tuba handbook - final

TUBA HANDBOOK Congratulations! You’ve been chosen to play the TUBA!

…. NOW WHAT?! Use this handbook to guide you towards becoming the best TUBIST you can be!

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Table of Contents What is the Tuba?

Page 3

Tuba Maintenance and Care Common Problems & Solutions

Page 4 - 5 Page 6

Posture & Hand Position Breathing & The Tuba

Page 7 Page 8

Tuba Fingering Chart Daily Warm-Up Routine

Page 10 Page 11-14

Tone, Embouchure, Articulations Pitch Tendencies

Page 15 Page 16

Pedal Tones Tuba Learning Videos

Page 17 Page 18

Etudes and Method Books Recommended Solo Repertoire

Page 19 Page 20

Mixed Instrumentation Chamber Rep Tuba/Euphonium Chamber Music

Page 21 Page 22

Repertoire Resources Professional Tuba Players

Page 21&22 Page 23

Professional Tuba Organizations Tuba Videos

Page 24 Page 24

Tuba Mouthpieces Purchasing a Tuba

Page 25 - 26 Page 27 - 29

Additional Tuba Handbook References

Page 30

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What is the TUBA? The tuba (pronounced TOO-bah) is the largest and lowest-pitched musical instrument in the Brass Family, sometimes called the “Grandfather”. The low sound of the Tuba anchors the harmony not only of the brass family but the whole orchestra or band with its deep rich sound. The tuba is a long metal tube, curved into an oblong shape, with a huge bell at the end. Tubas range in size from 9 to 18 feet; the longer they are, the lower they sound. Standard tubas have about 16 feet of tubing. You play the tuba sitting down with the instrument on your lap and the bell facing up. Like all brass instruments, vibrating or “buzzing” the lips into a mouthpiece produces sound. You use your fingers to press down on the valves, which changes the sound. It takes a lot of air from your diaphragm to make sound with the tuba. It first appeared in the mid 19th-century, making it one of the newer instruments in the modern orchestra and concert band. A person who plays the tuba is known as a tubaist or tubist.

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Tuba Maintenance and Care Assembly/Disassembly: The tuba mouthpiece should be inserted into the small brass pipe facing you with the tuba on your lap. It is not necessary to twist or tap the mouthpiece into position as this can cause the mouthpiece to become stuck. If the mouthpiece becomes stuck, you must bring it to your teacher, who has a special tool to fix it. Never use household tools to try and remove a stuck mouthpiece. The tuba should be stored in its case when not in use. Never stand a tuba upright on its bell. Make sure the instrument is placed properly in the case. Never forcibly close the lid of the instrument case. The inside of the case should be kept free of objects that can damage the instrument. Tuba accessories should be stored in the accessory compartment inside the case and not be allowed to rattle about. Sheet music should be kept in a folder and never stored inside the case. Regular maintenance: Everyday, after playing, wash the mouthpiece with warm soapy water and a mouthpiece brush. Fingerprints, oils and dust should be regularly removed from the body of the instrument using a clean, dry, soft cloth. Valve oil and tuning slide grease should be added, sparingly, as needed. Always use a soft, dry rag to remove old oil and grease before adding new. Keep all moving parts lubricated, or they will become stuck. If your valves or slides become stuck, bring your tuba to your teacher, never try to force them out yourself. Everyday dangers: Beware of food and drinks around your tuba! Sugary drinks and foods can especially harmful to the tuba. Always wash your hands and rinse your mouth after eating or drinking, before you play. Washing and rinsing keeps your valves from getting sticky and your tuba from smelling bad. Extreme temperatures are very bad for your instrument. Never leave your instrument out in the car, and always be mindful of where you store it at home.

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Dents can affect how your instrument plays, especially dents in the mouthpiece. Be very careful with your instrument, and show any dents that do happen to your teacher. Your case is designed to protect the tuba from everyday bumps and knocks. It is not meant to bear a lot of weight or heavy abuse. Use caution, even when your instrument is in its case. NEVER SIT ON YOUR CASE. Greasing slides: The following should be done for all slides that move, or are supposed to. I highly recommend that every day, after the tuba is warmed up, each slide is moved, to ensure that over time they don’t stick. Please make sure that you depress the valves as appropriate, to avoid changes in air pressure within the slide that could damage the instrument. 1. Make sure you keep track of the proper placement and direction of each slide. I recommend placing each slide on a paper towel that is labeled. 2. Completely clean the slide. Soak in warm, soapy water (using soap designed to fight grease). 3. Scrub all remaining grease from slide, using a sponge with a rougher surface. Use nothing that can eat the metal. Be careful to avoid scrubbing the lacquer. 4. Scrub out the inside of the slide with a soft brush, using warm, soapy water (using soap designed to fight grease). 5. Rinse the outside and inside of the slide thoroughly, to ensure no more dirt or soap residue remains. Completely dry the slide. 6. Re-grease slide. Make sure the use of grease is the minimal amount necessary to allow slides to move freely. Rattles: Rattles occur, and many are not possible for you to fix. However, some are. Here are the most common issues: 1. A loose screw. This is easy to fix, but be careful not to over tighten. 2. A valve cap not being completely tight. Again, an easy fix, but don’t over tighten. 3. Missing or worn cork in the spit valve, causing the metal casing to vibrate when played.

