Arbans Complete Method for the Tuba

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Transcribed and Edited by

Professor o f Music U niversity o f W isconsin Eau Claire and

Principal Tubist D e tro it Symphony O rchestra Tuba Instructor O b e rlin C o n se rva to ry

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ARBAN THE COMPLET E ME T H OD FOR THE TUBA

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from M y M usical Life a n d Recollections by Jule Riviere 1 893 t was while in garrison at Lyons th a t I m ade the acquaintance o f the A rban brothers, w ho, in their different ways, were all rem arkable m en. Louis, the eldest, was the aeronaut o f the day, an d his ascents in J - L 1842-43 created quite a sensation, till, like m ost balloonists, he w ent up never to be heard o f again. T his fatal ascent took place from a square in M adrid. T h e second brother, Charles, was p ro p rieto r o f a grand casino in Lyons, called la Rotonde, w here concerts and balls were held all the year ro u nd . In addition to this onerous occupation Charles A rban m anaged to su p erin ten d a large m anufactory o f fireworks bearing his nam e, besides also finding tim e for certain ingenious inventions, one o f w hich was a flying m achine, th at however, if I rem em ber rightly, w ent no higher th a n the chim ney pots w hen the experim ent was tried in the gardens o f La R otonde. T h e lion’s share o f ability, however, in the A rban family fell to Jean Baptiste, w ho developed talent at a very early age, and became at once a rem arkable perform er on the cornet-a-pistons. I well rem em ber Jean Baptiste A rban’s ap p o in tm en t as cornet solo in th e picked band th at w ent o u t to St. H elene on board th e Belle-Poule, u n d er the com m and o f the Prince di Joinville, to bring back the rem ains o f N apoleon I for sepulchre in the Invalides. T h is clever cornet player was also a particularly affable m an, an d instances o f his good n atu re were con­ stantly occurring. O ne th at came w ith in m y ow n experience is w o rth y o f passing m en tio n , for it hap p en ed on the first day o f our acquaintance, w hen no laws, w ritten or u nw ritten could have called for the gracious concession he made to play a cornet solo at a concert I was giving on a sum m er afternoon at th e Salle St. . . . Barbe. A rban, w ho was in his sailor’s dress had neither cornet n or m usic w ith him , b u t I had no sooner m ade the suggestion for him to oblige us w ith som ething th an he was ready to m o u n t the platform w ith an in stru ­ m e n t borrow ed from the band, an d to play the Carnival de Venice w ith variations, w hich he d id in m arvelous style. O u r friendship, w hich was sealed from th a t day, lasted for nearly h a lf a century, till, in fact, the day o f his death in 1889. A rban was always acknow ledged to be one o f the best cornet players in France. T his was clearly the opinion o f Jullien, w ho engaged him in co n ju n ctio n w ith Koenig, as the tw o soloists in his orchestra, w hen he was in the zenith o f his popularity in L ondon. K oenig excelled in slow m ovem ents, b u t w hen w hat is called ton guing was w anted A rban had no equal. O n his return to Paris he was ap p o in ted professor o f the cornet class at the Conservatoire, a post he held till his death. Besides being a very fine player, A rban was also a com poser o f som e note, his m usical achievem ents consisting o f cornet solos, studies, etc.; w hilst to him the m usical w orld is indebted for a b o o k called A rban’s Cornet Tutor, w hich is still considered the best th a t has ever been published. As co n d u cto r also o f the Paris B ah de I’Opera A rban will long be rem em bered, for this is a p ost he filled for years, till in fact the w inter o f 1889, w hen he caught the chill w hich killed him . A rban, w ho had never been an extravagant m an, amassed a com fortable fortune, w hich o n his d eath w ent to his only daughter. M any were the projects he form ed as we used to sit chatting together, o f en d in g his days on the shores o f the M editerranean we b o th loved so well. A nd w ith this object in view he b o u g h t land enough to build two villas upon in M onte C arlo, occupying his leisure in su perintending the con stru ctio n o f the houses; but, as I have said, he died in harness in the capital.

This work is dedicated to the following individuals who have made this kind of effort possible for me: Barbara G. Young, my wife and the best musician I know James B. and Artie L. Young, my parents Harvey G. Phillips, friend and mentor Gerald Sloan, my first tuba teacher William N. Shaver III, who introduced me to the tuba Ronald Garner, who long ago showed me the joy o f teaching Bliss Alexander, who has helped me keep many things in perspective

and most especially to: Daniel Perantoni, who introduced me to Arban and whose pedagogical wizardry made my career possible

Jerry Young

© 2000 E ncore M usic Publishers all rights reserved M ade in U.S.A.

p art o f this w ork covered by the copyright hereon may be reproduced or used in any form or by any m eans— graphic, lectronic, or m echanical, including photocopying, recording, taping, o r in form ation storage and retrieval system s— w ith o u t perm ission o f the publisher.

