From Reed-Sucker to Lip-Buzzer

A Clarinet-To-Tuba Primer

Book 2 - Pitch Problems

By Jeff Sandberg Eastmont School District East Wenatchee, WA Practical Application #2 - MUSI 5398

In partial (pun intended) fulfillment of a master's degree in band conducting through the American Band College of Sam Houston State University.
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Table of Contents

Proposal.......................................................................03

Introduction...................................................................03 Intonation......................................................................04 The Physics of Sound...................................................04 The Person...................................................................04 Instrument Adjustment..................................................06 Variables Between the Instruments..............................06 Bringing It All Together..................................................07 Pitch Tendencies...........................................................08 Exercises......................................................................15 Excerpts........................................................................18 Works.............................................................................21 Bibliography...................................................................33

 Book 2 Proposal New tuba players have had 6 months to a year to get acquainted with their instrument. Now is the time to fine-tune their knowledge with understanding the issue of pitch tendencies. This will aid in intonation with the rest of the band, as the tuba has become the primary source of tuning in the wind band. Since tubas play a low-sounding fundamental, it is important for them to understand their place in the harmonic structure of the band. Many players who have an instrument they start with relate their first instrument to the new instrument they're learning. This would be a handy guide that translates clarinet pitch tendencies for the clarinet-to-tuba student who has spent 6 months or more on the tuba. This book will include the first 4 playable partials of the overtone series for each of the two instruments, relate pitch tendencies for those partials, and explains how the instruments key/valve combinations might have an effect on those tendencies. There will be exercises written or audio to practice, as well as excerpts of common band pieces for the purpose of understanding its application in the wind band. Introduction Book 2 of this series was written to be a resource for the clarinet-to-tuba switcher. This book assumes that the student has been playing from 6 months to a year on the tuba after one full year on the clarinet. If this is not you, please see my first book, "From Reed Sucker to Lip Buzzer Book 1." The author assumes that the school-aged student is involved with private or classroom-based instruction. However, it is the author's hope that this book will encourage students to be self-motivated learners. The author recommends students set aside a minimum of 30 minutes per day to set and achieve playing goals. May the information in this book lead to your improvement as a player and in turn propel you to practice the Universal Law of Reciprocation (selfless giving). This book is designed to help intermediate players: Understand pitch tendencies Learn the variables between the instruments Understand how your instrument and body can help or hinder your playing Understand that the tuba has become the primary source of tuning in the wind band

May you benefit from the information contained in this ephemeral manual.
Jeffrey C. Sandberg Director of Music Clovis Point Intermediate School Eastmont School District #206 East Wenatchee, WA

Tuning & Intonation...Redundant? It all starts with tuning: the foundation for understanding pitch tendencies is in tuning. If you do not know how to tune, the pitch tendencies will not matter at all. Playing in tune requires three things: an understanding of the physics of sound (vibrations) that performers have good posture, air production, and embouchure control (the person) know how to adjust your instrument (the instrument)

The Physics of Sound (Vibrations) A typical band will warm up with scales, chorales and other etudinal passages, followed by a time for individual and/or group tuning. If a player is not knowledgeable about tuning, there will likely be differences in degrees of intonation, or the degree to which two or more instrument's sound waves line up. Ed Lisk, author of the Creative Director series, has referred to perfect intonation as "beatless tuning." For example, if you and another tuba player play the same note, you might experience no vibrations, or beats, in the sound (perfect, beatless tuning), or some frequency of beats between the two of you. The ideals is to get rid of the beats. What does this mean? The scientific answer is to have the sound waves you produce from vibrating your lips and passing air through the mouthpiece line up with your neighbors. The musical answer is to create one sound between you and the other player. This happens typically during the tuning portion of the warmup, in which everyone tunes to a central pitch, usually concert Bb or F. One caveat: though you are tuning to a central pitch, that does not mean that all pitches are now in tune. Because of the varying differences in makeup between the instruments, there are specific notes that will have to be adjusted by using alternate fingerings or by loosening/tightening the jaw. As mentioned before, differences between instruments and people must be accounted for and considered when attempting to tune and maintain that throughout the group rehearsal, be it small or large group.