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4. Loose solder joint. This is a fix for the repair shop. Do not attempt to fix a solder joint yourself – there are several different types of solder used on a brass instrument, which melt at various temperatures and you fill harm the finish on your instrument. 5. Design of the tuba. Not an easy fix. These are rare, and usually occur along with dents and dings, usually on the bell. The harmonics of a pitch are affected, and while not typically a noticeable issue, may sometimes create a different vibration that can be a rattle-like sound. This is a repair shop item References: http://hrsbstaff.ednet.ns.ca/clarkedc/Maintenance/tuba.htm http://www.blostein.net/Tuba%20Method.pdf

Common Problems & Solutions

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Posture The posture of the tuba player is perhaps the most important aspect of performance, and is often overlooked or forgiven because of the instrument’s size. However, this can lead to serious issues with air support, which in turn will affect the sound negatively. When holding the tuba, it is important for the player to do the following: 1. Sit straight, on the edge of the chair 2. Legs should be set about shoulder’s length apart, with feet flat on the floor 3. Position tuba so that the player does not have to stretch the neck out of position to reach the mouthpiece, and player doesn’t slouch. It may be necessary to utilize a tuba stand for smaller size players. Also, since tubas vary greatly in size, shape, and design, experimentation will likely be necessary to find the correct way to hold the instrument for each player, and may need to be adjusted as the player grows.

Correct hand position The right hand position should be relaxed at all times, with the fingertips resting comfortably on the valves, close to the nail. Most models provide a loop for the thumb – be careful the thumb does not go into this loop beyond the first knuckle, as this will pull the other fingers out of position. It is important to make sure the player does not “double-finger” any particular valve. This is a typical problem with beginner players, and especially with the first valve. Problems will later arise with quick passages that require all the valves if this habit is allowed to develop. The left hand is usually placed somewhere on the tuba that allows for a secure, comfortable grip. On most front-action instruments, the tuning slides for several of the valves (usually the first, third, and fourth valve slides) are positioned so they can be pulled and pushed with the left hand, which allows for more accurate tuning on slower passages. Also, there may be an additional valve for the player to use with the left hand, which of course would require the hand to be placed in a specific position. A Good Hand Position: 1. Fingers curved 2. All fingers on valves at all times 3. Thumb not inserted into thumb hole (pulls hand out of position, slows fingers, and if the tuba falls, thumb can break) 4. Hand relaxed Reference: http://www.blostein.net/Tuba%20Method.pdf

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Breathing and The Tuba Breathing is essential to the art of making music on any wind instrument. With the tuba, it becomes all the more important when we consider not only the size of the instrument itself, but also the unusually large range of the instrument. When you add touches such as dynamics to the mix, we begin to realize that good breath control is essential to correctly play the instrument. Therefore, it is critical for the player to begin exercises geared towards breathing as early as possible. The more air you have, the better control over your instrument. The object of all breathing exercises is to increase the amount of usable air a player has. This is not to be confused with the sensation of running out of air. The air we breathe in begins to deteriorate immediately, and must be used within a time specified by the musical material, player’s capacity to produce a good tone, and the physical limitations of the player. Contrary to stereotypes, a player who is in better physical shape will have an overall better likelihood for success on the instrument, as their capacity for muscle control and flexibility is increased with better physical stamina. These exercises are designed to get the player to breathe deeply, and use the muscles associated with the diaphragm instead of the chest area. This allows for a deeper breath, more control over that breath, and more usable air at all times. Please keep in mind there are many more breathing exercises available – these are just a beginning. Exercise 1. Preparation for Breathing Exercises a) Poise yourself - sit on the edge of your chair with feet flat on the floor. Back is straight - chin is up. b) Relax the muscles in the neck, chest, and abdomen. While doing exercises, these areas must be allowed to fully expand and contract without opposing force. c) Allow your palms to lie flat on your legs. (RELAX) d) Close your eyes - concentrate on your own breathing. You must be ‘in-tune’ with your breathing habits before you can change your method of breathing.

