Cc Tuba Finger Chart? Best 66 Answer

I’m trying to figure out what kind of tuba I have. Is it Bb, C or Eb?

I’ve searched the internet for fingering charts to try and play a scale on and nothing seems to work. I can’t figure out what octave I’m in either.

I started out using trumpet fingerings to play a C scale (Bb concerto) and it worked – but then I realized that this would mean playing a C tuba, which I’m not sure.

Simply put, I am completely at a loss here and am hoping someone out there can give me a quick and easy guide.

I haven’t come back since I picked up the tuba in high school.

It’s my main instrument and what I love most I’ve ever played.

And no matter how many people I play for or who they are, I’m always asked to play the lowest note I can play (it’s pretty low).

The real question everyone wants to know is what is the lowest note a tuba can play?

The lowest functional note a tuba can play depends on its key or tuning and the number of valves, but the general answer for a BBb tuba is E1. This note uses all three standard valves, which are depressed below the root pitch.

Is that the lowest possible note?

Not at all, but this topic is a bit complicated.

Read on for these details on low notes for the tuba.

What is the lowest note on tuba for a normal composition?

When composing or arranging for the tuba, you must consider the level of the tuba player you are writing for.

Most high school-level tuba players have a three-valve BBb tuba (commonly referred to as a Bb tuba).

This means that their open-valve low note is Bb1 (two octaves and a major second below), middle C, or C4.

From here, if you push all your valves down and make the horn as long as possible, you play E1.

With no other valves, this is the lowest practical pitch.

A good player might be able to pop out a pedal Bb0 (yes, a zero), but will not be able to play the notes in between without valves.

Note: This hint is not practical, however. Low E1 is the lowest note you should be writing for.

If you’re writing for higher levels of music (e.g. orchestral and concert band pieces for really good high school or beyond) then you can assume that grades down to the low D1 are fair game.

For tuba solos, every note is really fair game.

It’s possible to play your pedal tone (an octave below standard pitch) and then add more valves and “lip down” to pay even lower.

This takes practice and adjusting your approach or mouth shape to get those notes out.

See our tips on playing the tuba deeper in the later section for more information.

Lowest tuba note written

In tuba solos, there are some modern pieces that use the pedal section.

Pedal notes refer to when the player needs to open their jaw and play below their fundamental pitch.

All instruments in the brass family can technically use these tones, but the smaller mouthpieces of the trumpet and French horn make these tones sound weak and airy.

Trombones and euphoniums (also called baritones) can play pedal tones fairly well, but not quite as well and easily as the tuba, which has the largest mouthpiece.

The deepest tuba note actually written for a piece is widely believed to be in the play Encounters II by William Kraft.

In it he calls for a C 4 octaves below middle C or 5 major lines and a space below the bass clef.

This is C0 and can only be played by a C tuba (technically a CC tuba).

Here’s a link to that piece if you want to listen to the whole thing.

In addition, it is common for higher level bands to “drop the octave” at dramatic points when there is more than one tuba player in the band.

As a result, a good player may even play under C0 if he wants and can.

Most of the time, the vibrations are so slow that the notes aren’t even heard. But the wavelengths are so long you can feel them.

Even better are times when four tubas play special music like those brass bands or professional win ensembles.

In these cases, you may end up with tubas spread across four octaves, including these pedal notes for a unique pitch-boosting effect that enhances that deep and deep tuba sound for the ensemble to immerse themselves in.

Table of lowest notes by tuba clef and valve combination

Tubas are essentially a long whistle that you hum into.

The length of the whistle or tube directly correlates to the pitch that comes out.

The longer the tube, the lower the note.

When the tuba is not depressing any valves and is playing its lowest note (not pedal), it is playing the brass instrument’s fundamental pitch.

Each valve adds a little more tubing to the instrument when pressed, making it longer and deeper to play.

So, to find the lowest note by tuba type, we need to know the following:

His keynote.

How many valves does it have.

This chart is a quick cheat sheet for the lowest practical grade for each type of tuba, given how many valves it has.

This isn’t a list of every tube out there, but they are the most common.

Key or Type of Tuba Number of Valves Lowest Practical Note F Tuba 4 Ab1 Eb Tuba 4 Gb1 CC Tuba 4 Eb1 CC Tuba 5 Db1 BBb Tuba 3 E1 BBb Tuba 4 Db1

F tuba and Eb tubas are more specialized tubas found at higher levels of playing.

Check out our list of the best F-Tubas.

They somehow fit between the standard tuba and the euphonium.

They are also called solo tubas.

You’ll usually see them on professional players playing solos.

You can also see them in brass quintets and marching bands.

A CC tuba (often just called a C tuba) is a standard-sized tuba for people playing at a really good high school, college, or professional level.

CC tubas are used over BBb tubas because the fingerings are based on the key of C, making them more versatile for sharp keys used in many orchestral pieces and solos.

Band wind instruments mostly play in flat keys. Orchestral wind instruments usually play in sharp keys.

9 tips: How to play the tuba low

Playing the lower notes on the tuba takes practice and adjusting your embouchure to a more relaxed and open position. General tips for playing lower are:

brass instrument

The tuba ( ;[1] ) is the lowest musical instrument in the brass family. As with all brass instruments, the sound is produced by lip vibration – a hum – into a mouthpiece. It first appeared in the mid-19th century, making it one of the newer instruments in modern orchestras and wind bands. The tuba largely replaced the ophicleide.[2] Tuba is Latin for “trumpet”.[3]

A person who plays the tuba is called a tuba player, tuba player[4] or simply a tuba player. In a British brass band or military band, they are known as bassists.

history [edit]

Tuba by Wieprecht & Moritz as described in Prussian Patent No. 19.

