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23209394
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quence of the invention of the valve. Whereas standard.3 The six-valve F tuba lends itself best to the
The tuba
naturalcame
horns andinto
trumpetsbeing as a direct conse
existed before exploration of microtonality precisely because of its
valved horns and trumpets, the direct predecessors greater number of valves. The available microtonal
of the tuba are the serpent, ophicleide and English tunings on the standard six-valve F tuba nevertheless
bass horn. There was no 'natural tuba' to act as a remain adaptations of an instrument designed to
precedent for the valved tuba. approximate the chromatic scale, and therefore carry
Though an initial incentive in designing the valve
with them certain limitations that may be addressed
was to provide a quick way of changing crooks
only by redesigning an instrument specifically for
on the natural horn, throughout most ofmicrotonality.
their This article traces the history of valve
history the primary purpose of valves has been to from the original tuba, through the standard
tuning
contemporary
approximate the 12 pitches of the chromatic scale. six-valve F tuba, to the specifically
This is clearly documented in the patent for the fully microtonal tuba.
designed
first tuba, in which the instrument is even named
The exploration of the microtonal potential of
the three
the 'Chromatic Bass Tuba'.1 Yet a detailed study of tubas was in fact made in reverse order.
The fully microtonal tuba follows on from attempts
this patent, and a consideration of the consequences
of valve combinations, reveal microtonal rather made by the music theorist Martin Vogel to
than chromatic tuning to be more idiomatic to thedesign microtonal valved brass instruments in the
instrument. 1960s-70s.4 The problem of how to make the fully
The standard contemporary six-valve F tuba whenmicrotonal system combinable with the standard
studied from this standpoint reveals considerablevalve system led to a delay in its production, and
microtonal potential. This tuba is currently mostto the exploration of the microtonal potential of
widely used in continental Europe. In the UK the the standard contemporary six-valve tuba. For this
majority of both amateur and professional playersphase in the research I am indebted to conversations
use four-valve instruments pitched in E flat and and exchanges of ideas with the composers Stefan
compensated on the Blaikley system2 and in the Bartling, Marc Sabat and Wolfgang von Schweinitz,
1F. W. Wieprecht, Die Chromatische Bafi-Tuba, Prussian Patent 9121, translated by V. Lawson, as quoted in C. Bevan,
The Tuba Family, second edition (Winchester: Piccolo Press, 2000), pp.513-524.
2 Bevan, The Tuba Family, p.385.
3 Bevan, The Tuba Family, p.363.
4 M. Vogel, On the Relations of Tone, translated by V. G. Kisselbach, (Bonn: Verlag fiir systematische Musikwissenschaft,
1993), pp.375-386.
125
7^
■tM
<Si=
--
f r r i'trtfl
Figure 1. The combined overtone rows of the
1835 patent for the first bass tuba.7
the patent would seem to imply). The F tube length Wieprecht assigns a valve combination to each
was introduced in order to make available pitches
pitch of the descending chromatic scale of fundam
that would have been unobtainable with the C tube
ental tones, starting from F. This is reproduced in
length alone. Figure 3.
5 M. Sabat and R. Hay ward, Towards an Expanded Definition of Consonance: Tuneable Intervals on Horn, Tuba and
Trombone (not yet published in printed form; available online at http://www.robinhayward.de/articles.html), pp.25-29.
6 Wieprecht, as quoted in Bevan, The Tuba Family, p.515.
7 All illustrations from the 1835 patent (GStA PK, I. HA Rep. 120 TD Technische Deputation fiir Gewerbe, Patente
Schriften, Nr. W 167) are printed by kind permission of the Geheimes Staatsarchiv Preussischer Kulturbesitz.
Wieprecht considered fundamentals below the second Mutter-Ton to be outside the playin
i~SJl W , ~£jes t
I
. - , 2.8. 8?
ka^ssKHiifji ^r
3U A^j<frB±±iU iu«ji
r -~e^i8~
>: -V- -»-<w 3ff- -£■- <
1 '- - £ - J. Jj*. - - 7
*-*■■ jp==j[— ft - *•■
U G - 3. il ' IL ;#>_ 3.
-«<-?. ~Ctu.it.
S*>t it.
, 9*f - zj-J' ' IL 2flu ~ s.If L&_
Figure 5. Wieprecht's patent details how each pitch from the second octave of the ascending four-octave chromatic scale
may be played as various overtones of the fundamental tones (fundamentals below C, are transposed up an octave, thus
becoming the second half of the chromatic scale at the beginning of the chart).
9 On some contemporary F tubas the position of the fifth and sixth valves is reversed.
10 Reproduced by kind permission of B&S Musical Instruments.
11 Bevan, The Tuba Family, p.195.
12 A. Myers, 'Design, technology and manufacture since 1800', in T. Herbert and J. Wallace (ed.), The Cambridge
Companion to Brass Instruments (Cambridge: Cambridge University Press 1997), p.128.
Therefore:
Through using the formula for converting ratios to
cents13 it is now possible to calculate the extent to
which the second valve lowers the pitch whenL0+2+3
used = L0 + L2 + L3 = (12V23 + 12V2 - 1)-L0
in combination with the first valve:
and
The result is of course identical if the same situation When the third valve is used in combination with
is considered from the standpoint of the first valve. the second valve the ratio between the initial
Now the initial length is redefined as L0+2, whileand combined lengths is again altered. From the
the combined length remains L0+1+2. The extent tostandpoint of the third valve, the initial length is
which the first valve lowers the pitch when used now L0+2, and the combined length L0+2+3. The ratio
in combination with the second valve may now bebetween the initial and combined lengths is now
calculated as: defined as:
1200 / log 2 x log [L0+2 / L0+1+2] L0+2 / Lo+2+3 = 12V2 L0 / (12V23 + 12V2 - l)-Lo
= 1200 / log 2 x log [12V2 / (12a/22 + 12V2 - 1)] = 12V2 / (12V23 + 12V2 - 1).
= - 189 cents.
13 A. J. Ellis, 'On the calculation of cents from interval ratios', in H. Helmholtz, On the Sensations of Tone, transla
by A. J. Ellis (Mineola: Dover Publications, 1954), pp.446-450.
14 Throughout this article all cents indications are rounded to the nearest cent.
3 300 0
The extent to which the third valve lowers the pitch
2 + 3 384 16
when used in combination with the second valve
1 + 3 470 30
may be calculated as:
1 + 2 + 3 546 54
one and three are used in combination the pitch It isisclear that tuning each individual valve to
lowered by 200 + 270 = 470 cents. This is now 30 the pitch by tempered intervals only makes
lower
sense if the valves are to be used independently.
cents less than the 500 cents required for a tempered
perfect fourth. Such instruments were in fact designed by Adolphe
When the third valve is used in combination with Sax in 1852.15 Named the 'Saxhorn nouveau basse'
both the first and second valves the ratio between and equipped with six ascending valves, their tuning
the initial and combined lengths is once again
system has more in common with that of the slide
trombone than with any instrument using valve
altered. From the standpoint of the third valve, the
combinations.
initial length is now L0+1+2, and the combined length
Lo+i+2+3- The ratio between the initial and combinedOn these instruments the longest length of tubing
lengths is now defined as: is employed when no valves are depressed. The air
column passes through each valve in ascending
Lo+1+2 / L0+1+2+3 order, enters the longer of two lengths of tubing
attached to the sixth valve, and is then fed back
= (12V22 + I2V2 - 1)-L0 / (12V23 + 12V22+ 12V2 - 2)-L0
= (12V22 + 12V2 - 1) / (12V23 + 12V22 + 12V2 - 2). through each valve in descending order before
exiting at the bell. Producing the lowest available
pitch, this is the equivalent to the seventh slide
The extent to which the third valve lowers the pitch
when used in combination with the second valve position on the trombone. When the sixth valve
may now be calculated as: is depressed, the air column is rerouted into the
shorter of the two tubing lengths, raising the pitch
1200 / log 2 x log [L0+1+2 / Lo+1+2+3] by a tempered semitone, before re-entering the
= 1200 / log 2 x log [(12V22 + 12V2 - 1) / sixth valve and again returning via the other valves
(W23 + 12V22+ 12V2 - 2)] towards the bell. Depressing the fifth valve diverts
= -257 cents. the air column into an alternative length of tubing,
raising the pitch by a tempered whole-tone, before it
Because the combined first and second valves lower is fed back into the fifth valve, and passes through
the pitch by 289 cents, when combined with thethe remaining four valves towards the bell. This
third valve the pitch will be lowered by 289 + 257principal is repeated for the fourth valve, which raises
= 546 cents. This is 54 cents less than the 600 cents the pitch by a tempered minor third, and similarly
for the remaining valves, so that the third valve Because frequency is inversely proportional to
raises the pitch a tempered major third, the second length, the corresponding ratio between the initial
valve a tempered perfect fourth, and the first valve a and subsequent frequencies is 17/16. Depressing
tempered augmented fourth, equivalent to the first the valve thus lowers the pitch by the musical
slide position on the trombone. Valve combinations interval 17/16. This is the equivalent of 105 cents,
are thus not only unintended by the design, but are five cents greater than a tempered semitone. It is
rendered impossible by it, because whenever a valve also the tuning of the second valve that is held by
is depressed it redirects the air column away from manufacturers to be the most useful.17 The reason for
the higher numbered valves. this becomes clear when further valve combinations
The 'Saxhorn nouveau basse' was unsuccessful are examined.
partly because the tubing had to enter the valvesIfso
the first valve is tuned to add 2/16 = 1/8 of the
many times (12 times when no valves are used open tube length, the ratio between the initial and
or the
sixth valve is depressed), which resulted incombined
a dull lengths is:
tone. The instruments were also extremely heavy and
8 / (8 + 1) = 8/9.
required learning an entirely new fingering system,
utterly different in concept from the principle of
descending valve combinations that the players
Depressing this valve consequently lowers the pitch
were accustomed to. For this reason it was by
only
the musical interval 9/8, which is the equivalent
of 204 cents, four cents greater than a tempered
on trombones that the system was ever regularly
adopted.16 whole-tone.
