Professional Documents
Culture Documents
TUBA
TABLE OF CONTENTS
REHEARSAL CHECKLIST
FINGERING CHART
SECTION 4 FLEXIBILITY
SECTION 6 CHORALES
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
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.
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)
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
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
7. 71 3
J JJ C.,
42 -0- #
InP mf
div.
6 1, [,
) 1, j 411 O
p
Jb J J J I
54
SCV Tuning
Tuba 9' 17
I, C
3
4E, 13 Et-
I, 0 0 bo ME
I
mf if
I, 0,.. 0
_--- ----. __-0
0 41
4.3
I
mf if
1CF
p
2.
e
b
p
3.
5.
-9'
p
be
p
171
p
8.
-0"
p 1CF
9.
9:
p
be
10.
1CF