Prussian patent no. 19 was granted to Wilhelm Friedrich Wieprecht and Johann Gottfried Moritz (1777–1840)[5] on September 12, 1835 for a “bass tuba” in F1. Wieprecht and Moritz’s original instrument used five Berliner pump-type valves, which were the forerunners of the modern piston valve. The first tenor tuba was invented in 1838 by Carl Wilhelm Moritz (1810–1855), son of Johann Gottfried Moritz.

The addition of valves made it possible to play low in the instrument’s harmonic series and still have a full range of notes. Before the invention of valves, brass instruments were limited to notes in the harmonic series and were therefore generally played very high in relation to their fundamental. Harmonics that start three octaves above the fundamental pitch are spaced about a whole step apart, allowing for a useful variety of notes.

The ophicleide used a cup-shaped mouthpiece for brass instruments, but used keys and tone holes similar to those of a modern saxophone. Another precursor to the tuba was the snake, a bass instrument that was shaped in a wavy manner to expose the tone holes to the player. Tone holes altered pitch by creating a deliberate leak in the instrument’s bugle. Although this changed the pitch, it also had a significant effect on the timbre. By using valves to adjust the length of the bugle, the tuba produced a smoother tone that eventually led to its popularity. These popular instruments were mainly written by French composers, most notably Hector Berlioz. Berlioz wrote famously for the ophicleide in his compositions Symphonie fantastique and Benvenuto Cellini (opera). These pieces are now usually performed on F or CC tuba.

Adolphe Sax, like Wieprecht, was interested in marketing instrument systems from soprano to bass and developed a range of brass instruments known as saxhorns. The instruments developed by Sax were generally tuned in E♭ and B♭, while the Wieprechter “bass tuba” and subsequent Cerveny contrabass tuba were tuned in F and C (see below for pitch systems). Saxophone instruments gained dominance in France and later in Britain and America as a result of the popularity and movements of instrument makers such as Gustave Auguste Besson (who moved to Britain from France) and Henry Distin (who eventually found his way to America). .[6]

The cimbasso can also be seen in the orchestral repertoire instead of a tuba. The name is translated into German from “corno in basso”. The original design was inspired by the ophicleide and bassoon.[7] The cimbasso is rare today but is sometimes used in historically accurate performances.

role [edit]

An orchestra usually has a single tuba, although an additional tuba can be requested. It serves as the bass for the orchestral horn section and can reinforce the bass parts of the strings and woodwinds. It provides the bass of brass quintets and choirs (although many small brass ensembles use the euphonium or bass trombone as the lowest voice). It is the principal bass instrument in concert bands, marching bands, and military bands, and these ensembles generally have two to four tubas. It is also a solo instrument.

Tubas are used in marching bands, drum and bugle corps, and in many jazz bands (see below). In British-style marching bands, two E♭ and two B♭ tubas are used and called basses.

Known and influential parts for the tuba are:

Concertos have been written for the tuba by many notable composers including Ralph Vaughan Williams (Tuba Concerto), Edward Gregson, John Williams, Alexander Arutiunian, Eric Ewazen, James Barnes, Joseph Hallman, Martin Ellerby, Philip Sparke, Kalevi Aho, Josef Tal, Bruce Broughton (Tuba Concerto), John Golland, Roger Steptoe, David Carlson, Jennifer Higdon (Tuba Concerto) and Marcus Paus (Tuba Mirum).

Types and construction[edit]

♭ and two BB♭ tubas Tuba section (known as the “bass section”) in a British-style marching band, consisting of two E and two BB tubas

Tubas can be found in different pitches, most commonly in F, E♭, C or B♭. The key of a tuba depends on the fundamental pitch of the instrument, or the root in the series of overtones (also called partials) that are available without depressing valves. Tubas in different keys use different tube lengths. The main tube of a B♭ tuba is approximately 5.5 m long, while that of a C tuba is 4.9 m, an E♭ tuba is 4.0 m, and an F tuba is 12 feet (3.7 m). The instrument has a conical bore, i.e. the bore diameter increases depending on the length of the hose from the mouthpiece to the bell. The tapered bore causes the instrument to produce mostly even harmonics.

A tuba whose tubing is wrapped to place the instrument on the player’s lap is usually referred to as a concert tuba or simply a tuba. Tubas with the bell pointing forward (Pavillon Tournant) rather than up are often referred to as recording tubas because of their popularity in the early days of music recording, as their sound could more easily be directed towards the recording microphone. When wrapped to encircle the body for cavalry bands on horseback or when marching, it is traditionally known as a helicon. The modern sousaphone, named for American bandmaster John Philip Sousa, resembles a helicon with the bell pointing up (in the original models as the J.W. Pepper prototype and Sousa’s concert instruments) and then bent forward (as developed by Conn and others ). Some ancestors of the tuba, such as the military bombardon, had unusual valve and bore arrangements compared to modern tubas.

During the American Civil War, most marching bands used a branch of the brass family known as saxhorns, which by today’s standards have a narrower bore than the tuba – just like true cornets and baritones, but unlike trumpets, euphoniums, and others with other tapers or no taper. Around the onset of the Civil War, saxes made in the US for military use were commonly wound with the bell pointing backwards over the player’s shoulder and these were known as over-the-shoulder saxes and were in Sizes from cornets down to E♭ basses. However, the E♭ bass, despite having the same tube length as a modern E♭ tuba, has a narrower bore and thus cannot be referred to by the name tuba except for convenience when comparing it to other sizes of saxhorn.

