BRASS TECHNIQUE

TUBA
 TABLE OF CONTENTS

REHEARSAL CHECKLIST

FINGERING CHART

THE OVERTONE SERIES

SECTION 1 BREATHING EXERCISES

SECTION 2 REMINGTONS & FLOW STUDIES

SECTION 3 SLURS & TONGUING

SECTION 4 FLEXIBILITY

SECTION 5 FINGER DEXTERITY

SECTION 6 CHORALES

SECTION 7 TUNING SEQUENCES

SECTION 8 WARM DOWN & PEDAL TONES

 REHEARSAL CHECKLIST
The following is a list of items that you should bring to every rehearsal:

3-Ring Binder, 1/2 to 1 inch, with several clear insert

pages to keep all of your music in
Any Music that has been assigned, check the website
and print all of your parts, including this book
Mechanical Pencil
Valve Oil
Towel big enough to lay your horn on a gym floor or
other hard surface
Gloves (can be purchased at rehearsal) Tuba players
may want stronger work-out type gloves
Water Jug filled with ice water, at least a half-gallon
Baseball style Hat
Running shoes
Sunscreen
Lip Balm
Workout type clothes that are weather-appropriate; be
prepared to be outside all day. No jeans!
Mouthpiece for your instrument
Don't forget your Instrument!
 Tuba
Fingering Chart

E F FO/ GI, G GU Ab A A#/Bb B

9'c
-cr -a- 0-7 1:P.- 15

1-2-3 1-3 2-3 1-2 1 2 Open 1-2-3

C CU Di, D DO / B E F FUG, G

7: J -43 43 J 1,.J 0
-is; # 6 Tr
1-3 2-3 1-2 1 2 Open 2-3 1-2

G# / Ab A Ail/Bb B C 0# / DI, D D# / El,

9: J 1, eJ J 6 0

1
( I

2
#
Open
0 43

1 2
P Open
r Yr
1-2 1

E F#/ GI, G GI / Ab A AU B b
F
1, , 0 6
7' 0 II
#v P
2 Open 2-3 1-2 1 2 Open
 The Overtone Series

When you are working on these types of exercises, use one fingering for each set of exercises, in order
to train your embouchure to move smoothly from one partial to the next. This means that some of the
notes will use an alternate or "false" fingering. There are seven sets of fingerings or "positions" that
allow you to play all the notes. The notes in parenthesis are alternate fingerings and may be out of
tune, but they are useful in embouchure development when used in these types of exercises. To save
space, the exercises will only be written in the Open Position, but practice them in all fingering
combinations.

*Special Note: In order for the Mellophones to get the same benefits from these exercises, they will
play the same written part as the Trumpets, unless otherwise instructed. This means that they will not
be playing in unison, but in parallel fifths from the rest of the Hornline.

1. FIRST POSITION (also known as Open Position) is played open.

The following notes are played: B-flat, F, B-flat, D, F, (A flat), B-flat.
e J r r
2. SECOND POSITION is played with the second valve. The
following notes are played: A, E, A, C-sharp, E, (G), A.
-0-

3. THIRD POSITION is played with the first valve. The following

-flat, E-flat, (G-flat), A-flat.
notes are played: A-flat, E-flat, AC, Ex.
J r 6

4. FOURTH POSITION is played with the first and second valves.

The following notes are played: G, D, G, B, (D), (F), G.
r II
70

5. FIFTH POSITION is played with the second and third valves. 6.

tr
b.
The following notes are played: G-flat, D-flat, G-flat, (B-flat), D-flat,
(E), G-flat.

6. SIXTH POSITION is played with the first and third valves.

The following notes are played: F, C, (F), (A), (C), (E-flat), F. J
J r
7. SEVENTH POSITION is played with all three valves.
The following notes are played: E, B, (E,)
(G-sharp), (B), (D), (E). = -00
J J r
710
 SECTION 1 BREATHING EXERCISES

The following exercises are taken from the Breathing Gym, and can be used as part of a warm-up routine or to address
specific issues such as Dynamics, Articulation, and Phrasing. Work on these exercises just past the point of ease and
slightly into discomfort without over-exertion.

PRELIMINARY CONSIDERATIONS

Maintain a proper and consistent oral shape for maximizing the benefits of these exercises.

During the inhale/exhale, the inside of the mouth should feel like a big yawn
The back of the throat is to remain open and unobstructed

Monitoring each breath ensures correct execution. All exercises are to be performed in a relaxed manner with no
tension in the body. If light-headedness occurs, sit down and gently breathe in through the nose and out through the
mouth for a few moments. The inhale and exhale are to be performed continuously with no break (unless otherwise
instructed).