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Preface................................................................................................................................................................................ 6 F o re w o rd ...........................................................................................................................................................................7 Report: Com m ittee of Musical Studies, Paris Conservatory............................................................................ 8 Fundamental considerations...................................................................................................................................... 9 Tone P roduction.............................................................................................................................................................9 R a n g e ...........................................................................................................................................................................11 In to n a tio n ................................................................................................................................................................... 1 2 D ynam ics...................................................................................................................................................................... 14 End N o te s ................................................................................................................................................................... 1 1 Fundamentals of Tuba Perform ance................................................................................................................... 16 Studies in Fundamentals: Air, Embouchure, Articulation, In to n a tio n .................................................... 16 Studies in Rhythm and A rticulation.......................................................................................................................30 The S lu r........................................................................................................................................................................... 43 S cales............................................................................................................................................................................... 63 Major Scales....................................................................................................................................................................63 Minor S c ales.................................................................................................................................................................. 79 Chrom atic S cales..................................................................................................................................................... 81 Ornamentation S tudies.............................................................................................................................................. 92 The G ru p p e tto ....................................................................................................................................................... 100 The Gruppetto Consisting of Three N o tes................................................................................................... 104 The Double A ppoggiatura..................................................................................................................................1 06 The Simple A ppoggiatura................................................................................................................................... 109 The Short Appoggiatura or Grace Note .................................. ................................................................... 11.0 The P ortam en to ....................................................................................................................................................11 2 The T r ill.................................................................................................................................................................... 114 The M o rd a n t........................................................................................................................................................... 1 22 Interval, Flexibility, and T e c h n iq u e ................................................................................................................1 26 Interval Studies...................................................................................................................................................... 1 27 Triplet S tu d ie s ........................................................................................................................................................1 35 Sixteenth Studies...................................................................................................................................................140 Introduction to the A rp e g g io ............................................................................................................................146 Major C h o rd s .......................................................................................................................................................... 1 47 Minor C ho rds.......................................................................................................................................................... 1 50 Dom inant Seventh C h o rd s .................................................................................................................................1 52 Diminished Seventh C ho rds.............................................................................................................................. 1 54 C adenzas..................................................................................................................................................................1 57 Multiple T o n g u in g ................................................................................................................................................ 1 60 The Triple T o n g u e ................................................................................................................................................ 1 60 The Double T o n g u e .................................................................................................................................................. 1 81 The Slur and Double Tongue C om bined...........................................................................................................1 89 Tonguing as Applied to the T u b a ........................................................................................................................1 93 The Art of Phrasing.................................................................................................................................................. 1 97 68 Duets for T u b a s ...................................................................................................................................................261 Fourteen Characteristic S tu d ie s .......................................................................................................................... 305 Fingering Chart for CC tu b a s ............................................................................................................................... 334 Fingering Chart for BBb tu bas...............................................................................................................................334

P r e f a c e : S e c o n d E d it io n o th th e publisher and I are grateful to the hundreds o f people w ho have been so receptive to the first

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ed itio n o f this text. In this second edition you will find a m ore perfect p ro d u ct note-wise, m ore userfriendly page turns, and a reedited version o f the Characteristic Studies. W e hope you enjoy using these

forever valuable studies and th at they assist you in reaching your m usical goals.

T h e A rban Complete M ethod fo r Trumpet has, for m ore th an one h u n d red years, held a p ro m in e n t position o n the boo k sh elf o f alm ost every successful brass player. Every aspect o f technical developm ent is th o roughly covered in the etudes and musical exercises, an d no oth er text has yet been prepared th a t so thoroughly covers so m any aspects o f perform ance. Various editions o f the book have been prepared and edited in a variety o f ways. T h e best effort for the tuba prior to this edition was the Arban-Bell edition prepared by the legendary W illiam J. Bell, and th a t edition is still valuable because o f the pedagogical com m ents o f this musical and educational g iant to w hom the tuba profession owes so m uch. However, to date, none has prepared a truly com plete edition o f the A rban M ethod for the tuba. In fact, m ost o f us w ho have wished to utilize the full text have used the com plete m eth o d for tru m p e t (learning a new set o f fingerings) or the abridged m eth o d for tro m b o n e (reading dow n one octave). A fter m any years o f teaching from alternate an d /o r incom plete editions, I felt th at it was tim e to m ake an edition o f this essential text w hich w o u ld be im m ediately usable for players and educators at all levels. In addition to presenting all exercises w ritten in bass clef and in the correct octave for tuba, all the nin eteen th century text by A rban has been replaced by pedagogical and practice suggestions th at reflect p opular practice in tuba perform ance and teaching, and a section has been added th at presents m ore recent th o u g h t about fundam entals o f tu b a playing. Please n ote th a t com m ents offered in this text are based on the experience o f the editor. T h ere are m any other ideas an d opin io n s regarding the use o f A rban’s material,- and m ost have validity in practice. Use the material in the way th a t your needs are best met. T h is volum e was prepared w ith the C C tuba in m in d . It m ay be used, o f course, by tubists w ho use in strum en ts in any key, b u t A rban’s original fingering patterns will be present for the C C tubist only. Perhaps future editions o f this text will be possible th a t preserve the exact A rban patterns for tubas in other keys. It is m y hope th at tuba students and teachers will find this text useful in achieving their highest m usical aspirations. T han k s to H u g h G aston III, D avid Graves, Lori K noener, Joseph M cC abe, and C ara W iedem ann for their assistance in preparing the etudes in this text. M ost special thanks to Trevor Fladw ood and M icky W robleski w ith o u t w hose d edication and devotion the reader w ould n o t be holding this work. Special thanks are due Wesley Jacobs, principal tubist o f the D etro it S ym phony O rchestra, teacher par excellence, an d publisher o f b o th editions o f this text. H is encouragem ent, diligence, patience, and actual particip atio n in the preparation o f this w ork has been indispensable to its com pletion. Jerry A. Young, January, 2000

•A rb a n Tuba FUNDAM ENTALS

Forew ord rban’s M ethod for C o rn et has long been the cornerstone o f technique-building for all brass players. W hile it has been offered in several editions, this one is the first specifically for tuba. It eliminate:- die need for transposition from an o th er clef or octave, so th at one can concentrate solely o n th e m aterial presented by Arban. T h e com m ents provided herein by E d ito r Jerry Young will be invaluable for anyone using this tim ehonored text. It w ould be possible for a b and director to h an d this edition to a young stu d e n t an d he or she w ould have all the inform ation necessary to develop in to an advanced player w ith atten tio n , tim e, and dedicated practice. For advanced players, D r. Young’s com m ents can offer review and varied approaches. Tubists will find it refreshing to read com m ents th a t address the specific challenges o f playing these exercises and etudes on the tuba, gleaned from tw enty years o f Professor Young’s acclaimed teaching. T h e m aterial Dr. Young has included in Some Fundam ental Considerations presents a variety o f view points o f som e o f the m ost renow ned brass pedagogues o f the tw entieth century. T his is truly a “com plete” m eth o d for tu b a th a t belongs in th e library o f every tuba perform er an d teacher.