Most music for the tuba is written in bass clef at concert pitch, so tuba players need to know the correct fingerings for their specific instruments. Traditional British-style marching band parts for the tuba are usually written in treble clef, with the B♭ tuba sounding two octaves and a step below and the E♭ tuba sounding an octave and a major sixth below the written pitch. This allows musicians to switch instruments without learning new fingerings for the same written music. Consequently, the tuba is a transposing instrument when its music is in treble clef, but not when the music is in bass clef.

The lowest tubas are the contrabass tubas, tuned to C or B♭, called CC and BB♭ tubas, respectively, based on a traditional distortion of a now-obsolete octave naming convention. The fundamental pitch of a CC tuba is 32 Hz and a BB♭ tuba is 29 Hz. The CC tuba is used as an orchestral and concert band instrument in the United States, but BB♭ tubas are the double bass tuba of choice in German, Austrian, and Russian orchestras . In the United States, the BB♭ tuba is most common in schools (largely due to the use of BB♭ sousaphones in high school marching bands) and for adult amateurs. Many professionals in the US play CC tubas, BB♭ also being common, and many practice using all four pitches of tubas.

Comparison of euphonium (left) and tuba (right)

The next smaller tubas are the bass tubas, tuned in F or E♭ (a fourth above the contrabass tubas). The E♭ tuba often plays an octave above the double bass tubas in marching bands, and the F tuba is commonly used by professional players as a solo instrument and in America to play higher parts in classical repertoire (or parts originally written for). the F tuba, as is the case with Berlioz). In most of Europe, the F tuba is the standard orchestral instrument, supplemented with CC or BB♭ only when the extra weight is desired. Wagner, for example, specifically notates the low tuba parts for double bass tuba, which is played on CC or BB♭ tubas in most regions. In the United Kingdom, the E♭ is the standard orchestral tuba.

Sometimes called the tenor tuba, the euphonium is tuned to B♭, an octave higher than the BB♭ double bass tuba. The term “tenor tuba” is often used more specifically to refer to rotary-valve B♭ tubas tuned in the same octave as euphoniums. The “Kleine Schweizer Tuba in C” is a tenor tuba tuned to C, equipped with 6 valves to enable the lower notes in the orchestral repertoire. The French C tuba was the standard instrument in French orchestras until it was overtaken by F and C tubas since World War II. A popular example of the use of the French C tuba is the Bydło movement in Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition, although the rest of the work was also written for this instrument.

Larger BBB♭ subcontrabass tubas exist but are extremely rare (there are at least four known examples). The first two were built by Gustave Besson at the suggestion of John Philip Sousa in BBB♭, one octave below the BB♭ contrabass tuba. The Monster Instruments were only completed shortly after Sousa’s death. Later, in the 1950s, British musician Gerard Hoffnung commissioned the London company Paxman to create a sub-contrabass tuba in EEE♭ for use at his comedic music festivals. A tuba tuned to FFF was probably made by Bohland & Fuchs in Kraslice in 1910 or 1911 and was destined for the 1913 New York World’s Fair. Two players are required; one to operate the valves and one to blow into the mouthpiece.

Size vs pitch[edit]

In addition to the length of the instrument, which determines the fundamental pitch, tubes also vary in the overall width of the tube sections. Tuba sizes are usually denoted by a quarter staff, with 4⁄4 denoting a regular full-size tuba. Larger rotating instruments are known as Kaiser tubas and are often denoted 5⁄4. Larger piston tubas, particularly those with front action, are sometimes referred to as large orchestral tubas (examples: the 1930s Conn 36J Orchestra Grand Bass and the current model Hirsbrunner HB-50 Grand Orchestral, which is a replica of the York tubas owned by the Chicago Symphony Orchestra). Large orchestral tubas are commonly referred to as 6⁄4 tubas. Smaller instruments can be referred to as 3⁄4 instruments. There are no standards for these designations and their use is up to the manufacturers, who typically use them to distinguish instruments in their own line of products. The size designation refers to the larger outer branches and not to the bore of the hose at the valves, although the bore is usually given in the instrument specs. The quarter system is also not directly related to bell size, although there is usually a correlation. 3⁄4 tubas are common in American elementary schools for young tuba players who may find a full-size instrument too cumbersome. Although smaller and lighter, they are tuned and adjusted identically to full-size tubas of the same pitch, although they usually have 3 valves instead of 4 or 5.

Valves [ edit ]

Tubes are made with either piston or rotary valves. The rotary valves invented by Joseph Riedl are based on a design included in the original 1818 valve patents of Friedrich Blühmel and Heinrich Stölzel. Červeny from Graslitz was the first to use real rotary valves from the 1840s or 1850s. Modern piston valves were developed by François Périnet for the saxhorn family of instruments promoted by Adolphe Sax around the same time. The pistons can either be oriented facing towards the top of the instrument (top-action, as shown in the image at the top of the article) or out the front of the instrument (front-action or side-action).

Piston valves require more maintenance than rotary valves – they need to be oiled regularly to keep them working freely, while rotary valves are sealed and rarely need oiling. Piston valves are easy to disassemble and reassemble, while rotary valves disassembly and reassembly is much more difficult and is generally left to qualified instrument repair personnel.

Tubes generally have three to six valves, although there are some rare exceptions. Three-valve tubas are generally the cheapest and used almost exclusively by amateurs, and the sousaphone (a marching version of a BB♭ tuba) almost always has three valves. Among advanced players, four- and five-valve tubas are by far the most common choice, with six-valve tubas being relatively rare, except for F-tubas, which tend to have five or six valves.

