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Hi everyone,

I have a good 7th grade tuba player that I'm teaching. She's a convert from trombone, and absolutely loves the tuba and is doing great with it.

Her parents have decided to go to an hour lesson with me, and I am trying to find some books that will be a challange for her, but not something that is unreachable. Any suggestions?

Also, what about a solo that she can work on. Apparently, her teacher makes them all plays solos at a solo festival here in NY, and I don't have access to look and see what's available.

Any help would be great, thanks a bunch!

I recall playing alot of Rubank back in middle school, all the levels also the Getchell and Hovey books were generally pretty straightforward too.

a solo is a bit trickier, have you gone to the NYSSMA manual and looked for like stuff in the grade 1-3 area?

KevinMadden wrote:I recall playing alot of Rubank back in middle school, all the levels also the Getchell and Hovey books were generally pretty straightforward too.

a solo is a bit trickier, have you gone to the NYSSMA manual and looked for like stuff in the grade 1-3 area?

I don't have access to a NYSSMA manual here. The teach will not allow me to look at it.

A piece to which I keep returning to see if I can play it with any more elegance than the last time I tried it is the good ol' Stardust by Hoagy Carmichael. The notes themselves are not technically difficult. But to play it with smooth, sustained, fat elegance -- to make it sing and sound beautiful -- has proven to be quite the challange for me.

Andy,
Personally, I don't give 1 hr. lessons to students of that age. The advantage I see in doing it though, is that it gives you more time to play duets together. For books, why not start with Getchell's, First Book of Practical Studies. It consists of etudes, 1-3 on a page and it progresses very logically from the very easiest to moderate level 3-4 type music. Plus, it has some scale studies in the back of the book. From there you can move onto book 2 and/or the Rubank Adv. Method. My favorite level 3 solo is Honor and Arms, by Handel, which is in Don Little's Solo Sounds book( I think it's a lv. 3-5 book). Good luck.

Bill,

I don't normally either, but they also want me to teach her some theory and introduce her to classical music. Part of my lessons are going to be having her listen to great tuba playing, and great musicians in general.

I like the ideas so far, thanks very much. Do you know if I, being a private instructor, can buy a copy of the NYSSMA Manual?

Scooby Tuba wrote:

ASTuba wrote: The teach will not allow me to look at it.

Not a good sign...

It's not that he doesn't like what I'm doing, it's just that I do somethings differently than most people when teaching. I understand. I'm not totally comfortable with him either.

Here's a thought.

Does your student know how to sight-sing? If not, maybe a little bit of that will go a long way toward helping out reading and intonation. Can she play by ear? That's another skill that will pay off later.

The Vandercook etudes might be good to start off on and the solos are fun.

Hi Andy,

Michael Davis "Brass Buzz" for Tuba http://www.clubhip-bone.com/chb_bb.htm is a great book for middle school students that comes with a play along CD and DVD -- has good flexibility studies and even has a fun improvisation study -- when the students practice at home with the CD or DVD it really helps give them good examples of a sound and style to follow when playing the exercises.

Dave
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Dr. David Rolf

Andy,

I wanted to also add that Brian Kay also has a very good Intermediate Method book that should work well and provide some challenges for a good middle school player. Here's more info on his brass method books http://www.brassstages.com/books/trombonestages.html and order info http://www.brassstages.com/books/ordermain.html

Dave
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Dr. David Rolf

ASTuba wrote:

Scooby Tuba wrote:

ASTuba wrote: The teach will not allow me to look at it.

Not a good sign...

It's not that he doesn't like what I'm doing, it's just that I do somethings differently than most people when teaching. I understand. I'm not totally comfortable with him either.

What kind of teacher doesn't want their student to benefit from private lesson help? I find this very disturbing. Can pressure be brought on the teacher by the girl's parents? What is the teacher's motivation, here?

Andy,

I think you need to start as soon as possible on the Huttl Method.

I have an old copy found in the archives of lost pyramids of the nomadic people native to the Lybian area of North Africa.

Other than that, I might have some things. Catch up with me later tonight.

[quote="ThomasP"]
I think you need to start as soon as possible on the Huttl Method.

