Foundation ta TUBA AND SOUSAPHONE PLAYING AN ELEMENTARY METHOD WILLIAM BELL Dan mannTable of Contents oreword See eee Se eet ee 2 ‘The Tuba Family ‘The Tuba and Its Possibilies ‘The Fourth Valve Tone . 7 See a eee a ee ig 7 3 Breath Control The Mouthpiece Systematic Practise udiments of Music. © ©. 7 1 we ee 4a ngering Charts . . a eee a ee se 8 esson One Attacks ‘and Open tones. Peet : an esson Two Bingered Tones and Seale Building « LE ee Az esson Three le Studies; A Melody . Re ese eh eee cera esson Four Long Tone Exercises Eee eee eee hae esson Five Scale of C; Elementary Rapid Tonguing Exereises. | 1) ) 2 a7 esson Six Easy Intervals. Thirds. ~ . 4 7 7 18 esson Seven ‘The'Slur |. See e Ere eet beta EE Eee: esson Eight Seale Exercises _— ‘In “Bb. I Paes 20 esson Nine Seale Exercises Intervals ofa Fourth - 2 > 1) 1). ) 1 at esson Ten ‘The Triplet. . Be 22 ‘esson Eleven Exercises empioying Triplets. | 2) 1 1 | 23 esson Twelve ‘The Staccato; Exercises in %time. © 1 2) 1 1! 288 esson Thirteen The F major Seale; scale exereises ©. 222 26 esson Fourteen Sixteenth Note Exercises...) 2) 1) 2 2 1 1 1 1 98 esson Fifteen The Chromatic Seale, - . HI eR ECRni esson Sixteen The A flat major Seale; Chromatic ie Triplets : ae esson Seventeen ‘Three Marches. Sete esate eect ias: 1.Achievement (Vandercooy 2 2 2 1 2 1 1 1 lt Dosa 2.Washington Post Mareh(Sous | | 2 1) ] ] 1 35 8, The Pride of Ameriea(Goldmam | | | | oo I 36 esson Eighteen Key of Gmajor; Seale Exercises. 2. |. Le 39 esson Nineteen Syncopation | 4 esson Twenty Embellishments: The Gruppetto; The Double Appogiatura; Short ‘Appogiatura(grace note)... Hee . 48 esson Twenty-one Dance and Jazz syneopation and rhythmie'licks” 7 7 583 esson Twenty-two Dflat Maj jor seale; The Trill; Table of Trills. sot . 58 esson Twontycthree Gflat Mejor seale; Double-tonguing |) |) | |) lot esson Twonty-four —Triple-tonguing I aa esson Twenty-five Maji Frand Relative Minor Seale ‘ali keys) | eee 1196 esson Twenty-six Intervals a 9 esson Twenty-seven eggios upon Perfect, Dominant Seventh and Diminished Seventh i esson Twenty-eight Exereises Conducive to Lip flexibility, |! room 7 : 88 jolo Studies... Eero Eb eee TS ypicai Tuba Parts" “xeerpts from 22 representative Band works Poct and Peasant Overture Suppe. 5 Martha Overture Flotow- a Mignon Overture Thomas | : Pique Dame Overture Suppé. 2 | Fest-Oversure Lassen | Overture“1812" Tehaikousky. | 2. . ‘The Magic Flute Overture Mozart, 1 lt Oberon Overture Weber a Euryanthe Overture Weber . 7 Merry Wives of Windsor Overture Nicolas | | | : Maritana Overture Wallace . . . Rosamunde Overture Schubert. . Semiramide Overture ‘Rossent eee Maximilian Robespierre Overture Zito, Ballet Egyptien Tugine 2 1 Lt Beenes Pittoresques Massent. 1 1 1! Reminiscences of Scotland Godfrey. . | Caprice Ttalien Tchaikovsky | Rienzi Overture Wagner. 2 Die Meistersinger Overture Wagner | Midsummer Night's Dream Overture Mendelssohn. 5 Hungarian March Berlios . : 6796Foreword At the suggestion of the publishers, the author has prepared this method for elemen- tary instruction onthe B-flat, © and B-flat tubas and Sousaphones. THE TUBA FAMILY The instruments of the tuba family just mentioned are very closely related to each oth- er, because: (a), their ranges overlap a.great deal; (5), their respective fundamental piteh- es are separated by a small interval; and because, (c), their quality of tone is similar. As arule, the E-flat tuba player eventually changes to the Cor B-flat,or both, and conse - quently is better equipped for playimg the entire repertoire of tuba parts that he may be called upon to play. The tuba is to be considered s non-transposing instrument. The same part is played on the C and B-flat tubas that is played on the E-flat tuba. A part may be written or played an octave higher or lower, but it is not actually transposed in the ordinary sense of the word. String bass parts are read and played an octave lower on the tuba because they are in the first place written an octave higher than they sound. So, when an E-flat tubaist changes toa Cor B-flat (or vice-versa), he must, in reality aceustom himself to a different finger- ing rather than transpose. In actual transposition, the player must first visualize a note different from the written one, and then think of the fingering for that note. The author will not go into elaborate detail in the explanatory note preceding each les- n; but will, rather, stress afew very important principles indispensable to correct play - ing. These will be explained in the succeeding pages. THE TUBA AND ITS POSSIBILITIES The tuba, contrary to popular belief, is not just an‘“oom-pah”instrument and very limited in technical possibilities. Of course it is not ordinarily called upon to play florid passa - ges such as are so often written for the cornet and trumpet; yet in every first clase band and orchestra library one will find many tuba parts that demand a great amount of technical a- bility on the part of the player. Fingering and range are somewhat similar for cornet and tuba and it is quite possible for the tubaist to have as great atechnic as the cornetist. The tubsist should not be satisfied with a limited clumsy technic. He should master hia instrument so thoroughly that he will have no difficulty playing any part which might confront him. The tuba is seldom used as a solo instrument because the great majority of players can aot render an effective solo. If performers will become masters of this instrument, there will be a demand for tuba solos, At present,s tuba solo is considered a novelty. Mastery of the instrument will be obtained only through diligent, correet study, provided of course, the student is already endowed with the necessary natural talent. ‘These remarks are applicable to the Sousaphone as Well as the 0,Bb and Eb tubas. THE FOURTH VALVE With the addition of a fourth valve, four semi-tones are added to the low register of the tu- ba. A semblance of these tones can