Fritz Kaenzig Professor of Tuba The University of Michigan

A rban Tuba FU N D A M E N TA LS •

R eport The Com m ittee o f Musical Studies o f the Conservatory on Mr. A rban’s Cornet Method

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^ h e C o m m ittee o f musical studies has exam ined the w o rk sub m itted to them by Mr. A rban. T his w ork, th e exten t o f w hich is considerable, is based u p o n excellent principles, and contains every instruction calculated to produce a good perform er on the com et.

T his w o rk is, to a certain extent, a resum e o f the know ledge acquired by the au th o r durin g his long experience as b o th professor and perform er, and may be term ed a w ritten em b o d im en t o f the inform ation resulting from his musical career. T h e various kinds o f articulation, the tonguing, the staccati, and so forth, are seriously considered, inge­ niously analyzed, and successfully resolved, the num erous lessons w hich the a u th o r devotes to each o f these p o in t are deserving o f special m ention. In the copious series o f instructions, w herein all other m usical questions are discussed, we observe a profound appreciation o f difficulties, and a th o ro u g h tact in overcom ing them . T h e latter part o f this w ork contains a long succession o f studies as interesting in subject as in form , and concludes w ith a collection o f solos, w hich are, as it. were, the em bodim ent o f application o f th e previous lessons; in these studies, in these solos, shine forth the qualities, at once brilliant and solid, o f w hich the au th o r has so often given proof. For this reason the com m ittee, rendering due hom age to the M eth o d o f w hich M r. A rban is the author, unhesitatingly approve it, and adopt it unreservedly for in struction at the Conservatory. Signed:

Auber, M eyerbeer, Kastner, A. T hom as, Reber, Razin, Benoist, D auverne, Vogt, Prum ier, Em ile Perrin, E douard M onnais, Imperial Commissioner A. D e Beauchesne, Secretary

•A rb a n Tuba FUNDAM ENTALS

F u n d a m e n t a l C o n s id e r a t io n s . . .

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t the outset o f the preparation o f this edition o f the A rban C om plete M ethod, it was assumed th a t the m ajority o f individuals using the book w ould be interm ediate level to professional performers. T h is p o rtio n o f the text is here to provide the serious perfo rm er/stu d en t som e varying viewpoints on ways to approach the m ental and physical sides o f stu d y an d perform ance. Ideas presented here deal w ith tone production (to include breath, em bouchure, and

articulatio n ), range, into n atio n , an d dynam ic control. O u r purpose is n o t to treat these areas exhaustively, b u t to provide som e tho u g h ts and inform ation from leading players and teachers o f past years th at may stim ulate the p erfo rm er/student to th in k creatively about his/her ow n approach to these areas and evaluate his/her own current approaches.

Tone Production T one p ro d u ctio n on the tuba involves a co m bination o f several factors. T h e breath is o f central im portance in tone p ro d u ctio n . Farkas com pares the im portance o f the breath for the brass player to th at o f the bow for the string player: “T hey are both m otivators, setting the lips or the strings into vibration. T h e bow -hair is long, straight and coated w ith resin. T his furnishes, in effect, a long stream o f resistance, w hich rubs past the vibrators (strings) at right angles. T he friction o f this com pletely controllable bow against the strings sets up any type o f vibration the player wishes. A steady tone dem ands a steadily m oving bow; a loud tone requires the bow to be m oved m ore heavily and swiftly; sh o rt notes require the use o f short segments o f bow, and so on. T h e parallels between bow ing and the brass players breath control are quite obvious. T h e air colum n is released in a continuous, long stream th at rubs the vibrators (lips) at right angles. A steady tone requires steadiness o f the air colum n; a loud tone requires a faster m oving and larger air stream; short notes require the air stream to be cut into sh o rt segm ents by the to n g u e.” 1 For the tubist, efficient use o f the breath is o f critical concern because o f the size o f the instrum ent. Since resistance to the air stream is low (because o f the large m outhpiece and tubing), the tubist moves large volum es o f air quickly a n d m ust replenish the supply frequently, definitely n o t an easy task. M ason states: “Very few o f us breathe efficiently enough to m ake good tuba players. T h is is especially evident on the tu b a w hen playing notes th at are very loud o r low, particularly w ith a great deal o f valve tubing add ed .” 2 A rnold Jacobs, form er tubist o f the C hicago Sym phony and leading au thority on respiration, gives this advice on breathing an d breath control for the tu b a player: “T h ere should be qualitative inhalations based o n at least a % inhalation for general playing purposes. T u b a players use air in large quantities very freely u n d er low pressure. W e have to be free to use this com fortably to w here it doesn’t give us m uch o f a problem . T h e n we can concentrate on o u r tonal aspect and o u r message to the audience. In order to do th at, we have to keep away from (I w ould use the analogy o f the gas ta n k in a car) the last !4 o f o u r h um an fuel tank, w hich can frequently suck up d irt in the carburetor. T h e last lA o f our h u m a n fuel tank, as far as respiration can also have, you m ight say, negative influences on o u r ability to play. Primarily, we try to avoid getting too far tow ard the en d o f o u r breath. T h a t frequently m eans to start w ith m ore so th a t you can p rotect the en d o f phrases. I usually express m yself by saying th at you should be free to waste your breath; n o t try to conserve it, b u t establish excellent tonal characteristics as you do so th a t you are conserving breath anyway. In other w ords, as you control the tone, you will have controlled n o t only the m usculature, b u t you will have controlled the air as well. 3 K leinham m er, like Jacobs, likens the breath to fuel for tone p roduction and calls attention to the necessity o f freedom from physical tension for correct breathing to take place: “T h e breath is the fuel o f so und and its correct usage and dependable supply are necessary for co m fo rt and reliability. To achieve correct blow ing we m ust divorce th ro at an d tongue tension from tension o f th e em bouchure. W e m u st blow through the lips in a relaxed m anner and project through the horn into space, w id io u t an elem ent o f squeeze."4 “O n e m ust inhale a large volum e o f air in a sh o rt period o f tim e in a m ost relaxed m anner. T h is air m ust th en be m etered o u t in the same relaxed and controlled m anner. These are m ost im p o rtan t elem ents in technical and tonal flexibility. T h e goal o f breath control is m oving air efficiently.” 5

