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I recently acquired a 3 valve Besson compensating BBb tuba. This is just like the first tuba I ever played on in high school so I had to have it if only for sentimental value. As I play it I definitely remember the sound that made me stick with the tuba all those years ago. There's something special about the sound of that vintage Besson.

However, I noticed that when I have the valve slides tuned for the low E, F, C, and B to be in tune, the only way to get the G and D in tune is with 3rd valve. I know that the compensating feature essentially adds tubing when the 3rd valve is used in combination with any other valves, but is there a difference in the fingerings that one should use when playing a 3 valve compensating tuba?

Lew wrote:IHowever, I noticed that when I have the valve slides tuned for the low E, F, C, and B to be in tune, the only way to get the G and D in tune is with 3rd valve. I know that the compensating feature essentially adds tubing when the 3rd valve is used in combination with any other valves, but is there a difference in the fingerings that one should use when playing a 3 valve compensating tuba?

Since you don't have to tune the 3rd slide flat as you would on a non-compensating 3v BBb (on yours, the 3rd valve is the compensating master valve), you're going to get the best results when you use it in lieu of 12 combinations. This seems to be very common in some European traditions; I've got a method book that never talks about using 12 in place of 3.

BTW. have you seen Dr. Fred Young's treatise on tuning and fingering compensating horns for the best intonation? I may have a copy wandering around somewhere, if you need one.