do not carry them in stock. After t year or more spent with the Eb tuba, the player

frequently switches

to

the double Bb tuba or, somewhat rarely,

to

the double C tuba.

As

far as reliable brand names are concerned, practically all domestic manufacturers make

good tubas and all the player needs be concerned with is choosing the model he wants.

As

far as those

of

foreign make are concerned, the Besson, Boosey-Hawkes and Alexander

are among some

ofthe

good names.

As to mouthpieces, the stock model that comes with each new instrument can generally be

relied upon. The thing to beware of is using too large a mouthpiece on the Eb

or

F tubas,

or too small a one on the double Bb or double C tubas. This might lead to faulty

intonation or inadequate register control.

Selecting

the

Players:

To be big and strong are desirable assets for tuba playing but are not necessary ones.

There are many good tuba playing five-footers as well as good six-footer piccolo players.

A more important asset

to

the tubaist

is

the ear.

He

must be able to hear his notes before

he plays them and, as mentioned in Volume I, constant vocal practice is extremely

desirable.

Production

o[First

Tones:

Fill the lungs with breath before any attempt at tone production is made. Make this a habit

as soon as possible. Place the mouthpiece on the upper

lip.

You

will

notice a natural

groove where the teeth and gums converge. Complete the contact with mouthpiece by

reaching out

to

it with the lower lip and jaw. Use no more pressure than is necessary

to

keep the contact complete at all times so no breath escapes other than through the

instrument itself. Keep comers

of

mouth firm but never pulled back. The lips should act

as a cushion for the teeth. Most

of

all keep the lips and mouth

in

as natural a shape as

possible. The raising and lowering of pitch is accomplished by compressing and

decompressing the lips without changing position at all. The incentive for decompressing

should mainly be the lower jaw, so that when playing

in

the extremely low register the

teeth are very open.

18



In the beginning, try for middle register tones, then work up and down respectively. Play

scales of an octave compass. Get acquainted with all your keys as soon as possible. After

a few months

of

practice, you should

be

able to begin the daily routine

in

Volume

I

Position of the Instrument:

The tuba should rest on and between the legs

of

the player in as upright a position as

possible and it should be balanced as perfectly as possible.

Do

not wrestle with

it.

Other Im portant

Considerations:

Breathing has been quite thoroughly discussed in Volume 1. t might be well at this point

to stress the use

of

the diaphragm

in

getting the maximum benefit from the breath.

Sometimes at the end

of

a long legato phrase, the diaphragm can be used effectively

to

project

the

last bit

of

breath left in the lungs to finish such phrase successfully. The bear

solo in Petrouchka is a good example. Become more diaphragm-conscious.

I would like

to

say something here about keeping time with the feet. This is a

controversial topic.

t

is my firm conviction that the player should

l-lse

his

feet during his

practice. t makes him conscious of

his

beats and fractional beats. In my opinion,

counting is not enough.

If

he has a metronome,

all

the better. Synchronize the foot-beats

with the metronome.

He

needs not, however, make a spectacle

of

himself

in

public

appearances. For practice only

Appropriate

InstmctionaJ

Material:

After completion

of

elementary instruction

in

any

of

a number

of

good methods, I would

advise technical study in the Arban Method. Leon F. Brown, Assistant Professor of Music

at North Texas State College, Kenton, Texas, has compiled a list

to

tuba methods, etudes,

solos and solo collections together with the publishers

of

each. It would be worthwhile

to

consult this list.

As a final reminder, always begin your daily practice with the scale and arpeggio routine.

It not only serves as a warm-up exercise but also improves your facility and extends your

register.

19



5

;r

EXTENDED DAILY ROUTINE

This exercise might be called a range expander. Range is limited only according to the player and

amount of practice. Some amazing results have occurred from prodigious practice

of

this. One

trombonist I know has attained a five octave span.

The

slur may be broken at any point for breathing, but

the position must be

held.

This necessitates breathing through the nose before continuing from the point

of

stoppage. The starting note may be changed as long as the pattern

of

expansion is held to. Don't forget

that this routine is a foJlow-up to .that

in

Voi. L

It

is assumed that the player is thoroughly familiar with

all his scales and arpcggi set forth in Vol.

I.

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I E

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1

I

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3

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3

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BBb

Tuba with 4th Valve

In

F

Three

Valves

Only

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=

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021120

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4 2 1 2

2 3

1 1 2 0

3 2 3

Or

3 1

3

o

2

1 1

2

2 0

3

or

1

3

Bear in mind that the intonation wiJl not be perfect with these fingerings unless you have one or more

slides that

you

can manipulate

to

even up the compensation. These fingerings, however, are basically

correct, so do

nollet

your car mislead you. Be sure

YOllr

moulh position is correct for each note.

2



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24



Excerpt from

CC3911 ( 12.50)

dvanced Tuba Etudes

o

By Bower Murphy

Energico

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Copyright€> 1969 Charles CoIln

P u b l i ~ o n

315W 53 St. New York

NY

1001

Inlernatlonal ccpyri ghl secured Made In U sA All rights ..-ervad



Introduction

to: EM Book

CD (12.95)

The reathing

ass Line.

by ob Stewart

In

the jazz

tradition the Tuba

was the

bass

in the rhythm section

up until

the mid-twenties. t was then

the upright bass

replaced

the

Tuba in

many

ensembles as the jazz music moved north

and

continued to develop. After this

period

the Tuba's roll, as bass ~ the -rhythm section, was

at

a

standstill

and did

not

develop

through· Swing

and

Bebop. t

wasn't until

Cool

Jazz

of

the

1950'S

when the Tuba

was

used by

Miles Davis

and Gil Evans in Birth of the

Cool as

an

ensemble horn.

The Tuba, likeswimming,

is

something you

can't

do any longer than you

can hold your breath. n order to maintain a steady

beat

while playing in

the

rhythm section I have developed a

system

of breathing called Pant Breathing.

Using

this method, the player can

maintain

a steady beat within

the

rhythm

section,

without losing time While taking b r e a t h s .

Pa n . t

B r e a t h . i : n . g

Pant Breathing calls

for

the

player to take a series of shallowbreathes

(2

or

3),

therefore, replenishing

one's air supply.

These

shallow

breaths, similar to a

dog's panting, require

the

use of your diaphragm. As- the

diaphragm

is

extended

(pushing

the

stomach out), air enters

the body.

Further, i f the breaths are n

in

series

between

notes,

your lungs can refill

and

the

beat goes on.

Many of

the

exercises in this book

are

written

with

quarter

notes

without

rests, forcing you to breathe between

notes demanding

breathing

efficiency.

As

your

air

depletes while playing

the

quarter

notes,

take

pant

breaths

between

three

quarter notes in succession and continue this

process

until your lungs are full

Try

not

to take

your breaths

on the

same

beats each

time. Adjust

the

tempo

based on your diaphragm's

ability to

keep

tempo

with

the

quarter

notes. t may

takp. time to

coordinate the

diaphragm with

the tonguing

of the

notes.

The

longer

you

are

able

to

keep this technique

going- the

stronger your

endurance will be. Try to remain as I elaxe<:l as_possible so the muscles in

your

throat

do

not

tense. -The

air

will

have a

direct

path

to the

lungs without

interference along the way You may experience some hyperventilating but it

will

pass withtime : .

As the music ),>ecomes more rhythmically challenging the player;, must

become

more

creative in discovering breathing spaces. You

will

also find many

musical figures repeating

as they

would

i f

you were playing with an ensemble.

bill bell warmups

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