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Exercise 2. Breathing Warm-up a) Begin empty (exhale before exercise begins) - Breathe in for two (2 ) counts. You must be FULL of air in 2 counts! (ALWAYS BREATHE THROUGH THE MOUTH......NOT THE NOSE). b) Blow out immediately for four (4) counts using an “S” sound (like a snake). Be EMPTY by count four (4). Push all air out on exhale (Use Diaphragm muscle)! c) Repeat exercise a minimum of six (6) times. Exercise 3. Breathing Exercise a) Begin empty (exhale all air before exercise begins). b) Breathe in for two (2) counts through the mouth. Fill up totally. c) Exhale for six (6) counts using an “S” sound. Push all air out on exhale! d) Repeat exercise a minimum of 5 times. Exercise 4. Breathing Exercise a) Begin empty (exhale all air before exercise begins). b) Breathe in for two (2) counts through the mouth. Fill up totally. c) Exhale for eight (8) counts using an “S” sound. Push all air out on exhale! d) Repeat exercise a minimum of 5 times Exercise 6. The Breathing Bag (use a large bread bag) Use of the breathing bag helps to regulate the volume of air inhaled and exhaled. When performing exercises using the bag, be aware that the constant inhalation of CO2 gas from the bag will tend to make you light-headed. If you feel extremely dizzy, stop the exercise and breathe fresh air.

a) Begin empty (exhale all air before exercise begins). b) Breathe in for four (4) counts through the mouth. Fill up totally. DO NOT USE BAG. c) Exhale for four (4) counts in the bag. Regulate the air so the bag is full on count 4. d) Inhale for four using the air in the bag. Completely deflate the bag by count 4. e) Exhale for four (4) counts in the bag. Regulate the air so the bag is full on count 4. f) Repeat this exercise a minimum of two (2) times. References: http://www.blostein.net/Tuba%20Method.pdf & http://www.cobw.com/Health%20PDF/Health_breathing_exercises_for_winds.pdf

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Tuba Fingering Chart

Reference: http://www.landisband.info/resources/low-brass-resources

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Daily Warm-Up Routine Always begin your warm-up with Mouthpiece Buzzing. This is the practice of playing pitches without the instrument. Example:

• • • • • • • • • • • • • • • • • Reference: http://www.olemiss.edu/lowbrass/studio/routines/mouthpiece/tubamouthpiecelevel1.pdf

Lip Slurs are next. There are many different lip slur warm-ups. Here is an example of one:

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Long tones are very important to building strong embouchure muscles and developing good tone. Here is an example of a long tone exercise:

Long Tones

George Palton

Pause in between each set of long tones. Maintain focus at all times, do not simply play a long tone do something with it dynamically. Use a constant air stream like blowing a long whole note. Always keep a beautiful tone throughout all of these exercises.

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Scales are an important part of warming up too. They help you become a better musician by gaining versatility in all keys and understanding a pitch center in many keys. Play through as many major and minor scales as you can, plus a full range chromatic, everyday. Eventually, it would be good to have all of these memorized.

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Tonguing exercises are important to build up muscles in your tongue needed to play with strong accents and fast articulated lines. Here is an example:

There are many different recommended Daily Tuba Warm-ups out there! Check out these links for more exercises and warm-up ideas: •

A Simply Daily Routine for Tuba by Zach Collins http://www.tubaphonium.com/uploads/1/7/7/6/1776421/a_simple_daily_rout ine_for_tuba.pdf

•

University of North Texas Tuba Page https://tuba.music.unt.edu/exercises

•

George Palton, Artist and Educator, Tuba Exercises http://www.georgepalton.com/tuba-exercises.html

•

BBb Tuba Warm-Ups and Exercise by Andy Rummel, Professor of Tuba at Illinois State University http://nebula.wsimg.com/56804d6923b601cac78a715e2719ea15?AccessKeyI d=059C4068B8FAE5E4FFAB&disposition=0&alloworigin=1

•

Arnold Jacobs, Special Studies for the Tuba http://tubamuckl.de/tubamuckl/Tuba_files/A.JacobsSpecial%20Studies%20For%20The%20Tuba.pdf

•

Michael Blostein, Low Brass Specialist, Tuba Warm-Ups http://www.blostein.net/Tuba%20Warm-Ups.pdf

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Tone Production o Hear the note, and the sound, you want to make o Breathe in deeply (and do not hold your breath) o Breathe out lots of air (fast = loud & slow = soft) at the same time as; o Allowing the lips to vibrate freely to form the correct note and the; o Tongue to provide a good clean start to the beginning of the note o Control the air to keep a steady flow and this will stop the note bulging up or down o Stop the note by stopping the breath – not with the tongue. o To change to volume, change the speed of the air, not the quality o Never start or end the note with your tongue o Ensure that you have good posture, and bring the instrument to you. Avoid moving the instrument and changing good posture.

Embouchure Development

o Facial and oral cavities, tongue, and teeth in a relaxed position. The throat is to be open at all times. o Lip corners kept firm, not tight or clamped, and the teeth slightly open. o Mouthpiece resting in a position that is comfortable with two thirds of the rim on the upper lip and one third of the rim on the bottom lip o Keep the chin flat and pointed down with the lips in a natural position that is not pulled back or puckered. Avoid bunching up the chin.

Articulation Development

o The tongue serves as a valve to release the air on the tuba o The tongue contacts the upper palette just at the base of the upper front teeth o The articulation symbol for most general playing should be “doe” and sometimes “toe” for high or more accented notes. o The use of “o” at the end of the attack is important for maintain air flow and rich tone through to the end of the note. o Do NOT use a ‘Duh” sound. o Use a minimum of jaw motion o The lips are to be touching until the air is delivered to them for most efficient use of the air. o The tongue should never go between the lips. o Remember to maintain airflow in all tonguing. The tongue should never be allowed to change our approach to air stream.