The Person How do we create an environment for beatless tuning with all the different instruments? Now that you have a basic understanding of the physics of sound, the next puzzle piece is putting your body in the best possible position for producing the best sound possible on your instrument. This is largely what will put the instrument in better shape for proper intonation. Whether you play tuba or oboe, all instrument are responsible for proper posture, air production and embouchure control. Let us take a brief look at each of the following characteristics:

Posture: Good posture is essential for the opening of the lungs for needed warm air (and appearance). The body should be in position to aid proper production of sound. It is necessary that all musicians keep their back straight and shoulders relaxed. Body tension correlates to sound tension; if a specific note is sharp, body tension will increase it's sharpness. Norlan Bewley states, "Always keep the chest up and out for proper breathing. This is the key to correct posture. When you do this, all of the other elements of correct playing posture fall into place" ( B e w l e y, N o r l a n , 1 9 9 9 ) . In order to get the full benefits of a relaxed body, it might be necessary to stretch your body, as stretching exercises will release tension in the body. There are various type of
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stretching exercises, including neck rolls, shoulder rolls, trunk rotations, etc. For a full listing of proper stretches and breathing exercises for musicians, see Sam Pilafian and Pat Sheridan's book and video series, The Breathing Gym.

Air Production: Air support exercises should be used on a regular basis. The key is to move air in and out as uninhibited as possible. Students should practice taking deep breaths with their mouths wide open (a two finger-wide opening between the front teeth is a good guideline). Though there are varying approaches to the physical aspects of breathing, it is best to focus on the vowel shape "oh," like you've heard juicy gossip. Now, breathe in and out with that same vowel shape. The air should leave the body exactly as it came in. Be careful to not stop the air while breathing in and out. Stopped air is a result of body tension. Do not hold breath: air should be constantly moving, whether slow or fast, and never stopped. If your body is moving in unnatural ways while taking a breath, try lying flat on the floor and focusing on the core of your body.

The following exercise aids in tone development.

Embouchure control: Embouchure control, or the lack thereof, has a huge effect on intonation. Generally speaking, a weak embouchure will generally produce a flat sound and a tight, pinched embouchure will produce sharp tones. Remember our anecdote from book 1...

"OH OO SQUEEZE THE TUBE"

Instrument Adjustment Once the above characteristics are under your control, adjust your instrument to tune the overall pitch of your instrument. As we will be discussing in future sections, each partial and valve combination on the tuba has its own set of problems. You must know that band instruments are not tuned at the factory nor designed to play in tune when pushed snugly together. That is not to say that one should not tune the instrument. You should be prepared with how to adjust individual note problems. Before adjusting specific pitch tendencies, tune to your instrument's central pitch. If your central pitch is sharp, your instrument will need to be lengthened so the waves have a longer way to go to get out of the instrument. Generally speaking, the shorter the instrument, the higher the pitch. That goes for tuba vs. flute, and long flute vs. short flute. It is not recommended to adjust the tuba's tuning slide or clarinet barrel for each note that is out of tune. If the note is sharp, lower your jaw and/or open up the inside of your mouth. If the note is flat, firm up the lower jaw and speed up your air. How much you adjust depends on how out of tune the note is by comparison to the other instruments in your group. Memorize which notes are out of tune on your instrument. Brass instruments are easy, because there's a pattern to it. See the section below titled "Pitch Tendencies" for written examples and exercises.

Variables Between the Instruments Since it is assumed that the reader is switching from clarinet to tuba, we will press on to differences between the instruments. Seeing we discussed embouchures specifically in the previous book, we will move on to the instrument mechanics and particular pitch tendencies and your response to those. Though there are similarities between these two very unique instruments, the differences are just as interesting. The variables in the pitch between the instruments include the mouthpiece, number and size of the tone holes, and the material the instrument is made of. Below, I will outline in greater detail some of those major differences:


Characteristic Clarinet Mouthpiece Material: plastic, rubber, sometimes wood characteristics include facing (tip opening), facing length, bank, tip rail, table, baffle, chamber, shank (exterior stem), backbore (interior stem) Sound production: a wooden reed is attached to the mouthpiece; the player's mouth covers about half of the mouthpiece and reed; reed vibrates as air passes through the facing as reed rests on bottom lip causing a vibration point Tone holes: 17-25 tone holes, used more like vents Size of bell: 2.75" plastic wood Tuba Material: metal characteristics include rim, cup, throat, shank (exterior stem), backbore (interior stem)

Sound production: as lips rest on the rim of the mouthpiece in an 'm' position, sound is propelled by air passing through the lips, causing the lips to buzz

Tone Holes

Bell: anywhere from 361mms to 441 mms, depending on the size and key of the instrument brass silver fiberglass (sousaphones)
( M o u t h p i e c e E x p r e s s . c o m , 2 0 11 )

Material

I hope after viewing this table you can begin to see how the overtones might respond differently due to sound projecting in different directions, timbres fighting each other for dominance, and the sheer difference in size between the instruments working for presence amongst the rest of the band.