Even without these complications the six valves Combining valves one and two adds 2/16 + 1/16 =
would still leave a gap of an augmented fourth 3/16 of the open tube length. The ratio between the
between the highest fundamental (valve one) and the initial and combined lengths is now:
lowest first overtone (no valves) - precisely the gap,
in fact, that Wieprecht had introduced the F tube 16 / (16 + 3) = 16/19.
to help fill when designing the Wieprecht-Moritz
tuba. For this reason the systeme Eugene Detiege Depressing both valves one and two therefore
model trombone adds to the six independent valves lowers the pitch by the musical interval 19/16. The
a seventh which has the effect of the usual fourth equivalent to 298 cents, this is only two cents less
valve, plus a spring slide to allow intonation to bethan a tempered minor third. All combinations
corrected. of the first two valves are now within comfortable
The standard approach towards approximating lipping range of the desired tempered intervals.
equal tempered tuning on valved brass instruments Before considering how the third valve of the
is to find ways of compensating for the tuning errorscontemporary tuba might fit into this scheme, it is
inherent within valve combinations, rather than worth considering what such a tuning of valves one
abandoning the concept altogether. The strategy for and two would imply for the tuning of the Wieprecht
the first three valves of the contemporary tuba isMoritz tuba. Though Wieprecht does not specify
to tune each individual valve slightly larger than awhether he was thinking in terms of tempered or
tempered interval, so that the pitches remain within rational intervals when designing the valve lengths
lipping range of the tempered intervals both when(it seems most likely he worked empirically, adjusting
each valve is used independently and in combination the tube lengths in the workshop in order to achieve
with the other valves. Defining the degree to which the best overall results), it is this tuning that would
each valve lowers the tuning as a whole number ratio have been the most logical in achieving his stated
drastically simplifies the calculation of these valveaim of making all 12 pitches of the chromatic scale
combinations. available throughout the instrument's entire range.
If the second valve is tuned to add 1/16 of the The first and second valves would thus be tuned to
lower the pitch by the musical intervals 17/16 and 9/8
open tube length, the ratio between the initial and
combined lengths is: in relation to the F tube, by adding 1/16 and 1/8 of
the F tube length respectively. The third and fourth
16 / (16 + 1) = 16/17. valves would be tuned to lower the pitch by 17/16 and
9/8 in relation to the C tube, by respectively adding
Table
Table 2.
2. Proportions
Proportionsofofthetheopen
openF F
tube
tube
added
addedbybyeach
each Table
Table3. 3.
Proportions
Proportions
of the of
opentheF tube
open
added
F tube
by the added by the
of the
the five
five valves
valvesfor
forthe
thehypothetical
hypotheticaltuning
tuning of of
thethe valve
valvecombinations
combinations
for thefor
descending
the descending
chromatic scale
chromatic scale
Wieprecht-Moritz
Wieprecht-Moritztuba, tuba,together
together with
with
thethe
associated
associated of
offundamentals
fundamentalsshownshown
in Figurein4,Figure
together4,
with
together
the with the
ratios
ratios between
betweenthetheinitial
initialand
andcombined
combined tube
tube
lengths
lengths associated ratios between the initial and combined
and
and the
the corresponding
correspondingmusical
musicalintervals
intervals
bybywhich
whichthethe tube lengths and the corresponding musical intervals by
pitch
pitch is
is lowered.
lowered. which the pitch is lowered.
Valve Ratio between Musical Ratio
Proportion Proportion Musical
added interval Valve between
lengths added interval
1
lengths
6/48 [1/8] 48/54 [8/9] 54/48 [9/8]
0 0/48 48/48 [1/1] 48/48 [1/1]
2 3/48 [1/16] 48/51 [16/17] 51/48 [17/16] 2 3/48 [1/16] 48/51 [16/17] 51/48 [17/16]
3 8/48 [1/6] 48/56 [6/7] 56/48 [7/6] 1 6/48 [1/8] 48/54 [8/9] 54/48 [9/8]
4 4/48 [1/12] 48/52 [12/13] 52/48 [13/12] 1 + 2 9/48 [3/16] 48/57 [16/19] 57/48 [19/16]
5 16/48 [1/3] 48/64 [3/4] 64/48 [4/3] 1 + 2 + 4 13/48 48/61 61/48
5 16/48 [1/3] 48/64 [3/4] 64/48 [4/3]
4+5 20/48 [5/12] 48/68 [12/17] 68/48 [17/12]
1/16 and 1/8 of the open C tube length. The C tube
3 + 5 24/48 [1/2] 48/72 [2/3] 72/48 [3/2]
itself, operated by the fifth valve, would be tuned to
3 + 4 + 5 28/48 [7/12] 48/76 [12/19] 76/48 [19/12]
lower the pitch by the musical interval 4/3, a perfect
2+3+4+5 31/48 48/79 79/48
fourth, by adding 1/3 of the open F tube length.
1+3+4+5 34/48 [17/24]
48/82 [24/41] 82/48 [41/24]
In order to calculate the theoretical tunings of
1+2+3+ 37/48 48/85 85/48
the Wieprecht-Moritz tuba it is first necessary to
4+5
express all of the added tube lengths as proportions
of the open F tube length. This may be achieved by Wieprecht-Moritz tuba, together with the ratios
rewriting the ratios over a common denominator. between the open and combined tube lengths and
Valves one, two and five add 1/8, 1/16 and 1/3 the corresponding musical intervals by which the
of the open F tube length respectively. These three pitch is lowered, are summarized in Table 2.
ratios may be expressed over their lowest common Further valve combinations may be calculated
denominator as 6/48, 3/48 and 16/48. The F tube is simply by adding the various ratios together. So for
thus divided into 48 theoretical equal parts, to which example the combination 1 + 2 is calculated as:
the first valve adds 6, the second valve 3, and the fifth
valve 16 of these parts. The C tube is comprised of 6/48 + 3/48 = 9/48.
the combined lengths of the F tube and fifth valve.
Expressed over the common denominator 48, it It is now possible to work out the musical intervals
therefore forms the ratio 48/48 + 16/48 = 64/48 with by which the pitch is lowered for the descending
the open F tube. Valves three and four add 1/8 and chromatic scale of fundamental tones shown in
1/16 of the C tube length respectively. Expressed in Figure 4. These are listed in Table 3.
terms of the F tube length, this makes 1/8 x 64/48 = Based on this hypothetical tuning of the
8/48 in the case of the third valve and 1/16 x 64/48 = Wieprecht-Moritz tuba, the descending chromatic
4/48 in the case of the fourth valve. scale of fundamental tones is shown in Figure 7,
Each of the lengths added by the five valves has annotated with the musical intervals by which
now been expressed over the common denominator each valve combination lowers the pitch and the
48, representing equal divisions of the open F tube. associated cent deviations from tempered tuning.
The proportion of the open F tube length added Cent deviations are notated in small text, above the
by each valve for this hypothetical tuning of the staff if higher than the tempered pitch, and below
pitch lowered by: 48/48 51/48 54/48 57:48 61/48 64/48 68/48 72/48 76/48 79/48 82/48 85/48
led: 1/1 17/16 9/8 19/16 61/48 4/3 17/12 3/2 19/12 79/48 41/24 85/48
+2 +4 +37 +73 +111
80/240
Moritz tuba. 5 8/48 -
40/240
1 ■»- W
T\\ ~W 1rw
fingerings: 2 3 l
3 4 2
A < ■x
6 6 4
5
Figure 8. Fingerings and theoretical cents deviations of the descending chromatic scale of fundamentals for a standard
tuning of the contemporary six-valve F tuba.
combined valve length may now be calculated as: 1200 / log 2 x log (240/453) = -1100 cents.
L3 + L4 + L5 + L6 = 48/240 + 80/240 +40/240 + 20/240 For this fingering there is zero cents deviation from
= 188/240. the 1100 cents required for the tempered major
seventh.
The ratio between initial and combined lengths for The contemporary six-valve F tuba thus brings
the valve combination 3 + 4 + 5 + 6 is thus: into easy lipping range the 12 pitches of the
tempered chromatic scale, and the problem of valve
L0 / L0+2+3+4+6 = (240/240) / (240/240 + 188/240) combinations has been very effectively solved. The
= 1 / (428/240) cent deviations caused by the difference between
= 240/428. theoretical and actual tunings are in fact likely to be
greater than any of those shown in Figure 8.
The extent to which the combination of the second Though it seems probable that the third valve was
and third valves lowers the pitch may now introduced
be specifically to compensate for tuning
calculated as: difficulties in the low register of the Wieprecht
Moritz tuba, it is the fifth and sixth valves that
1200 / log 2 x log (240/428) = -1001 cents. might be more obviously regarded as 'compensating'
valves18 on the contemporary six-valve tuba, as they
This is just one cent more than the 1000 cents
are generally used exclusively in the low register
required to lower the pitch by a minor seventh. and are therefore associated with compensating
for the increasing sharpness caused by multiple
A standard fingering for the Gl> is 1 + 2 + 3 + 4 +valve
5. combinations. In the literal sense of the term
The combined valve length may now be calculated all
as: except the fourth valve may be regarded as
compensating valves, as it is only the fourth valve
Li + L2 + L3 + L4 + L5 that is not tuned larger than tempered in order to
= 30/240 + 15/240 + 48/240 + 80/240 + 40/240 compensate for sharpness when combined with
= 213/240. other valves.
The term 'compensating system', however, refers
specifically to systems that have been developed to
The ratio between initial and combined lengths for
the valve combination 1 + 2 + 3 + 4 + 5 is thus: compensate for sharpness in the low register arising
from the need to use greater numbers of valves than
L0 / L1+2+3+4+5 = (240/240) / (240/240 + 213/240) in the medium and high registers. The six-valve
= 1 / (453/240) system of the contemporary F tuba described in
= 240/453. this article is only one of a variety of compensating
systems that have been devised.19 The very success of
The extent to which the combination of the second such systems in approximating equal temperament
and third valves lowers the pitch may now be may in fact be one of the reasons why the basic
calculated as: assumption that this is the primary purpose of the
valve has remained unquestioned for so long.
