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Teaching The Tuba
Teaching The Tuba
December 1996
Advanced Band
Jazz Band
WHO SHOULD BE SWITCHED TO TUBA
Trumpet, trombone, and baritone players are more inclined to find the switch to a low brass instrument easier than
most woodwind players. Students should be well developed, physically active, and of average or higher intelligence.
Thick lip construction is helpful, but not necessary.
Roncorp (Woodwinds)
MAKING THE TRANSITION FROM TRUMPET, TROMBONE AND
Nouveau Brass BARITONE
A trumpet student may be asked to play the treble clef baritone parts in the band with the trumpet. When the student
feels comfortable playing a new part, switch them to the baritone horn. After the student is comfortable with the new
Strings voice, the student should start learning and reading bass clef. This will then make an easy switch to BB flat tuba.
A trumpet student can easily switch directly to the E flat tuba. All the student has to do is read the music in treble
Mariachi clef, adding three flats. There are many used E flat tubas around collecting dust. With a little repair, the instrument
will play well. The E flat has the added advantage of playing the high register more easily. It is important to note that
for many years the band repertoire used both the BB flat and E flat in fifths and octaves with splendid results.
Mariachi - CDs
Trombone and bass clef baritone players can easily make the switch to tuba. Trumpet players may also go directly
to BB flat tuba, but it will be more difficult getting used to the new instrument size, low pitch, and a new clef to read.
Simply Strings - CDs
POSTURE
Good posture should be enforced at all times. Many performance problems are a result of bad posture. The student
should sit up straight and hold the chin up so the throat is unrestricted. Students should not lean back into the chair.
The student should sit on the end of a the chair with their thighs in a slightly downward angle. This allows for quick,
unrestricted deep breaths.
Using the syllables "tu/ee" ascending and "tu/aah" descending with little facial movement in either direction, will aid
in sensitizing the lips while allowing the proper amount of breath support to develop new pitches in either direction. It
is also important to have the student add a double whole note at the end of each scale.
NO TUBA AT HOME
One of the disadvantages of play tuba is the overwhelming size and lack of ease of transportation. Many schools
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cannot afford to let a student keep one instrument at home while another at school. Here is a great example of how
to practice the tuba without the entire instrument at home:
Go to your local hardware store and purchase a piece of clear rubber tube, 5/8 inch outside diameter, 1/2 inch inside
diameter. Cut the tube eighteen inches in length. Place the tube in the freezer. When it becomes rigid, take it out and
drill an eighth of an inch hole through one side only, about one and one half inches from one end. Insert the tuba
mouthpiece into the tube. This tube can be used to practice all music and/or exercises covering the hole in the
medium to low range. Cover the hole from the second space C down(see ex. one).
BREATHING
Have your students bring in an empty paper towel or toilet paper roll. Let them use the paper roll to breath though
before they play. The size of the roll will help them sense the true open throat with which they want to breath.
BUZZING EXERCISES/TUNING
At the end of this article are some exercises that will increase range and tone. Once the student has developed a
controlled sound, it is time to work on tuning. Practicing the Bb scale with a tuner may be helpful. As the students
get better, you may want to show them how to pull certain slides for key pitches. Do not wait to long to discuss
tuning. The earlier they start listening to pitch the easier it will be for them to play in tune.
MOUTHPIECE SELECTION
There are many mouthpieces on the market. The rim can be either flat, rounded, or a combination of both. Its shape
is important for comfort and ease of holding the proper placement of the embouchure. A flat rim is better for large
lips. The contour of the cup is another consideration. A younger student needs a shallower cupped mouthpiece
while the more mature student will find the V shape more desirable. A shallow cup with a rounded rim with have a
better response for a player with thin lips. The bore of the mouthpiece will effect the tone, response, and pitch.
Beginners will probably be more successful with a small bore.
Note: Width and length of stand may be cut to individual size of student to fit between the legs of player, being
placed on chair.
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BUZZING EXCERSIZES
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