Equipment

Mouthpieces:
Conn Helleberg (Perhaps the most standard tuba mouthpiece)
Perantucci 36
Schilke Helleberg II
R&S Helleberg II (copy of Schilke Helleberg II)
Laskey 28 H

Tubas:

- Most Junior High High School level students will use instruments provided
by school. The most common types of instruments that will be encountered
will be pitched in BBb and will be upright, a sousaphone or front facing types.
More advanced students wishing to study at the college level should be
encouraged to acquire an upright instrument pitched in CC, preferably with a
4 or 5 rotary or piston valve setup as this is the most commonly used bass
tuba in American orchestras. Tubas are also available pitched in Eb and F but
are used mainly for solo performances. (See The Art of Tuba and Euphonium
Playing excerpt)
- Recommended models for High School level:
o King 2341
o Miraphone 186
o Yamaha YBB 641, YBB 105
- Recommended models for university and professional level (All are pitched
in CC and are arranged by make and model/size. Most students will be ok
starting on a 4/4 and moving up to 5/4 or 6/4 later if necessary):
o Besson: 995
o Conn: 52J, 54J, 56J
o Meinl Weston: 2000, 2145, 2155, 5450
o Miraphone: 186, 188, 1291, 1292
- Tuba stands are recommended for younger/shorter students in order to
promote goo posture when playing. Some brands include: K&M, DEG, and
Baltimore Brass.
- BBb vs CC tubas
o Non transposing instruments reading in bass clef. Fingerings the
same on both with CC fundamental being a whole step higher than
BBb.
-














Pedagogy

Sound

- Strive for Full, Rich, Mellow, Dark sound
- Breathing/Posture
o Due to its size, the tuba requires an inordinate amount of air in order
to produce a great sound. Therefore students should first be taught
how to play with good breath support. It is also important for the
student to sit erect, but relaxed, in order to accommodate the size of
the instrument. Instrument should be balanced with feet flat on floor.
Bring instrument to you, dont go to instrument.
o Focus on achieving a full, relaxed breath, using very little tension.
Breath to expand, not expand to breath. Students will often tense
the chest and abdominal muscles when told to take a bigger breath or
use more air. Throat, chest and abdominal muscles should all be
completely relaxed.
o Doctors Office breath
o Have students say OH and deeply inhale and exhale while
maintaining mouth shape. Short PVC pipe 1 inch in diameter can be
used to great effect while doing breathing exercises.

- Mouthpiece Placement and Embouchure
o Mouthpiece should be placed horizontally as close to center as
possible using about 60% upper lip and 40% lower lip. 50/50 is fine
as well.
o Firm corners and flat chin. Have student say M and hold the corners
and chin in that position in order to demonstrate proper embouchure
formation. Pencil exercise is also good for demonstrating correct
firmness and jaw position.
o The tongue should be low and jaw apart. Imagine holding an egg in
your mouth. A beautiful sound can only be achieved by having an
open oral cavity and relaxed throat. Use PVC pipe to get the feeling of
this.
o Corners remain in same position throughout all registers. Do not
allow corners to pull back when ascending and resist puffing of cheeks
when descending.
 o Start with a breath attack on an easy mid register note using the
syllable HOH in order to demonstrate importance of air flow.

- Articulation
o Use too or toh for accented or separated playing and doo or
doh for connected or legato playing.
o Do not let air build up behind tongue.
o Stress the importance of letting air drive the tongue

Valve Technique

- Finger tips on valves at all times with straight, relaxed wrist.
- Fourth valve tuned a fourth lower than fundamental and fifth valve tuned
either a whole and a quarter step down or two whole steps down depending
on the system used.
- Fourth and Fifth valves provide alternate fingerings to correct intonation.
- Most school instruments will be either three or four valves.

