TUBA HANDBOOK
Congratulations! You’ve been chosen to play the TUBA!
…. NOW WHAT?!
Use this handbook to guide you towards becoming the best TUBIST you can be!
Table of Contents
What is the Tuba?
Page 3
Tuba Maintenance and Care
Page 4 - 5
Common Problems & Solutions
Page 6
Posture & Hand Position
Page 7
Breathing & The Tuba
Page 8
Tuba Fingering Chart
Page 10
Daily Warm-Up Routine
Page 11-14
Tone, Embouchure, Articulations
Page 15
Pitch Tendencies
Page 16
Pedal Tones
Page 17
Tuba Learning Videos
Page 18
Etudes and Method Books
Page 19
Recommended Solo Repertoire
Page 20
Mixed Instrumentation Chamber Rep
Page 21
Tuba/Euphonium Chamber Music
Page 22
Repertoire Resources
Page 21&22
Professional Tuba Players
Page 23
Professional Tuba Organizations
Page 24
Tuba Videos
Page 24
Tuba Mouthpieces
Page 25 - 26
Purchasing a Tuba
Page 27 - 29
What is the TUBA?
The tuba (pronounced TOO-bah) is the largest and lowest-pitched musical instrument in the Brass Family, sometimes called the “Grandfather”. The low sound of the Tuba anchors the harmony not only of the brass family but the whole orchestra or band with its deep rich sound. The tuba is a long metal tube, curved into an oblong shape, with a huge bell at the end. Tubas range in size from 9 to 18 feet; the longer they are, the lower they sound. Standard tubas have about 16 feet of tubing. You play the tuba sitting down with the instrument on your lap and the bell facing up. Like all brass instruments, vibrating or “buzzing” the lips into a mouthpiece produces sound. You use your fingers to press down on the valves, which changes the sound. It takes a lot of air from your diaphragm to make sound with the tuba. It first appeared in the mid 19th-century, making it one of the newer instruments in the modern orchestra and concert band. A person who plays the tuba is known as a tubaist or tubist.
Tuba Maintenance and Care
Assembly/Disassembly:
The tuba mouthpiece should be inserted into the small brass pipe facing you with the tuba on your lap. It is not necessary to twist or tap the mouthpiece into position as this can cause the mouthpiece to become stuck. If the mouthpiece becomes stuck, you must bring it to
your teacher, who has a special tool to fix it. Never use household tools to try and remove a stuck mouthpiece.
The tuba should be stored in its case when not in use. Never stand a tuba upright on its bell. Make sure the instrument is placed properly in the case. Never forcibly close the lid of the instrument
case. The inside of the case should be kept free of objects that can
damage the instrument. Tuba accessories should be stored in the accessory compartment inside the case and not be allowed to rattle about. Sheet music should be kept in a folder and never stored inside the case.
Regular maintenance:
Everyday, after playing, wash the mouthpiece with warm soapy water and a mouthpiece brush. Fingerprints, oils and dust should be
regularly removed from the body of the instrument using a clean, dry, soft cloth. Valve oil and tuning slide grease should be added,
sparingly, as needed. Always use a soft, dry rag to remove old oil and grease before adding new. Keep all moving parts lubricated, or they will become stuck. If your valves or slides become stuck, bring your tuba to your teacher, never try to force them out yourself.
Everyday dangers:
Beware of food and drinks around your tuba! Sugary drinks and foods can especially harmful to the tuba. Always wash your hands and rinse your mouth after eating or drinking, before you play. Washing and rinsing keeps your valves from getting sticky and your tuba from smelling bad.
Extreme temperatures are very bad for your instrument. Never leave your instrument out in the car, and always be mindful of where you store it at home.
Dents can affect how your instrument plays, especially dents in the mouthpiece. Be very careful with your instrument, and show any dents that do happen to your teacher.
Your case is designed to protect the tuba from everyday bumps and knocks. It is not meant to bear a lot of weight or heavy abuse. Use caution, even when your instrument is in its case. NEVER SIT ON YOUR CASE.
Greasing slides:
The following should be done for all slides that move, or are supposed to. I highly recommend that every day, after the tuba is warmed up, each slide is moved, to ensure that over time they don’t stick. Please make sure that you depress the valves as appropriate, to avoid
changes in air pressure within the slide that could damage the instrument.
1. Make sure you keep track of the proper placement and direction of each slide. I recommend placing each slide on a paper towel that is labeled.
2. Completely clean the slide. Soak in warm, soapy water (using soap designed to fight grease).
3. Scrub all remaining grease from slide, using a sponge with a rougher surface. Use nothing that can eat the metal. Be careful to avoid scrubbing the lacquer.
4. Scrub out the inside of the slide with a soft brush, using warm, soapy water (using soap designed to fight grease).
5. Rinse the outside and inside of the slide thoroughly, to ensure no more dirt or soap residue remains. Completely dry the slide.
6. Re-grease slide. Make sure the use of grease is the minimal amount necessary to allow slides to move freely.
Rattles:
Rattles occur, and many are not possible for you to fix. However, some are. Here are the most common issues:
1. A loose screw. This is easy to fix, but be careful not to over tighten. 2. A valve cap not being completely tight. Again, an easy fix, but don’t over tighten.
