TubeNet

Sometimes I have this problem myself, and I'm currently working on solving it, but I'll do my best to help.

The most common problem when playing in the high register is to stretch the lips and make them thin. This produces no focused airstream and in turn does not produce a characteristic sound or even the proper note. The most efficient way that I know of for fixing this problem is to think "small." In other words, instead of stretching/thinning the lips, try to make the focal point of the airstream smaller and use enough air to get the note going. It will take some time, but as soon as your lips adjust to this, you'll notice a huge change in range and in endurance. I hope this helps you with your development in the high range! Best of luck!

.

Greentubaguy wrote:...am I taking things too fast?

Yes. You needn't worry about playing that high right now, and you don't need to rush the development of your high range. Forget that crap about needing a four-octave range, and don't frustrate yourself trying to play in a range you don't need. What you should concentrate on now is having fun and lots of practice in the middle to lower registers to build up your "chops" (embouchure muscles). It's a very important aspect to high playing that simply can't be rushed. There's no substitute for "face time."

An adequate private tuba instructor will help keep you motivated to practice, set goals for you, and help fix any obvious mechanical problems present in your playing. It is very difficult for the folks on here who haven't seen or heard you play to give helpful advice, and I would strongly recommend disregarding any advice on how to play higher that may or may not be appropriate for you at your level of development. If you are serious about improving and intend to continue playing in college, you should seek out a teacher in your area. Good luck, and don't sweat the upper ledger lines (very few people will pay you for those notes, anyway)!

tubashaman2 wrote:To the O.P.---tell us more about you, are you in high school, or what. Do you have a teacher. From your 2 posts...

He has more than 2 posts and has already identified himself as a high school student who is "green" (or fairly new) to tuba playing. The "Search user's posts" link in a profile can be very helpful to gain some background on a member.

N.B. Do the lack of question marks from this college graduate bother anyone else?

[quote="Todd S. Malicoate]
He has more than 2 posts and has already identified himself as a high school student who is "green" (or fairly new) to tuba playing. The "Search user's posts" link in a profile can be very helpful to gain some background on a member.

N.B. Do the lack of question marks from this college graduate bother anyone else?[/quote]

You're always picking on him!

I'm with Todd. Lincoln's admonition about remaining silent to avoid being proven foolish seems to apply to many of the "picked on" one's posts - IMHO.

I disagree with the "make the airflow small" part posted earlier. Smaller, yes, but not small.

Small implies closing down. The thing is, while smaller, the aperture needs to be as large as possible to ensure adequate air volume.

What does this mean? Don't push it. That G is a lot higher than you'll need to play for a long time. Much more important is making sure that the tone and placement of every pitch up to that point (since you have the ability to play it already) are perfected.

You should read this excellent post by Roger Lewis on 'high range'.

Developing High Range

Todd S. Malicoate wrote:

Greentubaguy wrote:...am I taking things too fast?

Yes. You needn't worry about playing that high right now, and you don't need to rush the development of your high range. Forget that crap about needing a four-octave range, and don't frustrate yourself trying to play in a range you don't need. What you should concentrate on now is having fun and lots of practice in the middle to lower registers to build up your "chops" (embouchure muscles). It's a very important aspect to high playing that simply can't be rushed. There's no substitute for "face time."

An adequate private tuba instructor will help keep you motivated to practice, set goals for you, and help fix any obvious mechanical problems present in your playing. It is very difficult for the folks on here who haven't seen or heard you play to give helpful advice, and I would strongly recommend disregarding any advice on how to play higher that may or may not be appropriate for you at your level of development. If you are serious about improving and intend to continue playing in college, you should seek out a teacher in your area. Good luck, and don't sweat the upper ledger lines (very few people will pay you for those notes, anyway)!

I totally agree with Todd--work on basics and find yourself a good teacher. Good Luck!

JJ

And after you've read and digested Roger Lewis' great article, then go make sure your horn has no leaks or dents that would cause any disruption of a node or antinode as well, and that your receiver and gap are properly adjusted to seat the mouthpiece well, and all water keys are secure.

Quite recently I have found that the Berlioz Bb slots very well on a BBb horn with the second valve depressed and the valve slide pulled out about 2 inches past normal tuning. Of course that is going to be different based on what horn you play on and what the partials slot like and how in tune they are. This was on a yamaha BBb with 4 top valves ... I think 321? 4/4 model... If your chops hurt don't keep playing... and use ice. Bordogni in trombone range is what I use for range building and cleaning ... takes you routinely to high A

I don't recall anyone being critical of another poster's "spellin" in this thread. I just find it interesting that a college graduate can't be bothered to use correct punctuation...it's not exactly a one-time thing.

It was just an afterthought (see the N.B.) and wasn't even directed at one person specifically but rather the educational system in general. I hope this comment doesn't derail the entire thread (as one usually does).

Those of you continuing to give "high playing" advice...are you aware you are speaking to a high school student who wishes to be able to play the Bb in the middle of the treble clef staff? Think about it...

goodgigs wrote:Do you not know that Arnald Jacobs did?
Isn't he the model we all strive for ?
(didn't you?)

Admittedly, yes...I was always a "higher, faster, louder" kind of guy in high school and my undergraduate years. I took me until the start of graduate school to discover low register playing and a focus on good tone quality.

Which is precisely why I am giving out the cautions I am. Looking back (hindsight being 20-20 and all...), I really wish I had devoted more time to fundamentals, low register development, and embouchure strength as a beginner. Sure, everyone was impressed when I could play "Carnival of Venice" in the euphonium octave in high school and that time I wailed on a Maynard-like tuba solo in college marching band on "Tiger of San Pedro." Those things have never helped me "behind the screen" at an audition or in a job interview recital, however.

goodgigs wrote:todd, thank you!
That was excellent thing for our young OP to here.

And some of us that are young and not the OP

btw, regarding youtube...it's really a bad way to measure anything...most of the stuff on there is made by brain-dead idiots.
...ok, at least a good percentage