15

Pitch Tendencies Tuning Generalizations: • Open is generally in tune. • 1st value is generally in tune • 2nd valve is generally in tune • 1-2 valve combination is moderately sharp • 1-3 valve combination is very sharp • 1-2-3 valve combination is extremely sharp • 2-3 valve combination is moderately flat • Sharp notes may be lowered with TOE and TAH in the mouth • Flat notes may be raised with TEE

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Reference: http://www.olemiss.edu/lowbrass/studio/fingeringcharts/bbbtubafingering.pdf

Pedal Tones o Pedal tones are the VERY lowest note you can play on the tuba o They refer to notes that exist in the fundamental partial of a brass instrument. They are the notes that correspond to the actual length of the tubing. o They can sound pretty funny and are really fun to play! You can find the pedal tones by letting your lips flap while trying to play lower and lower. Once you find it it will pop right out! You’ll know you have the right notes if it matches the note an octave up. o Knowing how to play pedal notes opens up the low register of the tuba o Pedal Tones are a great model of playing with maximum wind quality and minimum pressure o They will maximize low-pressure playing throughout the horn o They are essential for developing brass instrument technique

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Tuba Learning Videos o Buzzing - https://www.youtube.com/watch?v=JPb6jITbplA o Breathing Fundamentals https://www.youtube.com/watch?v=7oKwVeDxrmE o Making a Better Sound https://www.youtube.com/watch?v=bSteKff1A-c o Correct Embouchure https://www.youtube.com/watch?v=lgu6RfBI3V0 o Slurring - https://www.youtube.com/watch?v=lgu6RfBI3V0 o Lip Slur Patterns - https://www.youtube.com/watch?v=PFitaJUi5Ak o Flexibility Routine - https://www.youtube.com/watch?v=fxzAZGrPrLI o Lessons with Roger Bobo https://www.youtube.com/watch?v=oxTDkUVNSHg o Initiating Sound - https://www.youtube.com/watch?v=RsxScTSrvFk o Posture and Embouchure https://www.youtube.com/watch?v=pbDbeYMT28s o First 5 Notes - https://www.youtube.com/watch?v=Ma-Iy7pu1rs o Pedal Tones - https://www.youtube.com/watch?v=jwx-YV4h_6s https://www.youtube.com/watch?v=AyMKQVUJ1tM o Articulation http://www.uni.edu/drfun/articles/articulation.html

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Etudes and Method Books Title

Composer

Level

Publisher

Studies and Melodious Etudes for Tuba (Bass) Level I

Bill Laas with Fred Weber

Elementary

Belwin (AP.BIC00167A)

Studies and Melodious Etudes for Tuba, Level II

Kenneth Swanson And Major Herman Vincent In Collaboration With James D. Ployhar

Intermediate

Alfred Publishing. (BIC00267A)

Studies and Melodious Etudes for Tuba, Level III

Kenneth Swanson And Major Herman Vincent In Collaboration With James D. Ployhar

Advanced Intermediate

Alfred Publishing. (BIC00367A)

70 Studies Volume 1

Blazhevich

Intermediate

70 Studies Volume 2

Blazhevich

Advanced

43 Bel Canto Studies

Giovanni Marco Bordogni

Intermediate – Advanced

Alphonse Leduc. (AL28596) Alphonse Leduc. (AL28597) Alphonse Leduc. (534024100)

36 Celebrated Studies

N. Bousquet

Practical Studies for Tuba, Book I

Robert W. Getchell

Intermediate – Advanced Beginner

101 Rhythmic Rest Patterns

Grover C. Yaus

Beginner

30 Studies Op. 13

Gallay/King

78 Studies

Grigoriev

60 Selected Studies

C. Kopprasch

Rubank Elementary Method - Eb/BBb Bass (Tuba-Sousaphone)

Edited by N.W. Hovey

Intermediate – Advanced Intermediate – Advanced Intermediate – Advanced Beginner

Rubank Intermediate Method - E Flat Or BB Flat Bass (Tuba-Sousaphone)

Edited by Joseph E. Skornicka

Intermediate

Rubank Advanced Method - E Flat Or BB Flat Bass Vol.1

Edited by Himie Voxman and William Gower

Advanced

Arban Complete Method for Tuba

J.B. Arban Transcribed and Edited by Dr. Jerry Young and Wesley Jacobs

Intermediate – Advanced

Carl Fischer. (O5388) Alfred Publishing. (EL00774) Alfred Music (AP.EL00559) Alphonse Leduc. (AL28605) Alphonse Leduc. (AL28611) Alphonse Leduc. (AL28601) Rubank Publications (HL.4470080). Rubank Publications (HL.4470250). Rubank Publications (HL.4470460) Encoure Music Publishers