be procured with the three valved instrument; but the tones will be faulty in tone and pitch. The fourth valve is quite indispensable in playing many of the tuba parts found in symphonie and band literature. Every tuba should be provi- ded with the fourth valve. ce Copyright MCMXXXT by Carl Fischer Inc, New York 25796 International Copyright Secured Corset renewedTONE Having considered the technioal possibilities of the tuba, let us now disouss tone. A beau- tiful tone is as much to be desired as a masterful technic. Too often one hears # performer with a flashy technic and a blatant tone. Then again, some players have beautiful tone without sufficient technic, Ae a rule, the performer neglects developing one or the other, more oft en the tone, This is because he does not practise correctly and systematically. A good tone can anly be developed through long,sustained tone exercises-such as are to be found in this method. Long sustained tone blowing should precede the daily practise of the beginner as well asthe advanced player. Its importance can not be over emphasized. BREATH CONTROL One of the most important principles upon which correet playing is based, is breath con - trol. In the first place,the player should practise filling his lungs completely. Breathe as deeply as possible. Rhythmic inhaling and exhaling while walking will help to develop thi After the player has inhaled as deeply as possible, he should conserve this air carefully by holding the diaphramatic muscles rigid. Do not let the breath through the instrument in one rush. This is a common fault, characterized by a short, uncontrolled explosion of sound with s smothered attack. The attack, which is tremendously important, is quite dependent on proper breath control. It is possible to make an attack with very little breath,so do not smoth- er it with too much. In prolonging a tone, the player should release as little breath as neces- sary, and not allow the diaphramatic museles to collapse until the last bit of breath needed is expended. A fault to avoid is cutting off the breath with the tongue THE MOUTHPIECE AND ITS POSITION ON THE LIPS Many players worry too much about mouthpieces. It is often used as an alibi for playing faults or an inferior instrument. If the mouthpiece has the right diameter, a rim that fits the lips com - fortably, and has a good throat bore,you should stick to it, Be sure that the rim diameter is not too large. Width of the upper lip varies in different persons, and one with a very wide upper lip can use a larger mouthpiece than one with s narrow one. As to the position of the mouthpiece, it should rest slightly less on the upper than on the lower lip: the player should sense and feel the correct ratio. NON PRESSURE The player must constantly be on his guard against too much pressure, or jamming the mouthpiece. It is a sy to contract,and as a result,the lips can not vibrate freely. Thu the tone loses in flexibility. Continuous jamming might lead to numbness and even paralysie of the lips. The player mast analyze his own playing and avoid this fault. Let the lips have all the freedom possible. SYSTEMATIC PRACTISE If the player is to practise correctly and systematically, he will neglect nothing.Two hours practise a day, if well spent, will lead to remarkable progress. The student must be very pa- tient. The beginner must not expect to acquire an embouchure ina day or week; neither must the more advanced student expect to acquire a smooth'triple tongue” technic in that length of time. The player must diligently practise each exereise until he perfeets it. If some meas- ure or phrase is particularly difficult for him,he must spend more time upon it thanon the oth. ers. After the beginner has acquired fair control of the tones and begins to forge ahead, he must not neglect his long sustained tone practise. A few minutes of the daily practise time should be devoted to review. Through thorough and systematic practise, the player should eventually acquire a clean, smooth and facile technic, together with o beautiful tone. 25796Rudiments of Music Music is the art of combining sounds in an agreeable or artistic manner. It is divided into three basic elements, Melody, Harmony and Form. Melody is a succession of sounds which, by their pitch, duration, intensity and sequence, serve to form a tune. : Harmony is a combination of sounds which, by their union, serve to form chords. Form is the structural design of music. The Signs used to represent sound are called Notes. ‘The Staff consists of five lines and four spaces. Extra lines are used above and below the staff: they are called ledger lines. Seven letters of the alphabet are used to designate the notes; they are: C-D-E-F-G-A-B (ropeat- ed ad infinitum). At the beginning of each line of music, you will find a clef sign. ‘The Clef is used to designate the position and pitch of the scale, This clef: =3F=—= is called the F, or Bass Clef. It shows where F is located. The two dots are placed on either side of the fourth line, ¥ ‘ Cc ‘There are other clefs such as the Treble (or G): = j the Soprano: =——— ; Alto: R= ona Tenor: BHA ; but in thin work only the B: Cc Cc Clef is used. When the notes are written in the Bass Clef, the names of the lines and spaces are as follows :— LINES SPACES Bim Line 4th Space = 4th Line ‘ard Space : Srd Line Bnd Line © Bnd Space Ast Line Ast Space A Cc E G G BD FA ‘The notes that can be written on the staff are not enough to enable us to indicate all the tones that are within the range and compass of the Tubs. For this reason, it becomes neceusary to go beyond the staff, and use what are termed “Ledger Lines and Spaces”. LEDGER NOTES zt ££ - # f = f—F f i “# ¢ S BC D E F GA B F EDC The distance between two notes is called an “interval”; thus from C to C is an octave, C to D asec- ond, C to E a third, C to F a fourth, C to G a fifth, C to A a sixth, C to Ba seventh, and soforth. co Copyright MCMXXXT dy Carl Fischer