3. Missing or worn cork in the spit valve, causing the metal casing to vibrate when played.
4. Loose solder joint. This is a fix for the repair shop. Do not attempt to fix a solder joint yourself – there are several different types of
solder used on a brass instrument, which melt at various temperatures and you fill harm the finish on your instrument.
5. Design of the tuba. Not an easy fix. These are rare, and usually occur along with dents and dings, usually on the bell. The harmonics of a pitch are affected, and while not typically a noticeable issue, may sometimes create a different vibration that can be a rattle-like sound. This is a repair shop item
References: http://hrsbstaff.ednet.ns.ca/clarkedc/Maintenance/tuba.htm http://www.blostein.net/Tuba%20Method.pdf
Posture
The posture of the tuba player is perhaps the most important aspect of performance, and is often overlooked or forgiven because of the instrument’s size. However, this can lead to serious issues with air support, which in turn will affect the sound negatively. When holding the tuba, it is important for the player to do the following: 1. Sit straight, on the edge of the chair 2. Legs should be set about shoulder’s length apart, with feet flat on the floor 3. Position tuba so that the player does not have to stretch the neck out of position to reach the mouthpiece, and player doesn’t slouch. It may be necessary to utilize a tuba stand for smaller size players. Also, since tubas vary greatly in size, shape, and design, experimentation will likely be necessary to find the correct way to hold the instrument for each player, and may need to be adjusted as the player grows.
Correct hand position
The right hand position should be relaxed at all times, with the fingertips resting comfortably on the valves, close to the nail. Most models provide a loop for the thumb – be careful the thumb does not go into this loop beyond the first knuckle, as this will pull the other fingers out of position. It is important to make sure the player does not “double-finger” any particular valve. This is a typical problem with beginner players, and especially with the first valve. Problems will later arise with quick passages that require all the valves if this habit is allowed to develop. The left hand is usually placed somewhere on the tuba that allows for a secure, comfortable grip. On most front-action instruments, the tuning slides for several of the valves (usually the first, third, and fourth valve slides) are positioned so they can be pulled and pushed with the left hand, which allows for more accurate tuning on slower passages. Also, there may be an additional valve for the player to use with the left hand, which of course would require the hand to be placed in a specific position. A Good Hand Position: 1. Fingers curved 2. All fingers on valves at all times 3. Thumb not inserted into thumb hole (pulls hand out of position, slows fingers, and if the tuba falls, thumb can break) 4. Hand relaxed
Breathing and The Tuba
Breathing is essential to the art of making music on any wind
instrument. With the tuba, it becomes all the more important when we consider not only the size of the instrument itself, but also the
unusually large range of the instrument. When you add touches such as dynamics to the mix, we begin to realize that good breath control is essential to correctly play the instrument. Therefore, it is critical for the player to begin exercises geared towards breathing as early as possible.
The more air you have, the better control over your instrument. The object of all breathing exercises is to increase the amount of usable air a player has. This is not to be confused with the sensation of running out of air. The air we breathe in begins to deteriorate immediately, and must be used within a time specified by the musical material, player’s capacity to produce a good tone, and the physical limitations of the player. Contrary to stereotypes, a player who is in better
physical shape will have an overall better likelihood for success on the instrument, as their capacity for muscle control and flexibility is
increased with better physical stamina. These exercises are designed to get the player to breathe deeply, and use the muscles associated with the diaphragm instead of the chest area. This allows for a deeper breath, more control over that breath, and more usable air at all
times. Please keep in mind there are many more breathing exercises available – these are just a beginning.
Exercise 1. Preparation for Breathing Exercises
a) Poise yourself - sit on the edge of your chair with feet flat on the floor. Back is straight - chin is up.
b) Relax the muscles in the neck, chest, and abdomen. While doing exercises, these areas must be allowed to fully expand and contract without opposing force.
c) Allow your palms to lie flat on your legs. (RELAX)
d) Close your eyes - concentrate on your own breathing. You must be ‘in-tune’ with your breathing habits before you can change your
Exercise 2. Breathing Warm-up
a) Begin empty (exhale before exercise begins) - Breathe in for two (2 ) counts. You must be FULL of air in 2 counts! (ALWAYS BREATHE THROUGH THE MOUTH...NOT THE NOSE). b) Blow out immediately for four (4) counts using an “S” sound (like a snake). Be EMPTY by count four (4). Push all air out on exhale (Use Diaphragm muscle)! c) Repeat exercise a minimum of six (6) times.
Exercise 3. Breathing Exercise
a) Begin empty (exhale all air before exercise begins).
b) Breathe in for two (2) counts through the mouth. Fill up totally. c) Exhale for six (6) counts using an “S” sound. Push all air out on exhale!
d) Repeat exercise a minimum of 5 times.