Though these many variations could cause many issues within the band (think balance and blend, too!), students who practice mastering the previously-mentioned fundamentals can, in time, overcome those seemingly insurmountable obstacles. Bringing It All Together The question now is where do we go from here? That is what the rest of this publication is dedicated to. You can, indeed, control many of these variables through proper handling of the instrument, regular practice on fundamentals, and taking note of what your teacher instructs you to do. Later, I will also be discussing the importance of playing in a student-directed small ensemble, which will better allow you to internalize what you have learned from your band teacher. For now, I will ask you to become familiar with partials two thru five. The first partial on tubs, the fundamental, requires incredible lip flexibility and air supply, and will likely require private instruction from a master tuba teacher.

Pitch Tendencies and the Overtone Series As discussed in book 1 of this series, the tuba has 16 partials per valve combination, while the clarinet has 5 (partials 1, 3, 5, 7, & 9). Unlike the tuba which can overblown to the next octave, the clarinet does not; it skips the even-numbered partials. What we will now discuss is their distance from the fundamental, the pitch discrepancies, and their relation to the clarinet. As Max McKee stresses, "you must be able to determine any partial or find any fundamental from a given pitch within five seconds" (McKee, 1986). Here's a test:

Name the 4th partial of the C series

Name the 3rd partial of the Bb series Name the 2nd partial of the Ab series
Name the 5th partial of the G series

[C] [F] [Ab] [B]

The neat thing about the tuba is all the overtone intervals are identical in each series. Partials 1, 2, 4 and 8 are the fundamental and it's octaves. 3, 6, and 12 are perfect 5ths. Now, try this mind-bending exercise:

D is the 5th partial of the what series

D is the 4th partial of the what series C is the 3rd partial of the what series
C is the 2nd partial of the what series

[Bb] [D] [Ab] [C]

Why is this exercise important? You will not need to pick up a fingering chart after a week of working persistently on this. Realistically, how handy is a chart in the middle of rehearsal where time and stand space is limited? And, does a fingering chart allow you to think about possible alternative fingerings without even looking?

As a point of review from book 1, the tuba has seven valve combo series:

For example, it is easy to determine all the possible fingerings for D in the staff:

There are three possible fingerings: 5th partial of the Bb series, 6th partial of the G series, and 7th partial of the E series. Which one is the best fingering? Use the following rule: Let us look at our 3rd line D for tuba and, using the above rule, decipher which fingering is the

Select the fingering which requires the least number of valves; Unless it involves using 3rd valve; Or playing the 7th partial of any series

best choice. 123 requires all of the valves, includes 3rd valve and is the 7th partial of it's series, which breaks every rule. This leaves us with combos 12/3 or open. The best choice is open, because it uses the least number of valves and doesn't involve 3rd valve or the 7th partial.

Here is an exercise to help you internalize these partials and their fingerings: make a tuba fingering chart from low Bb down to lowest E. Use the overtone series listed above and check your best answers against the rule. When you finish, you will likely have a better chart than most commercial charts. After you have completed all previously-mentioned exercises, we can discuss the next big question - what about the intonation traits associated with those fingerings? "I'll never learn this," you say. Quite the contrary! It requires memorizing only a few basic concepts, not a bunch of small details. We will continue with the rules regarding intonation traits within the natural overtone series. If you can sing even remotely in tune and know the melody to "Three Blind Mice," you can learn this rule in no time at all.

3, 6, 12... 3, 6, 12 Are slightly sharp, are slightly sharp 5 and 12 are moderately flat; 5 and 12 are moderately flat; and 7 is very flat, 7 is very flat

Now, memorize the traits associated with valve combinations.

23 valve combination is moderately flat 12 valve combination are slightly sharp 13 valve combination is moderately sharp 123 valve combination is very sharp

The next exercise combines four components: Using whole notes, draw the notes for partials 1-8 of the seven series Identify the natural partial tendencies on the side by marking flat (b), sharp (#), or ok Identify the valve combination tendencies below the first partial using the above system In the boxes underneath each note partial, identify the OVERALL pitch problem as it relates to partial and valve combination pitch

My suggestion is to place the average into one of three categories: sharp, ok, or flat. Each will have varying degrees to which it is out of tune, but the point of the exercises is to determine which direction out of tune the partial and it's accompanying fingering.