Arban Tuba FU N D A M E N TA LS •

Pontius 6 also stresses the need for m oving large am o u n ts o f air in a relaxed m anner, as does S tanley.7 Stanley suggests several psychological aids to help the tuba player in taking in and m oving large quantities o f air. H e asks the player to th in k of: •

“filling the b o tto m o f the lungs first”

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“m aking th e lungs expand downwards”

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“inhaling all the w ay around the body”

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“blow ing through rather than at the lips”

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“project air th ro u g h (as opposed to into) the in stru m en t” 8

A lthough the b reath is the m otivator for tone production, it is n o t the agent w hereby sound is actually produced on the tuba or any o th er brass in stru m en t. T he breath sim ply sets the tensed lips into vibration, the source o f the tone. T h e tensed lips and the muscles th at are used to tense them are com m only referred to as the em bouchure. Farkas describes the em bouchure as: “ ...th e m o u th , lip, chin, and cheek muscles, tensed and shaped in a precise and cooperative manner, and then blow n th ro u g h for the purpose o f setting the air colum n into vibration w hen these lips are placed upon the m outhpiece o f the in stru m en t.” 5 It is im p o rta n t to note th a t the em bouchure can n o t function independently o f the air colum n. T h e two are inseparable in producing tone on all brass instrum ents. A rnold Jacobs likens the lips to the engine o f

a car and the air to gasoline:

“T h e gasoline w ould be useless w ith o u t the engine. O u r m otivation in playing a brass in strum ent has to be very sim ilar to the m otivations o f a singer singing. Instead o f vocal cords in the larynx, we have vocal cords in the larynx o f the tuba, w hich w ould be the m outhpiece. B ut the em bouchure has to be a source o f vibration. It can n o t vibrate w ith o u t air— w ith o u t a m oving colum n o f w ind. If we could substitute electrical current in the lips to create vibration we w ouldn’t need w ind, b u t we w ould still need the vibration. ...th e signal com ing from the seventh cranial nerve from the brain to the lips has to m otivate a message just like the vocal cords. W h en we use w ind we have m o to r activity o f the lips.” 10 Since the pro p er tuba em bouchure form ation varies considerably from person to person, a detailed discussion o f em bouchure form ation will n o t be undertaken here. Farkas, 11 Mueller, 12 an d M ason 13 offer detailed studies o f the science and problem s o f em bo uch u re form ation. A rnold Jacobs suggests a practical approach to the study o f problem s o f the em bouchure: “I f we w an t th e em bouchure to function, we m ust p u t a message in the brain th at will bring about this function o f th e em bouchure. A nd it is always a m usical message. W e can’t do it by the study o f em bouchures. W e have to do it by the study o f the sound th at an em bouchure m akes.” 14 T h e final aspect o f to n e production to be discussed is articulation. A ccording to Shoults: “A rticulation in m usic refers to the enunciation o f musical tones to produce distinct pitches by a m ovem ent o f the tongue in its relation to the palate and the teeth .” 15 To the casual observer o f brass players, articulations described by Shoults m ay seem to have little or noth in g to do w ith tone production. H e goes on, however, to explain: “W hile p ro p er ton g u in g will have no effect u p o n the quality o f the tone itself, im proper tonguing will affect the to n e adversely.” 16 R onald Bishop, tu b ist o f the Cleveland Symphony, elaborates on this p o in t as follows: “B oth quality a n d frequency can be changed by the position o f the tongue, and m ost students play w ith the tongue too high an d too tense after they attack. T h e tongue is often guilty o f creating unw anted com pression or resistance to the air colum n. T his in turn deprives the em bouchure o f the u nim peded air stream which is necessary for a free, resonant, and robust so u n d .” 17 Several different o p inions are found in the literature regarding o p tim u m placem ent o f the tongue to enhance tone quality. M ost authors recom m end pronunciation o f certain syllables w hen studying articulation. T h e syllables m ost frequently recom m ended in the literature are ‘W ” an d "tab” o r “taw”. Bishop explains th at the reason for using these particular vowel form ations is: “ ...th e first resistance th at the air stream meets will be the lips providing th at no resistance has been created in the th ro a t.” 18

'0 • Arban Tuba FUNDAM ENTALS

B ishop, 19 F itzg erald ,20 K lein h am m er,21 an d M ason 22 all agree th a t only the tip o f the tongue should be utilized in articulation. T h e base o f the tongue should lie flat in the back o f the m o u th to avoid interference w ith the air stream . A lthough A rnold Jacobs discusses the issue o f syllables and tongue placem ent, he cautions against the idea th a t there is one correct m ode o f tonguing: “T h ere are differences in peoples tongues, so w hat is proper placem ent for one will interfere w ith tongue m usculature o f another.” 23 S chm id 24 very clearly defines the various articulations available to the brass player and discusses the articulation indicated by m usical notation. T h e slur is perform ed by tonguing the first note o f the phrase and slurring all sub sequent notes: “ ...th e re are no spaces betw een slurred notes. A slurred note m u st be held for its full value since there is no in te rru p tio n o f the air stream betw een no tes.” 25 T enuto indicates that a note is to be held for its full value. “A phrase played tenuto or legato will have no spaces betw een notes other than the split-second in te rru p ­ tion caused by the beginning o f the next n o te .” 26 S ta n le y 27 points o u t the additional difficulties posed for the tubist by this particular style o f articulation. H e stresses the im portance o f coordinating em bouchure, breath, fingers, and tongue on such a large in stru m en t and th e p ro b lem o f having large, heavy valves. H e m aintains th a t a thorough knowledge o f alternate fingerings and good valve m ain tenance are o f the utm o st im portance to good legato technique for the tubist. T h e po rtato articulation involves only a slight separation betw een tones. Schm id describes it as: “ ...h alfw ay between tenuto and staccato” 28 Schm id also describes the staccato articulation: “T h e staccato separation should be easily perceptible, and therefore it can be distinguished from the p ortato. T h e value o f the note, the tem po, and the style o f the m usic will control the am o u n t o f this separanon.