Exercise 4. Breathing Exercise
a) Begin empty (exhale all air before exercise begins).
b) Breathe in for two (2) counts through the mouth. Fill up totally. c) Exhale for eight (8) counts using an “S” sound. Push all air out on exhale!
d) Repeat exercise a minimum of 5 times
Exercise 6. The Breathing Bag
(use a large bread bag) Use of the breathing bag helps to regulate the volume of air inhaled and exhaled. When performing exercises using the bag, be aware that the constant inhalation of CO2 gas from the bag will tend to make you light-headed. If you feel extremely dizzy, stop the exercise and breathe fresh air.
a) Begin empty (exhale all air before exercise begins).
b) Breathe in for four (4) counts through the mouth. Fill up totally. DO NOT USE BAG.
c) Exhale for four (4) counts in the bag. Regulate the air so the bag is full on count 4.
d) Inhale for four using the air in the bag. Completely deflate the bag by count 4.
e) Exhale for four (4) counts in the bag. Regulate the air so the bag is full on count 4.
f) Repeat this exercise a minimum of two (2) times.
References: http://www.blostein.net/Tuba%20Method.pdf & http://www.co-bw.com/Health%20PDF/Health_breathing_exercises_for_winds.pdf
Tuba Fingering Chart
Daily Warm-Up Routine
Always begin your warm-up with Mouthpiece Buzzing. This is the practice of playing pitches without the instrument. Example:
• • • • • • • • • • • • • • • • • Reference: http://www.olemiss.edu/lowbrass/studio/routines/mouthpiece/tubamouthpiecelevel1.pdf
Lip Slurs are next. There are many different lip slur warm-ups. Here is an example of one:
? c
Tubap
ƒ
w
b
p
w
,
similew
b
b
w
,
b
w
w
,
b
w
b
w
,
?
9w
b
w
,
w
w
,
w
b
w
,
w
w
,
?
17w
b
w
,
w
w
,
w
w
,
w
b
w
,
?
25w
b
w
,
w
b
b
w
,
w
b
w
,
w
b
b
w
,
?
33w
b
w
,
w
b
w
,
w
b
b
w
,
w
b
w
,
?
41w
b
b
w
,
w
b
w
,
w
b
w
b
,
w
b
w
b
Long Tones
George Palton Pause in between each set of long tones. Maintain focus at all times, do not simply play a long tone do something with itdynamically. Use a constant air stream like blowing a long whole note. Always keep a beautiful tone throughout all of these exercises. BB Flat Tuba
Long tones are very important to building strong embouchure muscles and developing good tone. Here is an example of a long tone
exercise:
Scales are an important part of warming up too. They help you become a better musician by gaining versatility in all keys and understanding a pitch center in many keys. Play through as many major and minor scales as you can, plus a full range chromatic,
everyday. Eventually, it would be good to have all of these memorized.
? 44C Majorœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w b ? b bb 6 œ œ œ œ œ œ œ F Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? bb bbb 11 œ œ œ œ œ œ œ Bb Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? bbb bbbb 16 œ œ œ œ œ œ œ œ Eb Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww ? bbbb bbbbb 21 œ œ œ œ œ œ œ Ab Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? bbbbb bbbbbb 26 œ œ œœ œ œ œ œ œ Db Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww ? bbbbbb nnnnnn##### 31 œ œ œ œ œ œ œ Gb Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? ##### n#### 36 œ œ œ œ œ œ œ B Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? #### n### 41 œ œ œ œ œ œ œ E Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? ### n## 46 œ œ œ œ œ œ œ A Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? ## n# 51 œ œ œ œ œ œ œ œ D Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ww ? # nbb 56 œ œ œ œ œ œ œ G Major œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ? bb 61 œ œ# œ œ# œn œ œ# œ Notes below E only available with trigger or 4th valve
Full Range Chromatic
œ# œ œ# œn œ œ# œ œ# œn œ œ# œ œ# œ œ# œn œ œ# œ œ# œn œ œ# œ œ# œ œ# Ó ? bb
66
œb œ œb œ œb œ œn œb œ œb œ œn œb œ œb œ œb œ œn œb œ œb œ œn œ œ œb œ œb œ œn œb œ œb œ Ó
2 Octave Major Scales
with Full Range Chromatic Scale Tuba
Tonguing exercises are important to build up muscles in your tongue needed to play with strong accents and fast articulated lines. Here is an example:
There are many different recommended Daily Tuba Warm-ups out there! Check out these links for more exercises and warm-up ideas:
• A Simply Daily Routine for Tuba by Zach Collins -
http://www.tubaphonium.com/uploads/1/7/7/6/1776421/a_simple_daily_rout ine_for_tuba.pdf
• University of North Texas Tuba Page https://tuba.music.unt.edu/exercises • George Palton, Artist and Educator, Tuba Exercises
http://www.georgepalton.com/tuba-exercises.html
• BBb Tuba Warm-Ups and Exercise by Andy Rummel, Professor of Tuba at Illinois State University
http://nebula.wsimg.com/56804d6923b601cac78a715e2719ea15?AccessKeyI d=059C4068B8FAE5E4FFAB&disposition=0&alloworigin=1
• Arnold Jacobs, Special Studies for the Tuba
http://tubamuckl.de/tubamuckl/Tuba_files/A.Jacobs-Special%20Studies%20For%20The%20Tuba.pdf
• Michael Blostein, Low Brass Specialist, Tuba Warm-Ups http://www.blostein.net/Tuba%20Warm-Ups.pdf
Tone Production
o Hear the note, and the sound, you want to make o Breathe in deeply (and do not hold your breath)
o Breathe out lots of air (fast = loud & slow = soft) at the same time as;
o Allowing the lips to vibrate freely to form the correct note and the; o Tongue to provide a good clean start to the beginning of the note o Control the air to keep a steady flow and this will stop the note
bulging up or down
o Stop the note by stopping the breath – not with the tongue.