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Just in case you do like pretty charts, below is one with partials 2-5 alongside clarinet. For our purposes, The clarinet portion of the chart will sound two octaves higher, and will read an octave a 9th higher.

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Before we hit the excises, the question is asked, "How can all this knowledge of the overtone series improve your musicianship?" First of all, the above information relates to all other brass instruments. Secondly, you have easy access to alternate fingerings without having a paper chart clutter your music stand. As Samantha Blake elaborates in her overtone series presentation, "How can an in depth knowledge and understanding of the overtone series and brass instrument fingerings make you a better musician? The ability to substitute on, or transfer to another brass instrument with ease will not only help your band if needed, but it also opens up opportunities for you as a musician. [For instance,] the fingering system for the trombone is exactly the same as for the trumpet, except the trombone is major ninth lower in pitch. If you are asked to play music that seems impossible, chances are, there is an easier way to finger it. Knowing where the notes lay in other overtone series, helps you decide an alternate route. (Blake, Samantha, 2010) Let's take a look at the trombone and tuba side-by-side:

The trombone lays one octave above the tuba, making it and the euphonium the most immediately accessible. To extend the usage of the overtone principles to the other brass instruments, consider the following: INSTRUMENT F Horn Bb Horn Trumpet B.C. Baritone T.C. Baritone READ THEN MENTALLY TRANSPOSE F Part & transpose up a M9 F part & transpose up octave+5th Bb part & transpose up 2 octaves+2nd B.C. part & transpose up one octave Bb part & transpose up 2 octaves+2nd THEN THINK Tuba fingerings Tuba fingerings Tuba fingerings Tuba fingerings Tuba fingerings

When you use these rules for brass fingerings, it is easy to look at pitches on any valved instrument and quickly relate them to tuba:

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Max McKee relates, The exciting thing about this concept is that not only do you cover the bases to know fingerings (everything possible!) on each of the valved brasses, but you also can carry along important recognition of pitch problems common to specific valve combinations and natural overtones. Again, you have the knowledge necessary to be a go-to person when other classmates are unsure. However, be sure to heed what St. Peter wrote in 1 Peter 3:15 of the Holy Bible KJV: "Be ready always to give an answer ... with meekness and fear (emphasis mine). In other words, youre not just a fountain of knowledge; youre a helpful band member.

Now, even if you are not interested in transferring instruments, this information will be helpful to you as a team member. If there is a less experienced player in your organization, passing this information along to that person will result in you fulfilling the Law of Reciprocation (selfless giving). Heres a quick aside: switches are constantly needed in the band world. It doesnt matter if you are in a concert band, marching band (especially with the oboe and bassoon), or the contemporary music scene, if you are able to play two, three ore more instruments proficiently, you are valuable in the music world. So, knowing a few basic rules will allow you to pick up an instrument and learn it within a matter of days.

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Written Exercises
For the following exercises, circle every possible valve combination. Then, label the partial for that fingering beneath each answer. ( C a r r o l l , D a v e , 1 9 9 9 )

1. 3. 5. 7.

2.

4.

6.

8.

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Written Exercises (continued)

9. 11.

10.

12.

13. Circle in the correct fingerings below each note.

( R o h r e r , T h o m a s R . , 2 0 11 )

14. Write the correct note name below each note. Challenge: list the fingering and partial.

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Written Exercises (continued)

by Molly Dee

( D e e , M o l l y, 2 0 0 6 )

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Clarinet and Tuba Comparison Excerpts

These exercises are done best alongside a clarinet bandmate, a recording of a clarinetist, or yourself going back and forth between clarinet and tuba. You find clarinet midi files to play along with plus other tuba resources at:

www.jcsandberg.com/lipbuzzer

The purpose of these exercises is to train your ear to make appropriate valve and/or embouchure adjustments when intonation becomes a problem. Refer to the fingering chart only as a reference. Again, it is best to memorize a few basic rules rather than a dragging around a paper chart to clutter up your stand.

( W a s h i n g t o n M u s i c E d u c a t o r s A s s o c i a t i o n , 2 0 11 )

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( W a s h i n g t o n M u s i c E d u c a t o r s A s s o c i a t i o n , 2 0 11 )

Following is a well-known holiday carol that most people know and enjoy. Once you lean this really well, and using the above rules to aid with transposition, switch parts.

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Tuba Excerpts
Indiana Bandmasters Junior All-State Audition excerpts

( I n d i a n a B a n d m a s t e r s A s s o c i a t i o n , 2 0 11 )

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Small Group Score and Parts

Small ensembles are featured here because of it's immense capacity to forge leaders, improve ear training and build musical interdependence. Here is one of many small group pieces that will build your overall musicianship. Featured here are two pieces that are attainable at the middle school and junior high levels.

