Ohio University
Tuba/Euphonium
Methods Website

Syllabus

Class Schedule
Week 1 1/3-1/7 
Assign Instruments; Instrument overview and some history; Pedagogical: The Buzz, First Day concepts, Overtone series & teaching fingerings.

Week 2 & 3 1/10-1/19
Pedagogy:
   Breathing exercises
   Buzz Check-up
   Intro to Articulation(s)
Literature:
   Beginning Methods
Playing Exercises
   Scales (4 sharps/flats)
   Long tones continued
   Flexibility continued
PLAYING QUIZ #1

Week 4 1/23 - 1/28
Mon. Review for Written Quiz #1 to be given on Wed. Material based on tuba/euphonium historical/background information, playing fundamentals and beginning concepts for approaching the instrument.

Week 5 & 6 1/31-2/11
Beginning Articulation
No class on 2/2 or 2/4 (OMEA tour). 2/7 Articulation practice with Zade; Beginning discussions on Repertoire; 2/9 Playing Quiz #2/2nd half of class more on repertoire.

Links of interest:

www.iteaonline.org
www.dwerden.com
www.serpentwebsite.com
Great Serpent Gallery



Week 1 January 3rd - January 5th

Monday January 3rd
Instruments of the Tuba Family: Euphonium, Baritone, Tuba (s), Sousaphone. Although there are more instruments certainly in the tuba family, some of which are still prominently used in the world--such as the saxhorn--this class will primarily focus on the above four instruments...or groups in the case of the tubas...since these are the only instruments you will be teaching as music educators in America.

Some general characteristics or facts are very important to realize:

These instruments are among the youngest of all musical instruments. Invented in the early 19th century--post valve era*--these instruments are still new in comparison to others and, as a result, repertoire, instrument innovation, pedagogy, and general familiarity among the musical community is still developing. However, this development has increased dramatically in the past 25 years.

Transposition: these instruments are considered non-transposing instruments despite their fundamental key in which they are built (e.g. F tuba, E-flat tuba, etc.). With exception, the euphonium/baritone is both transposing and non-transposing, depending on the student's background and/or origin. In which case, as transposing, the euphonium/baritone pitched in B-flat transposes down a M9 and is notated in treble clef. Similar to a trumpet transposition, except with the added octave (just like the bass clarinet). At one time in the band tradition, euphonium/baritone players were actually trumpeters who doubled, thus the transposition in order to facilitiate reading ability.

In traditional brass bands (e.g. England, Norwegian countries, and growing numbers in the U.S. as well throughout the world), all of the brass bands read treble clef. The euphonium is the same as previously described, however the tubas (E-flat and BB-flat) transpose too. E-flat tuba transposes down M13 (M6 plus 8va) and the BB-flat tuba transposes down a M16 (M9 plus 8va), both notated in treble clef as well.

Any student can play these instruments despite their size or gender. However, for practical reasons, educators often consider a person's size before requiring them to carrying the sousaphone in the marching band. The is the physical requirement, however, as far air usage goes, a tubist or euphoniumist doesn't require any more air than that of the flutist. Air capacity/efficiency is something that is developed in all of us.

 

Among tubists/euphoniumists, an overwhelming majority were "switched" to the euphonium or tuba from another instrument. Often, these instruments are neglected amongst the masses in terms of "natural selection," so educators often select students based on varying criteria, some of which is ideal criteria and some of which is aboslutely terrible. An example of terrible would be selecting a student who has all just failed on another instrument based on work ethic. A good band doesn't exist with a weak foundation. Ideally, a student might be selected who demonstrates talent and a strong attitude, however might be experiencing troubles with perhaps particular facet with another instrument. Regardless, educators should select very wisely for the euphonium and tuba. It takes dedication to be successeful on either.

Regardless of whether a student was switched or started, tubists/euphoniumists are often limited in their musical experiences, which is most often in direct fault of the educator. Simply put, these students will not flourish if their experiences are limited to the band repertoire. Especially for the young tubist, these band parts are simply musically limiting and do not serve as adequate opportunities for truly learning the instrument. Encouraging chamber music (duet, quartets) and mandating participation in solo/ensemble contests will help insure these students are musically on par with others.

BRIEF OVERVIEW

The Euphonium & Baritone

The euphonium and baritone is mostly identified by its role in the band tradition. However, know it from this point onward, the euphonium and the baritone are NOT the same type of instrument. However, confusing enough, they do play the same parts in the symphonic band...yet not in the British brass band tradition. There is an excellent article on this subject, which can be found at http://www.dwerden.com/eu-articles-bareuph.cfm, which is an excellent online resource created by one of the most resourceful euphonimists today. The basic aspect in determining the two instruments is that the euphonium is conical and the baritone is cylindrical. That's it.