18 The use of the term 'compensating valve' in this context should not be confused with automatic compensating
systems such as that used on Blaikley model euphoniums and tubas, or compensating double French horns.
19 Bevan, The Tuba Family, pp.195-202.
actually work directly against equal tempered tuning. It is important to stress that, whereas overt
Each valve must be tuned flatter than tempered in
rows have some correspondence with both the ser
of playable notes on a tube and to the frequencies
order to compensate for the sharpness that inevitably
arises from combining valves. Even though tempered
the spectral components of a steady note sounded
tuning for fundamental tones and their octave a wind instrument (a harmonic series), the under
row is an abstraction that may be played o
transpositions may be closely approximated using
valve combinations, there still remains the problem instrument as a succession of tones resulting f
that all overtones other than octave transpositionsdifferent valve combinations. Just as in the ca
will deviate from the tuning of the fundamentals. the overtone row the 'centres' of the range of play
Though this is not a practical issue for multiples notes
of do not form a harmonic series, but onl
the third harmonic, deviating from the fundamental approximation of one, the series of fundamen
by just two cents, it becomes a significant issue for tones resulting from valve combinations
multiplies of the fifth harmonic. Multiples of prime approximate but not be identical to the theore
numbers of seven and higher are sometimes deemedundertone row.
to be so out of tune as to be musically invalid. But On actual brass instruments the valves do not
they are only 'out of tune' if equal temperament add is whole number multiples of the open tube length
taken as the reference point. If instead the tuning together. In order for this to be the case the shortest
implicit in the structure of the tuba is taken as thevalve would have to be equal in length to the open
reference, then Wieprecht's use of the seventh and tube itself. Of the valve lengths on the standard
eleventh overtones in the ascending chart shown contemporary six-valve tuba so far examined, the
in Figure 5 may seem remarkably prophetic of the longest is the fourth valve, which adds 1/3 of the
microtonal potential inherent within the tuba, evenopen tube length. The ratio between the open and
if inadvertently so. combined valve lengths is therefore 3/4, which may
What combinations of descending valves be rewritten as 3/1 : 4/1. If the open tube length is
naturally do is form undertone rows. An undertone now divided into three equal theoretical parts, and
row is defined simply as the inverted overtone row. brackets are used to distinguish between theoretical
So, whereas the frequencies of an overtone row form and actual tube lengths, then the relationship
the proportions: between the open tube length and the combined
length of the open tube plus the fourth valve may be
1/1: 2/1 : 3/1 : 4/1: 5/1: 6/1 ... n/1 written as:
undertone row: (1 /I) (1/2) (1/3) (1/4) (1/5) (1/6) (1/7) (1/8) (1/9)
+o
w
<W)
(♦) &w)
-49
-2
<*) (») (hr)
Figure 10. The fundamental pitches of the tube lengths arising from no valves and valve two may be regarded as the
sixteenth and seventeenth subharmonics of an undertone row starting at Fs.
first valve independently extends the undertone row withdrawing the first and second valve slides slightly
one step further (equivalent to depressing 17 valves to adjust to the larger intervals.
on the virtual instrument). Depressing the valve This new tuning divides the open F tube length
combination one and two adds 1/16 + 2/16 = 3/16 to into 15 rather than 16 theoretical parts. The starting
the open tube length, thus extending the undertone pitch of the undertone row is therefore 15 times the
row down to the 19th subharmonic (equivalent to fundamental frequency, which is to say that it is
depressing 18 valves on the virtual instrument). equivalent to the 15th harmonic of the fundamental
This tuning of the first two valves thus enables frequency. The undertone row therefore starts at
the 16th, 17th, 18th and 19th subharmonics of E5, tuned 12 cents lower than a tempered E5. This is
an undertone row starting at F5 to be played as shown in Figure 13.
fundamental tones, increasing the number of Tuning the open tube length to a tempered F makes
subharmonics available on the actual instrument to sense if the aim is to approximate tempered tuning
four. These four subharmonics are shown in Figure on
11. the tuba. But if valve combinations are explored
The third valve might now be tuned so as to lower
in their own right, it is no longer necessarily useful
the open F tube by the musical interval 19/16. This
to define F as the tempered reference pitch. As each
would allow combinations of the first three valves of the fundamentals is defined in relation to the 1/1
to extend the undertone row down to the 22nd of the undertone row, one option might be to tune
subharmonic, as demonstrated in Figure 12. this pitch tempered. In the case of the undertone
Because the conventional aim of valve com row under current discussion this would mean
binations is to approximate temperedtuning
tuning,
the E5 tempered, thus raising the tuning of
however, the third slide on standard instruments is
each pitch by 12 cents.
tuned to lower the pitch of the open F tubeThe by problem
the with tuning the 1/1 of each undertone
musical interval 6/5 (= 18/15). As discussed row above,
tempered is that it makes it difficult to compare
tunings based on the various undertone rows that
this wide tuning of the minor third helps compensate
for sharpness arising from combinations with arise from different valve tunings. The obvious
other
valves. As the current aim is not to approximate
choice for a tempered pitch universal to all tunings
tempered tuning, this is not in and of itselfisanA, as this is the pitch to which most ensembles
issue,
but because the third valve is normally tunedtune. In to reference to the tuning charts this may be
lower the pitch by the musical interval 6/5,defined
tuning as the fifth harmonic of the open F tube, A3.
it to lower the pitch by the musical intervalSometimes
19/16 it is useful to reference the A3 to a
would mean shortening the length of the valvedifferent
slide, overtone within the chart, or to define
which could only be achieved by cutting the
into the
tempered reference pitch as a different pitch
tubing of the instrument itself. altogether. Whenever this is the case the reasons are
It is therefore more practical to adjust the
givenfirst
in the contexts within which they occur.
and second valves to accommodate the tuning Withof the fifth harmonic of the open F tube defined
the third valve, by tuning them to lower as the
thepitch
tempered reference pitch, the cent deviations
by the musical intervals 17/15 and 16/15 respectively,
in Figure 13 are altered to those shown in Figure 14.
corresponding to the 18/15 third valve tuning.For this undertone tuning valves one, two and
This
tuning of valves one and two is easily accessible
three add 2/15,1/15 and 3/15 of the open tube length
on any contemporary tuba, as all it requires is
respectively. The fourth valve, lowering the pitch
i~±=.
3=
Figure 11. The 16th to 19th subharmonics of an undertone row starting at F? playable as fundamental
tones using combinations of valves one and two.
undertone row: 1/16 1/17 1/18 1/19 1/20 1/21 1/22 (1/1)
+o
Figure 12. In theory the third valve could be tuned so as to extend the undertone row
down to the 22nd subharmonic.
undertone row: 1/15 1/16 1/17 1/18 1/19 1/20 1/21 (1/1)
+o
m !>-#
(the theoretical
fingerings:
undertone row starts
atE,)
Figure 13. Thefirst three valves may be tuned to form part of an undertone row extendingfrom
the 15th to the 21st subharmonic.
undertone row: 1/15 1/16 1/17 1/18 1/19 1/20 1/21 (1/1)
lTT»1
4= <2
(the theoretical
fingerings: o
undertone row starts
at E,)
Figure 14. The altered cent deviations for the undertone row extending from the 15th to 21st
subharmonic with the tempered reference pitch defined as the fifth harmonic of the open F tube, A3.
undertone row: 1/15 1/16 1/17 1/18 1/19 1/20 1/21 1/22 1/23 1/24 1/25 1/26 (1/1)
+ 14 +2 +4 +16 +31 +0 +29
\ 4 4*) h
® m 1 1
undertone row starts
fingerings: 0 2 1 lor 32 lor 41 or 21 lor 32 1 1
23324424332 at E5)
3 4 4 4 3
4
Figure 15. When valves one, two, three and four are tuned so as to add 2/15, 1/15, 3/15 (= 1/5) and 5/15
(- 1/3) of the open tube length respectively, the undertone row may be extended to the 26th subharmonic.
by a perfect fourth, adds 1/3 = 5/15 of the open F or 16ths of the C side. Having tuned the first four
tube length. The first three valves may therefore valves to add 15ths of the F side, it would seem an
be combined with the fourth valve to extend the obvious first choice to tune the fifth and sixth valves
undertone row down to the 26th subharmonic, as to add 15ths of the C side of the tuba. In order to
demonstrated in Figure 15. work out combinations involving all six valves, it
The question now arises as to where the fifth and is again necessary to calculate all valve ratios as
sixth valves might fit into this scheme. Recalling theproportions of the F side of the tuba, by writing them
F and C structure of the tuba's original design, theover a common denominator.
fifth and sixth valves lower the C side of the tuba If the F side of the tuba is divided into 15 equal
by a tone and semitone respectively. As with valvesparts, and the C side adds five more, then the C side
one and two with respect to the F side of the tuba,is comprised of 20 of these parts. If the sixth valve is
tuned to add 1/15 of this length, and the fifth valve
valves five and six may be tuned to add either 15ths
6 7 8 9 10 11 12 13 14 15
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1« 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45
C tube
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
h added by fifth valve
H length added by sixth valve
Table
Table5.5.The
Theproportion
proportion
of the
ofopen
theFopen
tube added
F tubebyadded
each by each
and the combination '5 6' by:
valve
valveforforthe
the
'Double-Tuba
'Double-Tuba 45 Tuning',
45 Tuning',
the associated
the associated
ratios
ratiosbetween
between thethe
initial
initial
and combined
and combined
lengths,lengths,
and and • O
the
thecorresponding
corresponding musical
musical
interval
interval
by which
bythewhich
pitchthe pitch
• O
is
is lowered.
lowered.
