First Lessons on

Tuba
By Harvey Phillips
and Roger Rocco

T he tuba is particularly dif-

ficult for beginning stu-
dents because it outweighs
them by several pounds and is
A student who has learned to
inhale and exhale large quantities of
air is ready to buzz on the mouth-
piece. Again, simplicity is the key.
be 2/5-3/4 upper and VVV4 lower lip.
I have never seen a fine tubist who
did not use at least 50% upper lip,
and more is better, but teachers
probably about as tall as they are Begin by demonstrating a buzz so a should avoid the mistake of asking
when seated. With these problems student can see and hear buzzing students to move the mouthpiece
at the outset it is no wonder that lips before trying to make the sound. to an uncomfortable spot because
students often develop bad playing At this point it is not important this puts the focus on discomfort
habits that are difficult to change how the lips are formed, only that instead of sound. The mouthpiece
in later years. they make a loud buzzing sound. should be at an angle so the rim
Some students concentrate on the contacts the lips with equal pres-
Tone Production lips so much that they cannot pro- sure at all points. Every tubist will
Because the tuba is the largest duce a sound. When this happens, play at a slightly different angle to
wind instrument most young stu- ask them to make the sound of a maintain this • equal pressure
dents should start on a V4-size horse or a siren; this will distract because facial structures differ.
model. The first thing they them from thinking about moving Beginners should be told to place
should learn is how to blow a air and lips to produce a sound. the upper part of the mouthpiece
large quantity of air. Simplicity is After imitating a few other sounds, rim as high up on the upper lip as
the key to developing air flow. a buzz will usually come forth. possible, perfectly centered. If the
Before at-tempting to teach stu- When a buzz is established, it is mouthpiece moves from this posi-
dents to buzz the mouthpiece, time to add the mouthpiece. A tion and a student still sounds
they should imitate the sound of standard guideline for mouthpiece good, it means the student made
a vacuum cleaner by placing a placement is 43 to 3/4 upper lip and himself comfortable without being
forefinger in front of the mouth '/3 to 1/4 lower lip. However, most aware of a change.
and sucking air in with loud players instinctively place the Some beginners are allowed or
sounds. As with any instrument, mouthpiece in a comfortable posi- told to smile before the mouth-
explanations of the mechanics of tion. Watch out for students who piece contacts the lips. This is ler-
breathing are unnecessary and use too much lower lip in the rible because it destroys the firm
often confusing. Students will be embouchure. The lip ratio should corners that are essential to good
able to make air rush in simply by brass playing. Puffing the cheeks
imitating a vacuum cleaner. The also works against keeping the cor-
next step is to establish a flow of This article is included in the book ners of the mouth firm.
air in the opposite direction by First Lessons on Each Instrument, The large tuba mouthpiece is easy
making the same sound when available from this company. to buzz and should be used alone to
blowing air out. avoip the distractions of holding the
42 THE INSTRUMENTALIST / JANUARY 2CXW
 instrument, fingering the valves, or
reading music. About halt of begin-
ning students can buzz a distinguish-
able melody without any instruction;
the other half will produce only one
note. Just as children learn to speak
.at different rates, so do they learn to
create pitches at different rates.
Students who can only produce one
note are often analyzers, trying to fig-
ure out what to do with the lips to
play high and low. These students
, need to be distracted. One technique
to encourage them to play more than
one pitch is a high/low exercise that
begins with buzzing a high note fol-
lowed by a quick glissando to a low
note. Then they imitate the sound of
a siren, starting high and moving
low. Another technique is playing
soft/loud, having students produce
the one note softly and quickly make
it loud. Students usually blow fierce-
ly to produce a loud note and will
often change pitches without
intending to.

