Scales Showing Fingering of 3 Valve Tubas 4 Note: _ Where choice of fingering is shown thus 2 the lower will be found generally best. Figures shown thus ( indicate that these can also be used, and frequently these finger- ings greatly facilitate the execution of rapid or legato passages. Eb Tuba = o Bhay* Bch C chim +o EbOn EG) Fp fico a} = =) lem fa a) Bb ian ex) cteee cnn] 2 4 2 o 2 3 b, a bate) Fan FRG) Go AGP) A Bhan B Cc Dbin D Ebi i B i feos fonts jaw BBb Tuba @ FI 2 se > = bays S bas Fas Fea) G Abo) A _f t , th geet o ots Ss fan Bhan Bo) C Chow =e D Eb ee E (rs) Fm) FE (oy G GH Gs) A Bb (as) B (ob) Cc i ? a z oO 2 i ° Db (on) D Dt a Gb en G Ab (as) Bb > *) Small notes in brackets are eaharmonics. Differeatly notated, but identical in sound and fingering. a7eze- 40 8First Studies Starting Page #9 ‘The fingering above the staff is for the Eb Tuba and the fingering below the staff is for the BBb Tuba. Brenig. 3 & ye 2 3 3 2 3 4 ye re or = 4 3 t 1 4 1 1 2 3 3 3 3 2 2 4 3 ° 2 2 3 2 2 $ 3 & & 02687 : 27929- 40 1% wd Copyright ceed(19)(19) g2 22 fe 22 oe 92 TA Tt 34 1 rer 40(20) is omitted after exercise 10, When necessary refer to the chart. 1 rrr ete, 27020-49 7en nat ron yy ete 16 3 i + oi = Has 3 r fi se tee fe ae oes ae << ¥ ' cs(wa) 23: cite pfer pte SSS pee 27029-49 °(as) 27929-49 10eas fir ertti er ettE re ¢ > =] a] os Fees Iplpe iste ter beth ay Eftees Fee, o te odert BgsyS 27029-49 ujarting Page 30 Studies in Syncopation, Serving Page Dotted Eighth and Sixteenth Notes 27929-49(asa Allegro moderato 4 Dore Fae eee | be gee be be. Er ma SRE bpp sf epee fe, ef£tt fee ent. ffe e ef As area: 48.270ne- 49, “(an) 27029- 49 16era eet mee at Studies for the Slur Starting Page a5(45-47) BRERA A SS Ze =~ SS 4 SAAR =—=— ZtEeEAR AA ze = ae 27020-49, 7(Starting Page 62 DIRECTIONS FOR STUDY OF THE SCALES Major Scales ‘The study of the scales has always been greatly neglected in works of the present description, As a rule, writers on the subject have generally contented themselves with providing a few examples and leaving the pupil to supply for himself, whatever may be wanting in the method. As a result, only a limited number of artists are capable of executing a scale correctly. However, it is of urgent importance that the scales should be diligently practised and owing to the importance to this branch of study, scale work has been treated to great length and in every variety of key in the following pages One of the principal objectives to be gained through such study is perfect equality of sound, smooth Jegato and correct method of playing in general. Minor Scales Owing to the fact that the minur scale is naturally less rich than the major scale, examples of only the tonic and dominant have been given to offer an idea of ils resources, Chromatic Scales and Triplets The chromatic scale is one of the most essential and as its study imparts ease to the manipulation of the instrument, it has been treated at considerable length in this method, Care must be taken to press the valves down properly, in order that all the notes may be intoned with purity and fullness. ‘The study of chromatic scales imparts ease to the fingering. At first the student must practise slowly, taking lime to mark the indicated rhythms with exacting care. In this form, just as in the diatonic scale, it is necessary to increase the sound while ascending and to diminish it again while descending; in doing this strict attention should be paid to time, nor should the latter part of each phrase be hurried, as is the habit with many players. The use of a met- ronome is also recommended, in order to arrive at a precise sense of tempo and rhythmic surety, MAJOR SCALES Starting Page 63 27020-49 18(63) 2929-49 19pe BAT eee fe gee ented ager Earray as eer tfite, j B apo fiee ease peett 2 eee x EE tre oe , steer a Tertt fet Bie aaa eee xe woot ee x Sea TASTE 7 Cees SLR east eeieroedy: pect prince ate 27029-49 20(ay noua 69 an5 1929-49 ae(ea) 27929- 49 2325 Fees oe. Bri SWease goer Cee et27920- 49 aai Starting Page 79 Minor Scales 27020 -49Starting Page 80 Chromatic Scales a Fdaeeptetic tt Pee tice tebe tS T Tae tt tiepete 2 Gietogi Seni? $e, 27920- 49 a8(st) At Fie tp tebe nip oy » = onset Sipis tote tn vipa — ome Soe 7920-49 wowsEMBELLISHMENTS Preparatory Studies for the Gruppetto 4-1 A480 staccato Starting Page 98 27920~-49 872ys29- 49 38Starting Page 126 Intervals wna a9# § : § 27820~49 40Triplets cate aca ER ol fea a pea a 13 Pea rleaiay yp asucsses eperensues 14 g 2 ttecteee, fete Ee arma ine + erates epee ian are 27070-49 aast. So. eo . sepcecpettet bce pester porters? wig Bea eee,Studies for Sixteenth Notes starting Page 143 ‘Also staccato) 29wah seit aS ase ee sao thse ae ep wpe ile meee cuectirtt Sethe tft ee see es EE Eee ee ae a7ea- 49 aaStarting Page 151 The Perfect Chord in Major and Minor Keys 49-10ass- 2rez9~ 49 asStarting Page 56 = The Chord of the Dominant Seventh ttt: pottte prttte Poets Te one] SPP relies otttte porte, ren =a Wag.DOUBLE TONGUING EERE ENE Say with refergace 40 Page Double Staccato “* to ko tuba tu taku tuko te oy SSS gS SS Srpto ku taku taka ta_tuka 82 tu ku tu ku tuku fu ku tudo tu ken tu tu_ku tu ku tu_ko tun tu ku fu ku te(187 & 194) tuk tuk to ku tu ie tere te ke te tae tole t tase ta ke ta tas take to(194) tua take tke take te M3 toca take toca toke tera take te