Inc., New York 25796 International Copyright Secured ‘Copyright reedNOTE SYMBOLS REST SYMBOLS © whole note = whole rest J half note m= half rest d quarter note 2 quarter rest 2) eighth note 7 eighth rest J sixteenth note Y sixteenth rest J taity-second note 7 tnisty-secand rest i sixty-fourth note F sinty-tomt sos [A Note is a symbol used to indicate pitch and ‘A Rest is a character used to indicate si - me duration of sound. tence, or a temporary suspension of sounds. SHARPS, FLATS, NATURALS, ETC. ‘The Sharp (f) raises the note half a step. The Flat (b) lowers the note half a step. ‘Tho Natural (Ip restores the note thet has been changed by the $ or } to its former position. The Double Sharp (x) raises a note a half step higher than the simple ({) would raise it. In other ords it raises the note a whole step. The Double Fiat (b+) lowers a note a half step lower than the simpie b would lower it, in other ords, a whole step. ‘The Key-Signature always appears immediately after the Clef sign. ‘The word Key- Signature signifies a certain number of sharps or flate placed immediately after the lof sign to denote the scale and key-note. If a sharp, flat or natural is written in any bar without being designated at the beginning (in the ignature), it is called an “Accidental”, and holds good only for the bar in which it is written. Either sharps or flats found after the Clef as a Signature, influence the notes placed on the same ogree, or the upper or lower octaves, during the entire piece of music, unless an accidental appears to aspend their effect. MEASURES AND BARS Musical Composition is divided into equal portions, — called Measures, or Bars, by short lines drawn sxoss the staff. These are called Bar Lines. A doubte Bar is often placed at the end of each strain of music, and always at the end. Measures are divided into equal parts called “beat All music does not begin with a perfect or full bar. The first bar may be imperfect and contain hat is known as “start notes”. There may be one or more of such start notes. However, the first and last bare of a strain, or of a complete piece, must together total a full bar. TIME SIGNATURES Immediately after the Key Signature comestheTime Signature. ‘There are various kinds, but those inost frequently used are: 4/4 - 8/y - %/4 and Ye. ‘There are many others, such as: %o - Sp - Ya - Y/a - Ma - %e - 12g, etc. otc., but in this book, only the ‘apler forms will be ased. ‘The upper figure (numerator) indicates the number of beats, or pulses, in the measure. ‘The lower figure (denominator) shows the kind of notes taken as the unit of measure (getting one full eat). Time refers to the number of beats to the measure; Tempo indicates the rapidity of the beats. The "0 should not be confused. S76SIGNS MOST FREQUENTLY USED A Dot placed after a note or rest prolongs its value by half. Thus, J- would be the same as ds 4 would br A second or third dot prolongs the time value of the dot immediately preceding it by half. d the sameas dd dd. — Tenuto. This line, when placed over or.under a note, signifies that the tone should be well sus - tained, for its full value. TD of YY Hold ox Pause, placed over or under a note or rest, indicates an indefinite prolongatio: of its time value,— at the performer's discretion. EE] Aepeat. This sign signifies that the division between the dotted double bars is to be re peated. 2 Breathing mark. A sign which indicates where breath may be taken. ~~ Slur or Tie. This sign indicates that when two or more notes are joined by it, they are tobe playec in a smooth and connected manner. (Legato). If the notes so joined are on the samo degree of the staff, the) are held over as a single note. <== Crescondo, increasing in loudness, by degrees. == Pecrescendo, growing softer by degrees. A Sforsando, marked or sudden emphasis. swe Frill, the rapid alternation of a principal note with a higher auxiliary, (major or minor sec ond above). © Turn or Grupatto. a melodic grace consisting of what may be termed the typical form (the direct turn), of four notes, a principal note (twice struck) with its higher and lower auxiliary (the major and mino second above and below, each struck once). MLM. d 560 Metronome mark, a mark often set at the beginning of a composition exactly indicating its tompo. Thus, ¢ =60 means that the time value of one quarter note is equal to one pendulum-beat witt the slider set at 60. With the slider sot at 60, the pendulum makes one beat per second. M.M. actually stands for “Maclzel’s Metronome”, named after its inventor, Maclzel, of Vienna. The Metronome is much used by beginners and students, for learning to play in strict time and in timing their practice. S Forte, means loud, strong. Sf — Portissimo, means very loud. tf — Mosso-forte, half loud. ‘mp — Messo-piano, half soft. P — Piano, soft. PP — Pranissimo, very soft. D.C.— Da Capo, repeat from the beginning. D.S.— Dat Segno, repeat from the sign $$. 25796Position for Holding Upright Model Tuba Sit as straight as possible, with feet placed firmly upon the floor. Right hand should rest lightly on valves with the fingers straight. Left hand should be as inconspicuous as possible. (Note position of mouthpiece on the lips) i968Fingering Charts Note: Where choice of fingering is shown; thus, 4, the upper indicates the one most used, The other fis gerings oftentimes help in improving intonation and facilitate execution, especially in trilling. The fir gerings given in parentheses can be used on three valve tuba to procure the notes above which they are written, (The tones will be faulty because they are below the natural range of the three valve tuba.) Th whole notes distinguish the normal steps of the major (key-note) scale, while the quarter notes indicate the chromatic steps. Eb = Bass Tuba 2 echaom ow = S055 Ge Ad roe t ida 3 iiiidi,3 Pia g 3 z 8 a a o @ tf ttt Ge 5 F212 o EER Gg c z Bass Tuba 2 = = e g OF Ho "op 2 2 2 3 2 2 To 14 2 2 a2 3 poop 22 z gz 2 2 2 ae eae 2 