Intonation

- Tune valves to second partials. E.g. open(Bb), 2nd valve(A), 1st valve (Ab),
3rd valve (G) etc.
- In non-compensating tubas, intonation is corrected by lipping notes up or
down, using alternate fingerings or by moving first, second, third, or main
tuning slides. Choice of which slides to move is based on what works best for
the individual. (Refer to chart for notes that should be adjusted)

Daily Routine

- Breathing Exercises
o Deep breathing in for four out for four, in three out three etc. with
metronome set at about 80 bpm
o Exercises from The Breathing Gym by Pat Sheridan and Sam Pilafian
o Holding paper against wall for breath support

- Mouthpiece Buzzing
o Work on air flow and connecting ear to embouchure
o Buzz simple tunes, lip slurs, and/or scales using no tongue while
listening for smooth note connections.
- Long Tones
o Focus on achieving steady tone and intonation. Play through all
dynamics and through complete range.
- Lip Slurs
o Play throughout full range and all dynamics.
o Great for breath control, flexibility, range and evenness of tone

 - Scales
o High school students should learn at least all 12 major scales. All 12
natural and harmonic minor if possible.

Literature

- Pedagogical Texts
o The Art of Tuba and Euphonium; Harvey Phillips and William Winkle
o Song and Wind, Brian Frederickson
- Method Books
o Levels 1-5 Arban Complete Method for the Tuba; Jean-Baptiste
Arban/ed. Jerry Young and Wesley Jacobs (Encore Music Publishers)
o Level 2 First Book of Practical Studies; Robert Getchell and Nilo Hovey
o Level 3 Second Book of Practical Studies; Robert Getchell and Nilo
Hovey
o Levels 3-4 Studies in Legato, Reginald Fink (Carl Fischer Inc.);
40 Advanced Studies, H.W. Tyrrell (Boosey & Hawkes, Inc.); 43 Bel
Canto Studies; Marco Bordogni/ed. Chester Roberts (Robert King
Music Company); 70 Studies, Vladislav Blazhevich; 60 Selected Studies,
C. Kopprasch
- Solo Literature (collections)
o I-II
Tuba Solos, Level One (CPP/Belwin, Inc.)
o I-III
Classic Festival Solos, Vol. 1; Jack Lamb (CPP/Belwin, Inc.) o
Classic Festival Solos, Vol. 2; Jack Lamb (CPP/Belwin, Inc.)
o II-III
Medici Masterworks; Gershenfeld and Mitchell (Medici Music
Press) o Tuba Solos, Level Two (CPP/Belwin, Inc.)
o II-IV
First Solos for the Tuba Player; Herbert Wekselblatt (G. Schirmer
Inc.)
o II-V
Solos for the Tuba Player; Herbert Wekselblatt (G. Schirmer Inc.)
- Solo Literature
o II-III
Honor and Arms; G.F. Handel/arr. William Bell (CPP/Belwin,
Inc.)
o III
Suite for Tuba; Don Haddad (Shawnee Press Inc.)
Thrice Happy the Monarch; G.F. Handel/arr. R. Winston Morris
o III-IV
Air and Bourree; J.S. Bach/arr. William Bell (Carl Fischer Inc.)
Ricercar; Domenico Gabrieli/arr. R. Winston Morris (Shawnee
Press Inc.)
 Variations for Tuba and Piano (The Cobblers Bench); Arthur
Frackenpohl (Shawnee Press Inc.)
o IV
Introduction and Dance; Edouard Barat/arr. Glen Smith (Southern
Music Company)
Concerto for Tuba; Edward Gregson (Novello & Co., Ltd.)
Suite for Unaccompanied Tuba; Walter Hartley (Elkan Vogel)
Suite No. 1; Benedetto Marcello/arr. Donald Little and Richard B.
Nelson (Southern Music Company)
Suite No. 5; Benedetto Marcello/arr. Donald Little and Richard B.
Nelson (Southern Music Company)
Adagio and Allegro; G.P. Telemann/ arr. Norman F. Friedman
(Southern Music Company)
Six Studies in English Folk-Song; Ralph Vaughan Williams/tr.
Michael Wagner (Galaxy Music Corp/ECS Publishing/Stainer &
Bell)
o IV-V
Andante and Rondo; Antonio Capuzzi/arr. Philip Catelinet
(Hinrichsen Edition)
-


potential. Remember, good habits never have to be broken. Valu-
able time is wasted when lesson and practice time is spent trying to
overcome bad habits or bad attitude.