o To change to volume, change the speed of the air, not the quality o Never start or end the note with your tongue
o Ensure that you have good posture, and bring the instrument to you. Avoid moving the instrument and changing good posture.
Embouchure Development
o Facial and oral cavities, tongue, and teeth in a relaxed position. The throat is to be open at all times.
o Lip corners kept firm, not tight or clamped, and the teeth slightly open.
o Mouthpiece resting in a position that is comfortable with two thirds of the rim on the upper lip and one third of the rim on the bottom lip
o Keep the chin flat and pointed down with the lips in a natural
position that is not pulled back or puckered. Avoid bunching up the chin.
Articulation Development
o The tongue serves as a valve to release the air on the tuba
o The tongue contacts the upper palette just at the base of the upper front teeth
o The articulation symbol for most general playing should be “doe” and sometimes “toe” for high or more accented notes.
o The use of “o” at the end of the attack is important for maintain air flow and rich tone through to the end of the note.
o Do NOT use a ‘Duh” sound. o Use a minimum of jaw motion
o The lips are to be touching until the air is delivered to them for most efficient use of the air.
o The tongue should never go between the lips.
o Remember to maintain airflow in all tonguing. The tongue should never be allowed to change our approach to air stream.
Pitch Tendencies
Tuning Generalizations:
• Open is generally in tune. • 1st value is generally in tune • 2nd valve is generally in tune
• 1-2 valve combination is moderately sharp • 1-3 valve combination is very sharp
• 1-2-3 valve combination is extremely sharp • 2-3 valve combination is moderately flat
• Sharp notes may be lowered with TOE and TAH in the mouth • Flat notes may be raised with TEE
Reference: http://www.olemiss.edu/lowbrass/studio/fingeringcharts/bbbtubafingering.pdf
Pedal Tones
o Pedal tones are the VERY lowest note you can play on the tuba o They refer to notes that exist in the fundamental partial of a brass
instrument. They are the notes that correspond to the actual length of the tubing.
o They can sound pretty funny and are really fun to play! You can find the pedal tones by letting your lips flap while trying to play lower and lower. Once you find it it will pop right out! You’ll know you have the right notes if it matches the note an octave up.
o Knowing how to play pedal notes opens up the low register of the tuba
o Pedal Tones are a great model of playing with maximum wind quality and minimum pressure
o They will maximize low-pressure playing throughout the horn o They are essential for developing brass instrument technique
Tuba Learning Videos
o Buzzing - https://www.youtube.com/watch?v=JPb6jITbplA o Breathing Fundamentals -
https://www.youtube.com/watch?v=7oKwVeDxrmE
o Making a Better Sound -
https://www.youtube.com/watch?v=bSteKff1A-c
o Correct Embouchure -
https://www.youtube.com/watch?v=lgu6RfBI3V0
o Slurring - https://www.youtube.com/watch?v=lgu6RfBI3V0
o Lip Slur Patterns - https://www.youtube.com/watch?v=PFitaJUi5Ak o Flexibility Routine - https://www.youtube.com/watch?v=fxzAZGrPrLI o Lessons with Roger Bobo -
https://www.youtube.com/watch?v=oxTDkUVNSHg
o Initiating Sound - https://www.youtube.com/watch?v=RsxScTSrvFk o Posture and Embouchure -
https://www.youtube.com/watch?v=pbDbeYMT28s
o First 5 Notes - https://www.youtube.com/watch?v=Ma-Iy7pu1rs o Pedal Tones - https://www.youtube.com/watch?v=jwx-YV4h_6s
https://www.youtube.com/watch?v=AyMKQVUJ1tM o Articulation http://www.uni.edu/drfun/articles/articulation.html
Etudes and Method Books
Title Composer Level Publisher
Studies and Melodious Etudes for
Tuba (Bass) Level I Bill Laas with Fred Weber Elementary Belwin (AP.BIC00167A)
Studies and Melodious Etudes for
Tuba, Level II Kenneth Swanson And Major Herman Vincent In
Collaboration With James D. Ployhar
Intermediate Alfred Publishing. (BIC00267A)
Studies and Melodious Etudes for Tuba, Level III
Kenneth Swanson And Major Herman Vincent In Collaboration With James D. Ployhar
Advanced Intermediate
Alfred Publishing. (BIC00367A)
70 Studies Volume 1 Blazhevich Intermediate Alphonse Leduc.
(AL28596)
70 Studies Volume 2 Blazhevich Advanced Alphonse Leduc.
(AL28597)
43 Bel Canto Studies Giovanni Marco Bordogni Intermediate
– Advanced Alphonse Leduc. (534024100)
36 Celebrated Studies N. Bousquet Intermediate
– Advanced Carl Fischer. (O5388)
Practical Studies for Tuba, Book I Robert W. Getchell Beginner Alfred Publishing.