O
Valve Proportion Ratio between Musical
O
added lengths interval
m w
-34 -34
o< o«
m
IT
-26 -13 -41
oo «o O' OO 0* oo «o oo •• *o o» OO ••
go go • •
mm si: !*
8o sli 60* 66* 660 si! slieli sli, ■MAI
17 18 19 20 21 22 23 24
m
-23 -26
o« 00 • 0 • • «0 o» OO *0
OO OO
25 26 27 28 29 30 31 32
+29
1
b-^ b^ b-* b-*
-24 -16 -39
OO •• 0O o« OO o* •• »o OO •• «o O* ••
•0
+4
33 34 35 36 37 38 39 40
(^)
1 — —
N.B. The next figure - figure 18 - extends over the following 8 pages.
Figure 18. Ascending chart of the 'Double-Tuba 45 Tuning' extendingfrom F0 to Cs.
!*#
-39
o« ••
,8 .8 ,8 .8 all .8 4: 4: J
12 13 14 15 16 17 18 19 20
i>"l
pi
-49 -26
c • •• •O *0 o* 00 •• •• mo om 00 «o ••
"W7" "W"
.8.8 .8.8 J ,8
41 42 43 44 45 46 47 48 49 50
,8 .8 ,8 ,8 ,8.8 78 78 78 7878
51 52 53 54 55 56 57 58 59 60
+24
78 787878
7878 78
7878787878 78 8.8 .8.8
61 62 63 64 65 66 67 68 69 70
Fj Fi
o» •• mo om 00 mm om 00 mo mm o« 00 •• ••
PJ8J8 j:
6• 60O 660 6§o .8.8 .8.8.8.8.8 .8 .8.8.8,8 .8 .8.8.8 ,8
71 72 73 74 75 76 77 78 79 80
In \>-0
-37
WW WW WW WW SJW WW WW WW WW WW 00 o# ••
81 82 83 84 85 86 87 89 90
!>-• W
■14
mm mo oo o« •• *0 00 00 •• *0
OO •• •• QO fO •• ao Q* Q« (O fO Q«
,1? js
7/• 77« 5 To 7I: 7I5 75* 7^8 74S 4I0 738 73* 480
91 92 93 94 95 96 97 98 99 100
-47
O* OO «0 o* •• «o om 00 •• *o
18 J! J8JS 98 IS K 18 J8J8J8 IS
9«69o 68068* 450 90« 67o67» 66# 660 660 87» MM els ell ell
101 102 103 104 105 106 107 108 109 110
-39
•• »o om oo *o mo UV V* U V uu
J8 J8 ol:
620620 82« j:
6io ,?S 8?S JisSiaii M 7?i7is si
111 112 113 114 115 116 117 118 119 120
om •• mo W W WW WW WW WW WW WW WW WW WW
Q* QO •• Q# to QO •• •• Q» QO •o •• *0 Q# 00 g« fo #o mm g#
7/2 77* 76« 57oS7o 75S750752 560 74® 550 73S73* 5J0 5I0 72* 72* 72»90* 718
121 122 123 124 125 126 127 128 129 130
-26
om 00 mo
7^8 J8 J8 J8
69* 69» 69o M MM
131 132 133 134 135 136 137 138 139 140
□ ■ WW w U <JW 00 o» 00 «o om oo
mm mo om mo mo om mo om om mo
18 J? J8 K
6« 660 660 82* 8t2 8t* 4I0 63* 638 80* 79
141 142 143 144 145 146 147 148 149 150
-41 -30
•• *o •• »o 00 o» 00 «o om mm mo mm
28 28 18 |8 JJ fS 18 18 28 J8 |8 |S IS fJ 18 J8 ,!Sj8 J8
620620 77m 77* 6To 76« 45o 60o 60» 60o 7S» 75o 75« 90» 74» 59o 73» 73» 87»
A' J8
580 580
151 152 153 154 155 156 157 158 159 160
•o o« mo o« oo mo
om mo om om om mo mm go
7»7l§ 7!S 57* 570 71* 7 i• 56o70* 84* 8 3* isJs 5|§ M
161 162 163 164 165 166 167 168 169 170
o« oo •• «o oo o* «o o# •• »o o« oo «o o« •• •• •• *o 00
O* OO •• fO f« #• 6# OO QO • • 90 90 •• 09 Q« fO «• O* Q
54o 54o 81 • 81* 67267* 80* 53§
77* 77#66«66o6lo
64 79
171 172 173 174 175 176 177 178 179 180
m
o« 00 •• o* •• »o •• •• *o ••
OO • • Q* o» 90 OO •• • • to 5* OO 00 Q« 90 9*
5To 76» 63* 632 630 75S7I0 7?2 87« 62o62* 7*2 86* 49o 61*
181 182 183 184 185 186 187 188 189 190
AlAl Jl e!§ sSieSl.fl 7f§ 7fl a!i •?§ 7?S7?I sll s?J M sll sl§ .B.R JUUS
191 192 193 194 195 196 197 198 199 200
oo *o •• «o o* oo •• »o o* oo o« •• o« o« •• «o ••
sll 5?S 5?1 els J 7fj 411,1! sll ,R<n 7Is 7II slljlslljg a?s
201 202 203 204 205 206 207 208 209 210
Al J sll sll si: 7fs 7fs 7fi MAi s|! M «SI «!i ai! 7B78
211 212 213 214 215 216 217 218 219 220
-25 -17
•• «o oo •• *o o*
221 222 223 224 225 226 227 228 229 230
+39 +43
I* ct® ■»!* I* 5* £® f*
70 570 76» 6d« 660 6oO 75« 750 75» 84*
241 242 243 244 245 246 247 248 249 250
+22 +24 +28 +32 +43 +49
-27 -24
o« oo 0» oo oo oo o» oo •• «o •• «o • • *0 •• «0
•0 «0 •• fo t* 90 90 Q* Q* 40 9* to to t* *0 •• 9* o» o« 9* oo oo id
64* 64* 73S 7§S 8*5 45o 5I0 65* 63» 6S0 73* 73* 7jS 0lS 8lS i
251 252 253 254 255 256 257 258 259 260
00 o* •• o* 00 «0
261 262 263 264 265 266 267 268 269 270
+19
O* •• *0 o* •• »o
OO •• (O 00
6?ie?S 7|S 7|S is7fl
6*0 660 7IS M 35: ill 49o
271 272 273 274 275 276 277 278 279 280
+26 +28
M— JL
00 «o o« 00 00 •• «o «o
281 282 283 284 285 286 287 288 289 290
291 292 293 294 295 296 297 298 299 300
00 o* 00 «o OS •• «0 ••
!§ MM ill 4!! sis .83 M *!1 M M ill ill Js6fs M M ,11 ill ill
301 302 303 304 305 306 307 308 309 310
o* •• *o oo •• #o
311 312 313 314 315 316 317 318 319 320
oo *o o» oo •• o# •• *o «o o» oo »o
321 322 323 324 325 326 327 328 329 330
O* •• «o 0« 00 •• »o o« oo »o «o
331 332 333 334 335 336 337 338 339 340
\>-0
-24
o* •• *o oo *o o« •• «o
mi ill
iisi§!i§§ ill ill ill Mill
»« m ill ill jH
341 342 343 344 345 346 +o 347 +8 348 +8 349 +15 350
w [>♦ \>-»- W W b-»- b-#- t>-»
uw ww ** w« vu ww uw *v u«
o* oo •• o« oo »o o* •• *0
iMlM Ml ill ill ill ill ill ill si! in iMl ill lit
-27 -24
OO oo o«
in mi
366 367 368 ,369 370
o* oo oo o* oo *o
ill ill ill M sn sli MiMl ill ill ill ill ill il
371 372 373 374 375 376 377 378 379 380
-39
o« oo
o* o* •• «o oo •• o« oo «o *0 o* OO o* •• OO OO •• *o
s?I ill ilnll «: ill ill ili i!s ill ill ill ill iTs ill ill ill
,401 402 , 403 L 404 , 405 I 406 407 I 408 I 409 410
v+ P-0 P-o- !>-»
-35 -33
•• «o •• •• mo o* oo mo 09 OO •• »0
om mm *o oo o* oo mo om oo mo o* oo
om oo •• mo oo •• mo
ill ilhllilUll ilhll j!S)I: MMMM i?s ill ill ill MM MMM
431 432 433 434 435 436 437 438 439 440
-28
• • »o om mm mo
441 +18 442 +38443 +39444 +4,445 +43 446 +„447 ^448 +49 449 450
-O- -O- -O- vM.
00 o# om om om mm om 00 mo
b^459 b^ 460
"K
-41 -39 -36 -32 -28 -24 -20 •18 -16 -12
•• om mm o« oo •• mo om oo •• om oo •• 0* •0 •• *0 OO OO •• *0
ill )i: ill ill ill ilsjis 411 4ls III ill ill M ill III MM ill MM M
-38 34 32 30 27 24 -21 13 11
o« OO 90 09 99 09 •• 09 00 09 OO 09 •• 90 • • 90
ill MM Mill
l!§ M MMMMM M MMMM
491
492 +„493 +13 494 +.5 495 +11 496 +22 497 +
OO 09 OO 09 OO •• OO •• #o •• 90 •• om oo oo •• «o •• *0
o* •• 90 09 99 90 09 WW WW WW
•• 90 09 99 90 00 •• *o 09 OO 99 90 09 00 99 90
531 b* 532 \>+ 533 U 534 W 535 W 536 537 538 539 540
^541 + 542 + 543 ^.544 + 545 -o- 546 ♦ 547 .0. 548 b^549 +.550
-19 -18
• • 90 •• «0 OO *o OO 0« OO • O OO 90
99 90
M M M M MM MM MM ill
561 562 563 564 565 566 567 568 569 570
•• o* o« •• •• o* o« •• •• o« o» •• mo
-41 26 -33 30 26
•• mo o« oo o« oo •• *o •• «o o« oo
ill ill
581 582 583 584 585
-7 -2 -1
oo »o oo
oo o« OO O* oo »0 O* •• 0O ••
ill lli 18
Figure 18. Ascending chart of the 'Double-T
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
f tube (■v^^4^iav|+|v|p|HhvaPV|^|v|v||,p4av|v|v^|n|^||4|v|PV|^PV|p^V¥||f^||v|v||vNhv|ff|v4||v|v|v||la|f||p|v,|t|v|v|vH
012345678 9 l0111213141516171S1920212223242S262728293031323334353tf373«394041424344454«474849505IS2535455565758»«)
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
1 < length added by fiflh valve
> I length added by sbdh valve
Figure 19. If the F tube is divided into 15 parts, and the C tube into 16 parts, then the open F tube must be divided into
60 parts in order to express the lengths added by the fifth and sixth valves as whole number proportions of the F tube.
valve, adding 5/15 (= 1/3) of the open F tube length, denominator 60, representing equal divisions of
cannot be expressed in terms of 16ths of the open F the open F tube. The 'virtual instrument' that sym
tube. So before investigating the microtonal tunings bolizes the beginning of the undertone row is thus
that might arise from tuning valves one and two to 1/60 of the length of the open F tube. The pitch
add 16ths of the F tube, whilst leaving valves three
corresponding to this length, E7, is therefore defined
and four adding 15ths, the simpler alternative will beas the 1/1 of the undertone row, whilst the open F
explored of tuning valves five and six to add 16ths oftube fundamental that marks the beginning of the
the C side of the tuba, whilst valves one, two, three real undertone row is the 60th subharmonic of this
and four add 15ths of the F side. theoretical 1/1.