Tuba with four rotary valves

The valves add tubing to the main pipe of the instrument, lowering its fundamental pitch. The first valve lowers the pitch by a whole tone (two semitones), the second valve by a semitone, and the third valve by three semitones. Used in combination, the valve tube is too short and the resulting pitch tends to be sharp. For example, a BB♭ tuba (actually) becomes an A♭ tuba when the first valve is pressed. The third valve is long enough to drop the pitch of a BB♭ tuba three semitones down, but it is not long enough to drop the pitch of an A♭ tuba three semitones. Thus, the first and third valves used in combination lower the pitch by almost five semitones, and the first three valves used in combination are almost a quarter tone higher.

The fourth valve is used in place of combinations of the first and third valves, and the second and fourth valves are used in combination in place of the first three valves in combination. The fourth valve can be set to lower the main tube pitch by exactly five semitones, and thus its use corrects the main problem of overly sharp combinations. By using the fourth valve alone to replace the first and third combinations, or using the fourth and second valves instead of the first, second, and third valve combinations, the notes these fingerings require are better in tune. The fourth valve, used in combination with the first three valves, fills in the missing notes in the lower octave, allowing the player to play chromatically down to the instrument’s fundamental pitch. For the reason given in the preceding paragraph, some of these notes tend to be sharp and must be “lip tuned” by the player.

A fifth and sixth valve, when present, are used to provide alternate fingering options to improve intonation, and are also used to get into the instrument’s lower registers, where all valves are used in combination to provide the first octave between the Root to fill pitch and the next available note on the open tube. The fifth and sixth valves also give the musician the option to trill more gently or use alternative fingerings for ease of playing. This type of tuba is most commonly found in orchestras and concert bands around the world.

The bass tuba in F is a fifth above the BB♭ tuba and a fourth above the CC tuba, so it requires more than four valve tubing length to play safely down to a low F, as required in much tuba music is. The fifth valve is commonly tuned to a flat whole tone, so when used with the fourth valve it gives a low-pitched B♭. The sixth valve is commonly tuned as a flat half step, allowing the F tuba to play the low G as 1-4-5-6 and the low G♭ as 1-2-4-5-6. On CC tubas with five valves, the fifth valve can be tuned as a flat whole tone or as a minor third, depending on the instrument.

Balancing valves[ edit ]

Some tubas feature a compensation system to allow for accurate tuning when multiple valves are used in combination, simplifying fingering and eliminating the need to constantly adjust slide positions. The most popular of the automatic compensation systems was invented by Blaikley (Bevan, 1874) and patented by Boosey (later Boosey and Hawkes, who later also made Besson instruments). The patent on the system limited its use outside Great Britain and to this day tubes with balancing valves are mainly popular in the United Kingdom and the countries of the former British Empire. The Blaikley design pipes the instrument so that when the fourth valve is used, the air is routed back through a second set of branches in the first three valves to compensate for the valve combination. This has the disadvantage of making the instrument significantly “stuffier” or more resistant to air currents compared to a non-compensating tuba. This is because the air has to pass through the valves twice. It also makes the instrument heavier. But many prefer this approach to adding valves—or manipulating tuning slides while playing—to achieve improved intonation within an ensemble. Most modern professional euphoniums now also feature Blaikley-style compensating valves.[8]

Resonance and false tones[edit]

Some tubas have a strong and useful resonance that is not in the well-known harmonic series. For example, most major B♭ tubas have a strong resonance at low E♭ (E♭ 1.39 Hz), which lies between the fundamental and the second harmonic (an octave higher than the fundamental). These alternative resonances are often referred to as false tones or privileged tones. These alternate resonances add the six semitones provided by the three valves, and cause the instrument to play chromatically down to the open bugle root (which is a 29 Hz B♭ 0). Adding valves below this note can lower the instrument another six semitones to 20 Hz E 0. Even three-valve instruments with good alternative resonances can produce very deep sounds in the hands of experienced players; Instruments with four valves can play even deeper. The lowest note in the well-known repertoire is a 16 Hz double-pedal C 0 in William Kraft’s Encounters II, often played with a timed flutter tongue rather than lip humming. The fundamental of this pitch borders on infrasound and its overtones define the pitch in the listener’s ear.

The most convincing explanation [according to whom?] for wrong notes is that the horn functions as a “third of a whistle” rather than a half-whistle. The bell remains a belly, but there would then be a knot a third of the way back to the mouthpiece. [why?] If so, it seems that the fundamental is completely absent and is derived only from the overtones. However, the knot and the antinode collide in the same place, canceling the fundamental. [Clarification required]

Materials and processing[edit]

The tuba is generally made of brass, either untreated, lacquered, or electroplated with nickel, gold, or silver. Unfinished brass eventually tarnishes and therefore needs regular polishing to maintain its appearance.[9]

Manufacturer [edit]

There are many types of tubes manufactured in Europe, the United States and Asia. In Europe, the predominant models used professionally are Meinl-Weston (Germany) and Miraphone (Germany). Asian brands include Yamaha Corporation (Japan) and Jupiter Instruments (Taiwan). Holton Instrument Company and King Musical Instruments are some of the most well-known brands from the United States.[10]

Variations[edit]