t 2 F 2 2 o jliiiiiiiii,pipipis = = fee He z eee ee to @ fe; 4 "ay BG c} D DPB F FP G ap BC 25796exentetenen sixteen veo eulesee mRolet welt ae wale sacle nai ae} wale emi! Sa ineee Gonaives B nmsinwe B® wane! oq River 9 ieee eine cxoneseren} olmes |G] exietene| Oleeeles exicee sine ae dojees Rin x inezes| nee ae eine eal eeee9 ote ote i yo ‘ry & “Gh A Bh BY CG ck D Eb EF FG Gh AB % eileen I ma lees | ||| Pie see f alae cre we sie exists Olesen i Reales wees sae alse allt AS BL a Db Eb Ge Ab By “4 F meaiene Josinne Swaine wevealone mele ae! wale moves icve| | meals ae! i796:20 25796 Position for Holding Sousaphone (Same instructions as given for holding of the Up-right Model ‘Tuba, also apply here.)Lesson Five a7 Now that the student is familiar with the scale of his instrument's keynote, we will cease writing individual arts for each tuba. Pe giace every performer on any instrument should be thoroughly familiar with every scale, we will leave the reynote ‘scale and, in this lesson, acquaint ourselves with the common scale of C (this being new to the E-flat and B-flat tubas). In Exercise 2, be sure to attack each note clearly and give each note its fullvalué. A rapid tongue is most casily and surely developed through exercises of this type. Later on we will add triplets, sixteenth notes,ete. In Exercise 8, be sure to give the whole notes their full value. SCALE OF C MAJOR AND ELEMENTARY RAPID TONGUING EXERCISES E} Tuba = ’ 2 = 1 a a C Tuba xL IG Tuba (Bb Tuba, Ex.3 257962 Lesson Six Before mentioning anything about the exerciaes in this lesson, let us remind the pupil of the long tone exerc cnpage 14, also the scales that he has learned thus far. It would be well to include a review of the high spots in vious lessons in your daily practise. Now we will Consider Exercises 4 to 4 which are all studies in intervals of a third (both major and minor). ‘An interval, as stated in the rudiments of music (page 4), is the difference in pitch between two notes or tones ter~between, and vallum-fixed object). There are five kinds of intervals, perfect, major, minor, augmented and diminished. Aninterval takes its general name from the number of degrees it occupies. Its specific name from the numbe steps it contains, ‘We shail not bother to classify the intervals in this exercise specifically, but will think of themin a general way tervals of a third because they occupy three degrees of the staff). Practise these exercises carefully, remembering attack, breathing etc... You will note that in Exercise 8 thi breath sign is nearly always placed before the third beat of the measure rather than at the end of the measure Wh as in the previous exercises, each measure was a phrase by itself, in the third exercise the quarter notes really be! to the half or whole notesfallow ing; and, likewise, in the latter half of the fourth exercise, the eighth notes belong the quarter or half notes following. Note the change in time from four-fourths to two-fourths, EASY INTERVALS — THIRDS ’ 2 2 > 2 2 ? Ex.4 25796Lesson Seven 19 ‘The subject of this lesson (the slur) is a very important one and should be given careful attention, ‘The slur, indicated thus: or —, is made withthe lips. Except for the initial attack, the tongue is not ed at all. The tone from beginning to end of the slur must be unbroken, Your main object in these exercises should be to acquire smoothness. Keep the volume of tone as even as yesible. By all means see that you use only the lips, You must be very patient during these exercises, ibe sure that you give the whole notes, dotted halfs and half notes their full value. THE SLUR d 2 a 2 2 » 2 06SEES SR EEEEEEEEE EE aeneeanneneneee 20 Lesson Eight 2 tae gals in Exercise 1is new to the B-flat and C tubaists, ‘They should practise it many times until the have the fingering well in mind. Before acquainting himself with the keys having sharp signatures, the student should become thoroughly fas dominating, age Of the flat keys. ln band literature (concert, military aad dance), you will few they keys pr. dominating. So we will consider those keys fleet, In Exercise 2, be sure to give the quarter notes Preceding the quarter rests their full value. There is ge: erally a tendency to shorten these. Note that in the measures with the rests you will find intervals of a fifth, : rece eiscite® 8 and 4, the slur isemptoyed and you will also find intervals of a third: Make the shure assmoe as possible, allowing no break in the tone’ an Exercise &, where it is necessary to take quick breaths, you will find that you can breathe more quick: through the nose than through the corners of the mouth, : B-FLAT MAJOR SCALE EXERCISES EbTuba d : 2 2Lesson Eleven bid this tesson offers some diversified studies in triplets, You might call them “studies in running triplets? word rumis often used by teachers and band leaders to denote a succession of notes following the scale ‘These triplets follow the scale line, There is no interval between the notes of the triplets that includes ethan one degree of the scale, these exercises, the beats must be very marked and steady. Particularly in Exercise 1, donot rush the lols. Beating time with your foot might aid you in your practise at first. Later you will not need this aid, you will feel the beats within you, In Exercise 4, note that the tie is uted for the firsttime, The quar- jote is prolonged the value of the eighth. There is no break between the two. Hold the eighth note a half beat. There might be a faulty tendency to give it only a sixteenth’ value. ‘This applies also to eighth notes just preceeding the eighth rests in the exercises following. a Exercises 8 and 5, note that the slur is employed, Emphasize the slur slightly. Do not shorten the ond eighth of the triplet. hese first studies of the triplets, it might be well to accent slightly the first note of each triplet. EXERCISES EMPLOYING TRIPLETSLesson Twelve ‘We now introduce %g time. This time is given six beats to the