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Recommended Solo Repertoire (Grade 1 – 6) Title

Composer

Level

Publisher

Spartan, The Winter Carousel (Kendor Recital Solos Collection) Pastorale (Kendor Recital Solos Collection) Chromatic Conquest Sailor's Song Little Caesar The Change of Seasons At Another Time And Place Eight Easy Pieces (mvt #8) Cripple Creek (Competiton Solos Book 1) Camping Out The Swan (Competiton Solos Book 1) Theme From Concerto No. 4 Quintero (the Farmer) Jolly Dutchman Arietta

Bell Bigelow, Albert

Grade 1 Grade 1

BEL KM

Burney / Niehaus Compello, James Couperin / Dishinger Harris Weaver, Russ W. Ellis Voxman / Block traditional / Siennicki Smith Siennicki, Edmund J Huber / Price Merle Isaacs Sandy Feld Stein & Larry Clark Warren Benson Handel, G.F./Ostrander Petree, H.W./Buchtel Robert Schumann Bach/W. Bell John Boda Paul Holmes Mozart/Morris Thomas Beversdorf Antonio Capuzzi Don Haddad Walter Hartley Lebedev James Stabile Paul Hindemith Jan Koetsier Eddie Sauter Robert Sibbing Robert Spillman Halsey Stevens R. Vaughan Willams Alec Wilder Eugene Bozza Bruce Broughton William Kraft Frank Lynn Payne Donald White

Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade

1 1 1 1 1 1 1 1 1 1 1 1 1 1

KM MPB Publishing

Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade Grade

2 2 2 2 3 3 3 3 4 4 4 4 4 4 5 5 5 5 5 5 5 5 6 6 6 6 6

Belwin-Mills Edition Musicus Kjos Rubank Carl Fisher Robert King Robert Kings Brass Press Southern Hinrichsen Shawnee Fema Music Edition Musicus WIM Schott Domenus Mentor Presser Edition Musicus Southern Oxford Margun Music A. Leduc Helicon Music MCA Music Shawnee Press Ludwig

Arioso Arm Ye Brave Asleep in the Deep Jolly Peasant Air and Bouree Sonatina Lento O Isis and Osiris Sonata for Bass Tuba Andante and Rondo Suite for Tuba Sonatina Concerto in one Movement Sonata Sonate for Bass Tuba and Piano Sonatina Conjectures Sonata Concerto Sonatina Concert for Bass Tuba Suite No. 1. (Effie Suite) Concertino Sonata Encounters II for Solo Tuba Sonata Sonata

KM CYB EMP SMC LUD BEL LUD CF CF LUD CF

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Mixed Instrumentation Chamber Repertoire Title

Instrumentation

Composer

Grade Level

Publisher

Quintet

Adjemian Vartan Paolo Baratton

Advanced

EditionsBIM

Intermediate

EditionsBIM

Luigi Cherubini

Intermediate

EditionsBIM

Pascal Favre

Advanced

EditionsBIM

Goleminoff

Intermediate

EditionsBIM

Roger Kellaway

Intermediate/Advanced

EditionsBIM

Arthur Rubinstein

Intermediate/Advanced

EditionsBIM

EditionsBIM

Intermediate

EditionsBIM

Advanced

EditionsBIM

Dance Movements

Roland Szentpali

Intermediate

EditionsBIM

Jazz Quintet

Roland Szentpali

Corrada Mario Saglietti Roland Szentpali Tuba, piano, drums & String Quartet Tuba and Rhythm Section Tuba and Sax Quartet

Intermediate

Chill Fantasy

Flute, Tuba, Vibes, Contrabass, Piano Piccolo, tuba, piano Tuba and String Quartete Flute, Clarinet, Alto Sax, 2 Trumpets, Trombone, Tuba, timpani & percussion Brass Quintet, Tuba Solo Tuba, Piano/Brass Band Tuba and Chamber Ensemble Tuba and Four Horns Tuba, String Quartet, Piano Roland Szentpali

Intermediate/Advanced

EditionsBIM

Hoch und Tief Sonata Celebration

Tubaphonie Morning Song Bruegel-Dance Vision

Concerto Allegro Fuoco

Additional Repertoire Resources •

• • • • • • •

Guide to the Tuba Repertoire, Second Edition: The New Tuba Source Book edited by R. Winston Morris Indiana University Press, Nov 8, 2006 Associated Manitoba Arts Festivals: http://www.amaf.mb.ca/Resources/tuba_resource.pdf Idaho Music Education: http://www.idahomusiced.org/events/statesolo/statesolo.php#brass Indiana State School Music Association: http://www.issma.net/downloads/brassmanual.pdf Tuba Literature: http://www.uni.edu/drfun/articles/Tuba_Lit_List.html Just for Brass: https://www.justforbrass.com/euphonium/tuba-solos-0 Free Tuba Sheet Music: http://www.8notes.com/tuba/sheet_music/?orderby=5d Tuba Resources: http://www.dwerden.com/tu-resources.cfm