Additionally, educators must know the difference between euphoniums that are compensating and those that are non-compensating. Four-valved euphoniums are sometimes produced with additional tubing adding length to the instrument, which in turn, improves intonation notably in the lower register.

Generally though, most baritones you'll find are three-valved, although four-valved baritones do exist. With euphoniums, most you'll find are four-valved...however three-valved versions do exist. I only mention this since inevitably folks use valves to i.d. the two types, which doesn't always work. Also, which doesn't always work, is the direction of the bell and the position of the valves. Most baritones are bell-front and/or front action, but, again, not all. Most euphoniums are upright (bell) and top-action. The pictures below illustrate practically every type of instrument found (note terms rotary and oval model).

Baritone with 3 top action valves, upright bell

Euphonium compensating with 4 top action valves, upright bell

Baritone with 3 front acition valves, bell-front

 

Euphonium compensating with 4 top action valves, upright bell

Baritone with 4 top action valves, upright bell (traditionally used in brass bands)

Baritone (German bariton or tenor horn) with 4 front action rotary valves (oval model)
 

The Tuba

The traditional tuba that most educators will encounter is the BB-flat tuba and the BB-flat Sousaphone--two different instruments based on physical characteristics. However, there exists also the CC tuba, F tuba, and the E-flat tuba, as well the E-flat Sousaphone (practically extinct) and also BB-flat and CC helicons (Europe). Helicons are very similar to sousaphone in that they are designed for carrying on the shoulder, however the bells are directional (like a trombone or trumpet). Remember, none of these are transposing instruments, unless we're dealing with the brass band tradition. Tubists learn different fingering sets (all obviously abiding by the overtone series) as opposed to transposing methods.

Tubas pitched in CC and BB-flat are classified as contrabass tubas, and tubas pitched in F and E-flat are classified as bass tubas. For the American symphonic band tradition the contrabass tubas are now predominantly used. However, in some military bands, bass tubas (namely E-flat) are still employed. Because of tradition, the nature of the repertoire, costs, facility, and other various reasons, the BB-flat is still the most commonly used tuba in school music programs, and most likely will remain this way for a long time. However in the professional ranks in America, the CC tuba prevails. For orchestral playing, it gets more varied including the use of bass tubas often as the predominate instrument of choice.

BB-flat tuba, three top action valves, 3/4 size

BB-flat tuba, four rotary valves, 3/4 size

BB-flat tuba, four rotary valves 4/4 size

 

F tuba, four front action valves 3/4 size

CC tuba, four front action piston valves, fifth rotor (not visible), 4/4 size

Sousaphone
  

Tubas are classified into four sizes, which is an important consideration when buying a tuba, depending on what it's intended use is and who it is intended for. These are from smallest to largerst: 3/4, 4/4, 5/4, and 6/4.

Tubas are quite varied with many options. They can have either upright or bell fronts (often called "recorder bells"), although the latter is rare these days. They can have three to four piston or rotary valves, and sometimes a 5th rotary (usually on a CC or F, rarely on a BB-flat). For a middle school or high school band program, usually a 3/4 or 4/4 size tuba respectively with four valves is standard. As an educator, you will one day be faced with the objective of choosing models for your program, and this subject will be discussed in detail later in the quarter.

Sousaphone made with fiberglass (lighter in weight, poor sound and less durable)

Marching band instruments will be discussed later, as well more instrument characteristics will undoubtedly arise.

 

Other Tuba Family Instruments


Helicon

Cimbasso

 

PEDAGOGY: The First Day

In a similar fashion to other instruments, every aspiring student's first activity should begin with the mouthpiece and buzzing. More than any other brass instrument, tubists/euphoniumists use the mouthpiece as a pedagogical tool. Although embouchure considerations are important, in practical terms the tuba embouchure is the easiest embouchure to master, the euphonium is though a bit more sensitive. Immediately, the first day should consist of buzzing the mouthpiece and introducing to the student some basic pedagogical concepts that include foremost the role of the embouchure and air stream.

Importantly, educators should AVOID using the often over-emphasized phrase "tongue the notes" to start. The brass player is, or should be, taught to begin a note or the sound w/o the tongue, simply starting a note the same way that would vocalize a pitch for the first time with the most musical, beautiful sound they can muster. Teaching a student the first day to "tongue" the note makes no sense, and definitely makes no sense to the student.