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T h e final com m only notated articulation is the staccatissimo. In this instance, the tone is stopped alm ost im m ediately after it is started. O th e r special articulations som etim es required are double, triple, an d flutter tonguing. D ouble and triple to n g u in g becom e necessary w hen the tem po o f a piece o f m usic is so rapid and the note values so short th a t single to n g u in g is im practical o r impossible. A lthough the vast am o u n t o f literature dealing w ith double arid triple to n g u in g will n o t be reviewed here, authorities such as F a rk as,30 Sw eeney,31 and K le in h a m m er32 agree th at the p ro p er approach to these m ultiple tonguings involves the use o f the syllables tu-ku, du-gu, ti-ki, dih-gih, duh-guh (for double tonguing), a n d tu -tu k u , du-du-gu, etc. (for triple tonguing). F a rk as33 presents a convincing argum ent for the use o f the i vowel in m u ltiple tonguings, as it brings the syllable to the fro n t o f the m o u th , thus lightening the action o f the tongue an d resulting in greater speed and flexibility. W hile flutter tonguing is n o t frequently called for in tu b a parts, the tu b ist m ust be prepared for this special effect articulation. Rolling the tongue after the initial articulation in m uch the same m an n er as one w ould roll an r in sp eak in g • French produces flutter tonguing. T h e overall im portance o f good ton g u in g and articulation habits are best sum m arized in a statem en t by Fitzgerald: “Faults in articulation are a m ajor p roblem to a large percentage o f brass instrum entalists an d often prove to be the greatest obstacle to technical developm ent since such a handicap imposes definite lim itations b o th in regard to rapid execution and artistic musical in terp re tatio n .” 34

Range T h e pitch range o f the tuba is the greatest o f any o f the brass in stru m en t family, w ith the possible exception o f the French horn . A ccording to Bevan: “T h e tu b ist is...expected to be able to play over a w ide compass. C on tem p o rary solo w orks d em an d up to five octaves, b u t while the lowest n ote in the sym phonic repertoire is the A 2 in Trapps fifth sym phony, the possible altitude depends upon the player and the p itch o f his in stru m e n t.” 35 Phillips 36 and Bishop 37 agree th at the tu b ist m ust achieve a range o f at least four octaves to be able to perform the standard repertoire for the instrum ent.

A rban Tuba FU N D A M E N TA LS •

T h e practical range o f the tu b a has rem ained m uch the sam e since th e in stru m en ts inception. A ccording to S o re n so n ,38 w ho studied early tu b a m ethods and tutors, since 1840 the range o f three valve in strum en ts in BBb, C C , F, or E b has been from a tritone above the fundam ental pitch o f the open tu b e to the n o te three octaves above the open tube fundam ental. T h e addition o f a fo u rth valve to the in stru m en t enables the player to extend the range o f the in stru m en t chrom atically to the fundam ental (dow nw ard from the trito n e above the fundam ental), w ith the exception o f the p itch one sem i-tone above the fundam ental. T h e addition o f a fifth valve makes th at pitch attainable. A lthough pitches below the fundam ental are playable, they are difficult for m any perform ers to control as recognizable pitches. T h a t p art o f the tuba’s low register in w hich tone p ro d u c tio n requires the fourth and fifth valves is often referred to as the pedal register. T h e perform ance o f passages in the low register o f the tu b a raises several problem s. T h e problem s o f breathing, em b o u ­ chure, and articulation as discussed in the previous section o n tone p ro d u ctio n are m agnified in the low register. T h e air is expended m uch m ore rapidly than in the m iddle and upper registers an d m ore frequent breaths are required. B randon 39 feels that proper em bouchure placem ent is the m ost im p o rta n t factor in developing and m aintaining a good low register. Phillips, agreeing w ith B randon, stresses the im portance o f : “ ...m a x im u m retention o f the em bouchure utilized in o ur m id-range w ith absolute m in im u m variation” 40 B randon offers the following advice on articulation in the low register: “A rticulation dem ands in the low register increase as the p itch descends. Generally, extrem e low notes tend to be w ritten in long tim e values, thus alleviating som e articulation problem s. However, q uarter and eighth notes will present tonguing problem s if they are low enough in pitch. In general m aintaining an open th ro at (th in k o f w arm air) controls variety and distinctiveness in low register tonguing, proper jaw position, and good breath control. Always rem em ber th at the slightest m ovem ent in the jaw an d /o r in terru p tio n o f the air stream will change the tone, pitch, o r both. T h is also applies to slurred passages.” 41 T h e upper lim it o f the tu b a range, as previously m entioned, is dep en d en t to a large extent on the player. To facilitate perform ance o f th e stan d ard literature, the upper lim it o n b o th contrabass tubas should be no lower th an f l . W ith regard to perform ance problem s in the upper register, Phillips states: “M ost o f th e difficulty in th e upper register is a m atter o f breath su p p o rt an d em bouchure placem ent. Be sure you aren’t substitu tin g m uscular contraction for support. C o n cen trate o n relaxation across the shoulders and in the arm s, make the diaphragm muscles do the w ork, keep th e th ro a t open— don’t choke o ff your air supply, lift y o u r su pport, project the air stream , blow through the tu b a (n o t in to it), keep the corners o f the em bouchure firm , the lips together, let the velocity o f the air stream determ ine the aperture o f the em bou­ chure.” 42 Finally, A rnold Jacobs expresses this th o u g h t w ith regard to b o th the extrem e high and low registers: “I prefer to th in k o f high and low notes as fast an d slow vibrations. I always believe it best to be som ew hat unconscious o f o u r physical m aneuvers and highly conscious o f o u r m usical goals.” 43