measure, or two beats to the measure ording tothe tempo.. In these exercises, the student must beat six to the measure, each eighth note ge! one beat, Something should be said about the staccato before the student gets too far along in his study, for it is useful in certain types of composition (i.e. military marches, fox trots, waltzes etc.), and it also should be hereafter in the rapid tonguing exercises, It is indicated by a dot under or over the note, It means detache very short. Pronounce the syllable“tu” very distinctly and shortly. The tone must be as short as possiblé, ‘out destroying its identity, In these exercises, give the staccato eighths and sixteenths equal emphasis and« shortness. Although sixteenth notes are introduced for the first time, they receive an ordinary eighth note value in exercises because of the fact that each of these eighth notes gets a full beat. After practising these a few times, you may quicken the tempo gradually if you wish. ‘Try practising these exertises in the other keys with which you are familiar. §/g EXERCISES — THE STACCATO Ex.1 2579625 Kh ote? Se ty gi ==26 Lesson Thirteen Exercise 4 of this lesson gives the fingering of the major scale of F, for the three tubas. Practise this sc ascending and descending many times until you are quite familiar with its fingering. The student may try the ¢ Scending scale an octave lower if he wishes. If he has practised his long tone exercises every day, he shoald n have command of most of the notes an octave lower. The student should practise Exercise 2 many times before progressing to Ex. 3. Make all the notes exce the halves and quarters very staccato. Keep the tempo very even. Do not rush in any of the measures. Aw 1 muscles gradually become stronger, you may quicken the tempo. Exercise 8 is a simple little sixteenth note study. Play all the notes as staccato as possible and with pr cision, KEY OF F MAJOR Eb Tuba roy RAPID TONGUING EXERCISES INTRODUCING SIXTEENTH NOTES 2 3g Ex.2 579627aa Lesson Fourteen These studies in sixteenth notes are quite difficult in comparison with anything the student has had so fs When you have mastered these,you may rightly feel that you have achieved a great deal in fourteen leseont, Note that these studies include all the keys you have had so far, Do not try to play them at too rapid atempo atf ‘You may gradually quicken the tempo if you wish, but every note must be played cleanly and staccato, with an equal’ phasis on all notes, ‘The notes in parenthesis in Exercise 2 are rather low for the E-flat tuba at this stage, and so are optional, Tn Exercises 4 and §, try to play each four measures in one breath. Breathe deeply. SIXTEENTH NOTE EXERCISES Ex. 1 Ex.4 27968Lesson Fifteen == Chromatic scales are very important; but a large percentage of performers do not give them the tention they should have. A chromatic scale should be played with the utmost smoothness, with- at any jerking or undue emphasis on any note. ‘Although it is wise to accent each beat when beginning to practise these exercises,eventually you sould accent no note unless it is designated. ‘As in the case of the major scales you are given your instrument's keynote scaleto familiarize yourself rst of all, After you have perfected the exercises given in that key,use the same exercises as pat ins — playing theni all in the keys you have studied thus far. In the exercises that are tongued see that every note is clearly detached and short. Keep a steady rhythm. Work towards precision. THE CHROMATIC SCALE EbTuba3 10: 7 z fevwe At yeast Bt‘82 : Lesson Sixteen In this lesson, the student is given the scale of A-flat-both major and chromatic forms. He should Pay no attention to the difference between note values. The major scale steps are designated by whole notes and the chromatic steps by quarter notes (as in the fingering charts). The notes in parentheses, within the brackets, indicate the chromatic steps for the descending scale. They fin- ger and sound the same as the ones immediately preceding. Practise the major scale in various forms (such as those in previous exercises) until you are thoroughly familiar with its fingering. Thon practise the chromatic scale according to the form: given in Lesson 14. If the student has practised his chromatic scales sufficiently,he should find no difficulty in play ing the chromatic triplet exercises. After perfecting these exercises, the pupil should review all the scales given so far (G-F-B- flat and E-flat)_and ptay them chromatically as well. Any chromatic steps that are new to him will be found in the finger chart (pages 8 & 9). Using the chromatic triplet exercises given in this lesson as a pattern, the student should play them in all the keys. KEY OF Ab MAJOR Eb Tuba Ex. 4 2 CHROMATIC TRIPLETS segue33 Lesson Seventeen In as much as the student should have acquired by now a fair embouchre and found. ation of technic, so it is about time to devote alesson to something which he can put into practical use. The student’ early playing experience will probably be acquired ina band,and first of all he will learn to play marches before graduating to the more difficult compositions. ‘A great deal can be made of a March ifit is played correctly. Too many musicians have the idea that all there is to the rendition of a march is the playing of the notes_ and the louder the better. Sad to say, the marks of expression are, as a rule,ignored. Tuba play ers, in particular, seem to enjoy drowning out the rest of the band. They fail to realize that the melody should predominate and that the tuba is really one of the instruments that furnish the harmonic background. True enough, it is also the most important rhyth mic instrument of the brass section. If the tuba player makes the most of his parts, he will make himself one of the most valuable members of the organization. Exercise 1 consists of a tuba part of a march that is easy to play: yet how many would play it as it should be