Articulation
Every tone on the tuba is 99% air
and 1% articulation, but clean, ing ability is limited or nonexist- Even tubas designed for begin-
clear articulation is an essential ent. If they were limited to speak- ners are two or three times larger
part of good musical technique. ing only words they could read, than the other brass instruments.
Any open vowel sound will work their language development would Beginners should not actually hold
for low brass players, but the most be severely delayed. With young or support the weight of the instru-
common syllable used in wind musicians directors should not ment but support it with either the
playing is ta. A closed vowel sound limit students to playing only chair on which they sit or a tuba
does exactly what it says and closes what they could read but should stand. The tripod type is the best
the air space. All forms of articula- teach articulation at an early tuba stand because it holds the
tion should be sung first, and a stage. Imitation games with the instrument in front of the player.
good way to introduce articulation teacher or student playing a Correct posture for playing the
is to have conversations with stu- rhythm for others to imitate do tuba is with a straight back, as if
dents using the word ta. After not involve any reading skills, so standing tall, so the instrument is
awhile, they say ta into the mouth- young students are able to play brought to the lips to play rather
piece. The tongue should refine advanced rhythms. than having the player slouch or
the beginning of a note but never stretch to reach the mouthpiece.
stop the sound. A good exercise is Playing Position Whenever students hunch over,
to play Name That Tune at every The critical moment for begin-
lesson; each student buzzes a tune ning tubists is the transition from
on the mouthpiece for the teacher mouthpiece alone to mouthpiece in Harvey Phillips is Distinguished
or other students to identify. the instrument. Because of its Professor of Music, Emeritus,
Beginning tuba students will tremendous size the tuba can be a at Indiana University and on
advance much faster by working the Board of Advisors of The
major distraction that is best dealt
on the mouthpiece alone than Instrumentalist.
with the instrument because with before trying to play it.
Students should learn how to hold Roger Rocco was principal
mouthpiece playing is not limited
the instrument, where to place their tubist with the Honolulu and
by technique or music-reading
hands, and how to support the Seattle Symphony orchestras.
limitations. The analogy of chil-
dren learning to speak is true here, instrument as separate issues, so He is a consulting editor to The
too. Children can converse at an when the time comes to play it, they Instrumentalist.
advanced level even if their read- do not focus on the instrument.
JANUARY 2008 / THE INSTRUMENTALIST 43
 their breathing is restricted. If they
University of Michigan School of
stand too straight or stretch, deep
Music, Theatre & Dance •Jf^i - nt •
breaths are also hampered. The
midsection should be pliable so
breathing is comfortable and con-
trolled. Both feet should be flat on
JL^Mtf^ &f]S^LjLj'i'i i u tfvt Exciting opportunities for high schoolers
the floor. As players become more
Slimmer 2008 Study with UM Music, Theatre, and Dance Faculty experienced they may make adjust-
ments to find the most comfortable
position. Once the instrument is
Double Reed Institute positioned correctly, it is good to
let students press the valves and
Nancy Ambrose King, Jeffrey Lyman
finger the instrument so they
June 29 -July 12 become adjusted to how this feels
and it does not distract them when
it is time to play the tuba.
The first note tubists play is usu-
I Flute Institute Saxophone Institute ally F2, but there are two
'if Amy Porter Donald Sinta ..£, approaches to playing this first
pitch. One is to loudly buzz the
p June29-July 12 June29-July 12 note on the mouthpiece held two
or three inches from the end of the
instrument. After a pause, buzz the
note again a little closer to the lead
June 29-July 12
pipe; pause and buzz a little closer
Theatre & Drama Academy - Gregory Poggi until the mouthpiece moves into
Vocal Arts institute - Jerry Blackstone, Paul Rardin, Julie Skadsem the lead pipe and the instrument
resonates. A second approach is to
July 6-July 26 buzz the pitch on the mouthpiece
Musical Theatre Workshop - Brent Wagner and without pausing or stopping
the pitch to put the mouthpiece
July 13-July 26 inside the instrument. With either
Performing Arts Technology Camp - Greg Laman approach the important step is to
Summer Dance Institute - Jessica Fogei buzz the F first. Players should
think in terms of sending a note £