Low brass performance begins with a big air stream and the darkest, roundest vocal sound possible. The latter is facilited with the proper vowel formed for vocalization, the "O" vowel. Whereas smaller brass instruments may use other vowels, "O" is the roundest, the most relaxed, and appropriately promotes the air stream necessary for successful low brass performing.

First Day Playing Exercises for Tuba
First Day Playing Exercises for Euphonium

The first playing exercise should involve long tone based passages on the mouthpiece alone and the instrument, incorporating the common keys/scales encountered at this level (E-flat and B-flat). This is also a good time to begin breathing exercises with the student in a valient effort to immediately instill the idea that full lungs are a requirement, and effective inhalation can only provide effective exhalation. Remember, no tongue. Encourage beginning the notes on "the air stream"--just like a vocalist would begin.

It is also important to provide the student with a clear, encompassing fingering chart. However, educators too often neglect teaching the basis of the fingerings based on the overtone series. Understanding the overtone series is a fundamental concept and should not be viewed as something beyond the comprehension of a junior high school student. However, start simple, or take steps in conveying the concept first explaining fundamental and partial by starting with the fundamental (either octave, on tuba the lower fundamental is sometimes difficult for the young student) and the second partial, and eventually the complete series as range permits. Then as things progress, introduce the other series based on each valve, realizing how each valve extends the instruments providing additional overtone series (more notes!).

Other issues will undoubtedly arise in this "First Day." Namely, posture. Proper posture is very important and should be addressed early. Depending on the student's characteristics and the type of instrument being used will dictate hand position. However, comfort is the goal. Many students, amateurs, and professionals all used various devices sometimes to help with posture, although this isn't necessary. Again, it just depends on the student. Euphoniumists often use pillows to help raise the instrument, if resting on the leg is not possible, or if strength is an issue. There are also stands that can be attached to the euphoniums to help. Tubists sometimes use a tuba stand, pictured to the right. If a student is adjusting the body (legs, arms, neck, head) to the instrument, then it's a problem that needs to be fixed.

Also, take time to show the student how to properly carry the instrument as well simple maintenance like oiling the valves and lubricating the slides. This may also be a good time to point out the tuning slides, which is for which valve and the purpose for these slides. As far as these products go, there are many to choose from. For pistons, Blue Juice is an ideal brand (lubricates and provides some disinfectant). It might be beneficial to purchase a case of products for the band program, making these products easily available for purchase by the student.

Another issue that is unique, especially with the tuba student, is having opportunities to practice outside of band class. It is often a bit much to ask the student to carry the tuba back and forth to school and home, but ask (or mandate) anyway!! If this isn't possible, then perhaps encourage the student to stay after school or come early. At the least, mouthpiece practice can be a last resort.

Wednesday January 5th
Fundamentals is sometimes thought to be "taboo" for a band program, especially for those students who are not studying privately and the only source of information is YOU and those who happen to be holding the same instrument. However, getting students off on the right foot with even the most basic concepts with the most basic approach will usually provide the student with better opportunity for success (this is why emphasize tuners and metronomes early is all more important).

The Basics
Embouchure: Low brass embouchures are often easier to manage. Insuring that the embouchure is strongest (corners down/level) and distribution between lip surface is proportionate usually creates an effective embouchure. Below are images of differing yet ideal/effective embouchures (belonging to former/current members of the Chicago Symphony Orchestra).

Breathing: The embouchure, though, only truly exists with an air stream. It's not a science, it's actually the most simple component in successful wind playing--both the inhalation and the exhalation, which are EQUAL components to successful breathing. Yet, it's also the most ignored. Approaching like a skill will instill conscious thought towards incorporating great breathing among your students. Why shouldn't a student practice breathing as much as their practice their scales...that is...practice away from the instrument. Breathing exercises are becoming more and more of a normal practice among brass players especially. In fact, many of the top U.S. drum corps are now hiring special clinicians (often brass players known for this topic) to come and simply work on breathing exercises. The following pdf document contains breathing exercises that remain unpublished yet are circulated throughout the world mostly among brass players. They are authored by Sam Pilafian, current Professor of Tuba/Euphonium at Arizona State University (also founding member of the Empire Brass Quintet, renowned clinician, soloist, and recording artist).

There is also a newly published DVD called "Breathing Gym" (following link to see examples of this DVD as well other interesting pedagogy items contained on the WindSong Press website) by tubists Sam Pilafian and the most active tubist on the planet, Patrick Sheridan. This is an excellent tool for students, actually seeing these exercises being done. Hopefully, later in the quarter we can have a chance to view this DVD. The following is a review of this DVD if you have interest in learning more about it.