Student-Teacher Checklist
BREATHING/POSTURE

Breathing must be unrestricted. Good posture is essential.

Sit erect (not rigid), upper torso relaxed, shoulders relaxed
(down), midsection pliable, instrument balanced, mouth-
piece placed correctly, naturally, and comfortably (the
instrument becomes an extension of the player), fingers on
respective valves at all times, feet flat on the floor.
Stand erect (not rigid); see above comments.
Use instrument stand or other support if it aids free
breathing.
Inhale with an open throat. Fill lungs with air like you would
a bucket with water, from the bottom up.
Control containment and release of air. Airstream direction
and velocity controlled to meet demands of pitch and
dynamic.

EMBOUCHURE
Mouthpiece placed correctly and comfortably.
Embouchure formed without distortion; flat chin pointed
down, firm corners in natural/neutral position, not pulled
back, not pushed forward.
No air between lips and teeth (no air pockets).
Tongue down in a relaxed out-of-the-way position.
Concentrate on pitch relationship: lower lip is variable in
shape, thickness, and tension; upper lip is constant in shape,
with minimum variation of tension (except in extreme upper
register).
Lower jaw slightly forward (teeth aligned) for basic mid-
register embouchure.
Concentrate on pitch relationship: lower jaw moves in the
direction of the pitch (down for low register, up for upper
register); airstream is directed opposite to lower jaw move-
ment (airstream up for low register, down for upper regis-
ter).

It is musically imperative that all brass artists develop articula-

tions of every possible variety by utilizing all the vowels and .
Articulation
consonants that have musical application to the communicative art of
music. Most method books and pedagogical treatises limit themselves

Tone Production, Embouchure, and Articulation 29

 Many manufacturers provide the fifth valve as a flat whole step (1
steps); however, some design the fifth valve as a two whole step (2/3
system). Either system is effective depending on personal preference.

ILLUSTRATION NO. 26
BB, Tuba
1' Pull (lengthen) valve slide or lip down
+

~. Push (shorten) valve slide or lip up

II I,,, e pe II e ~e 0 &o .. V'

0 2 It 2 0 2 It 0 2 I'*
2 3 0 2

,=bo e !8 II 1111 e II li11 e pe ii e

0 2 tt 2 0 2 It 0 2 .!.+
2 3 11' 2 It 2

,1~.
3 2 3 3

0
ii

2
I,,, e

It

2
0

0
..
2
!>.
It
V'

It
Irv
2
..
4
v
2t
2 3
-23 -3I It
3
-4I
5 2
3t
extreme
2
3
5

5 4 I
Two whole step (2/3 system): 2 ,!,
3

lrir
u- vw V' n;: .. b-e- u- ...b+
0 2 It
2
2

-3I
4
It
2
4
-2 -4
2
3 3
11' It
2 G) 0

3 I 4 4 3
5 3 2
-3 -
3 4
(false)

4 4
-I I
5
-44 -M 5 3 2
5 2 4 3
4 5 4
-1 5
4
5

0 2 I 2 4 I 2 I 2 3 I 0
2 3 H 3t 31' H 4t 3v
Two whole step (2/3 system): 5 5 5 5 5 5 4
c:

S4 THE ART OF TUBA AND EUPHONIUM

Many manufacturers provide the fifth valve as a flat whole step (1 V4
steps); however, some design the fifth valve as a two whole step (2/3
system). Either system is effective depending on personal preference.