played? In the introduction, the half note and the two quarters follow. ing should be given the full value with strong accents. The eighth note following should be played very short like a sixteenth. In anything of a martial character, eighth notes should be very short unless especially designated long. The next quarter should be giv- en its full value and strongly accented while the one following should be short. In the first strain, you must drop suddenly from the ff to the g. The employment of ff8 and gis offers contrasts without which the composition would be monotonous. The quarter notes and half notes thruout the entire march should be given their full value, although most conductors want the note that ends a strain played short regardless of the way it is writ- ten. In the second strain make your crescendo and diminuendo gradual. Watch your ac- cents and fs’s thruout. Play as smoothly as possible. Remember a ff does not mean play as loudly as you can nor a gas softly as you can. In Exercise 2, observe the things noted in the preceding paragraph. Give the dotted quarters and dotted halves their full value. When a quarter note is followed by an eighth note give the quarter its full value. If it is followed by an eighth rest and another quart er make it short. Make the slurs as smooth as possible. In Exercise 8, give the dotted quarters, half notes and dotted half notes their full val- ue. The quarter notes should be played shortly because it is alla breve (or cut) time. If the students’ teacher is a cornetist, or some colleague who is acornetist, will play the cornet part along with him he will derive a great deal of benefit. It will also provide a pleasant diversion. The pupil will become accustomed to listening to and followingthe melody and will, therefore, be better prepared to fit in the entire ensemble. Ensemble perfection is one of the most important things in music. A perfect ensemble means per- fect accord and balance. 2796Ba ACHIEVEMENT March H. A. Vandercool Ex.1 TRIO 257982 5 WASHINGTON POST MARCH J P. Sousa36 THE PRIDE OF AMERICA March Edwin Franko Goldman Solo Bb Cornet arr. by L. P. Laurendeau = 2579687 g ”38 2870639 Lesson Eighteen stated before, the student has been given only flat keys so far, because such keys predominate in band rt, military and dance) arrangements. It would be well now to introduce the first of the sharp keys (@ |, This lesson gives the fingering of the major diatonic and chromatic scales and also offers several di- g studies, It will not be necessary to consider each exercise separately. Observe the suggestions offered vious lessons. KEY OF G MAJOR os 1 2 a i 2 5 we i40 2670046 Ex.3 25796aT Se48 THE GRUPPETTO” Written Ex.6 —anEESg Practise slowly at first Played oe 7 oN 2, Embellishment signe, such as turns, mordents (single and double), the acciaccatura, the appogistura, gruppott: urn ete; are capable of various, into: gtstions. The versions given here are those most commonly used and mhiok'wiil Gs otfgneatest'relue to'Mtchube player. 26796-49 Practise slowly at first —— = cer fo poses VS ee eee D. Sal CN THE DOUBLE APPOGIATURA Andante50 Allegretto > Ex.9 D.C. at Andante con spirito Ex.10. 28706BA THE SHORT APPOGIATURA” (Common grace note) Allegro moderato » exactly, “Acciacoatura””Bz Allegro moderato Ex.12 25796Lesson Twenty-one - bis very likely that the pupil might now find a lesson on the playing of dance music of some practical value. should now be proficient enough on your instrument to play most of the music that is written for dance bands x. ‘he author would not attempt to make a“hot”man of you in one lesson, or in any number of lessons, for he .ves that“hot” playing requires some certain talent. Neither will he give you a pattern of a“hot” chorus, for it sinly would not fit all choruses, and if it did, it would grow monotonous after using it a few times, After all, iba is not as suitable for“hot” playing as some other instruments in the modern band. It is essentially a amie instrument and as such it is a very important factor in the band. here are a number of rhythmic “licks” that could be used effectively at times, and these could be addedto the aary printed parts. Hawever, if some one in the band is playing a hot chorus, two markedly rhythmic 8 to the bar is most satisfactory. A quarter notes and eighth notes should be played staccato in the lively fox-trots, All half notes andwhole » should be given their full value and an even volume of tone. In slow“blue”numbers all notes should be more. ined. If asked to play “Dixieland style” the notes should be pushed or grunted out without a sharp attack. bove all, do not make your playing obnoxious by playing too loud. As stated previously, the tuba is a rhyth- nstrument and should be felt rather than heard. The effect of many a band is spoiled by a £f tuba player. athe following exercises exaggerate the accents and keep a steady rhythm. a Exercise 4, the sneeze is employed. This is effectively employed in tunes like“Tiger Rag”Tomake it,com ss the lips as tightly as possible then let the breath out in one rush or roar letting the tone descendto the pro- aote. The F above the staff in this exercise only implies that the sneeze must begin in a high register.Donot o find the F each time. “he rhythmic licks on Pages 55 and 56 can be used in any fox-trot, taking into consideration of course, the se endings. lote that the tuba part is not invariably an octave below the bass part. The performer may use his own on in playing tuba while reading bass parts,[ry Ex.5 25796Lower notes for Tuba A Bass pt N Sock or EnsembleBass Lower notes for Tuba Sp Ensemble Chorus gs87= Lesson Twenty-two Just as in the preceeding lessons, which included a new scale, this new scale of Deshould be thoroug practised before the sixteenth note exercises are attempted. For instance, play the major diatonic and chromatic scale separately, employing eighth notes, triplets and sixteenth notes. After becoming