ntonation As in m ost o th er areas o f tu b a perform ance, problem s o f in to n atio n on the tu b a are m agnified by its sheer size. M any o f the in tonation problem s encountered by the tu b a player are caused by the in stru m e n t’s basic design, w hile others result from bad habits o n th e p art o f the player. Bevan describes th e in to n atio n problem s inherent in the design o f the three-valve tu b a from the earliest instrum ents: “T h e present day norm al three-valve system in w hich the first lowers the pitch by a tone, the second by a sem i-tone, an d the th ird by a tone and a h a lf was soon after the in stru m en ts invention well established. T here were to be variants— there still are, in fact— b u t players were already becom ing accustom ed to this system. However, there was one great acoustic disadvantage in using three valves: the cum ulative errors o f pitch resulting from th e use o f m ore th an one valve at a tim e. Obviously, if a tube o f length a sounds a tone lower w ith the ad d itio n o f length b (first valve) or a sem i-tone lower w ith the addition o f length c (second valve), then (a+b) will need a greater additional length th an c to lower the com bined length by a sem i-tone.” 44 T h e seem ingly obvious answer to this problem was to lengthen the th ird valve slide on all instrum ents. W hile this solved some in to n a tio n problem s, it created others, w hich inspired inventors to atte m p t the building o f a m ore tolerable system. “T here were three general directions taken by inventors in their attem p ts to im prove the existing valve system. O n e was to rethink the w hole principle and provide a separate valve for each additional harm onic series. T h e second was to provide additional valves and tubing w hich could be b ro u g h t in to operation w hen

12 • A rban Tuba FUNDAM ENTALS

required to tem per the m ost noticeable errors. T h e third involved the provision o f valve tub in g in lengths different from the n o rm .” 45 T h e second avenue has proven over the years to be the m ost successful m ode o f im proving tu b a in to n atio n . Besson and Blaikely, b o th English inventors, devised three and four valve com pensating systems th a t add additional tub in g to valve co m bin ations th a t ordinarily yield po o r in to n atio n . M ason com m ents th a t the Blaikely system: “ .. .brings into use an extra length o f tub ing to lower the otherwise sharp pitch w hen m ore than one valve is depressed. In general it works very satisfactorily to produce w orkable into n atio n on instrum ents w here instantaneous slide adjustm en t is n o t feasible.” 46 T h e a d d itio n o f valves (non-com pensated) is the m ost p opular m odern device to correct intonation. M ost tubas now com e eq u ip p ed w ith at least four valves and some have as m any as five or six. As m entioned in the preceding section on range, one purpose o f the fourth valve is to extend the tubas low register; however, C um m ings states that: “I f there is a single reason for the purpose o f the fo u rth valve, it w ould be to facilitate problem in to n a ­ t i o n ...” 47 T h e fo u rth valve, em ployed alone, can be su bstituted for the naturally sharp 1-3 valve com bination. It can also be used in com bination w ith the second valve for the sharp 1-2-3 valve com bination. T h e fifth valve, as described by B randon: . .can be a definite asset an d is generally constructed in one o f two ways: 1) to lower the fundam ental pitch one m ajor second; and, 2) to lower the fundam ental p itch one m ajor th ird .” 48 M an y five-valve instrum ents com e equipped w ith tw o slides to perm it the use o f the fifth valve in either o f the ways described by B randon to overcom e in to n atio n or range problem s in any particular piece o f m usic. A lthough extra valves increase the cost o f the instrum ent, the options provided for the solution o f in to n atio n and technical problem s m erit the expenditure. A n o th er way to cope w ith bad notes on the tuba is to m anipulate slides w hile playing to facilitate ad ju stm en t o f the various valve com binations at any given m o m en t durin g a perform ance. M ost tubas are now designed so th a t the first valve slide is easily reached and m anipulated. A ccording to P itts 49 the first valve slide should always be pulled o u t for the th ird partial o f the first valve harm onic series (Eb on the BBb contrabass, F on the C C ) and pushed all the way in for the fifth partial (C for the BBb D for the C C ). W hile o th er slides are positioned for easy m an ipulation on a few in stru m en ts, this desirable feature is the exception rather th an the rule am ong the instrum ents generally available. T h e use o f alternate fingerings is yet an o th er m eth o d o f im proving intonation. S ubstitution o f the fo u rth valve for the sharp 1-3 com b in atio n is the m ost frequently used alternate fingering; substitu tio n o f the third valve for th e som etim essharp 1-2 com b in atio n is another example o f advantageous use o f alternate fingerings. O n a four or five valve in stru m en t, as m any as three or four fingerings are available for any given noté. It is im p o rtan t for the serious tubist to becom e fam iliar w ith all these fingerings for added technical facility as well as for b etter intonation. F urther discussions o f acoustical design problem s o f in to n ation may be fo u n d in articles by R o b e rts50 an d W illiam s.51 A coustical design is n o t always th e source o f the in to n atio n problem . O ften the problem lies w ith the player. M ason states: “Even th o u g h the next several years will doubtless witness som e changes in tu b a design, in to n atio n will always rem ain dep en d en t on the ability o f the p lay er.. 52 All the factors operating in good tone pro d u ctio n are essential to good in to n atio n for the tubist. A nderson53 stresses the im portance o f p ro p er breath su p p o rt to good in to n atio n . Lack o f breath su p p o rt in m ost cases causes the p itch o f the in stru m en t to be quite sharp, aggravating problem s already existent in the instrum ent. K eeping the tongue in a relaxed position as flat as possible in the b o tto m o f the m o u th is also im p o rta n t for accurate in to n atio n . W h e n the tongue is raised into an arched position, the pitch can be altered in the same way the pitch o f a w histle can be altered by raising and low ering the tongue. As previously m entioned, this over action o f the tongue im pairs n o t only p itch, b u t also tone quality. N aturally, the em bouchure is the focal p o in t o f good in to n atio n , since it produces the vibrations th a t produce the p itch . In a preceding section, A rnold Jacobs was q u o ted as follows: “I f we w an t the em bouchure to function, we m ust p u t a message in th e brain th a t will bring a b o u t this fu n ctio n o f the em bouchure.” 54 T his is to say, the tubist is responsible for know ing w hat good in to n atio n is, an d he or she m ust listen carefully in order to m ake the em bouchure adjustm ents necessary to solve in to n atio n problem s. Excessive em bouchure changes should be avoided w hen o th er m eans o f pitch correction are available, since lipping o f pitches too far w ith the em bouchure can have adverse effects o n tone quality.