(EL00774)
101 Rhythmic Rest Patterns Grover C. Yaus Beginner Alfred Music
(AP.EL00559)
30 Studies Op. 13 Gallay/King Intermediate
– Advanced
Alphonse Leduc. (AL28605)
78 Studies Grigoriev Intermediate
– Advanced Alphonse Leduc. (AL28611)
60 Selected Studies C. Kopprasch Intermediate
– Advanced Alphonse Leduc. (AL28601) Rubank Elementary Method - Eb/BBb
Bass (Tuba-Sousaphone) Edited by N.W. Hovey Beginner Rubank Publications
(HL.4470080). Rubank Intermediate Method - E Flat
Or BB Flat Bass (Tuba-Sousaphone) Edited by Joseph E. Skornicka Intermediate Rubank Publications
(HL.4470250). Rubank Advanced Method - E Flat Or
BB Flat Bass Vol.1 Edited by Himie Voxman and William Gower Advanced Rubank Publications
(HL.4470460)
Arban Complete Method for Tuba J.B. Arban
Transcribed and Edited by Dr. Jerry Young and Wesley Jacobs
Intermediate
Recommended Solo Repertoire (Grade 1 – 6)
Title Composer Level Publisher
Spartan, The Bell Grade 1 BEL
Winter Carousel (Kendor Recital Solos
Collection) Bigelow, Albert Grade 1 KM
Pastorale (Kendor Recital Solos Collection) Burney / Niehaus Grade 1 KM
Chromatic Conquest Compello, James Grade 1 MPB Publishing
Sailor's Song Couperin / Dishinger Grade 1
Little Caesar Harris Grade 1 KM
The Change of Seasons Weaver, Russ Grade 1 CYB
At Another Time And Place W. Ellis Grade 1 EMP
Eight Easy Pieces (mvt #8) Voxman / Block Grade 1 SMC
Cripple Creek (Competiton Solos Book 1) traditional / Siennicki Grade 1 LUD
Camping Out Smith Grade 1 BEL
The Swan (Competiton Solos Book 1) Siennicki, Edmund J Grade 1 LUD
Theme From Concerto No. 4 Huber / Price Grade 1 CF
Quintero (the Farmer) Merle Grade 1 CF
Jolly Dutchman Isaacs Grade 1 LUD
Arietta Sandy Feld Stein & Larry
Clark Grade 1 CF
Arioso Warren Benson Grade 2 Belwin-Mills
Arm Ye Brave Handel, G.F./Ostrander Grade 2 Edition Musicus
Asleep in the Deep Petree, H.W./Buchtel Grade 2 Kjos
Jolly Peasant Robert Schumann Grade 2 Rubank
Air and Bouree Bach/W. Bell Grade 3 Carl Fisher
Sonatina John Boda Grade 3 Robert King
Lento Paul Holmes Grade 3 Robert Kings
O Isis and Osiris Mozart/Morris Grade 3 Brass Press
Sonata for Bass Tuba Thomas Beversdorf Grade 4 Southern
Andante and Rondo Antonio Capuzzi Grade 4 Hinrichsen
Suite for Tuba Don Haddad Grade 4 Shawnee
Sonatina Walter Hartley Grade 4 Fema Music
Concerto in one Movement Lebedev Grade 4 Edition Musicus
Sonata James Stabile Grade 4 WIM
Sonate for Bass Tuba and Piano Paul Hindemith Grade 5 Schott
Sonatina Jan Koetsier Grade 5 Domenus
Conjectures Eddie Sauter Grade 5 Mentor
Sonata Robert Sibbing Grade 5 Presser
Concerto Robert Spillman Grade 5 Edition Musicus
Sonatina Halsey Stevens Grade 5 Southern
Concert for Bass Tuba R. Vaughan Willams Grade 5 Oxford
Suite No. 1. (Effie Suite) Alec Wilder Grade 5 Margun Music
Concertino Eugene Bozza Grade 6 A. Leduc
Sonata Bruce Broughton Grade 6 Helicon Music
Encounters II for Solo Tuba William Kraft Grade 6 MCA Music
Sonata Frank Lynn Payne Grade 6 Shawnee Press
Mixed Instrumentation Chamber Repertoire
Title Instrumentation Composer Grade Level Publisher
Quintet Flute, Tuba, Vibes, Contrabass, Piano
Adjemian Vartan
Advanced EditionsBIM
Hoch und Tief Piccolo, tuba, piano
Paolo Baratton Intermediate EditionsBIM
Sonata Tuba and String
Quartete Luigi Cherubini Intermediate EditionsBIM Celebration Flute, Clarinet,
Alto Sax, 2 Trumpets,
Trombone, Tuba, timpani &
percussion
Pascal Favre Advanced EditionsBIM
Tubaphonie Brass Quintet,
Tuba Solo Goleminoff Intermediate EditionsBIM
Morning Song Tuba, Piano/Brass
Band Roger Kellaway Intermediate/Advanced EditionsBIM Bruegel-Dance Vision Tuba and
Chamber Ensemble
Arthur
Rubinstein Intermediate/Advanced EditionsBIM
Concerto Tuba and Four
Horns Corrada Mario Saglietti Intermediate EditionsBIM Allegro Fuoco Tuba, String
Quartet, Piano Roland Szentpali Intermediate EditionsBIM Chill Fantasy Roland Szentpali Tuba, piano,
drums & String Quartet
Advanced EditionsBIM
Dance Movements Roland Szentpali Tuba and Rhythm Section