thorou, familiar with the scale, begin careful practise of the exercises, paying particular attention to the slurs. ‘The pupil should be very painstaking in his practise with the trill. Some of the trills are quite diffi: especially on account of the long valve action in the tuba, and require a great deal of practise. Smooth: is the thing to work for. The preparatory exercises are written to develop smoothness. The fact that e sixteenth notes, fifteen thirty-second notes.and two sixty-fourth notes are written for a whole note | does not mean that a trill of whole-note’s length should invariably contain that many notes. Many p formers have a much more rapid trill than others. That is a matter of discretion and ability. However preparatory exercises should be perfected just as they are written. The table of trills following should be practised thoroughly until all trills are equally smooth. SCALE OF Db MAJOR E} Tuba wt Ex.1 or $5 Bb Tuba i oye) oie og aE 3 24 2578659oo THE TRILL Wherever the star (+) appears, it would be advisable to use a simplified fingering. i.e. ‘The Eh tuba she use the 8rd valve instead of the 4st and 2nd, in measure two of Exercise 4. Ex.4 ba Bibs BRS. 2679686162 TABLE OF TRILLS EbTuba 1 2 3 whe wy ? o8 oy *) Slur all these Trills as marked in No.4 (the first measure)63 796as7es23796Lesson Twenty-three i ‘The beginning of this lesson is devoted to the G flat scale and two exercises. This ié the last Flat key ge will consider and it is one that is used quite often. Do not neglect it. Practise thoroughly the ascend ~ and descending, major and chromatic scales before playing the exercises. ing, exercise 2, the upper voice is to be taken by the E flat tuba and the lower one by the C and B flat tubas, However try playing both octaves on which ever of the three instruments you happen to play. Te Exercise 8, emphasize the first 16th note of each group of four, not the first and third. Play the slurs as smoothly as possible and give each 16th note its full value, Test your familiarity with the other keys ou have learned by playing these exercises in those keys. Thinking of the notes in terms of syllables Wo, re, mi etc.), as in a sight-singing study, should help you. “We will not devote a great deal of space to double-tonguing, for two reasons: (a), it should be easy to acquire ; (b), it should not be used more often than is necessary. When the double- tongue is used too inuch the single tongue suffers. So, although the student should practise the following exercises until he fan play them smoothly and rapidly, he should not neglect the rapid single-tonguing exercises that he has studied previously. Take these exercises slowly at first and try to make the note produced by the syllable “Ku” sound like the one by the syllable “Tu*". DO WOT RUSH. SCALE OF G> MAJOR feet 4 ia Eee Eg eta eee ee Pea eee eeete = 1 a > we > she be co stebe ole 2 Oo 2 us Sisye oo See gr 8 2 368 20796DOUBLE - TONGUING Tt Ka Te Ku To segue 2379870 fa) Ex. 4 Doe S ett 28796n 25796ner in Lesson Twenty-four Agreat many persons consider triple-tonguing on a tuba almost an impossibility and listen tortwith amaze- ment, There is no reason to justify thisattitude. Every brass instrument player should be able to: smoothly. The enormous size of the tuba does not make triple-tonguing an impossibility If it is practised carefully and patiently, it will develop as easily on a tuba or sousaphone as on a trum. pet. This lesson will deal with exercises in straight triplets. If these exercises are practised conscientiously, the student should acquire a rapid and smooth triple-tongue. Bear in mind throughout each exercise that each syllable must be pronounced very distinctly and that no more stress must be laid upon one than another, unless the accent is written in the part, Naturally the“Ku” will not sound exactly like the“Tu” but make it sound as nearly like it as possible. In the beginning, each note should be given a full beat so that rushing, with the consequent jerkiness, will be avoided. The tempo may be quickened very gradually. “Remember, smooth rapid triple-tonguing cannot be acquired in a week's or a month’s time. It can be ac- quired in a few month's time if practised correctly, So include these exercises in your daily practise and be assured that eventually you will be able to triple-tongue satisfactorily. TRIPLE-TONGUING 28798TwioKoTwTKuTs segue mami ix SSS TMK WRK Te Kee ToJuTukuTu Take Te Ku TwikKu Tw ToKe Te Toke Tao Tu segue 25796Ex. 9 SS SE Sas76 Lesson Twenty-five General Routine Thus far the student has become acquainted with eight major scales; the scale of C,six flat keys and one sharp key (G). It would not have been possible to have included comprehensive stu- dies of all the practical scales in the twenty-four iessons. However the student should become fa- miliar with all these scales. The succeeding several pages will include a chart of the fifteen scales both major and minor, and a series of routine exercises to be played in the fifteen keys. The student will find this rou tine very valuable as a daily practise, preceeded by the long tone exercise. Although, theoretically,there are alarge number of keys in music, there are really only fifteer practical keys; as follows: C Major: (no signature) Rule: Any scale with the name of C has sev- CH: 7 sharps = Db: 6 flats en of its kind, thus: D: 2 sharps Chhas 7 naturals Eb: 8 flats Chas 7 sharps E:Asharps Chhas 7 flats Fit flat When enharmonically written, 7=5 thus: Ff: 6sharps = Gb: 6 flats of ‘Vsharps = Db: Sflats Gz sharp Cb: 7 flats S sharps; and 6 Ab: aflats Ff: 6 sharps - Gb: 6 flats A:8 sharps Bb: 2 flats B: Ssharps = Cb: 7flats ‘The keynote of each major scales relative minor is found on the sixth degree of the major scale In the ascending melodic minor scale, the 6th and 7th steps are raised a half step and in the de- scending scale these notes are lowered a half step. MAJOR AND MINOR SCALES C major Cf major 25796Eb major E major