@YSTEIN BAADSVIK DAILY EXERCISES TUBA ? we OVATION www.baadsvik.comBreath Control ‘The philosophy behind these exercises is that most of the job is done when inhaling, and the process of inhaling should therefore be trained carefully. The reason for the tie between inhaling and exhaling is that there should be little or no break between inhaling and exhaling. In “real life” the inhaling should also be done in the tempo of the piece that you are playing. In these exercises always go from empty lounges to full lounges and back to empty when breathing. These exercises can be done with or without instrument. If you chose to use the instrument you should merely blow air through it, not produce sound. Inhale Exhale Inhale Exhale Inhale Exhale Inhale Exhale SES — Inhale Exhale Inhale Exhale Inhale Exhale Keep the over- and under lip on the mouthpiece when breathing and inhale through the comers of the mouth... Do not interrupt the crescendo before you reach the bar line. Use metronome. Try to go as directly as possible from inhaling to exhaling. Keep it moving and do not hold your breath. — a —=—=_ Inhale Exhale Inhale Play Inhale PlayBreath timing Play relaxed and with "warm air’. Rest the lips against the mouthpiece with just enough pressure to prevent the air from leaking from the corners. Breath in relaxed using THE WHOLE fifth beat. Remember to play mezzo forte. Listen for the relaxed centre of the tone where the lips vibrate freely. Play in tune. o=60Dynamic flexibility Remember to start all notes piano and don't play louder than forte. Be accurate about the tempo. When playing a fast crescendo there is always a risk of pressing the lips to hard against the mouthpiece. This can cause the pitch te raise or damage the tone quality. Compensate for this by allowing the instrument to move away from you as you play the crescendo. eS a z — . 3 P Sf Pp —=fPp ——fp —=f SimileLip response Start the tone without using the tongue for articulating. Blow air though the lips until they start vibrating and the tone appears. If it doesn't simply take a new deep breath and try again, this time with the lips slightly closer. Never force the tone to appear, spend air. Maintain intonation through out the two bars. Lento Ppp i$ PPP Simile Smooth articlulation Look at each line as two long notes split up by careful use of the tongue. Use a fast tongue action and try to touch the upper teeth on each note. in the lower register the tongue naturally touches the lower teeth as well as the lips. Maintain a smooth air stream at all times. Train by doing this exercise without the instrument. Blow on a piece of paper that you hold up 15-20 cm in front of your face. Make sure the paper doesn't jump ‘more than necessary.Legato intervals Itis easy to stop the air stream when moving from one tone to another in legato. Either with a unnecessary lip movement or by not supporting the air stream. When playing these exercises the dynamics should be followed strictly. The crescendo and the decrescendo should be brought through both notes. Support the air constantly. Remember, it takes some effort to play to play a good crescendo. Be careful with the lip pressure, so that the lips are allowed to vibrate as freely as possible.Scales ‘These exercises is done to improve two things: 1. The legato technique, 2. The air stream in staccato. Play rhythmically. Do not play faster than that you are able to hear if all legatos are good.Expanding the upper regster Itis smart to play these exercises at the end of a practising session since they are tiring for the lips. They should be followed by some kind of lip relaxation. The point here is not to play the very top notes at once, but to play as high as you can and then stop for the day. With correct and daily use of these you should be able to expand your upper register with about one or two steps each month. Remember, it should be tough but stop if it hurt. Lento == f¢§_— “1Relaxation This is to relax the lips and increase the lip vibration. You should start on the instruments pedal tone. With open fingering. F on F-tuba, E-flat on E-flat tuba etc. Each note should be played with slow a glissando. This is done entirely with the lips, not with fingerings. Itis important to continue the sound all the way up. The syllable needs to become smaller during the gliss up, so do not worry about sound quality the gliss. However, try to get a open, relaxed tone when you land at the low note. (Notation for C-tuba) Transpose and use fingerings as indicated. -60 ingerings: 1 : 1 - 1 142 : we 23 At3) = AN) = aI) a a 44214243) = 444(14243) = 44214243) we tag Z 164 m~ je—_ cutee -14-