As with the 'Double-Tuba 45 Tuning', it is first Two tunings of the six-valve F tuba have so far
necessary to calculate the ratios added by all six been explored. The first, through tuning valves one,
valves as proportions of the open F tube by placing two, three and four to add 15ths of the F side of the
them over a common denominator. The F side of the tuba, and valves five and six to add 15ths of the C
tuba remains divided into 15 equal parts, and the C side, results in a tuning in which the length added
side adds five more, so the C side is comprised of 20 by each valve may be expressed as 45ths of the open
of these parts. If the sixth valve is now tuned to add F tube. The second tuning, through adjusting valves
1/16 of this length, and the fifth valve is tuned to add five and six to add 16ths of the C side of the tuba,
2/16, then: leads to a tuning in which all valve lengths may be
expressed as 60ths of the open F tube. In order to
L6 = 20/16 = 5/4 parts explore further tunings based on the double-tuba
tuning concept, the first and second valves must
and now be adjusted to add 16ths of the open F tube. As
valves three and four must continue to add 15ths of
L5 = 20/16 x 2 = 5/2 parts. the F tube, it is first necessary to find the common
denominator for the ratios added by first four valves,
In order to define these lengths as ratios of the open F before considering the possible tunings of valves five
tube it is therefore necessary to divide each of the 15 and six.
parts into quarters, resulting in an overall division The theoretical proportions of the open F tube
into 60 parts. The proportions added by each valve length added by valves one, two, three and four
are illustrated in Figure 19. are respectively 1/8, 1/16, 1/5 and 1/3. The lowest
The whole number proportions of the F tube
added by each valve may all now be expressed over Table
Table6.6.
The
The
proportion
proportion
of theof
open
theF tube
openadded
F tube
by each
added by each
the common denominator of 60. These proportions valve
valvefor
for
thethe
'Double-Tuba
'Double-Tuba60 Tuning',
60 Tuning',
the associated
the associated
are shown in Table 6, together with the ratios ratios
ratiosbetween
betweenthe the
initial
initial
and combined
and combined
lengths, and
lengths, and
the
thecorresponding
correspondingmusical
musical
interval
interval
by whichby
thewhich
pitch isthe pitch is
between the initial and combined lengths and the lowered.
lowered.
corresponding musical intervals by which the pitch
Valve Proportion Ratio between Musical
is lowered.
added lengths interval
Figure 20 shows the descending fundamentals
1 8/60 [2/15] 60/68 [15/17] 68/60 [17/15]
that result when the six valve tunings in Table 6 are
used in combination with one another. This valve 2 4/60 [1/15] 60/64 [15/16] 64/60 [16/15]
tuning is referred to as the 'Double-Tuba 60 Tuning', 3 12/60 [1/5] 60/72 [5/6] 72/60 [6/5]
because it is based on the concept of the double tuba 4 20/60 [1/3] 60/80 [3/4] 80/60 [4/3]
in F and C, dividing the F side into 15 equal parts, 5 10/60 [1/6] 60/70 [6/7] 70/60 [7/6]
the C side into 16 equal parts, and then expressing
6 5/60 [1/12] 60/65 [12/13] 65/60 [13/12]
the ratio added by each valve over the common
m -25
'b-*
-28 -2
oo OO
el!
o« oo
K.K
•• «o •o •• «o
81§ell el!els
s !§.!§ el! s?Ie?§
25 26 27 28 29 30 31 32
Vw bi
-26 -45 -18
• • «o
o« 00 •• *o • • #o o« 00
OO OO
t°
90o 96*
,18 J j: 9iS ,11,1s ,?§,!! JsJs
33 34 35 36 37 38 39 40
m
Vm \>-0- \>-+ \>-+
-36 -5 -22 -39
• • «o 00
•« •• «o •• o«
common denominator for these four ratios is 240. standard tuning, the fourth possible tuning using
the double-tuba concept will be briefly examined,
Expressed over this common denominator, the
ratios added by the valves are 30/240,15/240,48/240 namely that based on dividing the C side of the tuba
and 80/240. into 15 parts, whilst valves one and two are based
It was established in the comparison of the on a division of the F side into 16 parts, and valves
contemporary six-valve tuba with the Wieprecht three and four are based on a division of the F side
Moritz tuba that the common denominator remains into 15 parts.
240 when valves five and six are so tuned as to add In order to express the ratios added by the first
60ths of the C side of the tuba, and indeed that this four valves, the F side of the tuba must be divided
is the standard tuning for the six-valve F tuba, with into 240 equal parts. The C side, brought into being
which the 12 pitches of the tempered chromatic through depressing the fourth valve, adds 80 more,
may be very closely approximated (see Figure 8). As and so is comprised of 320 of these parts. If the sixth
shown in Table 4, in this tuning the fifth valve adds valve is now tuned to add 1/15 of this length, and the
20/240 and the sixth valve adds 10/240 of the openfifth valve is tuned to add 2/15, then:
F tube length.
Before exploring the microtonal potential of this L6 = 320/15 = 64/3 parts (= 21.33 parts)
10 11 12 13 14 15 16
h added by filth valve
H length added by sbdh valve
Figure 21. Relative proportions of tube lengths for the 'Double-Tuba 240 Tuning'.
and
Table
Table7. 7.
TheThe
proportions
proportions
ofthe open
ofthe
Ftubeopen
added Ftube
by each added by each
valve
valveforfor
the the
'Double-Tuba
'Double-Tuba
240 Tuning',
240the
Tuning',
associatedthe associated
L5 = 320/15 x 2 = 128/3 parts (= 42.66 parts). ratios
ratios between
between the initial
the initial
and combined
and combined
lengths, and lengths, and
the
thecorresponding
corresponding musicalmusical
interval by
interval
which the
bypitch
which the pitch
is
islowered.
lowered.
In order to define these lengths as ratios of the
open F tube it is therefore necessary to divide Valve Proportion Ratio between Musical
added lengths interval
each of the 240 parts into thirds, resulting in an
1 30/240 [1/8] 240/270 [8/9] 270/240 [9/8]
overall division into 720 parts. For this reason this
2 15/240 [1/16] 240/255 [16/17] 255/240 [17/16]
tuning of the valves is the least useful of the four
3 48/240 [1/5] 240/288 [5/6] 288/240 [6/5]
possible double-tuba tunings. The high numbered
4 80/240 [1/3] 240/320 [3/4] 320/240 [4/3]
subharmonics are inconvenient for working in Just
5 40/240 [1/6] 240/280 [6/7] 280/240 [7/6]
Intonation, no significant extra qualities are offered
6 20/240 [1/12] 240/260 [12/13] 260/240 [13/12]
for exploring microtonality that are not offered by
the other double-tuba tunings, and if the aim is to would then be tuned significantly too high. The most
approximate the 12 pitches of the chromatic scale, obvious solution to this problem would be to tune
this has already been effectively brought about by the open F tube tempered - although this would
the 'Double-Tuba 240 Tuning', as shown in Figure 8. imply that E9, the theoretical starting pitch of the
It is therefore only the double-tuba tunings based on undertone row, would be tuned 12 cents flat, this
divisions of the open F tube into 45,60 and 240 parts would not matter if the aim were to approximate equal
that are explored in this article. temperament rather than work in Just Intonation.
Figure 21 illustrates the relative proportions of Tuning to a tempered F would however have the
tube lengths for the 'Double-Tuba 240 Tuning'. The disadvantage that no tempered As would be playable
proportions of the open tube length added by each on any standard fingerings, which would clearly be
valve, together with the associated ratios between the an issue when playing in any ensemble that used A
initial and combined lengths and the corresponding as its reference tuning pitch. The second solution is
musical intervals by which the pitch is lowered, are therefore to continue to define the tempered pitch
listed in Table 7. Figure 22 shows the descending as A3, but to reference it within the tuning chart as
fundamentals that result when the six valve tunings the sixth harmonic of the 285th subharmonic, valve
in Table 7 are used in combination with one combination 1+2.
another. The 'virtual instrument' that symbolizes
In the ascending chart of the first octave of the
the beginning of the undertone row is 1/240 of the
'Double-Tuba 240 Tuning' shown in Figure 23, all
length of the open F tube. The pitch corresponding
three options are indicated through the various
to this length, E9, is therefore defined as the 1/1cent indications. Unbracketed cents indicate the
of the
undertone row, whilst the open F tube fundamental
tempered pitch defined as F3, referenced within the
that marks the beginning of the real undertone row as
chart is the fourth harmonic of the open F tube.
the 240th subharmonic of this theoretical 1/1.Cents in round brackets indicate the tempered pitch
If the 'Double-Tuba 240 Tuning' is to be used to as A3, referenced within the chart as the sixth
defined
approximate equal temperament, the issueharmonic
again of the 285th subharmonic. Cents in square
arises as to which pitch should act as the tempered
brackets also indicate the tempered reference pitch
reference pitch. For the first two double-tuba defined
tunings as A3, but now again referenced within the
this was defined as A3, referenced within thechart
tuning
as the fifth harmonic of the open F tube. This
charts as the fifth harmonic of the open F tube. But
last cent notation makes possible direct comparison
if the aim is to approximate equal temperament,
with the 'Double-Tuba 45 Tuning' and the 'Double
this is an inappropriate choice, because theTuba
open60 Tuning' ascending tuning charts.