I have an old copy found in the archives of lost pyramids of the nomadic people native to the Lybian area of North Africa.
/quote]
Ah! That area has always been known to be a bastion of sources of very old method books.

Scooby Tuba wrote: I wonder what the teacher's goal is when NOT sharing information about the system a student is required to follow when involved in solo and ensemble activities? I would ask the parent to go to school and request the list of state acceptable pieces from the teacher. If the teacher declines, the parent should ask the principal to obtain this information. I imagine it could also be available by contacting either another teacher in the state or the state band organization. This info isn't "classified".

Agreed! If I were the teacher, and I didn't like Andy, I would still share the information(when requested). This is simply a part of trying to do all one can to help the student. After all, this is(or is supposed to be) about the student. To compound this all, if the student becomes a better player, the teacher stands to benefit from this, too.

Sounds like a time for the teacher to get over whatever bias he/she has about Andy. If Andy can teach, he'll prove it. If he can't, he'll also prove it. In either case, the teacher is not threatened in any way that I can tell.

To just sort of suggest a solo for junior high...I'm not sure of the composers, but the two I did in Jr. High are as follows:
The Jolly Coppersmith (fun little solo...)
The Tubateer Polka (fun too...something to watch is the 2-16th note and 1-8th note patterns...turns into triplets, at least that was my problem)

I'd probably say to do the Jolly Coppersmith. Really, it's a bit harder, and more challenging...

Ok, I guess I should have clarified things a bit better at the beginning of this conversation.

I'm from Syracuse, but have been gone from the area for 7 years. Most of the teachers that I knew from my childhood are retired, or have left the area. So when I moved back to town, I became the "new" guy in town.

The teacher and I get along just fine, but a) they're not too thrilled in my quest to get my student's sound better than their range concept and b) I'm the new guy, and he's still getting used to my style.

NY school systems are different, in that most places, kids get a private lesson during the day. Band class either happens afterschool, or in some cases during the day. It's not like Georgia was, where 150 kids had band at the same time, so there is some differences with teaching privately here.

I will talk to the teacher again, and see if I can get the materials I am looking for.

Thanks for the suggestions!

Andy,
Chris says Hi!!!!!!!!!!!!!!!!!! (Jenna too!) Here's a link to purchase a NYSSMA Manual:http://www.nyssma.org/manual.cfm
I don't know if you have to be a member of NYSSMA to buy a copy. You can email the chairperson and find out.
Regarding your last post, I don't know of any schools on LI where the student gets a private lesson during the day. True, most elem. and middle school ensembles rehearse before school here - 0 period. Then, most schools have rotating (different period each week) small group lessons during the day. Most HS ensembles rehearse during the regular school day.
From a performing tubist, private instructor, and middle school band director perspective (only for a few more months on that last one), I would try to improve the students' tone through proper breathing and posture and trying to make the sure the embouchure is doing its thing. I don't dwell too much on it, though, at this middle school level, because as a band director myself, I want to get these foundation players (tuba, euph. tbn. bari sax, bs. cl.) to be able to read better, play challenging pieces, etc. For the most part, these kids aren't on par, as musicians, with the higher instruments because of the role they serve in the band playing background parts. Get these kids to progress musically and they might get more motivated to practice and improve. Then, the tone will, hopefully, improve too. You have to keep the young ones interested and motivated. Working on tone too much won't do much for their overall ability. That's just my experience and I've had plenty.

I've had pretty good luck with the First Book of Practical Studies (Getchall/Hovey) available from R King for 7 bux.

Progressive, starts out VERY easy and progresses to some challenging materials for Middle Schoolers. Stays in flats. Has some scale studies in the back.

Book 2 gets into sharps and is more difficult to begin but is fine for a more advanced middle-schooler.

I agree that the Rubank books are an excellent choice. They do a great job with the technical stuff. I've also found the Walter Beeler Book II (I don't know book I) method for Tuba to be excellent technically.

I think students need to have fun, too. So, I especially like the Style Studies by Patrick Sheridan. He has some other good things like his Fun Play Along Duets. For a seventh grader we should make it both fun and challenging.