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Tuba/Euphonium Chamber Music Title 12 Duets K 587 Easy Classics For Two Four Duets, op. 82 Twelve Duets, Op. 53 Advanced Duets for Tuba, vol. 1 Duets of the Advanced Type for Tubas Two Sentimental Songs O Vos Omnes (motet) Chorale And Clog Dance 4 Bach Chorales Hungarian Dance # 5 Virga Jesse Floruit Appalachian Carol St. Nicholas Ground Soundings Amazing Grace Petit Caprice () Barber Of Seville Overture Serenade Liberty Bell Sheep May Safely Graze Wolsey's Wilde Siamang Suite Suite For Tuba Quartet Suite For Four Bass Instruments Quartet For Tubas Manhattan Suite Divertimento Elsa's Procession To The Cathedral Ride Of The Valkyries Tubasonatina Fantasy

Instrumentatio n Tuba Duet Tuba Duet Tuba Duet Tuba Duet Tuba Duet

Composer

Grade Level

Publisher

Mozart / Dishinger Various / Stouffer Devienne / Gershenfeld Nielsen / Dishinger Sear

Easy Easy Intermediate Intermediate Advanced

MMP KM MMP MMP CORT

Tuba Duet

Cummings, Barton

Advanced

Wiltshire

Tuba Quartet Tuba Quartet Tuba Quartet 2 Euph, 2 Tuba 2 Euph/2 Tuba 2 Euph/2 Tuba 2 Euph/2 Tuba 2 Euph/2 Tuba Tuba Quartet Tuba Quartet 2 Euph, 2 Tuba Tuba Quartet

Barnby-hawthorne / Hall De Victoria / Self Hall Bach / Mehlan Brahms/halferty Bruckner / Nelson Canter, James Frackenpohl, Arthur Matchett Robertson Rossini / Davis

Easy Easy Easy Intermediate Intermediate Intermediate Intermediate Intermediate Advanced Advanced Advanced Advanced

GW WIM GW TUBA KM TUBA TUBA TUBA RBC TEP TUBA

Tuba Quartet Tuba Quartet Tuba Quartet Tuba Quartet 2 Euph, 2 Tuba 2 Euph, 2 Tuba Tuba Quartet Tuba Quartet 2 Euph, 2 Tuba 2 Euph, 2 Tuba Tuba Quartet 2 Euph, 2 Tuba 2 Euph, 2 Tuba 2 Euph, 2 Tuba

Rossini/doughty Schubert / Robertson Sousa / Robertson Bach / Robertson Byrd / Robertson Canter, James Frackenpohl, Arthur Lyon Payne Stevens Uber, David Wagner / Robertson Wagner/uber George, Thom Ritter Martino

CIM TEP TEP TEP TEP TUBA TUBA

Advanced Advanced Advanced Advanced Advanced Advanced Advanced

SP SP SOU TUBA

Advanced Advanced Advanced Advanced

TEP KM TUBA PP

Advanced Advanced Advanced

Additional Repertoire Resources (continued) • • • •

WSMA Music Festival List: file:///Users/Chloe/Desktop/Events_4000.pdf Missouri State High School Activities Association, Solo and Ensemble Rep list: http://gvlabs.com/festivalmanager/mshsaa/src/admin_pml.php Florida BandMasters Association, Solo and Ensemble Festival: http://fba.flmusiced.org/for-directors/music-lists/ Recommended Solos for Tuba: http://www.tubapeter.com/index_files/videos_tubasolos.htm

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Professional Tuba Players Tom Abbs James Akins Kenneth Amis Oystein Baadscik Alan Baer Dave Bargeron

William Bell Roger Bobo Damon Bryson Charles Daellenbach David Fedderly

Aubrey Foard Walter Hilgers Scott Irvine Arnold Jacobs Carol Jantsch Andy Kirk Thomas Leleu

Heiko Triebener Sam Pilafian Patrick Sheridan Velvet Brown

Jazz Tubist Principal Tuba of the Columbus Symphony Orchestra Tubist with Empire Brass Soloist and Chamber Musician Principal Tuba with the New York Philharmonic Jazz Tubist and Trombone player with Blood, Sweat and Tears, Severinsens Band, Gil Evens Orchestra, Paul Simon, Mick Jagger, James Taylor, Eric Clapton, etc.. Classical tubist Tuba soloist Sousaphone player in The Roots Co-Founder of the Canadian Brass Retired principal tubist for the Baltimore Symphony Orchestra and teacher at The Juilliard School, owner of the Baltimore Brass Company Principal tubist with the Charlotte Symphony Orchestra Principal tubist in the Vienna Philharmonic Orchestra Principal tubist with the Canadian Opera Company and Esprit Orchestra Former Chicago Symphony principal tubist Principal tuba in the Philadelphia Orchestra Jazz tubist Classical and contemporary musician. Skilled tuba player, and principal tubist with the Opera de Marseille. Classical Tubist, Bamberg Symphony Orchestra Founding member of the Empire Brass Quintet, Tuba soloist Professor of tuba and euphonium at Penn State