Intermediate EditionsBIM Jazz Quintet Roland Szentpali Tuba and Sax
Quartet Intermediate/Advanced EditionsBIM
Additional Repertoire Resources
• Guide to the Tuba Repertoire, Second Edition: The New Tuba Source Book edited by R. Winston Morris
Indiana University Press, Nov 8, 2006 • Associated Manitoba Arts Festivals:
http://www.amaf.mb.ca/Resources/tuba_resource.pdf • Idaho Music Education:
http://www.idahomusiced.org/events/statesolo/statesolo.php#brass • Indiana State School Music Association:
http://www.issma.net/downloads/brassmanual.pdf
• Tuba Literature: http://www.uni.edu/drfun/articles/Tuba_Lit_List.html • Just for Brass: https://www.justforbrass.com/euphonium/tuba-solos-0 • Free Tuba Sheet Music:
http://www.8notes.com/tuba/sheet_music/?orderby=5d • Tuba Resources: http://www.dwerden.com/tu-resources.cfm
Tuba/Euphonium Chamber Music
Title Instrumentatio
n Composer Grade Level Publisher
12 Duets K 587 Tuba Duet Mozart / Dishinger Easy MMP
Easy Classics For Two Tuba Duet Various / Stouffer Easy KM
Four Duets, op. 82 Tuba Duet Devienne / Gershenfeld Intermediate MMP Twelve Duets, Op. 53 Tuba Duet Nielsen / Dishinger Intermediate MMP Advanced Duets for Tuba,
vol. 1 Tuba Duet Sear Advanced CORT
Duets of the Advanced
Type for Tubas Tuba Duet Cummings, Barton Advanced Wiltshire
Two Sentimental Songs Tuba Quartet Barnby-hawthorne / Hall Easy GW
O Vos Omnes (motet) Tuba Quartet De Victoria / Self Easy WIM
Chorale And Clog Dance Tuba Quartet Hall Easy GW
4 Bach Chorales 2 Euph, 2 Tuba Bach / Mehlan Intermediate TUBA
Hungarian Dance # 5 2 Euph/2 Tuba Brahms/halferty Intermediate KM Virga Jesse Floruit 2 Euph/2 Tuba Bruckner / Nelson Intermediate TUBA Appalachian Carol 2 Euph/2 Tuba Canter, James Intermediate TUBA St. Nicholas Ground 2 Euph/2 Tuba Frackenpohl, Arthur Intermediate TUBA
Soundings Tuba Quartet Matchett Advanced RBC
Amazing Grace Tuba Quartet Robertson Advanced TEP
Petit Caprice () 2 Euph, 2 Tuba Rossini / Davis Advanced TUBA
Barber Of Seville
Overture Tuba Quartet Rossini/doughty Advanced CIM
Serenade Tuba Quartet Schubert / Robertson Advanced TEP
Liberty Bell Tuba Quartet Sousa / Robertson Advanced TEP
Sheep May Safely Graze Tuba Quartet Bach / Robertson Advanced TEP
Wolsey's Wilde Tuba Quartet Byrd / Robertson Advanced TEP
Siamang Suite 2 Euph, 2 Tuba Canter, James Advanced TUBA
Suite For Tuba Quartet 2 Euph, 2 Tuba Frackenpohl, Arthur Advanced TUBA Suite For Four Bass
Instruments Tuba Quartet Lyon Advanced SP
Quartet For Tubas Tuba Quartet Payne Advanced SP
Manhattan Suite 2 Euph, 2 Tuba Stevens Advanced SOU
Divertimento 2 Euph, 2 Tuba Uber, David Advanced TUBA
Elsa's Procession To The Cathedral
Tuba Quartet
Wagner / Robertson
Advanced
TEP Ride Of The Valkyries 2 Euph, 2 Tuba Wagner/uber Advanced KM
Tubasonatina 2 Euph, 2 Tuba George, Thom Ritter Advanced TUBA
Fantasy 2 Euph, 2 Tuba Martino Advanced PP
Additional Repertoire Resources (continued)
• WSMA Music Festival List: file:///Users/Chloe/Desktop/Events_4000.pdf • Missouri State High School Activities Association, Solo and Ensemble Rep list:
http://gvlabs.com/festivalmanager/mshsaa/src/admin_pml.php • Florida BandMasters Association, Solo and Ensemble Festival:
http://fba.flmusiced.org/for-directors/music-lists/ • Recommended Solos for Tuba:
Professional Tuba Players
Tom Abbs Jazz Tubist
James Akins Principal Tuba of the Columbus Symphony Orchestra
Kenneth Amis Tubist with Empire Brass
Oystein Baadscik Soloist and Chamber Musician
Alan Baer Principal Tuba with the New York Philharmonic Dave Bargeron Jazz Tubist and Trombone player with Blood,
Sweat and Tears, Severinsens Band, Gil Evens Orchestra, Paul Simon, Mick Jagger,
James Taylor, Eric Clapton, etc.. William Bell Classical tubist
Roger Bobo Tuba soloist
Damon Bryson Sousaphone player in The Roots Charles Daellenbach Co-Founder of the Canadian Brass
David Fedderly Retired principal tubist for the Baltimore Symphony Orchestra and teacher at The Juilliard School, owner of the Baltimore Brass Company
