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I have often seen and heard mention of "false" or "privileged" tones. Mostly, the references are negative, but sometimes people actually use them regularly.

Here's my definition: A resonance between the official 1st and 2nd partials, that is at or near F on a CC tuba or Eb on a BBb tuba (and corresponding places for other-pitched tubas). Dr. Fred Young has referred to this resonance as the true fundamental resonance of a brass instrument.

Not all tubas can do false tones. I don't know why. It is not correlated with bell size. Most large tubas have false tones. Some small tubas have good false tones, and some small tubas don't do them at all.

Here are some observations: This resonance is a lot broader than the other resonances of the other partials (an engineer would say it has a lower Q). The pitch may be lipped up and down a lot; therefore it takes more practice to learn to play notes in tune while using this resonance. Again, because of the broader resonance, notes start sounding and stop sounding much more quickly compared to using the "legitimate" fingerings based on the 2nd partial.

Like any tuba technique, one must practice it a lot if one wants to use it in performance. No trying it out once or twice and claiming it doesn't work.

Here is how (and why) I use false tones:

1) To fill in the gap in the low range on three or four valve tubas.

2) When I need to play short notes quickly from about FF on down. False tones articulate much more quickly than regular fingerings.

3) For a smaller tuba that is stuffy down low, false tones sometimes can be played louder and more clearly than the regular tones.

4) Different musical requirements: Since false tones tend to have a more rattling sound rather than a smooth sound, one can has a choice of how to support the chords played by the rest of the ensemble. [You didn't think we usually played solos down there!] I think it gives a lighter effect.

So there it is, folks. For me it's just another technique like using alternate fingerings or slide pulling. I don't think there is anything false about these tones, and I consider them to be legitimate members of MY note family!

What are your experiences and opinions?

Cheers,
Allen

I think there have been other threads on this topic. One theory is the difference between a bugle that is linear taper rather than exponential taper. The souzy I play is the predecessor of the 14k with a 24 inch bell, and has a wonderful perfect in tone and tune "false" Eb open, D 2, Db 1. My Besson has the standard 17 inch geometrically large throat, small flare bell, and any "false" tones are basically nonexistant. It's not just one factor, but a combination of the bore, throat, bell, and taper all together.

Some horns have very easy false tones and for others, they're almost non-existent. My little Besson CC has no detectable false tones; a York BBb helicon that I have has very easy false tones.

I haven't the faintest idea of what makes a good false-tone instrument.

When I was growing up in the country we always called them “induced tonesâ€

[quote="markaustinhowle"]When I was growing up in the country we always called them “induced tonesâ€

Bob1062 wrote:I wonder if metal thickness has anything to do with it; both my horns are very light and the Eb extremely so.

Unlikely. My Holton is heavy: great false tones. The Miraphone is light: usable false tones. The York Master is very heavy (for its size): great false tones. That's the opposite of your trend.

I'm with Chuck, I have no idea what makes a horn have good false tones. Dr. Young thought these the true fundamental, but it should be noted that this is a working theory. The harmonics of a tapered instrument are not at all easy to model.

Rick "who uses false tones because they are more effective" Denney

[quote="Chuck(G)"][quote="markaustinhowle"]When I was growing up in the country we always called them “induced tonesâ€

Rick Denney wrote:alternative resonances"

Alternative resonances is a great description. I did some math to try to figure out what was happening, you could also call false tones "partial 1.333". From the feel I would think you are getting a node in your mouth, when normally you have an anti-node... I never figured it out but it sure resonates differently.

Bob Mosso wrote:

Rick Denney wrote:alternative resonances"

Alternative resonances is a great description. I did some math to try to figure out what was happening, you could also call false tones "partial 1.333". From the feel I would think you are getting a node in your mouth, when normally you have an anti-node... I never figured it out but it sure resonates differently.

I think it's reinforcement from higher-order resonances that creates the effect. Consider that the first false tone on an Eb tuba is a low Ab. Well, the 3rd partial of a low Ab is Eb, so the horn really resonates on an upper harmonic. I suspect that a spectrgram would betray the lack of a substantial amount of fundamental in the sound, just like a pedal note--and that this also gives the "strange" feeling to playing a pedal.

This to me would imply that larger instruments (for their key) with strong low-range resonances would have better false tones than small ones. I haven't verified this, however.