Some tubas can be converted into a marching style known as “marching tubas”. In addition to the valves, a leadpipe can be screwed on by hand. The tuba then usually rests on the left shoulder (although some tubas allow the use of the right shoulder), with the bell directly in front of the player. Some marching tubas are only for marching and cannot be converted into a concert model. Most marching bands opt for the sousaphone, an instrument that is easier to carry as it was invented specifically for this and is almost always cheaper than a real marching tuba.[11] The former helicon is still used by bands in Europe and other parts of the world. However, drum and bugle corps players generally use marching tubas or double bass bugles. Standard tubas can also be played standing up. With the player’s comfort in mind, companies have provided harnesses, sometimes using a strap attached to the tuba with two rings, a “sack” to hold the bottom of the tuba, or numerous straps connecting the larger parts of the tuba Hold the tuba on the tuba. The straps go over the shoulder like a sash or sit at the waist, allowing the musician to play the instrument in the same position as when seated.

jazz [edit]

The tuba has been used in jazz since the genre’s inception. In the early years, bands often used a tuba for outdoor performances and an upright bass for indoor performances. In this context, the tuba was sometimes referred to as the “brass bass” in contrast to the double bass (string bass). Many musicians played both instruments.

This practice was primarily used in the New Orleans jazz scene. The tuba was used most frequently with the Louis Armstrong groups and prominently on the Hot Five album.

It is not unknown in modern jazz for its players to take solos. New Orleans-style marching bands such as the Dirty Dozen Brass Band and the Rebirth Brass Band use a sousaphone as their bass instrument. Bill Barber played tuba on several of Miles Davis’ albums, including the sessions compiled as Birth of the Cool and Miles Ahead. The New York-based tuba player Marcus Rojas performed frequently with Henry Threadgill.[12] Beginning in 1955, Stan Kenton made his fifth trombonist double on the tuba, on Ballads, to take advantage of the tuba’s distinctive warm, enveloping sound.

See also[edit]

Learning to play the tuba can be a fun and exciting adventure, but becoming familiar with the larger-than-average instrument can be challenging, especially for those new to the instrument, younger students, or those who feel they are learning it could also be small to handle the instrument. Whether you’re brand new to the world of music or are transitioning to the tuba from another instrument, there are a few important things to keep in mind. From perfecting your posture to finding the right horn, below is some of our top advice. If you have a specific issue that isn’t covered on this list, speak to your marching band teacher for advice specific to your situation.

Find the right tuba

Finding the right size horn is especially important when playing tuba in a marching band, but is still important for any type of player. Tuba beginners should start with a ¾ size tuba and handy cases, otherwise they will feel uncomfortable playing the tuba and frustrated with transporting them – not a good formula for storage! Weight is another thing to consider. While modern tubas typically weigh less than 30 pounds, it is not uncommon for older instruments to weigh 50 pounds or more. By considering both size and weight, you should be able to find a horn that doesn’t tire you.

The 105’s smaller size makes it an ideal instrument for beginners, and its many good qualities make it an instrument you can stick with as you progress. Hand-lapped butts and slides, precise strut design and placement, extended leadpipe taper, and a specially designed bell flare make it authoritative in tone, light in response, flawless in intonation, and extremely durable. And all this at a remarkably low price. The 105’s smaller size makes it an ideal instrument for beginners, and its many good qualities make it an instrument you can stick with as you progress. Hand-lapped butts and slides, precise strut design and placement, extended leadpipe taper, and a specially designed bell flare make it authoritative in tone, light in response, flawless in intonation, and extremely durable. And all this at a remarkably low price.

Prepare your body

While probably every tuba player would wish to be able to play while seated, this is not always an option. Whether you’re in a marching band or need to stand during the performance, generating enough airflow to sustain low notes while walking or standing is challenging. For this reason, every tuba player should prepare his mind and body for the instrument. Tuba players should prepare for marching band season by acclimating to the heat, humidity, and physical demands of the season. Try walking or jogging with a weighted backpack, wear your mouthpiece on walks or runs, or consider going to your local gym for a strength workout.

Establish an exercise plan

When learning the instrument alone (rather than as part of a marching band where practice is scheduled), you may find that you get the best results if you stick to a consistent practice routine. Begin with a 5-10 minute warm-up before turning to the sheet music and make sure your practice space is free of distractions. To make the time you spend practicing as effective as possible, start each session with a clear goal in mind. Whether it’s making progress on your approach or playing a piece of music flawlessly from start to finish, when you practice with purpose, you’ll find that your practice time is more enjoyable. Finally, don’t count the minutes you practice against a standard someone else made up. As long as you feel you are making progress, practice as long as you like.

record yourself

Unless your pitch is perfect, or someone in your house is a musician, you probably won’t be able to honestly evaluate your practice, at least not initially. For this reason, record yourself with a portable device or your phone and make a point of listening to your game and being honest about it. Follow this process (record, listen, critique, practice) and you will actually hear your game improving. To really evaluate your progress, save the older recordings and compare them to the newest ones. If you focus on practicing as you should be, the difference between day 1 and day 15 should be day and night.

Challenge yourself

Once you’ve played a little and have a reasonable command of the instrument, there’s no reason why you shouldn’t challenge yourself. Whether you’re immersing yourself in a challenging musical environment or making a list of far-fetched goals, you’ll see more improvement if you force yourself to face the situation. If you’re taking group classes, don’t wait for your teacher to introduce something new, as he or she will have to wait for everyone to be on the same page before moving on to anything new. Surf the web, join a group, or even sign up for private lessons—do whatever you need to do to truly challenge yourself to become a better musician.

Practice correct posture

The key to proper posture is to keep your chest up and out to breathe properly. When you are able to breathe, the other elements of correct posture should fall into place. These elements include getting your feet flat on the floor, sitting on the edge of your chair, keeping your back straight and shoulders back, down and relaxed, and always looking to the horizon. To get a feel for proper posture, find a flat wall in your home. Stand with your back to the wall so that your heels, shoulder blades and the back of your head are touching the wall. You may find that your chest is higher than ever and you may even feel uncomfortable at first. You should imitate this feeling while sitting.