F fundamental, along with the other pitches of thea complete ascending chart, it is now possible
Using
chromatic scale when played on standard fingerings,
to see how closely the tempered chromatic scale may
49 50 51 52 53 54 55 56
m
\>-+ \>-* l>^
-13 -26 -47
oo •• om <>•
(■*■)
57 58 59 60 61 62 63 64
+24 +12 +14 +39
m
(the theoretical
WW WW WV WW WW
undertone row
ill si: 4,8 448 458 4s8 78 starts at E,)
Figure 22. Descending series of fundamentals for the 'Double-Tuba 240 Tuning'.
m
b-# \>-* Inr \>w
-19 (-23) [-5] (-4) [G: -47] -41 (-46) [-28] -22 (-26) [-8] -K-6)
•• •0
js
•• o« •0
#•
?• 42S«
473S 458» 453* 443« 43I* 43!* 42|:
9 10 11 12 13 14 15 16
+19(+14)[+33] +39 (+35) [+8] +3 [+16] +24 (+20) [+38]
i
1
hr !?-• \>+ III I?-* b-* I*-*
-40 (-44) [-26] -27 (-32) [-13] -19 (-23) [-5] -6 (-10) (-2)
[Ab: -47] •0 •• oo
om
?• To ?•
410* 4oi» 40S* 4ol:
4,1: 413*
17 18 19 20 21 22 23 24
+37 (+33) +46 (+42) [+5] +4 (+0)1+18] +14 (+9) [+27]
m
V+ !?♦ Ik Ik
[A: -49] [A:-40] -41 (-45) [-27] -32 (-36) [-18] -18 (-23) [-5] -9 (-14)
•o
•o oo
25 26 27 28 29 30 31 32
+27 (+23) [+41] +37 (+32) (+46) [+12] +8 (+3) [+21]
m
V*
IK tK -40 (-44) [-26] -26 (-30) [-12] -16 (-2!) [-3]
\>-V
-2 (-6)
• O
[Bb: -50] Bb: -49 [Bb: -36] o« •o
o«
„?S
375« 3S|! 3 .S
373o 370*
33 34 35 36 37 38 39 40
+22 (+18) [+36] +32 (+28) [+46] +47 (+42) [+11] +7 (+3) [+21]
m
ifir b-» Ip"
oo o* [B: -39] -43 (-48) [-30] -28 (-33) [-15] -18 (-23) [-5] -3 (-7)
3 s8 3slS To ?• To
3450 343o 340*
41 42 43 44 45 46 47 48
+23 (+18) [+36] +33 (+29) [+47] +49 (+44) +2 [+16] +13 (+8) [+26]
3315
nil
49 50 51 52 53 54 55 56
+29 (+25) [+43] [+10] +14 (+9) [+27] +43 (+38)
W
-43 (-48) [-29] -32 (-36) [-18] -15 (-19)[-1] -4 (-8) [D: -44] -28 (-32) [-14]
•• OO OO
57 58 59 60 61 62 63 64
+2 [+16] +33 (+29) [+47] [+10] [+9] +0 [+14]
[>"#"
-36 (-40) [-22] -4 (-8) -39 (-43) [-25] -5 (-9) (-4)
-16 (-20) [-2] (-2)
o ■ oo oo
oo o»
Figure 23. Ascending chart of the first octave of the 'Double-Tuba 240 Tuning' extendingfrom F0 to F,.
+4(+0)
Irw
-4 (-8) \}-w \?-+ V
-4 (-8) (-2) -5 (-9) 1
(-2) •2 (-6) -3 (-7)
O* OO (-4) (-2)
-1 (-6)
?§ ?o •• .o 22 !§ QO 28
5f: 42|j 4oI* 38
270o 255o
+4 (+0)
!>♦
-4 (-8)
w -4 (-8) -S(-9) (-4)
-I (-5) (-0 -2 (-6) -2 (-6) -3 (-7)
(-2)
oo oo
zsli 2«li
4*
-4 (-8) (-2) -4 (-8) -5 (-9) (-4) -11 (-16) -18 (-22) -19 (-23) -14 (-18) -2 (-6) -3 (-7)
oo
Boll »!§
+4(+0)
|»# -V—
-1 (-5) (-D -2 (-6)
^ ^ jit bg ^ ^ ^
\>-+
-4 (-8) (-2) -4 (-8) -5 (-9) (-4) -1 (-5) (-D -19 (-23) -14 (-18) -2 (-6) -3 (-7) (-2)
OO OO o« 00
,)8 .»s
O*
30?o >li8
+4 (+0)
k*.
-2 (-6)
oo
2jf§
,iSi
Figure 24. Standard fingerings plus standard alternative fingerings for the ascending chromatic scale based on the
'Double-Tuba 240 Tuning', extending from C, to C5.
be approximated using the six-valve tuba throughout 240 Tuning' contains 64 fundamental pitches, the
its standard range from C, to C5. This is shown in 'Double-Tuba 60 Tuning' contains 48, and the 'Double
Figure 24. Only the first two cents indications are Tube 45 Tuning' 40. For this reason the 'Double-Tuba
given, as these are the two appropriate reference 240 Tuning' is the most microtonal of the three
tunings for approximating equal temperament. tunings, making it the most appropriate of the three
It is clearly possible to approximate very closely tunings if tempered divisions of the octave other than
indeed to the chromatic scale using the 'Double 12 (for example quartertones) are required. The other
Tuba 240 Tuning'. When the tempered pitch is two tunings are nevertheless useful if the aim is to
defined as F3, referenced within the chart as the work in Just Intonation rather than to maximize the
fourth harmonic of the open F tube, no pitch deviates number of microtones available or approximate equal
more than five cents from tempered tuning. When temperament. Although they contain fewer pitches,
the tempered pitch is defined as A3, referenced they also contain a lower percentage of high prime
within the chart as the sixth harmonic of the 285th numbers than the 'Double-Tuba 240 Tuning'.
subharmonic of the undertone row, no pitch deviates Although some composers have experimented
more than nine cents from tempered tuning. with using higher prime numbers, those higher
Each of the three double-tuba tunings has qualities than 23 are not of obvious musical significance
that may be selected according to what best suits when working in Just Intonation. The subharmonics
any specific musical situation. The 'Double-Tuba which form the fundamentals of the 'Double
Table
Table8.8.Subharmonics
Subharmonicsof the
of 'Double-Tuba
the 'Double-Tuba
45 Tuning'
45 Tuning' Tuning' contains 21 prime numbers higher than
based
basedon
onprime
primenumbers
numbers
23 and
23 less,
and arranged
less, arranged
according
according 19, leaving a total of 27 undertones of obvious use
to
to their
theirprime
primelimits.
limits. when working in Just Intonation. These undertones
Prime are arranged in Table 9 according to their prime
2 3 b 7 11 13 17 19 23
limit limits. The undertone row of the 'Double-Tuba 240
Sub 64 48 45 49 Tuning' contains 35 prime numbers higher than 19,
55 52 68 57 69
harmonic 54 60 56 66leaving a total of 29 undertones of obvious use when
65 76
number 72 75 63 77 78 working in Just Intonation - only two more than the
81 80 70 'Double-Tuba 60 Tuning', despite containing 14 more
90 84 fundamental pitches. These undertones are arranged
in Table 10 according to their prime limits.
Table
Table9.9.Subharmonics
Subharmonics
of theof
'Double-Tuba
the 'Double-Tuba
60 Tuning'60 Tuning'
It is the 'Double-Tuba 60 Tuning' that provides
based
basedonon
prime
prime
numbers
numbers
23 and23
less,
andarranged
less, arranged
according according
the most even distribution of fundamental tones
to
to their
theirprime
prime
limits.
limits.
Prime useful for Just Intonation. If working in seven
2 3 b 7 11 13 IV 19 23
limit Just Intonation however, the 'Double-Tuba 45
limit
Sub 64 72 60 70 77 6b 68 76 69 Tuning' makes a wider range of useful fundamental
harmonic 81 7b 84 88 78 8b 9b 92
tones available. The fact that the 'Double-Tuba 240
number 96 80 98 99 91 119 114 lib Tuning' contains only one three-limit fundamental
90 10b 110 104 tone and adds so few more fundamentals of obvious
100 use for Just Intonation compared with the other two
tunings suggests that it is more appropriate for 12
Table
Table 10
10. Subharmonics
Subharmonicsofof 'Double-Tuba
thethe
'Double-Tuba
240240
tone equal temperament and tempered microtonal
Tuning' based
Tuning' based onprime
on prime numbers
numbers 23 and less,
less, arranged
arranged
tunings than for Just Intonation. On the other hand
according
according to
to their
theirprime
primelimits.
limits.
the seven five-limit pitches of the 'Double-Tuba 240
Prime
2 3 b 7 11 13 17 19 23 Tuning' might be useful within the context of Just
limit
Intonation, as the fifth and tenth harmonics of these
Sub -
288
240
280 275 260 255 285 345
harmonic
fundamentals would provide a three-limit series of
270 315 308 325 340 323 368
number fifths to which the other pitches could be referenced.
300 343 330 338 425 380
\>-+ lnr
oo
-3 If*
oo -2
J
o* oo o»
.8
o« oo o«
+y.