Cminor Gbmajor G major Abmajor A major Fminor98 After the student has become familiar with all the preceeding ecales, he should include thy following patterns: (practise in all keys) C major Fe ey =e spar aes fae A minor 7 ae : = ~-- : = eee “Stses Sr" “333 ‘After the student has become proficient in playing the preceding patterns in every Key, let him begin to play them two octaves at a time (as in the following exercise), beginning with the key ofthe theoretical low valve tone of the three valve tuba. After playing them inthis key, play them in the key a half step higher etc., until you have played them in all the keys. This will take you eventually into a very high register (some may consider it a freak register), but if you prac tise this routine daily you will be able to acquire it. (a A major Eb Tuba F} major C Tuba‘ E major Bb Tuba A minor EminorLesson Twenty- six Intervals In most methods, little is mentioned about intervals. The author of this book believes that the student should attach a great deal of importance to them and he should be able to call all inter ~ vals by their proper names. As stated before,an interval in music is the difference in pitch between two notes (or tones) ‘There are five kinds of intervals: Perfect, Major, Minor, Augmented and Diminished An interval takes its general name from the number of degrees it occupies; its specific from the number of steps it contains. Two tones of equal pitch are called a unison (unis-- one, sonus-sound). The unison is called per fect prime (primus--first) an account of both tones being placed upon the same degree, both being first tone. Below is achart naming all the intervals to be found in any scale. This should be studied un- til the student can readily name any interval correctly. (Ex.4). Exercise 2 should be played in all the keys, or in as many as possible; progressing ahalf step ata time as you did in the major and minor scale exercises. name av te a =. Maj.2nd = Aug.2nd = Min.8rd Maj. 3rd are oa * ra Dim.sth 3 oy ‘Aug. 5th =e fom xe -——— ‘Aug.6th Min. 7th Dim.sth ==> ‘Aug. 8th Maj. 6th i EbTuba Also practice the notes slurred Per. 8thhes Lesson Twenty-seven “Arpeggios containing perfect chord, Dominant Seventh, Diminished Seventh chords - A Vorenon Chord consists of a triad with one of the tones doubled. A triad is a combination of three tones, containing a root and two intervals(a third and a fifth)“triad” (from the Latin‘tres’tria’mean- ing three). ‘Ihe Perfect Chord is obtained by doubling the root of the triad _ whose root is the first degree of the scale? Cmajor A minor ‘The Dominant Seventh chord is formed by adding a minor ‘third to the triad whose root is found on the fifth or dominant degree of the scale: Cmajor ‘The Diminished Seventh chord is formed by adding a minor third to the triad whose root is found ‘on the seventh degree of the minor scale. ‘(ihe harmonic minor scale differs from the melodic in that the sixth degree of the harmonic scale is not raised, ascending or descending; and the seventh degree remains raised in the ascending scale) A minor = Achord is said to be in it's first, second or third inversion when the third, fifth or seventh of the chord is the lowest note of the chord respectively. Ist Inversion 2nd Inversion 8rd Inversion E maj. Perfect Chord E maj, Diminished Seventh Chord i Ex.1 aa { SS min, Per. Chor: 2579618 ou a Ex.6 Ex.7* Ex.12 SS aS =f ee Ex 13 a at ease Sot a Ex. 14 Doe e Sa SSe Es Ex.15 28796Lesson Twenty-eight 88 EXERCISES CONDUCIVE TO LIP FLEXIBILITY 1 EbTuba 4}, RG 22. 2 oN 4 1 CTuba Ex.1< a BbTuba287968B(pneumatic 86 . Solo Studies NAUTICAL JOHN Bb Bass Tuba (Medley) Intro. 2g Cadonua accelerando 4 a apper notes Eb Tubs ad lib. 1 BE = a } i + : 2879687 Moderato Allegro here SF woror "ine YoloRea eR ES ia SHORT STUDY FOR TUBA IN Eb Moderato Karl Koblmann > = wy —— P -—=—_ mf 25796 tf dolce DC.ab ONSHORT STUDY FOR TUBA INC90 SHORT STUDY FOR TUBA IN BL Karl Kohima = Dire a =: =: 5 = = = st st wee To! Pe ag tay Spe So nyt = >See = > cSTypical Tuba Parts : on Excerpts from 22 representative band works No.1 POET AND PEASANT Overture Ev. Suppé Andante maestoso “sz e~N Allegro strepitoso = a=? aa oF ye ys oie ee a w ¥ v g z ¢ No. 2 MARTHA Larghetto Overture Ry, Flotow ==92 No. 3 MIGNON Overture cerned ‘Tempo di Polacca > No. 4“PIQUE DAME” Overture - Allegro con fuoco Fv. Supt aaa Allegro pitt mosso a No.5 FEST- OVERTURE (Festival) Allegro con fuoco oh + + Paes Hert egieeg ge" nf 25796os No.6 OVERTURE “1812” P. Tchaikovsky A2 ays baysy 5 ie Hehehe 4 bene brash Heke habe ash Ho hs ye be ES a a i He iis tad aid eid see 4 = ee —— Sees aS BoE ; — wt ihe mR 2879695 No, 7 THE MAGIC FLUTE Overture W. A. Mozart Allegro legr = ibal No.8 OBERON Overture Allegro C.M, von Weber t 25796No. 9 EURYANTHE : 7 Overture C.M. von Weber Allegro : > ee Allegro assai be be, >>> PS 3 2870698 No. 10 MERRY WIVES OF WINDSOR Overture O. Nicolai Andante Allegro 2579899 No. 11 MARITANA. Allegro : Overture W. V. Wallace100 No.12 ROSAMUNDE Overture F. Schubert Allegro vivace St No. 13 SEMIRAMIDE : rture Andantino G. Rossini 7 se. i aS SS ee r£— ve f- e790 of104 —— 8 BSS == he eee No. 14 MAXIMILIAN ROBESPIERRE Overture Perey Henry Litolff an = F oz eo ro fr 8 RE Ses gi fac ——_ eo vee 7 se FF 2p 96102 No. 15 BALLET EGYPTIEN Allegro non troppo Alex. Luigini Lf = L LAG eee eee 7 \s wr << Allegro mo erate 16 SCENES PITTORESQUES J. Massenet Pp Allegro moderato molto sostenuto Ip Ip Je SP JP = No. 17 REMINISCENCES OF SCOTLAND Selection of Scotch Melodies Arrby Fred Godfrey Allegro S 25796108 mf endtine No. 18 CAPRICE ITALIEN P. Tchaikov: Andante un poco rubato eee gavene Ba CE ee eee et eee Allegro moderato fs) (ew wf goes 2678104 No. 19 RIENZI Overture R. Wagner Molto sostenuto e maestoso Allegro energico Lr SF Saas < Se No. 20 DIE MEISTERSINGER Overture R. Wagner 25706No. 21 MIDSUMMER NIGHTS DREAM 105 Allegro oe Felix Mendelssohn - a = o > SSS Lr100 ° No. 22 HUNGARIAN MARCH Allegro marcato Berlio 28798