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Tuba Warm Ups and Dally 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 insures 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.

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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.

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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.

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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. Try this position on the mouthpiece. Release the breath. and the result should be a very satisfactory sound. Keep this position at all times.

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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.

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JAW VIBRATO RECOMMENDED A jaw vibrato (also referred to as a lip vibrato) can be used effectively at times. tubaplayers. 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.

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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

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PART ONE

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INTRODUCING THE

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Where slurs are indicated reserve your last bit of breath to slur to ensuing pitch. Then, before beginning next long tone slur from preceding note. ~/~!i;.~?~,~t~I~~i'~i~ The purpose of this is to keep you from changing your position especially as the intervals become very wide. 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.

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ONE BREATH 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.

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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.

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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 it 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.

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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.

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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.

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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 Important Considerations:

Breathing has been quite thoroughly discussed in Volume 1. It 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. It is my firm conviction that the player should l-lse his feet during his practice. It 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.

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J EXTENDED

DAILY

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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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Advanced Tuba Etudes By Bower Murphy

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by Bob Stewart

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Introduction to:

The Breathing Bass Line. In the jazz tradition the Tuba was the bass in the rhythm section up until the mid-twenties. It 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 i~ the -rhythm section, was at a standstill and did not develop through· Swing and Bebop. It 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, like swimming, is something you can't do any longer than you can hold your breath. In 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 ~-breaths. Pan.-t Breath.i:n.g

Pant Breathing calls for the player to take a series of shallow breathes (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, if the breaths are

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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. It 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'elaxeecomes more rhythmically challenging the player;, must

become more creative in discovering breathing spaces. You will also find many musical figures repeating as they would if you were playing with an ensemble. With repetition you will strengthen your chops; although, you mUst keep your

embouchure relaxed because tension causes fatigue.

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