V~.
•
^ o
^ ts
^
!5
b*
92 oo
^ mo
bw >o
Figure 26. Tuning valves one, two and three so as to add 2/1S, 1/5 and 4/15 of the open F tube respectively makes it
possible to descend one step further in the undertone row to the 22nd subharmonic (compare with Figure 14).
length of tubing pitched in F, a perfect fourth surprisingly, he made no attempt to adapt tubas
higher than the original C tube length. Wieprecht's with more than four valves, leaving the microtonal
reason for introducing this length of tubing was to potential of instruments equipped with five or six
make available all pitches of the chromatic scale valves unexplored.
throughout the entire range of the instrument. As That Martin Vogel's brass instruments never
the present intention is to design a fully microtonal gained widespread use is due at least in part to their
tuba, rather than approximate the 12 pitches of the elaborate but impractical design. Through means of a
chromatic scale, it is worth asking whether this lever, operated by the left hand in the case of the tuba,
design remains the most useful one. the player was to adjust all of the valve slides whilst
This question is in fact answered very effectively playing. The second valve could be adjusted between
in an attempt to design a microtonal tuba that lowering the pitch by the semitones 19/18, 17/16
was made in the 1960s-70s by the German music and 16/15 (although 18/17 would clearly also have
theorist Martin Vogel. Vogel adapted a wide variety been possible, it is not included in Vogel's fingering
chart for the four-valve enharmonic F tuba).21 A
of musical instruments for Just Intonation, including
the valved brass instruments of the standard mechanism interconnecting the four valve slides
orchestra (trumpet, horn and tuba).20 Arguingallowed
that valves one, three and four simultaneously
to of
the valves be designed so as to form the ratios lower
thethe pitch by musical intervals two times,
arithmetic series 1:2:3:4:5...n when combined with
four times and eight times larger than the semitone
one another, rather than attempting to approximate
intervals respectively, thus maintaining the binary
equal temperament, he proposed a 'binary' valveproportions between the valve slides for each tuning
tuning (although he himself never actually uses thisof the semitone.
term), in which the length of each consecutive valve This system makes extreme virtuosic demands
on the player, and the mechanism required for the
slide is double that of the preceding one. The second,
first and third valves thus form the ratios 1:2:4,
constantly shifting valve-slides is intricate and
rather than 1:2:3 as in the 'Double-Tuba 45 Tuning'
expensive. Attaching such a trigger to the valve
and 'Double-Tuba 60 Tuning' described above. The slides also entails the problem of air pressure
synonym between valve combinations 1 + 2 and 3 isbuilding within the valve slides as they are adjusted
thus avoided, making it possible to descend one step- although this problem is addressed in Vogel's
instruments through the inclusion of holes in the
further in the undertone row, as shown in Figure 26.
Vogel proposed extending this tuning system valveto casing to allow the air to be released, the need
include the fourth valve. The lengths added by the for this measure adds further to the fussiness of the
second, first, third and fourth valves thus form thedesign. Another problem is that it is not possible
ratios 1:2:4:8, meaning that the fourth valve to
is alternate between the microtonal tuba and the
tuned to lower the pitch by a larger interval than
traditional valve tuning, which would clearly be of
the perfect fourth proposed by Wieprecht. Vogel great practical benefit, giving the player the option
appears to have been unaware of the historical
of switching between the traditional and microtonal
significance of this break with the perfect fourth
tuning systems on the same instrument.
tuning, noting simply that the fourth valve of most Leaving the problems associated with the slide
commercially available instruments lowers the
mechanism aside, it is easy to see how the concept
pitch by a perfect fourth. of binary valve tuning could be applied to the first
Named the 'enharmonic tuba', Vogel adapted afour valves of the contemporary six-valve F tuba. All
three-valve F tuba, a four-valve F tuba, and a three
that is required is to replace the traditional third and
valve B!> tuba for this tuning system. Somewhat fourth valve slides with alternative elongated valve
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
= 1 l I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I i I I i I I I I i I I I I i I I I I I
012345678 9 1011121314151617181920212223242526272829303132333435363738394041424344454«474S495051525354555«57585960
Figure 27. Proportions of the open F tube length added by the six valves for the 'Binary-Tuba 60
slides to accommodate the larger intervals. with this alternative pair of valves. This makes
Because
the third valve slide is now tuned to add twice theit possible to alternate between the standard and
binary tuning systems without the need for two
length of tubing added by the first valve, the previous
restriction that it could not add 16ths of the openseparate
F instruments.
tube, due to the problem of having to cut into the As outlined above, two potential tunings are
tubing of the instrument, no longer applies. It mayavailable using the first four valves of this tuba,
one based on a semitone tuning of 16/15 and the
be tuned to add either 4/15 or 4/16 (= 1/4) of the open
F tube length, and the fourth slide may be tunedother
to based on a semitone tuning of 17/16. The
add 8/15 or 8/16 (= 1/2) of the open F tube length.corresponding tunings for the eighth-tone valve are
This means that two undertone rows are available 61/60 and 65/64. Although the eighth-tone valve
using the first four valves, one based on a semitone
length is too short to allow a tuning slide to be fitted,
tuning of 16/15, and the other based on a semitonethe difference between these two tunings - just two
tuning of 17/16. cents when the valve is used independently, and
even less when used in combination with the other
The question now arises of how the fifth and sixth
valves might fit into this binary valve tuning.valves
The - makes it possible for a single non-adjustable
eighth-tone valve to serve the dual purpose of
first four valves, arranged from shortest to longest
length, form the ratios 1:2:3:4. Multiplying thislowering the pitch of the open F tube by both 61/60
by four gives 4 : 8 : 16 : 32. This leaves room for andtwo65/64. The tubing required for the quartertone
smaller whole number valve divisions, leading to valvethe is sufficiently long to allow for the fitting of a
ratios 1:2 :4: 8:16: 32. Number 4 within this series, tuning slide, making it possible to adjust between
previously number 1 in the four-number series, now the corresponding quartertone tunings of 31/30 and
signifies a semitone. Number 2 therefore signifies a 33/32.
quartertone and the number 1 an eighth-tone. And Following the example of the double-tuba tunings
it is as quartertones and eighth-tones that the fifth available on the standard six-valve tuba, these two
and sixth valves fit into the six-valve binary tuning 'binary-tuba' tunings may be distinguished from one
scheme. another according to their divisions of the open F
The process of equipping valves five and six withtube. So, the tuning based on the 16/15 semitone is
the shorter valve slides necessary to lower the pitch referred to as the 'Binary-Tuba 60 Tuning', and that
respectively by a quartertone and an eighth-tone isbased on the 17/16 semitone as the 'Binary-Tuba 64
considerably more involved than that of equippingTuning'.
valves three and four with longer valve slides. It is The proportions of the open F tube length added
not possible simply to replace the existing fifth and by the six valves for the 'Binary-Tuba 60 Tuning' are
sixth valves slides with shorter slides, because the illustrated in Figure 27.
remaining tubing connected directly with the valve Table 11. The proportions of the open F tube added
casing remains much longer than the tubing lengths by each valve for the 'Binary-Tuba 60 Tuning', the
required for the desired tunings. In the case of the associated ratios between the initial and combined
eighth-tone valve the required length of tubing is so lengths, and the corresponding musical intervals by
short that it must re-enter the valve casing almost as which the pitch is lowered.
soon as it exits from it, leaving insufficient length to Valve Proportion Ratio between Musical
added lengths interval
which to attach a tuning slide.
The only viable solution is to replace the fifth and 1 8/60 [2/15] 60/68 [15/17] 68/60 [17/15]
2 4/60 [1/15] 60/64 [15/16] 64/60 [16/15]
sixth valves themselves with a new pair of valves
3 16/60 [4/15] 60/76 [15/19] 76/60 [19/15]
specifically built to lower the pitch by a quartertone
and eighth-tone respectively. By constructing a 4 32/60 [8/15] 60/92 [15/23] 92/60 [23/15]
screw mechanism directly below the sixth valve, 5 2/60 [1/30] 60/62 [30/31] 62/60 [31/30]
6 1/60 60/61 61/60
valves five and six may be detached and replaced
3_=
•o
J .8
10 11 12 13 14 15 16
M ,11
M
17 18 19 20 21 22 23 24
,8
sTi .8
25 26 27 28 29 30 31 32
ell
,8
33 34 35 36 37 38 39 40
b-#
•o
,8 .8
41 42 43 44 45 46 47 48
+45 +28 +12
b-* !>♦
o*
•22 -39
,oTI
,«8 ,olI loll ,08
49 50 51 52 53 54 55 56
+49 +33 +18 +2
\>-v hr Vw
•o OO oo •o -13
„8 „b „8
*o
n Is
iol: ,,8
+2
57 58 59 60 61 62 63 64 (♦)
(the theoretical
undertone row
„8 ,,8 „8 „8 ul: starts at E,)
Figure 28. The descending undertone row of fundamental pitches for the 'Binary-Tuba 60 Tuning'.
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
f tube | I I I I I I 11 I I I
01234S678 9 10ni21314151«17W19202122232425262728293031323334353«373g394041424344454«474849505152S35455S«575859606162S3W
I—-H length added by fifth valve
I—| length added by sixth valve
Figure 29. Proportions of the open F tube added by the six valves for the 'Binary-Tuba 64 Tuning'.
m "W7" W
•o
90
6*0
tTI
10 11 12 13 14 15 16
{>-0 W
-4 -28 ■42
om o«
,8
mm
78 78 7I! 7!! M 78
17 18 19 20 21 22 23 24
g w
-12
•o
25 26 27 28 29 30 31 32
,8 ,8
33 34 35 36 37 38 39 40
+27 +10
22 «o *o
41 42 43 44 45 46 47 48
1
\>-+ !>-*•
-22 -38
P
om mm
o«
o« fO 00
ioIs 10^ '"S 107» ,08 118
49 50 51 52 53 54 55 56
+31 +16 +41 +26
\rw
•o
00 00 »o - _
OO fO OO 50
11I: hi: 11I: ,,fs 118
118
57 58 59 60 61 62 63 64 (*•)
+41 +27 +14
1
\>-i Vw \>t hr In (the theoretical
-31 -45
undertone row
"« 128 128 12!: ,28 ,28 starts at F7)
Figure 30. The descending undertone row of fundamental pitches for the 'Binary-Tuba 64 Tuning'
(tempered reference pitch = F3).