Not every day will be good

The fact is, there will be days when you can’t concentrate or play the tuba at its best. If you’re having a bad tuba day, don’t worry about it too much – just grab your tuba and play through your favorite tunes. If you just can’t get through, put the tuba down and pick it up later. Or skip practicing that day altogether. Remember, learning tuba won’t always be easy: there will be days when you get up, days when you’re down, and days when you’re somewhere in between. just stick with it Most importantly, have fun! If you don’t seem fun or afraid to sit down and play the tuba, you might want to consider switching to a different instrument. After all, the tuba is not for everyone!

If you haven’t bought a tuba yet, check out our tuba buying guide.

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Largest brass instrument The double bass tuba is 2.28 m 7 ft 6 in high, with a 11.8 m 39 ft tube and a bell with a diameter of 1 m 3 ft 4 in. It was used for a world tour by American composer John Philip’s band Sousa (1854-1932) built, c. 1896-98 and is now owned by a circus promoter in South Africa.

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The root of the problem is that what trumpeters refer to as “pedal tones” depends on how “pedal tones” are defined.

Pedal tones are usually defined as the fundamental pitch on most brass instruments….

Trumpets, however, are a slightly different animal. First, the trumpet’s design has an acoustic impedance that causes its “Pedal C” under the treble clef staff to not work acoustically quite like the other brass instruments. In addition, trumpeters usually speak of the pitches between low F# and pedal C as “pedal tones”. In contrast, other brass players tend to call these “wrong notes”. (SOURCE)

Confusion arises as to whether “pedal tone” is synonymous with “fundamental” or if it means “fundamental, also natural for the instrument”.

The pitches that trumpeters call “pedal tones”—the pitches from F below the lowest F#, descending to C below (written) middle C—are the fundamental pitches of the instrument, but they are not natural to the instrument. In the tuba and trombone, on the other hand, the pedal tones (fundamentals) are a naturally occurring sound.

Certain low brass instruments, such as the trombone, tuba, euphonium, and alto horn, are whole-tube and can play the root of each harmonic series with relative ease. (SOURCE)

The previous article continues:

The fundamental is chromatically discontinuous, with the lowest 2nd harmonic accessible on a three-valve instrument or via the seven-position slide on a trombone. Trombone and tuba in particular are often called upon to play pedal tones and “false tones” or “privileged tones” that have a pitch between the normal range and the root.

Tuba and trombone differ from trumpets in that the fundamental pitches of the trumpet do not deviate discontinuously from the normal range of the instrument. One can play “trumpet pedal tones” from C to F and then transition to the normal range of the instrument with F#. On the other hand, low brass pedal tones “sound good” while the trumpet’s “pedal tones” have a distinctly different timbre than the rest of its range.

The key to all of this lies in the differences in the construction of the instruments, particularly the width and “tapering” of the bore. “All-tube” instruments (see above) have a larger bore, allowing for a “real” pedal tone to be produced. This is in contrast to “semi-tubular” instruments which have a narrower bore.

All-tube instrument – ​​a brass instrument capable of playing its fundamental note (the so-called pedal note).

Half-Tube Instrument – a brass instrument that cannot reproduce its fundamental pitch.

What makes an instrument a full or half tube? There are two factors. One is how wide the bore is…. The second factor is how tapered the bore of the instrument is. (SOURCE)

(Note that the article above goes on to say that “all” and “half-tube” are messy concepts and it’s better to look at the actual capability of the instrument.)

Therefore, low brass can produce both “pedal tones” (fundamental) and “false tones” (between the fundamental and the second harmonic); Trumpets can play the root note, but these pitches are more like the so-called “false notes” in low brass.

Not being a brass player myself, I have based my knowledge on working with and hearing comments from many brass players and their students over the years. The essence of playing an instrument competently, I should add, is often a long and arduous path of study that is both bitter and sweet.

The most difficult brass instrument to play

The French horn is considered one of the most demanding brass instruments. It’s also one of the most commonly used brass instruments in an orchestra, both as a soloist and for those epic film scores that wouldn’t be nearly as inspirational without the French horn section. Part of the difficulty in playing this magnificent instrument lies in its construction.

When you see a french horn, you see a corrugated brass tube that opens into a bell. If this tube were unrolled into a straight tube, it would be about 14 feet long. It is the length of the tube that presents the playing problems. With such a long piece of brass, it’s very difficult to hit the middle of a note because the “partials” are very close together on the instrument. This means that there is a high probability that the inexperienced player will “split” the note and slip from the intended note to the nearest partial.

The cup at the mouthpiece of the French horn is flat compared to other brass instruments. This also poses a challenge in playing the instrument as it requires precise use of the approach which I understand takes years to form appropriately.

The post horn looks similar to the French horn. There are two versions of this instrument, which can often cause confusion. The wound post horn is an instrument while the coach horn is not wound but straight.

Another distinguishing feature is that the carriage horns were made of copper, but the post horn was made of brass and had a cylindrical bore as opposed to the conical bore inside the carriage horn. As you can imagine, the post horn was an instrument put to good use by stagecoach attendants in the 18th and 19th centuries. Its range is based on the pitches you can produce through the harmonic series since it has no valves or sliding mechanism. This in itself presents quite a challenge for anyone wanting to play the instrument, although the limited range of both instruments makes them a bit more accessible than other instruments.