Aubrey Foard Principal tubist with the Charlotte Symphony Orchestra
Walter Hilgers Principal tubist in the Vienna Philharmonic Orchestra
Scott Irvine Principal tubist with the Canadian Opera Company and Esprit Orchestra
Arnold Jacobs Former Chicago Symphony principal tubist Carol Jantsch Principal tuba in the Philadelphia Orchestra
Andy Kirk Jazz tubist
Thomas Leleu Classical and contemporary musician. Skilled tuba player, and principal tubist with the Opera de Marseille.
Heiko Triebener Classical Tubist, Bamberg Symphony Orchestra Sam Pilafian Founding member of the Empire Brass Quintet, Patrick Sheridan Tuba soloist
Professional Tuba Organizations
The International Tuba/Euphonium Association
http://www.iteaonline.org/index.php
Officially founded in 1973 as the Tubists Universal Brotherhood Association, the International Tuba Euphonium Association is dedicated to promoting and advancing the tuba and euphonium instruments. The organization comprises performers, educators, students, and amateurs of all backgrounds. As a non-profit organization, it is supported by membership dues and donations.
Historic Brass Society
http://www.historicbrass.org/
The Historic Brass Society is an international music organization concerned with the entire range of early brass music, from Ancient Antiquity and the Biblical period through the present. The history, music, literature and performance practice of early brass instruments such as natural trumpet, natural horn, early trombone, cornetto, serpent, keyed bugle, keyed trumpet, early valve horn, 19th century brass instruments are some of the main issues of concern to the HBS. The HBS Journal is by far the most scholarly of brass professional journals and, unlike the others, is released only yearly rather than quarterly. It is a book-length publication, though, and contains articles of substantial length and scholarly acumen.
Tuba Videos
o Tuba Concerto, Edward Gregson
https://www.youtube.com/watch?v=uPV6sTfs3Is
o Concerto in F minor, Vaughan Williams
https://www.youtube.com/watch?v=3GzEvWXN3zY
o Tuba Tiger Rag https://www.youtube.com/watch?v=inftw4EdxRw o Czardas, Vittorio Monti
https://www.youtube.com/watch?v=fYOsNp4O7AU
o Reflections on the Mississippi, Michael Daughtery
https://www.youtube.com/watch?v=hPnurVsbQwU
o Tuba Concerto, Bruce Broughton
Tuba Mouthpieces
Understanding the Brass Mouthpiece
http://www.wwbw.com/Buyer-Guides---Brass-Mouthpieces-g25075t0.wwbw
Tuba Mouthpiece Recommendations:
Beginner:
Conn Helleberg 7B, Miraphone TU17 or TU19, Schilke Helleberg
Intermediate/Advanced:
Conn Helleberg Regular or Standard Cup, Miraphone TU21, Griego 325D, Loud LM7, Perantucci PT36
Advanced
Loud LM7(stainless steel), Miraphone TU31 or TU41 Perantucci PT36, Pt 50, or PT 88, Mike Finn 3H or 3, Griego 330D.
Tips for choosing a Tuba Mouthpiece:
• Music is very subjective and one player will have different results than another player using the exact same equipment. Much of this has to do with a players physicality and personal ability.
• If you are a very young player and Tuba is your first instrument, you might want to start with a very small cupped mouthpiece, so it is easier to make a sound.
• Don't get bogged down in details and numbers. Try many different mouthpieces and let your ears do the work. There are many useful charts and spreadsheets, but only playing a new mouthpiece will reveal how well of a fit it truly is.
• There are many, many different models so as to allow tuba players to fine-tune their preferences.
• Tuba mouthpieces come in two different styles: a more funnel-shaped and narrow design exemplified by the Conn Helleberg, and a more bell-shaped and wide design exemplified by the Perantucci mouthpieces.
• For tuba students, the right design is largely a matter of which style is more comfortable; you may find you have a strong preference for one over the other.