00 / too\
too +00
to the main tuning slide it is therefore possible to of the slide imply five slide positions. Following
simulate the function of the sixth valve with what the principal of trombone slide positions, the
might be described as a seventh 'sliding' valve.22 unextended slide position is named 'position one',
Through combining the fifth and sixth valves withthe quarter-extended slide position 'position two',
the semi-extended slide position 'position three',
the fully extended tuning slide, the pitch is lowered
by a full semitone (16/15 and 17/16 for the two the three-quarters extended slide position 'position
respective tunings), synonymous to depressing the four', and the fully extended slide position 'position
second valve. five'. These slide positions may be notated by the
It was observed at the beginning of this article addition of arrows to the fingering notation. The first
that the original Wieprecht-Moritz tuba could be five fundamental pitches of the descending 'Binary
regarded conceptually as a double tuba in F and C, Tuba 240 Tuning' undertone row are thus notated as
with the F side operated by the left hand and the Cshown in Figure 31.
side operated by the right hand. By operating the Though the 244th subharmonic would normally
slide mechanism with the thumb of the left hand, be played using the second valve, rather than the
this left hand / right hand structure is maintained combination of the fully extended slide plus valves
in the fully microtonal tuba, with the left handfive and six, it is nevertheless useful to be able to
adding lengths of tubing lowering the pitch of theextend the slide to its fifth position as it allows for the
open F tube by a semitone or less, and the right handpossibility of a full glissando between consecutive
adding lengths of tubing lowering the pitch of thevalve combinations.
open F tube by a semitone or more. This division When considering such high numbered sub
between the two hands makes the microtonal logicharmonics it is essential to remember that the sub
of the binary-tuning system extremely easy for the harmonic series is used here as an abstraction for
player to grasp intuitively. It also makes it very easydescribing valve combinations. It would be senseless
to seek alternative fingerings in the case that theto consider the 244th harmonic when discussing tuba
discrepancy between theoretical and actual tuningstimbre, as the series of acoustic impedance peaks
is sufficiently large as to render lipping a particular for musically useful tubes generally has around 15
note in tune inconvenient. 20 peaks of sufficient strength to support a centred
The slide may be subdivided to create furthernote. But when discussing valve combinations it is
tunings. By dividing the slide into two equal the differences in pitch between successive valve
parts,
combinations
the largest gaps contained within the two tunings are that is under investigation, and the
high numbered undertones are simply the result
halved respectively to 14.4 and 13.5 cents; dividing
of the
the slide into four equal parts halves them again to division of the slide into four parts. If the
slide were not taken into consideration then the
7.2 and 6.7 cents. Every conceivable pitch throughout
244th subharmonic would be referred to as the 61st
the tuba's entire range has now been brought within
subharmonic (61 = 244/4), as the starting point of
a theoretical lipping range of 3.6 cents, making
the undertone row would be two octaves lower. The
further subdivisions of the slide unnecessary. There
second
is no longer any need to use long lengths of tubing to (semitone) valve would lower the fundamental
fill gaps between neighbouring microtonal pitchespitch
in from the 15th to the 16th subharmonic if only
the first four valves were considered, from the 30th
the high register, as they are all now playable using
the shortest possible tubing lengths. to the 32nd subharmonic if the first five valves were
considered,
On the basis of this principle the 'Binary Tuba 60 from the 60th to the 64th subharmonic if
all six valves were considered, from the 120th to the
Tuning' and 'Binary Tuba 64 Tuning' are quadrupled
to become the 'Binary Tuba 240 Tuning' and128th
the subharmonic if the slide were divided into two
'Binary Tuba 256 Tuning'. The four subdivisions
parts, and from the 240th to the 256th subharmonic
22 Such a slide mechanism was first introduced by Adolphe Sax in his 1843 patent, and was also used in the Systeme
Detiege trombone mentioned above.
+o» to# ?•
+ + •• +•• tf» •• •• ±o« to* o« o* t*» •• •• 83* 482* 481*
496* 495* 494« 493» 492* 491• 49o! 489» 488» 487» 486* 485* 48M
17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
+14 +17 +21 +25 +28 +32 +35 +39 +43 +46
S _ I _ 1 _ l_ I _ I __ ' _ ' _
-50 -46 -42 -39 -35 -31
to* •• •• +•• t«* •• •• +•• t«# o«
0« + *0 tfO fO fO iOO too OO OO ifO O* + 0* t0» O* O* *0»
48oS 479* 478* 477* 47J* 47?S 474« 47i« 472* 47lS
470* *?2
469* |2 467*
468* |2 *?2 *?•465*
466* ?2
33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48
+2 +6 +10 +14 +18 +22 +25 +29
:;:= L 1 L L 1 L L L L 1 L 1 L L 'I
i?w \rw IIrw \rw Vw Vw Vw \>w Vw \yw \>w \rw \>~w \>~w \rw
-28 -24 -20 -16 -13 -9 -5 -1 t#Q QO OQ +00 too co OQ +DO
to# #o «o ♦•o t #o «o #o +#o ?: t • T# *?• *?• ?•
?s t: ts ♦?: *?: ?: ***• 455# 4s4* 4535 452# 4512 4502 44J2
464* 463* 462* 46 1 • 466* 459* 456* 457*
49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64
+33 +37 +41 +45 +49
L L L i_ L I, I. I. I. I. L L L L L
\>w \?w \rw Vw Vw i(w w w w w w w w t w w
too 90 #o *#o t»o -47 -44 -40 -36 -32 -28 -24 -20 -16 -12 -8
92 *92 +f2 t2 t2 «o mo +»o t»o oo oo +oo too oo oo *oo
448* 447* 44o* 44$2 444* *9° *9° 9° ?° *9° So «o *oo too oo
443* 442« 44 i* 440» 439« 436® 43*» 436# 43$» 434« 433«
65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80
+0 +4 +8 +12 +16 +20 +24 +28 +33 +37 +41 +45 +49
rf;:= L L L L L L L L L L L L L L IF
"WWWWWW-W-WWWWWWW I**
a -47 -43
•• •• +•• f •• •• t#« o» o» *o« to* o»
97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112
+29 +34 +38 +42 +47
406«
ft +fs
399*
ffS !* 396*
!* •0 •0 4*o t»o 00 00
398* 397»
395« zt*
394« 393# ,Jo
392* 39 i*
/!*
390*
IS
389* JS
388*
+?S
387« 386* To 385*
113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 12
+0 +5 +9 +14 +18 +23 +27 +32 +36 +41 +46
d
b"»" \>w \>~w \rw
too »o *o +«o t»o «o »o +«o t*o oo oo "50 "45 "36 "ji
?ft ?2 f° *9® +90 90 90 +io tfO +00 too OO 00 +OO
384* 38 382* 38l« 38i» 379# 378# 377» 376* 37i» 374* fo to
373* 372# +?o
371 f?o369*
• 370» ?o
Figure 32. Ascending chart for the 'Binary-Tuba 240 Tuning' (tempered refe
N.B. occupies this and the following 7 pages.
129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144
+2 +7 +12 +17 +21 +26 +31 +36 +41 +46
m
\>-w \yw \>-w \>"W 1rw \rw \rw \>-w \>~w hr \>T \>T \>T
-26 -22 -17 -12 -7 -3
t** O* o* +o* to*
o* o* +o*
to* t**
36Is All
too ** ** + ** ** +o* to*
?8 ♦ft fj ?• +o*
362o 3slS 358* 35IS 35IS 3550 3540 35IS
368* 3670 36oO 36?o 364o 363o
145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160
+1 +6 +11 +16 +21 +26
m
-49 o* *o* to# o* o* +o*
to* •• •• +•• ••
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because the consistency of tube lengths means that using consistent lengths of tubing, the technique
that pitches that do not resonate freely are avoided of drawing on all available overtones of each
- all pitches are just as easy to play as the pitches valve combination may still be applied to the
of the chromatic scale on the standard tuba. Some fully microtonal tuba. The difference is that
these alternative fingerings may now be used as a
pitches are in fact easier to play than on the standard
tuba. Whilst the pitches B2, C2 and Dl>2 on theconscious
six timbral choice rather than by default of
the tuning system. Similarly, lipping notes up and
valve F tuba are notoriously unstable using standard
down still remains an option for altering timbre,
fingerings, they remain perfectly stable and resonant
but such lipping is no longer necessary in order to
on both the binary tunings of the microtonal tuba.
In order for the fully microtonal tuba not fill
to gaps within the microtonal fingering charts. It
share the fate of the 'Saxhorn nouveau basse' or
is the exploration of the microtonal tuba's timbral
Vogel's enharmonic tuba, the benefits it yields
potential, through the use of alternative fingerings,
must be greater than the extra effort required lipping and half-valve techniques, that constitutes
to learn it. The fact that it is combinable with the
the next phase of research in exploring the full
standard tuba tuning means the new system may musical potential of the microtonal tuba.
be learnt alongside the traditional system, ratherSolving the problem of microtonality on the tuba
than requiring the player to abandon the standard
does not mean ironing out the idiosyncrasies inherent
fingerings. The principle behind the binary-tubain the double-tuba tunings available on the standard
tuba, but opens up the possibility of exploring them
fingerings is in fact considerably simpler than that
of the double-tuba tunings. The fully microtonal fully in their own right, rather than as by-products of
a tuning system originally designed to approximate
tuba makes it much easier to play any existing music
involving microtonal tunings, and enables musictheto twelve pitches of the tempered chromatic scale.
be made that would be inconceivable on the standard
***