Arban Tuba FU N D A M E N TA LS •

Dynamics Certainly, there are m any expressive devices necessary to tu b a perform ance th at m ig h t be discussed in a basic p resenta­ tion on fundam entals. G iven the lim itation o f tim e and space, however, w e have chosen to discuss problem s in h eren t in perform ance o f dynam ics, as this is a crucial and very often m isunderstood area for th e tuba. T h e perform ance o f dynam ics on the tuba relies heavily on good breath control. T h is correctly implies th at the tubist m ust m aster th e requisites for good tone p roduction in order to have good dynam ic control. M edium to loud dynam ic levels are rarely a problem for the tubist w ho plays w ith m usical taste. As long as the player does n o t over blow and d istort the sound, good response and into n atio n are fairly easily m aintained at these levels. Soft dynamics, however, often lead to problem s for the tubist, an d the softer the level an d the lower the pitch required, the m ore acute th e problem s become. T h e problem s th a t arise are usually due to insufficient b reath support. C o h en advises: “ ...w h e n a brass player is confronted w ith a soft, exposed entrance, his [sic] m in d and breath should prepare as if the first n ote o f the passage is m arked forte, b u t o f course, p erform ing according to the indicated dynam ic.” 55 H e further observes: “ ...few er forte entrances are m arred than piano entrances. Actually, the brass perform er generally takes a good, deep breath thus providing the air and su p p o rt so vital for control. H e [sic] is less apt to panic in this situation and thus enhances his [sic] good playing habits. Soft attacks th a t are missed, especially by inexperienced players, are generally due to the lips being pinched against th e m outhpiece behind w hich is exerted insufficient breath su p p o rt.” 56 A second problem area is th at o f the crescendo and d im inuendo. Fitzgerald’s rem arks are pertinent: “T h e usual difficulties in controlling the crescendo and d im inuendo are uneven dynam ic gradations and changes in p itch .” 57 “ ...d y n a m ic changes are to be controlled w ith the b re a th ...” 58 B randon gives this ad m o n itio n for control o f dynam ic change in the low register: “T h e secret to dynam ic contrast in the low register is contrast and spacing. If a perform er is supposed to crescendo for twelve beats, the pace o f the increase in volum e will greatly d eterm ine how quickly the perform er will ru n o u t o f air. A loud passage will sound louder if a soft passage is truly so ft.” 59

Conclusion T his lim ited in tro d u ctio n to aspects o f fundam entals o f perform ance, as m en tio n ed at the outset, is n o t by any m eans exhaustive. W e have presented a variety o f ideas, some at variance w ith o u r ow n philosophy, however, it is im perative that we all rem em ber th a t teachers teach and learners learn very differently. Every au th o r referenced here has had m on u m ental success as a teacher w ith m any successful students to show for their efforts. It is assumed th at every tuba perform er is also a perpetual stu d en t o f the in stru m en t, regardless o f age or status in the professional or am ateur ranks. As students, it is im p o rtan t th a t we keep an open m in d and ear to new and different sounds and ideas. T h e m aterial presented in this section and the com m ents accom panying the etudes in this book will likely be o utdated as pedagogical practice improves and know ledge expands. D o n o t fail to recognize im provem ents in th o u g h t and practice and incorporate them into your daily practice. N o te new ideas you w an t to try directly in this and other texts you use on a daily basis, rath er th an depending on your memory.

End Notes 1.

Phillip Farkas, The A r t o f Brass Playing (B loom ington: W in d M usic, Inc., 1962), p. 57.

2.

J. K ent M ason, The Tuba Handbook (Toronto: Sonate Publications, 1977), p. 25.

3.

Paul H augan, T.U.B.A . Profile - A rnold M . Jacobs, Tubist o f the Chicago S ym phony O rchestra, T.U.B.A. Journal, Vol. IV, N o .2 (1977), p. 7.

4.

Edw ard K leinham m er, The A r t o f Trombone Playing (Evanston: Sum m y-B irchard C o.,

5.

Ibid., p. 17.

6.

M elvin Pontius, Breath C o n tro l and the Brass, M usic Journal, Vol. 17, N o. 4 (1959).

7.

D onald Stanley, Teaching C oncepts for Tuba, Brass Anthology (Evanston: T h e In stru m en talist C o.), p. 436.

8.

Ibid.

9.

Farkas, op. cit., p. 5.

10.

H augan, op. cit., p. 6.

11.

Farkas, op. cit.

14 »Arban Tuba FUNDAM ENTALS

1963), p. 15.

12.

H erb ert C . M ueller, Learning to Teach through Playing: A Brass M ethod (Reading: Addison-W esley Publishing C o., In c., 1968).

13.

M ason, op. cit.

14.

H augan, T.U.B.A. Profile.

15.

C harles R. Shoults, Brass A rticulation, M usic Journal, Vol. 19, N o. 7 (1961), p.56.

16.

Ibid.,

17.

R onald T. Bishop, Fundam entals o fT u b a Playing, T.U.B.A. Journal, Vol. 5, N o. 2 (1978), p. 11.

18.

Ibid.

19.

Ibid.

p. 57.

20.

B ernard Fitzgerald, A rticulation, Brass Anthology (Evanston: T h e Instru m entalist Co., 1974), p. 449.

21.

K leinham m er, The A r t o f Trombone Playing, p. 63.

22.

M ason, The Tuba handbook, p. 47.

23.

A rnold Jacobs, Special Studies for the Tuba, H a l Leonard Advanced B a n d M ethod (W inona, M N : H al Leonard M usic, Inc..,

24.