through the instrument rather than

For more information or to request a brochure mindlessly blowing in it. A player
phone: 866-936-2660 • email: mpulse@umich.edu who cannot buzz F2 should start
website: www.music.umich.edu/mpulse with a pitch he can buzz. Fingering
is a complicated issue on wood-
winds, but on brass instruments it
is easy to push one valve down to
produce the pitch a student is
buzzing. The only guideline for fin-
gering a brass instrument, especial-
ly a tuba, is that the fingers should
BRAZILIAN CHOKD contact the top of the valves at all
 areness. Each pitch should first be after hour, but they will enjoy hear-
TGERS sung with a ta, then buzzed on the
mouthpiece before inserting the
ing a familiar tune they can hum
along with. This is a good reason
,f the Arts mouthpiece in the instrument. why one of the best sources of liter-
UNDERGRADUATE With beginners a good ratio is to ature for students is a hymnal.
PROGRAMS: sing and buzz tones three times as There are a number of good
. Bachelor of Music much as time spent playing the method books for beginning
. Music Education instrument. Students should sing tubists that do not call for transpo-
• classical Performance a pitch once, buzz it twice, and sitions. Walter Beeler has a terrific
• Jazz Studies then play it on the instrument. book, Method for Tuba (Warner),
. Bachelor of Arts in Music When the mouthpiece is added to which contains valuable pictures,
_ Music minor excellent lip-slur, warm-up, and
the instrument, the pressure of
the rim should remain equal rhythm exercises, and familiar
everywhere, even if this entails melodies and duets. Prep Band
angling the instrument to main- Method by Gerald Prescott
tain this pressure. (Schmitt, Hall & McCreary) is an
excellent beginner book that takes
Equipment a good pedagogical approach to
The best instruments for begin- melodies from symphonic litera-
ners are '/4-size or E^ tubas. These ture, and First Book of Practical
instruments are much lighter and Studies by R.W. Getchell (Belwin)
oss.rutgers.edu/admit.html is another fine publication. Other
smaller than any other tuba. Side-
and front-action tubas are easier for publications that are good for
beginners to play than top-action young players include Foundation
:es & Mutes tubas, which have upright valves to Tuba Playing by William Bell
that are difficult for small students to (Carl Fischer), VanderCook Etudes
For the Best Prices and
reach. With forward valves or side- for El» or BBt Bass (Tuba) by H.A.
Availability
action valves students can caress the VanderCook (Rubank), Basic
Visit www.dfmusicinc.com
instrument. Just as students cannot Techniques for Tuba by Nilo Hovey
Or Call 630-267-9828 write with broken pencils, so too do (Cole), and Rubank Elementary
Fax 630-357-7593 inferior instruments impede musical Method by Nilo Hovey (Rubank). D
progress. Every beginner should
have an instrument in good working New Avanti Flutes
order with valves that are tight and Conn-Selmer has announced the
properly aligned, and respond quick- introduction of the new Avanti
OF MUSIC ly when compressed or released. step-up flutes designed by Bickford
ENTERPRISE, IHC. It is important for the mouth- Brannen, founder of Brannen
piece to fit the instrument and Brothers Flutemakers. The flutes are
player. A large instrument with a manufactured in the company's
small mouthpiece or the converse Elkhart, Indiana woodwind facility.
does not respond well. The best Two models of Avanti flute are
mouthpieces for small players are available with various options. Both
ones with a shallow cup and a models have Sterling silver head-
moderate diameter of bowl. A joints. The model 2000 also fea-
large mouthpiece calls for a tures Sterling silver body, footjoint
<' ^ TO JULY 20. 2008 longer, stronger embouchure and tubing, and barrel and receiver. The
higher rate of air flow than begin- 2000 has a silver-plated mechanism
1111 ^ \Mrusor ners have.
"' u i i s AixurMuscourcu and a 10K gold springs set. The
P||IR. MINNESOTA model 1000 is identical except that
Beyond the First it has a silver-plated body and
: ; i ; -\NO.
ORCHESTRA.
""! A N H K I Y B O A R P
Three Lessons footjoint tubing as well as steel
Tuba parts in ensemble pieces are springs, (www.conn-selmer.com)
generally very dull, so teachers
should assign other music to keep Contact The Instrumentalist
REGIST players interested. The family of a Letters to the editor, questions,
young tubist will appreciate a vari- comments, and article submissions
ety of challenging and rewarding can be e-mailed to us at insteditor
°larships and financial music. No parent wants to hear a @instrumentalistmagazine.com or
a'd are available. youngster hammer away at scales, mailed to 200 Northfield Road,
tetrachords, and arpeggios hour Northfield, Illinois 60093.