The piccolo trumpet is often considered the most difficult brass instrument to play. Not only does it have the built-in difficulties of most other instruments in the brass family, but it has many unique quirks. The piccolo trumpet is not as rare an instrument as it once was and is not uncommon in many contemporary orchestral scores. It is also an important instrument in works such as JS Bach’s “Brandenburg Concerto” No. 2. In this piece, the trumpet lends a luster to the entire concerto that could not be reproduced by any other instrument.

Due to the construction of the piccolo trumpet, the strength of the embouchure required to produce a good sound is far greater than that of a regular Bb trumpet. As a result, the piccolo trumpet has become a specialty instrument, with players such as Maurice André making careers playing and arranging works for the instrument.

The trombone is an instrument often associated with comic effects rather than being hailed for its warm timbre, powerful dynamic range, and expressive potential. Multiple trombones are common today, with the “tenor trombone” perhaps at the head of this family. There are also the bass and alto trombones that complete this brass-colored picture.

What makes the trombone unique is the fact that (valve trombones aside) the change in pitch is produced by changing the position of a slide. The slide mechanism is the perfect way to create the comedic glissando effect I mentioned earlier, but it’s also a great challenge for anyone learning to play the trombone. In order to play a specific pitch, you need to know exactly where to position the slide. Movement in either direction changes the note (which can be used for vibrato), but can also result in an unintended pitch.

Diving into the deeper reaches of the brass family, we come to the tuba. These majestic instruments, like others in the brass family, come in a variety of styles, from the F tuba to the Bb contrabass tuba. Most tubas have three or four valves, but some variants originate in Germany with up to six valves and different standard ranges. The sheer size of the tuba makes it quite a challenging instrument to play. For example, there is a significant amount of tubing that makes up a bass tuba and this requires a strong lung capacity to sustain a melodic line.

On the plus side, the tuba tends not to be an instrument that appears in concert or dominates the melodic landscape in an orchestral setting. Instead, in many compositions, the tuba tends towards the supporting bass line, perhaps making the challenges of performance a little less daunting. However, there are solo works for the tuba, and I heard an amazing arrangement of Rimsky-Korsakov’s “Flight Of The Bumble Bee” performed on a tuba. Something I never expected, but something that demonstrates the potential of this noble instrument.

Perhaps not strictly a brass instrument, although the mouthpiece is very similar to that of contemporary brass instruments, the Serpent is one instrument I wanted to mention. It was popular in the medieval musical era and was usually made of hardwood covered with leather. There is also a metal version. Because of its snake-like shape and the odd mix of tone holes and brass keys used to produce different tones, it must have been a difficult instrument to play by any standard. The serpent is considered the forerunner of today’s tuba.

Learning to play the tuba can be a fun and exciting adventure, but becoming familiar with the larger-than-average instrument can be challenging, especially for those new to the instrument, younger students, or those who feel they are learning it could also be small to handle the instrument. Whether you’re brand new to the world of music or are transitioning to the tuba from another instrument, there are a few important things to keep in mind. From perfecting your posture to finding the right horn, below is some of our top advice. If you have a specific issue that isn’t covered on this list, speak to your marching band teacher for advice specific to your situation.

Find the right tuba

Finding the right size horn is especially important when playing tuba in a marching band, but is still important for any type of player. Tuba beginners should start with a ¾ size tuba and handy cases, otherwise they will feel uncomfortable playing the tuba and frustrated with transporting them – not a good formula for storage! Weight is another thing to consider. While modern tubas typically weigh less than 30 pounds, it is not uncommon for older instruments to weigh 50 pounds or more. By considering both size and weight, you should be able to find a horn that doesn’t tire you.

The 105’s smaller size makes it an ideal instrument for beginners, and its many good qualities make it an instrument you can stick with as you progress. Hand-lapped butts and slides, precise strut design and placement, extended leadpipe taper, and a specially designed bell flare make it authoritative in tone, light in response, flawless in intonation, and extremely durable. And all this at a remarkably low price. The 105’s smaller size makes it an ideal instrument for beginners, and its many good qualities make it an instrument you can stick with as you progress. Hand-lapped butts and slides, precise strut design and placement, extended leadpipe taper, and a specially designed bell flare make it authoritative in tone, light in response, flawless in intonation, and extremely durable. And all this at a remarkably low price.

Prepare your body

While probably every tuba player would wish to be able to play while seated, this is not always an option. Whether you’re in a marching band or need to stand during the performance, generating enough airflow to sustain low notes while walking or standing is challenging. For this reason, every tuba player should prepare his mind and body for the instrument. Tuba players should prepare for marching band season by acclimating to the heat, humidity, and physical demands of the season. Try walking or jogging with a weighted backpack, wear your mouthpiece on walks or runs, or consider going to your local gym for a strength workout.

Establish an exercise plan

When learning the instrument alone (rather than as part of a marching band where practice is scheduled), you may find that you get the best results if you stick to a consistent practice routine. Begin with a 5-10 minute warm-up before turning to the sheet music and make sure your practice space is free of distractions. To make the time you spend practicing as effective as possible, start each session with a clear goal in mind. Whether it’s making progress on your approach or playing a piece of music flawlessly from start to finish, when you practice with purpose, you’ll find that your practice time is more enjoyable. Finally, don’t count the minutes you practice against a standard someone else made up. As long as you feel you are making progress, practice as long as you like.

record yourself

Unless your pitch is perfect, or someone in your house is a musician, you probably won’t be able to honestly evaluate your practice, at least not initially. For this reason, record yourself with a portable device or your phone and make a point of listening to your game and being honest about it. Follow this process (record, listen, critique, practice) and you will actually hear your game improving. To really evaluate your progress, save the older recordings and compare them to the newest ones. If you focus on practicing as you should be, the difference between day 1 and day 15 should be day and night.

