JOE TARTO~S .

,
CJr[odern C/1l,ethod of

fo1·

TUBA andDOUBLE BASS

cfor the C])ance Orchestra

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I INTRODUCTION • S
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s ls g~~1us acquired or innate? A question that has puzzled psychologists 6
!~ and sc1ent1fic folk the world over 1s. readily answered by V T. Tortoriello, bet- I5
ter known m music circles as Joe Tarto, the premier tuba and bass artist
= of the day. =
!5 Mr. Tarto's personal history 1s the most powerful rejoinder to the query
!c
~ that opens this foreword. Born of an impecunious family, whatever musical j
- ability manifested itself .at an early age had no opportunity for development. -
§ But with the fortitude and perseverance that has ever accompanied tenacity of ~
-:=
'.= purpose, he managed to establish some sort of groundwork · through diligent==~g= =-
study in what little spare time was left after an arduous day spent in pursuit
of a livelihood.
-~ ~
A few dollars saved through depriving himself of the necess1t1es of life ~
I=
enabled Mr. Tarto, shortly after his twentieth birthday, to study trombone I
~
~ and euphonium with France Martin. Service with the I 13th Infantry over-
~ seas during the World War temporarily curtailed his studies, although he was =~
5
=- a member of the army band formed by that division. On his return, the Ame- ..
~=
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== rhican Sunset _and Tarto's R oselandf Badn~ we.re rdespectiveblly hf?rmed, adlthougbh =cj_-
t ese connections were not 1ong a ter 1scontmue to ena e 1m to stu y tu a
and double bass with Emil Weber, formerly of -.the. Damrosch Symphony Or-
c
!_ chestra. Followed a three year engagement with the Newark Symphony, af- !~-=
c ter which necessity again compelled him to forsake concert and enter the more

I lu~rati;u:,~; :~i:a;::io:~s~r. Tarto was variously occupied with the Joe I~==
_s=~
= Basile a_nhd Chliffp EdwSardsh offerihngs, whicWhh~recee~ehd ha term o~ a1!11osththdree
.. years wit t e au1 pee t O re estra. 11e wit t at orgamzat1on, e e- c.:

~ voted much of his spare time to the study of harmony, under the capable di- ~-
rection of Dr. Schaff, of Newark. Not being particularly keen for road
=ss:_=======
c= work, he resigned from the Specht outfit soon after a thorough course in hat- g
mony to join Sam Lanin's Orchestra, where he lingered for a six-month pe-
riod. A remunerative position with the Vincent Lopez Orchestra. being
: -
offered him, he decided to accept, and today he is one of the features of that in-
ternationally famous concert and dance combination. '
_;
-= Assiduous application to his ar t has made Mr. Tarto the _recognized i=_--
leader in his chosen field. H is artistry and finesse have w6n him admirers
-
=
==-= whose nam~ are legion, and it is because of their insistent demand for a publi- =i =-
=
cation of this kind, which divulges t he secrets that have made him ·pre-emin-
~== this comprehensive and autho- · =:=
ent, that h,s publishers have consented to producebass =:==~:==
_ ritative compilation of modern tuba and string effects and nuances.

I ,. - THE PUBLIS H ERS.

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di :l<_ohhins 1!uhlica1io11

JOE TARTO'S
Modern Method ol

Improvi sing
lor
TUBA
and
DOUBLE BASS
lor the Danee Orchestra
by

JOE TARTO
wltll Vlaeeat l.epn aad Bia Orcllntra

ROBBINS MUSIC CORPORATION

NewY»-k
 2
Joe Tar to's Modern Method Of
Imp rov isin g
FOR
Tuba and Double Bass
For The Dance Orche stra
The object of this book is to Khow the differ ent licks or break
s_ which the
player should memo rize, so that they may be intelli gently and
, effec tively
playe d when occas ions arise, in all keys. After the stude nt
studie s and
gets acquai nted with this style of impro vising , he can form his own
1 icks and
. break s as he goes along.

The follo-w ing music writte n in double Staffs will teach the
prope r way
to impro vise so as not to cause any discho rds.

We will call every _two bars- licks or break s-

The top line is a guide of a printe d part .

The bottom line is the Metho d of Impro vising .

BP20 Copyri ght i926 by Robbin& Music Corpo ration, New York
 3

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BP' 20
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Note_* The star can also be played as a break. Alt licks and breaks should be
played slowly, and later on can be tried in slow blues, fox-trots and one steps.

.. Tag 1

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 5
Tag means the last ending, e ither one, two or four bars, although the two bar
ending is most common,
You will observe that Tag NQ 1 is an example of a one bar ending.
Tag N<J ·2 and 4 are two bar endings,
Tag N~ 3 is a four bar ending.

BF 20
6
A good idea of the licks and methods of improvising can be obtained by study-
ing closely this tuba solo, by the writer of this book.

written and arranged bv

Tuba Sblo JOE TARTO -

Piano

1 A 2

fine

BF 20
 7
By the term .slow,Js. meant "Slow Blues~• Do not play licks mark e d slow in
fast fox-trots. Every note must be distinctly played, because if one or two
notes are missed, the result will be poor.

In slow blues, or l ow-d own o r " hut" numbers, it is permiHHible to use one
lick in every two or four b a r s . But in ordinary snappy fox-trots, one lick in
every eight bars is sufficie nt.
8

Whose Who Are You?

Jesse Greer

As improvised

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BP20 Copyrighted !Jy Robbina-.B'ngel, Inc.

 9

BP 20
 10

You will notice later on that you will be playing these same licks in other keys.

---.. Breaks

Think o f a chorus you would like to play. Then take these diffe rent licks and
break s a nd put them together t o fit the tune. You will then have a solo of your own.
BF 20

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 11

Florida
Jesse Greer

Tuba Solo as written

As Improvised

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Florida ·

Tu ba p art tak.en f r o1n the Orchestration of''Florida" Pub. by Robbins-Engel, Inc .

BP 20
 12
Tuba Solo
By JOE TARTO

Tuba Solo

Piano

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 Double Bass. 18

The top line is a guide of a printed part.

The bottom line is the method of improvising and slapping.
The Slapping effect is obtained by sl~pping the hand across the Fingerboard
as an after· beat.
Play the first note pizz,and all notes marked(J:)slap your hand across the Fingerboard.

etc.
For example

:Play Pizz. from beginning to end.(Fine). Do not use the bow, as it will prevent
you from slapping your hands across the fingerboard. Keep your thumb off the fin-
gerboard. Pull your hand about five inches away from the fingerboard afterplay:ingthe
note pizz.,then immediately slap ,your ha nd a cross the fing·erbord on the second beat and so on .

.•

Slow trick means "slow blues'.' Do not play this trick in a fast fox-trot.

BF 20
14.
,vhenever an instrument takes a break, you will be tacit for one ba:r and three .
quarte_r s . If you would like to play a little break,or a sl a p, slap your hand a -
cross the fingerboard on the fourth be~t of the sec ond bar, playing two eighth
slaps. Play this, regardless of what the instrument plays . You will not dis -
turb the break.

For
Example

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You will notice, if your finger'ing is e x e cuted in the fir s t half, an d t hi rd

positions, it w ill be an exce edingly simple matter for you to sla p.

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Breaks

EJ i ~ r-i I pI fr
Slide Up
t I J ~ r ~ r i I i ~ r kr i II
A good id ea of the sla pping effect can be o.b tai ned by studying closely t he
ne x t number "Joe Turne r Blues"

BF 20
 16
Joe Turner Blues
W. C. Handy

BP20 <Jopuri"gllted !Jg .Rob!Jin1-811gel, Inc.

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