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Professional Tuba Organizations The International Tuba/Euphonium Association http://www.iteaonline.org/index.php Officially founded in 1973 as the Tubists Universal Brotherhood Association, the International Tuba Euphonium Association is dedicated to promoting and advancing the tuba and euphonium instruments. The organization comprises performers, educators, students, and amateurs of all backgrounds. As a non-profit organization, it is supported by membership dues and donations. Historic Brass Society http://www.historicbrass.org/ The Historic Brass Society is an international music organization concerned with the entire range of early brass music, from Ancient Antiquity and the Biblical period through the present. The history, music, literature and performance practice of early brass instruments such as natural trumpet, natural horn, early trombone, cornetto, serpent, keyed bugle, keyed trumpet, early valve horn, 19th century brass instruments are some of the main issues of concern to the HBS. The HBS Journal is by far the most scholarly of brass professional journals and, unlike the others, is released only yearly rather than quarterly. It is a book-length publication, though, and contains articles of substantial length and scholarly acumen.

Tuba Videos

o Tuba Concerto, Edward Gregson https://www.youtube.com/watch?v=uPV6sTfs3Is o Concerto in F minor, Vaughan Williams https://www.youtube.com/watch?v=3GzEvWXN3zY o Tuba Tiger Rag https://www.youtube.com/watch?v=inftw4EdxRw o Czardas, Vittorio Monti https://www.youtube.com/watch?v=fYOsNp4O7AU o Reflections on the Mississippi, Michael Daughtery https://www.youtube.com/watch?v=hPnurVsbQwU o Tuba Concerto, Bruce Broughton https://www.youtube.com/watch?v=dxSxjqqh-N4

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Tuba Mouthpieces Understanding the Brass Mouthpiece http://www.wwbw.com/Buyer-Guides---Brass-Mouthpieces-g25075t0.wwbw

Tuba Mouthpiece Recommendations: Beginner: Conn Helleberg 7B, Miraphone TU17 or TU19, Schilke Helleberg Intermediate/Advanced: Conn Helleberg Regular or Standard Cup, Miraphone TU21, Griego 325D, Loud LM7, Perantucci PT36 Advanced Loud LM7(stainless steel), Miraphone TU31 or TU41 Perantucci PT36, Pt 50, or PT 88, Mike Finn 3H or 3, Griego 330D.

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Tips for choosing a Tuba Mouthpiece: •

•

•

• •

•

Music is very subjective and one player will have different results than another player using the exact same equipment. Much of this has to do with a players physicality and personal ability. If you are a very young player and Tuba is your first instrument, you might want to start with a very small cupped mouthpiece, so it is easier to make a sound. Don't get bogged down in details and numbers. Try many different mouthpieces and let your ears do the work. There are many useful charts and spreadsheets, but only playing a new mouthpiece will reveal how well of a fit it truly is. There are many, many different models so as to allow tuba players to fine-tune their preferences. Tuba mouthpieces come in two different styles: a more funnelshaped and narrow design exemplified by the Conn Helleberg, and a more bell-shaped and wide design exemplified by the Perantucci mouthpieces. For tuba students, the right design is largely a matter of which style is more comfortable; you may find you have a strong preference for one over the other.

Bach Tuba Mouthpiece Comparison Chart:

List of Tuba Mouthpieces - http://www.dwerden.com/Mouthpieces/tuba.cfm

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Purchasing a Tuba General Information • BBb tubas work great for most school-band music. Compared to CC tubas, the BBb tuba has a broader sound with extra weight, which helps bring balance to a band's sound. • Because tubas come in a variety of different sizes, manufacturers came up with a system to categorize the instrument into four common sizes: 3/4, 4/4, 5/4, and 6/4 (these sizes will vary based on the manufacturer) • Tubas come in 3-, 4-, or 5-valve versions. The addition of the fourth valve aids in both low-register intonation and low-register production. As a rule, remember that at least 4 valves are required to perform and produce all the low range notes in the daily life of a tubist. • Piston Valve – like the valves on a trumpet, they move up and down to direct the air produced by the player into different tubing paths; thus changing the notes played • Rotary Valve – unlike piston valves that go up and down, rotary valves (as its name implies) rotate to direct air into different tubing paths. They are commonly found in more advanced tubas • When looking at the specifications of a tuba, you will come across the term: bore size. The bore size of the tuba measures the inner diameter of the tubing of the instrument near the valves. The bore is measured by thousandths of an inch. • The bore size that is commonly used and suitable for most players is a medium to medium-large bore, which is .750 of an inch to .812 of an inch. Student tubas (which are made for novice players) usually have smaller bores as it adds resistance and makes it easier for the player to support a tone. These bores usually measure in the range of .650 to .740 of an inch. • Brass instruments have two common finishes, lacquer and silver-plate. Lacquer is the most popular finish and is used by most students who are just beginning their study. It gives the instrument a deep and dark sound in the lower registers. • Silver-plate is a finish that suits more advanced players as it demands more maintenance and is more expensive • Yellow Brass produces a bright tone as it has less copper compared to other materials. It is brilliant gold in appearance due to its relatively low copper content. • Gold Brass – less susceptible to corrosion than yellow brass because of the decrease in zinc content and produces a darker tone than yellow brass given its higher copper content. It is a dark gold in appearance as it has more copper than yellow brass.