INHALE

Form the right hand like a karate chop, but fold the thumb flat against the palm
Place the index finger just under the tip of the nose, with the top lip against the middle knuckle and the
bottom lip against the big knuckle (approximately)

EXHALE (remove the right hand before the exhale)

Form a slight embouchure with the lips, but with very little tension (like whistling)
Push the air out in one constant, steady flow

THE EXERCISES

FLOW STUDIES used to stimulate regular breathing patterns used while playing. Monitor the consistent flow of
air (comfortably full to comfortably empty)
Float the Paper Airplane (piano), Toss the Dart (mezzo forte), and the Bow & Arrow (forte)
Quick Breath Full breath on the last beat of a measure before exhaling
Exercises with varying lengths of Inhalation and Exhalation

THERAPIES used to inspire better airflow by creating problems to overcome, such as resistance and suspension

Inhale Therapy Exhale all air (sizzle), place the back of the hand against the lips while inhaling (fight for
air), remove hand and inhale as much as possible, suspend the air for a set number of counts with
mouth and throat open, then exhale in 1 quick burst down to a sizzle
Oral Shape Therapy Inhale/Exhale with the mouth and throat open in varying rhythmic patterns,
monitoring the consistent flow of air

STRENGTH AND FLEXIBILITY focus on expanding and contracting the lungs to their extremes

In, Sip, Sip Out, Push, Push. "In" = full inhale in 1 beat while raising arms overhead, "Sip" = Lift arms
higher and sip more air, "Out" = full exhale while lowering arms, "Push" = force more air out
Power Breaths
Power Bow & Arrow
 SECTION 2
Remingtons and Flow Studies
The exercises on this page can be played on the mouthpiece alone if desired.
Remington #1

9' e I

Remington #2

J J J O I
1-3 1-2-3

Remington #3

9: Jb Ja J ,6 J J O

Remington #4

9- bb J f. J 6 IJ
41 I

Flow Study #1

J
Flow Study #2

6 j 0

9. 0
J r
Flow Study #5

J
 1. 2. 3.
9, e J t t
Ti

4.
9:

5.
r J
6.
9: I'
I
I
I o
__
7 to


_1
7
7: Y

9:

9.
41
171, J t

10.

7: 0 0 I 411

zJ
11.
9: g 111 I

I

d!._/ tr/i \.211

12.
9:
TT: . - .


 SECTION 4
Flexibility
These can be played in all valve combinations.
Do not play the adanced exercises (marked with an *) until you can easily play all the others.

2.

7. .7



Z7
I
7:
7


J
J J J. I

7:

I

6.
7: J J J J r r
I

7.* Open

. . .
7. 6

0 I

8.* Open

7: 7
Lr J J I
9.* Open
6.

9: 6 J

to




I
V"-
o.* Open

9: 1,
J J

 SECTION 5
Finger Dexterity
1.
7: ,to
I 1:1 , 110 , q 0 a 0 I

2.
7: .1 # dt .6. q .I,. 6 # . b. Ei I, q
)

3.
7: 111
O6 ildP al, v.
-a 410 0- w 41-1:1-0-
1

7: 4110 6 4, I 1:1 I #4. 170 6. O

5.
7: 7 g .77; r:71
TT:
6.
g flip .6-
1 -ef lop

7.
7: ea . .
aa .6a
1.

=1

#. qd # 6 '4
. .
IN 0 I
8.
9-
.."
I 0 17 I #d'
.q.

b 6.6,
tl

9
9.
,.6. 114,- 1:1*
.
II. a a

10.
I 0 .6
 Section 6
Chorales
BWV 70
9: b(.
Tuba
J J J a

9' 6 IL I
J J J
-C1
7

BWV 245

9. , c _ J J J J nn J
12

9. 71' r J J J J r J
17

BWV 33

J J J)J JJ JJ J r
21 7F
W

Salvation is Created
5
111I
J a J JJ J J
28
if p

Adagio ai = 112 Malaguena

7. 71 3
J JJ C.,
42 -0- #
InP mf

div.
6 1, [,
) 1, j 411 O
p
Jb J J J I
54

Sonus Brass Theater

 SECTION 7
TUNING SEQUENCES

SCV Tuning

Tuba 9' 17
I, C
3
4E, 13 Et-
I, 0 0 bo ME

I
mf if

Concert F Tuning /11

I, 0,.. 0
_--- ----. __-0
0 41
4.3
I
mf if

Concert B-Flat Tuning

e:1
9' 1,J O 0 0
43
0
la
mf
if

Play, Sing, Boom!

(7N

9' I,' 0 I, O be, I-1 0

0
TT
mf
if

Sonus Brass Theater

 SECTION 8
WARM-DOWN & PEDAL TONES
Play these at the end of the day or when your chops tire, followed by rest. Use as little mouthpiece pressure as possible.
Slowly and Light
1.

1CF
p
2.
e
b
p
3.

/If -4F 60- -4F iff AP dir 1,111" TT b

Lw dr -4F W
p
4.
T-Ey li
-17.
1
ME
a I,.
AP-
NM
.
711 IF
6. 6-0
1-3
1-2-3 If

5.
-9'
p
be

p
171

p
8.
-0"
p 1CF

9.
9:
p
be
10.

1CF