ILLUSTRATION NO. 27
CC Tuba
't Pull (lengthen) valve slide or lip down
+ Push (shorten) valve slide or lip up

it

0
e

2
e ii

lt
2
lo,

2
3
e

0
bie

2
ii

It
e
0
bie
2
0

l+
0
&o
l
2

2: a lza e ,e ii b,, e ii I,,, e ~e

0 2 It 2 0 2 It
-0It -22 u
2 3 It 2
-3 2 3 3

91 ii e ~e ii Im e ~e 0
!Mi- v &u-
2 2 2 It 2 2t
0 It 0 It
-4l 4
2 3 2
3 -l
3
3 l
s 2
3t
extreme
2
3
s
Two whole step (2/3 system): s 4
2
s+

... l1v= ...

11. l1v=
..
"O"
v v Im v
0 2 It 2 4 2t l 2 It It 0
2 3 Tt 4 4 3 3 2 (;)
3 l 3
-
2
-l
4 4 3
s 3 2 3
- 4
(false)

s 4 4
3
4 2
-l
-4 It s 3 2
s 2 4 3
4 s 4
-1 s
4
s
0 2 l 2 4 l 2 1 2 3 l 0
2 3 2~ 31' 31' 4~ 4t 3~
Two whole step (2/3 system): s s s s s s 4
s
Intonation Problems 55
 mainland Europe. The bell of the oval-shaped instrument points
to the left of the player.
Designs of tubas used in the modern band or wind ensemble also
exhibit the timbre of the saxhorn family:
1. Upright tuba. Most commonly used in today's band and wind
ensembles, the upright tuba is generally the choice of professional
players and serious students. It is often referred to as the "orchestral
tuba" because of its almost exclusive use in orchestras throughout the
world. Upright tubas vary considerably in design and character. They
are usually in BB-flat or CC (though sometimes E-flat or F), with four
(or five) valves, which may be piston or rotary, and a small to large
bore.
2. Convertible tuba. A model of upright tuba, this instrument
converts from a concert instrument (held conventionally on the lap of
the player) to a marching or "corps" tuba (carried on the shoulder
with bell facing forward) by the use of interchangeable lead pipes.
The convertible tuba is usually BB-flat with three piston valves.
3. Recording tuba. So called because of the forward-facing bell,
which resembles somewhat the large bell cone of an early cylinder
record player. The nomenclature "recording tuba" perhaps also owes
its origin to early recordings in which the tuba was used to rein-
force-or supplant-the string bass, which did not record well on the
early microphones and recording equipment. In any event, these
instruments were very popular in dance bands and concert bands of
the thirties and forties. More often than not, recording tubas have
detachable/interchangeable bells (upright and bell front) which vary
in size from small to extremely large bore, and have from three to five
valves. Most recording tubas are BB-flat and the valves are usually
pistons.
4. Sousaphone. Designed to rest on the player's shoulder with
forward-facing bell over the player's head, most sousaphones are
BB-flat and have three piston valves. They may be all metal or have
a metal valve section attached to a fiberglass or plastic body and bell.
Tubas used by today's orchestral tubists throughout the world
areinvariably upright models of the instrument, but they may vary
greatly in other aspects. The orchestra player's choice of a primary
instrument varies from country to country and from player to player.
In most of Europe (with the exception of France and England) the
preferred basic orchestra tuba is the F tuba with the CC or BB-flat as
a major alternative for works requiring more sound and/or extended
low range. The C tuba (usually with six valves) has traditionally been
the primary instrument of French tubists. This "French tuba" is often
regarded as a tenor tuba in C outside of France and is comparable in
bore size (and with a parallel upper range) to that of a large
euphonium. The six valves add sufficient tubing lengths to extend the
low range and thus allow the player to perform orchestral parts
written for the other tubas. Many excellent solo compositions have
been written by French composers with the French tuba in mind. The
extended upper range required by these compositions is a source of
great consternation to tubists who attempt to perform these works on
CC or BB-flat tubas. Likewise, the extended low range becomes a

10 THE ART OF TUBA AND EUPHONIUM