W illiam Schm id, Brass A rticulation, Brass Anthology (Evanston: T h e In strum entalist C o., 1974), p. 449.

25.

Ibid.

26.

Ibid.

1963)

56.

27.

D onald Stanley, Legato Technique fo rT u b a, Brass Anthology (Evanston: T h e Instrum entalist C o., 1974), p. 251.

28.

Schm id, op. cit., p. 449.

29.

Ibid.

30.

Farkas, The A r t o f Brass Playing.

31.

Leslie Sweeney, D ouble and Triple T onguing, Brass Anthology (Evanston: T h e Instrum entalist C o., 1974), pp. 29-31.

32.

K leinham m er, op. cit.

33.

Farkas, op. cit.

34.

Fitzgerald, Articulation, p. 5.

35.

C lifford Bevan, The Tuba Family (L ondon: Faber and Faber, L td., 1978), p. 121.

36.

R.W. M orris, A Tuba C linic w ith H arvey Phillips, The Instrumentalist, Vol. 29, no. 6 (1975), p. 54.

37.

Bishop, Fundamentals, p. 12.

38.

R ichard A. Sorenson, T uba Pedagogy: A Study o f Selected M ethod Books, 1840-1911 (Ph.D . D issertation, U niversity o f C olorado

39.

1972), p. 303. Stephen P. B randon, Im proving the Low Register o f the Tuba, W oodwind World - Brass a n d Percussion, vol. 15, N o. 2, (1976), p. 50

40.

M orris, op. cit., p. 54.

41. 42.

B randon, op. cit., pp. 50-51. M orris, op. cit., pp. 53-54.

43.

Jacobs, Special Studies, p. 55-

44.

Bevan, The. Tuba Family, p. 79.

45.

Ibid.

46.

M ason, The Tuba H andbook, p. 17.

47.

B arton C um m ings, You need four Valves, W oodwind World - Brass a n d Percussion, Vol. 16, No. 2 (1977) p. 36.

48. 49.

B randon, op. cit., 51. Larry P. Pitts, U sing the First Valve Slide to A djust T uba In to n atio n , The Instrumentalist, Vol. 29, N o. 8 (1975), p. 52.

50.

C hester Roberts, E lem ents o f Brass In to n atio n , The Instrumentalist, Vol.

51.

A rth u r L. W illiam s, Im proving In to n atio n on Brass Instrum ents, M usic Journal A n im a l Anthology (1965).

52.

M ason, op. cit., p. 17.

53.

Eugene A nderson, Fourteen Ways to Im prove In to n atio n on T uba and E u p h o n iu m , T.U.B.A. Newsletter, Vol. 2, N o. 2 (1975), p. 1

54.

H augan, T.U.B.A . Profile, p. 6.

55.

R ichard C ohen, Playing the Softer D ynam ics, Brass a n d Percussion, Vol. 1, N o. 3 (1973), p. 10.

29, N o.

8 (1975). •

56.

Ibid.

57.

B ernard Fitzgerald, T one C ontrol, Brass Anthology (Evanston: T h e In strum entalist C o., 1974), p. 37.

58.

Ibid.

59.

B randon, Im proving the Low Register p. 51.

Arban Tuba FU N D A M E N TA LS • 1

F u n d am en tals

T

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P erform ance

uba

Air, Embouchure, Articulation, Intonation o p ening p o rtio n o f the Arban Complete M ethod fo r Trumpet was originally titled “First Studies. ” T hese very short etudes provide the conscientious tu b a stu d en t am ple m aterial to review all the basic aspects o f his/her approach to playing. O n e m ay utilize selected etudes to com plem ent a regular w arm -up ro u tin e or choose exercises th at em phasize a deficiency or assist w ith a chronic problem . T his section o f the A rban M ethod can be very valuable for use in rem edial w ork for the stu d en t whose rhythm ic sense is weak or w ho has sim ply n o t been properly trained in counting. A lthough it may seem a bit tedious, having the stu d en t co u n t aloud and tap w hole note and h a lf note m easures (w ith m etronom e), as well as quarter and eighth note etudes is tim e well spent. T h e practice suggestions provided by the editor for groups o f etudes are only suggestions for utilization o f these studies. T h ere are obviously m any useful ways to approach them . Generally, it is suggested th a t the perform er play these studies using a “normaT’ legato articulation and as full, sm ooth, and connected air stream as possible.

Etudes 1-6 Be certain you are thinking o f “releasing” each tone w ith the air— n o t “attacking" it w ith the tongue. Try starting the first n o te o f each group w ith no tongue, relying only on the air to com m ence the tone. R em em ber that good in to n a tio n begins w ith hearing these sim ple intervals in perfect tune. W h en practicing w ith a tuner, be sure th a t you are practicing hearing intervals in tune, n o t ju st single notes, for in actual perform ance it is your ability to perform intervals well in tune th a t counts.

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hile co n tin u in g to emphasize the sam e fundam ental concepts as the previous section, this p art o f the A rban m eth o d serves as a very useful rh y thm tutor. Basic syncopation, d o tted rhythm s, various sixteenth com bina tions, and com p o u n d m eter are introduced. T h e first few exercises in each area o f concentration are perfect rem edial m aterial for the stu d en t w ho has experienced difficulty w ith basic rhythm s. By the tim e such a student can play the final exercise in each group, that aspect o f rh y th m ic reading and perform ance should be satisfactorily mastered. T h e

sixteenth studies in particular may serve as a co n tin uan ce o f study o f articulation. Use o f a m etronom e is critical to progress in study o f this section. D o no t settle for less th an rh y th m ic perfection on any etude presented here. A ccuracy is m ore im p o rtan t than tem po, b u t be sure to challenge y ourself w ith tem pi as the rhythm s are mastered.

Etudes 1-12 T hese are studies in basic syncopation. It is suggested th at you set your m etronom e on the basic subdivision o f the beat for all these studies. Exaggerate the articulation o f the notes on the “weak” part o f the beat.

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