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Tuba Recommendations: Student Tuba • Made for those who are just starting out with tuba-playing and for those whose commitment to the instrument is uncertain and questionable • They often have a clear lacquer finish and are made with durable materials such as nickel-silver • They use 3 piston valves and generally have smaller bores (.600 to .650 of an inch) to make it easy for a beginner to play Conn Tuba Key of BBb Upright Bell Front-Action Valves No Case Conn Tuba Key of BBb Upright Bell Front-Action Valves with Case Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons RS Berkeley TUB907Artist Series Tuba E. M. Winston 640 Bore Three Valve Tuba RS Berkeley TUB909 Artist Series Tuba

Intermediate (or Step-Up) Tuba • Made for those who have been playing the tuba for 2 to 3 years and for those who want to advance from a student model tuba • They upgrade to a silver plate finish and have at least 4 rotary valves • They have larger bores than student tubas (.650 to .750 of an inch) Recommendations for intermediate or step-up tubas: Jupiter Tuba Compact Model Brass Body Front-Action Pistons with Case Jupiter Tuba Compact Model Brass Body Front-Action Pistons with Case Jupiter Tuba "Tribune" Concert Model Brass Body 4 Front-Action Pistons with Case Professional Tuba • Made for those who have been playing the tuba for many years and for those who are fully-committed to playing the instrument (as this model of tuba is a great investment) • They often have a silver plate finish and have at least 4 rotary valves (but typically employ 5 rotary valves) • They have large bores (some go beyond .750 of an inch) Conn Tuba Key of BBb Upright Bell Front-Action Pistons with Case Holton Collegiate Tuba Key of BBb Upright Bell Top-Action Pistons with Case Holton BB460 Collegiate Tuba Key of BBb Upright Bell Top-Action Pistons with Case

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Recommendations by Brand:

Yamaha Standard Tuba Key of BBb 3/4 size 3 Top-Action Pistons Upright Bell Yamaha Standard Tuba Key of BBb 3/4 size 3 Top-Action Pistons with Tuba Stand Yamaha Marching Tuba with Key of BBb 3/4 Size Convertible Model 3 Pistons

Conn 12J BBb 3-Valve Tuba Conn 5J BBb 4-Valve Tuba Conn Tuba Key of BBb Upright Bell Front-Action Valves No Case

Kanstul CTU 902/3B Custom Class Series 3 Valve 3/4 BBb Tuba In Lacquer Finish Kanstul 202 BBb 3/4 Marching Tuba In Convertible Silver Finish Kanstul Model 201 BBb 4/4 Marching Tuba In Convertible Lacquer Finish

King 1135 BBb 3 Valve Tuba King 1140 COnvertible BBb 3 Valve Tuba King 1140M Ultimate Marching Brass Tuba

Jupiter 3/4 Size BBb Convertible Tuba - Model 380S [Silver-Plated Finish] Jupiter 378 Series BBb Deluxe 3/4 Size 3 Valve Tuba Jupiter BBb Convertible Tuba - Model 384S [Silver-Plated Finish]

Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons

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Additional Tuba Handbook References http://www.wwbw.com/Buyer-Guides-Tuba-g25068t0.wwbw#1 https://en.wikipedia.org/wiki/List_of_tuba_players http://www.iteaonline.org/members/standardlit/ http://www.instrumentalsavings.com/Tuba-Buying-Guide-s/4278.htm http://www.norlanbewley.com/tuba-tips/mouthpiece-size.htm http://www.banddirector.com/article/pg-brasstubas-sousaphones/a-teachers-guide-to-ahappier-tuba-section?productguide=325 http://www.dwerden.com/tu-articles-morethoughts.cfm http://www.whatbrassplayerswant.com http://www.olemiss.edu/lowbrass/studio/fingeringcharts/bbbtubafingering.pdf https://www.tamuc.edu/academics/colleges/humanitiesSocialSciencesArts/departments/music /studios/tuba/warmups.aspx http://www.blostein.net/Tuba%20Warm-Ups.pdf http://www.georgepalton.com/ http://www.olemiss.edu/lowbrass/studio/routines/mouthpiece/tubamouthpiecelevel1.pdf http://sousacentral.blogspot.ca/2010/12/how-to-choose-new-mouthpiece-or-worst.html http://www.banddirector.com/article/pg-brasstubas-sousaphones/a-teachers-guide-to-ahappier-tuba-section?productguide=325 http://www.mouthpieceexpress.com/specshub/specs_brass.html

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