Challenge yourself

Once you’ve played a little and have a reasonable command of the instrument, there’s no reason why you shouldn’t challenge yourself. Whether you’re immersing yourself in a challenging musical environment or making a list of far-fetched goals, you’ll see more improvement if you force yourself to face the situation. If you’re taking group classes, don’t wait for your teacher to introduce something new, as he or she will have to wait for everyone to be on the same page before moving on to anything new. Surf the web, join a group, or even sign up for private lessons—do whatever you need to do to truly challenge yourself to become a better musician.

Practice correct posture

The key to proper posture is to keep your chest up and out to breathe properly. When you are able to breathe, the other elements of correct posture should fall into place. These elements include getting your feet flat on the floor, sitting on the edge of your chair, keeping your back straight and shoulders back, down and relaxed, and always looking to the horizon. To get a feel for proper posture, find a flat wall in your home. Stand with your back to the wall so that your heels, shoulder blades and the back of your head are touching the wall. You may find that your chest is higher than ever and you may even feel uncomfortable at first. You should imitate this feeling while sitting.

Not every day will be good

The fact is, there will be days when you can’t concentrate or play the tuba at its best. If you’re having a bad tuba day, don’t worry about it too much – just grab your tuba and play through your favorite tunes. If you just can’t get through, put the tuba down and pick it up later. Or skip practicing that day altogether. Remember, learning tuba won’t always be easy: there will be days when you get up, days when you’re down, and days when you’re somewhere in between. just stick with it Most importantly, have fun! If you don’t seem fun or afraid to sit down and play the tuba, you might want to consider switching to a different instrument. After all, the tuba is not for everyone!

If you haven’t bought a tuba yet, check out our tuba buying guide.

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Brass instruments are instruments made of brass, right? Sounds logical but is not true in all respects and very often woodwinds like the saxophone and even clarinets are mistakenly thrown into the brass category. Let’s discuss a selection of the most common brass instruments: what are their special features? Here are a few tips, thoughts and sound samples just for you!

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1. Cornet – everyone’s favorite

Perhaps this is because the cornet is the smallest of the traditional brass instruments, but one thing is clear: it is the most played instrument among brass players. About 30% use this iconic brass instrument. The cornet has a relatively soulful, velvety and round sound and blends harmoniously with the wind section. There is a slight difference between the smaller Eb cornet and the larger Bb cornet (listen to the audio sample below). With high notes, the cornet reaches its natural limits. Additionally, many musicians agree that it is difficult to play due to the deeper, V-shaped bowl in the mouthpiece.

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2nd trumpet – in the first row

The trumpet, a close cousin of the cornet: the playing style is similar, almost identical except for the slightly different approach. The trumpet is longer and delivers a brighter, more present and clearer tone. For this reason alone, she is preferred as a soloist in the wind section. And when it comes to volume, the trumpet is far more dominant. The notes snap less easily than a cornet, making jazzy, “half-muted” and “colored” tones easier to play.

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3. Flugelhorn – the versatile, euphonious one

Another relative of the brass family is the flugelhorn. Basically, the way of playing does not differ from the trumpet or the cornet, but this claim is disputed. The most significant difference is in the mouthpiece. A flugelhorn mouthpiece with a comparatively large inner bore leads to higher air consumption and air consumption. Actually, it should vibrate the sound pleasantly due to the lower blowing resistance.

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4. Alto/Tenor Horn – the happy harmony

A fairly good-natured comrade is the tenor horn (usually in E flat or B flat); with regard to its sound character, usually no brass instrument is in the foreground. Rather, it is mostly used as a typical accompanying instrument. With the E-flat horn, both the bell and the mouthpiece point upwards; hence it is easy to play while seated. The tenor horn acts as a bridge in the brass section, adding beautiful harmony to the composition.

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5. Euphonium – good midrange intonation

The euphonium sings an octave lower than the trumpet and one higher than the tuba. This instrument requires a special mouthpiece with cup sizes that are usually deep and conical in nature. The most important difference to other brass instruments is the balancing mechanism of the euphonium: Depending on the model, three or four valves are installed, which ensures a very good and differentiated intonation.

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6th trumpet – the infinite

A typical brass instrument is the trombone. It is generally considered the simplest instrument of the brass family. The tones are not controlled by valves, but by the slider. And that not only allows these typical drawn tones, but also intermediate tones. In addition to mastering breathing and technique, an excellent ear for pitch is one of the most important prerequisites.

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7. Tuba & Sousaphone – from the deep

The sounds coming out of a tuba are thunderous and ethereal. Some people are even convinced that they come from heaven above, which is ironic because the register is at the bottom of the horn section. The special thing about these beasts is that they have three to six valves and a particularly wide scale and thus a significantly wider bore. It is played through a wide and deep (cup or bowl) mouthpiece. There are many different implementations, from the marching melody of the sousaphone to the earthquake-like tones of the contrabass tuba (BB flat or CC tuba, see video below), which is at least 580 cm in length. That’s nearly twenty feet of brass in your hands!

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consultation

If you have any questions or would like advice, we are happy to help! Visit our brass section intreppe or contact us by email or phone: (09546) 9223 26!

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From April 24th to 30th, 2019, #KissMyBrass is all about brass instruments. On Facebook and Instagram and here on the t.blog you will find exclusive deals, helpful articles and lots of entertaining content.

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