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( Va r i o u s M i x e d E n s e m b l e s , 2 0 11 )

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( Va r i o u s M i x e d E n s e m b l e s , 2 0 11 )

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Tuba Solo with Piano Accompaniment

( B i n d n e r, B r i a n , 2 0 0 9 )

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Sources Cited M o u t h p i e c e E x p r e s s . c o m . ( 2 0 11 , J u l y 2 1 ) . M o u t h p i e c e a n a t o m y 1 0 1 . R e t r i e v e d f r o m http://www.mouthpieceexpress.com/specshub/

a n a t o m y _ w w. h t m l

M o u t h p i e c e E x p r e s s . c o m , . ( 2 0 11 , J u l y 2 1 ) . B r a s s m o u t h p i e c e s . R e t r i e v e d f r o m http://www.mouthpieceexpress.com/specshub/

a n a t o m y _ w w. h t m l

R o h r e r , T h o m a s R . , T S R . ( 2 0 11 , M a r c h 2 9 ) . I n s t r u m e n t a l m e t h o d s q u i z # 1 8 . R e t r i e v e d f r o m http://www.usu.edu/music/ensembles/ b a n d / USUbands/html_pages_folder/3240%20Quiz%2018.pdf I n d i a n a B a n d m a s t e r s A s s o c i a t i o n , I B A . ( 2 0 11 , J u l y 2 1 ) . i n d i a n a junior all state band audition excerpt. Retrieved from http:// www.indianabandmasters.org/All-state/ijasb/Tuba.pdf Wa s h i n g t o n M u s i c E d u c a t o r s A s s o c i a t i o n , W M E A . ( 2 0 11 , J u l y 21). Wmea junior all-state band audition materials. Retrieved f r o m http://www.eskimo.com/~psywe/word_and_pdf/ u d i t i o n M a t e r i a l s . p d f A Carroll, Dave, DC. (1999, November 25). Music racer. Retrieved f r o m h t t p : / / w w w. m u s i c r a c e r. c o m D e e , M o l l y, M D . ( 2 0 0 6 , J a n u a r y 1 ) . A n a b c m a s t e r s c a n d i d a t e special presentation - tuba switch.Bandworld, 21(3), Retrieved f r o m http://www.bandworld.org/MagOnline/MagOnline.aspx?i=6&p=35 Blake, Samantha, SB. (2010, January 1). An abc masters candidate special presentation - the overtone series. Bandworld, 25(3), R e t r i e v e d f r o m http://www.bandworld.org/MagOnline/MagOnline.aspx? i=6&p=35 B i n d n e r, B r i a n , B B . ( 2 0 0 9 , J a n u a r y 1 ) . D e c k t h e h a l l s . R e t r i e v e d f r o m http://www.brassmusiconline.com/en/deck-the-halls-t u b a - 1 0 4 Va r i o u s M i s e d E n s e m b l e s . ( 2 0 11 , J u l y 2 8 ) . M i x e d e n s e m b l e s h e e t m u s i c . R e t r i e v e d f r o m http://www.wenatcheemusic.com/i n d e x . p h p ? option=com_phocadownload&view=category&id=77:sheet-
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music&Itemid=239

Va r i o u s T u b a A r t i c l e s . ( 2 0 11 , J u l y 2 8 ) . T u b a / e u p h . e x e r c i s e s / a r t i c l e s . R e t r i e v e d f r o m http://www.wenatcheemusic.com/i n d e x . p h p ? option=com_phocadownload&view=category&id=59:tuba- euphonium-exercises&Itemid=239

Va r i o u s T u b a S h e e t M u s i c . ( 2 0 11 , J u l y 2 8 ) . T u b a / e u p h . s h e e t m u s i c . R e t r i e v e d f r o m http://www.wenatcheemusic.com/index.php? option=com_phocadownload&view=category&id=131:tuba-euph.- sheet-music&Itemid=239

B e w l e y, N o r l a n , N B . ( 1 9 9 9 , J a n u a r y 1 ) . T u b a t i p s f o r p l a y e r s & s t u d e n t s . R e t r i e v e d f r o m http://www.norlanbewley.com/tuba-tips/posture.htm McKee, M. Max. Print. "The Overtone Series.". Bandworld. 1 May 1986:

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Jeff Sandberg 1329 3rd St. Wenatchee, WA 98801
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