Bach Tuba Mouthpiece Comparison Chart:
Purchasing a Tuba
General Information
• BBb tubas work great for most school-band music. Compared to CC tubas, the BBb tuba has a broader sound with extra weight, which helps bring balance to a band's sound.
• Because tubas come in a variety of different sizes, manufacturers came
up with a system to categorize the instrument into four common sizes: 3/4, 4/4, 5/4, and 6/4 (these sizes will vary based on the manufacturer)
• Tubas come in 3-, 4-, or 5-valve versions. The addition of the fourth
valve aids in both low-register intonation and low-register production. As a rule, remember that at least 4 valves are required to perform and produce all the low range notes in the daily life of a tubist.
• Piston Valve – like the valves on a trumpet, they move up and down to
direct the air produced by the player into different tubing paths; thus changing the notes played
• Rotary Valve – unlike piston valves that go up and down, rotary valves
(as its name implies) rotate to direct air into different tubing paths. They are commonly found in more advanced tubas
• When looking at the specifications of a tuba, you will come across the
term: bore size. The bore size of the tuba measures the inner diameter of the tubing of the instrument near the valves. The bore is measured by thousandths of an inch.
• The bore size that is commonly used and suitable for most players is
a medium to medium-large bore, which is .750 of an inch to .812 of an inch. Student tubas (which are made for novice players) usually have smaller bores as it adds resistance and makes it easier for the player to support a tone. These bores usually measure in the range of .650 to .740 of an inch.
• Brass instruments have two common finishes, lacquer and silver-plate.
Lacquer is the most popular finish and is used by most students who are just beginning their study. It gives the instrument a deep and dark sound in the lower registers.
• Silver-plate is a finish that suits more advanced players as it demands
more maintenance and is more expensive
• Yellow Brass produces a bright tone as it has less copper compared to
other materials. It is brilliant gold in appearance due to its relatively low copper content.
• Gold Brass – less susceptible to corrosion than yellow brass because of the decrease in zinc content and produces a darker tone than yellow brass given its higher copper content. It is a dark gold in appearance as it has more copper than yellow brass.
Tuba Recommendations: Student Tuba
• Made for those who are just starting out with tuba-playing and for those whose commitment to the instrument is uncertain and questionable
• They often have a clear lacquer finish and are made with durable materials such as nickel-silver
• They use 3 piston valves and generally have smaller bores (.600 to .650 of an inch) to make it easy for a beginner to play
Conn Tuba Key of BBb Upright Bell Front-Action Valves No Case Conn Tuba Key of BBb Upright Bell Front-Action Valves with Case
Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons RS Berkeley TUB907Artist Series Tuba
E. M. Winston 640 Bore Three Valve Tuba RS Berkeley TUB909 Artist Series Tuba
Intermediate (or Step-Up) Tuba
• Made for those who have been playing the tuba for 2 to 3 years and for those who want to advance from a student model tuba
• They upgrade to a silver plate finish and have at least 4 rotary valves • They have larger bores than student tubas (.650 to .750 of an inch)
Recommendations for intermediate or step-up tubas:
Jupiter Tuba Compact Model Brass Body Front-Action Pistons with Case Jupiter Tuba Compact Model Brass Body Front-Action Pistons with Case
Jupiter Tuba "Tribune" Concert Model Brass Body 4 Front-Action Pistons with Case
Professional Tuba
• Made for those who have been playing the tuba for many years and for those who are fully-committed to playing the instrument (as this model of tuba is a great investment)
• They often have a silver plate finish and have at least 4 rotary valves (but typically employ 5 rotary valves)
• They have large bores (some go beyond .750 of an inch) Conn Tuba Key of BBb Upright Bell Front-Action Pistons with Case
Holton Collegiate Tuba Key of BBb Upright Bell Top-Action Pistons with Case Holton BB460 Collegiate Tuba Key of BBb Upright Bell Top-Action Pistons with Case
Recommendations by Brand:
Yamaha Standard Tuba Key of BBb 3/4 size 3 Top-Action Pistons Upright Bell Yamaha Standard Tuba Key of BBb 3/4 size 3 Top-Action Pistons with Tuba Stand Yamaha Marching Tuba with Key of BBb 3/4 Size Convertible Model 3 Pistons
Conn 12J BBb 3-Valve Tuba Conn 5J BBb 4-Valve Tuba
Conn Tuba Key of BBb Upright Bell Front-Action Valves No Case
Kanstul CTU 902/3B Custom Class Series 3 Valve 3/4 BBb Tuba In Lacquer Finish Kanstul 202 BBb 3/4 Marching Tuba In Convertible Silver Finish
Kanstul Model 201 BBb 4/4 Marching Tuba In Convertible Lacquer Finish
King 1135 BBb 3 Valve Tuba
King 1140 COnvertible BBb 3 Valve Tuba King 1140M Ultimate Marching Brass Tuba
Jupiter 3/4 Size BBb Convertible Tuba - Model 380S [Silver-Plated Finish] Jupiter 378 Series BBb Deluxe 3/4 Size 3 Valve Tuba
Jupiter BBb Convertible Tuba - Model 384S [Silver-Plated Finish]
Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons
