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Recently I have picked up some gigs on sousaphone. The music is not to bad, but I would like to put some pedals in just to beef up somethings. So I just wanted to see what some of you guys would suggest for fingerings on a 3 valve Bb sousaphone for low Eb and down.

i use Eb fingerings, EEb open, DD second, DDb first, CC first and second, BB second and third, and BBb open or first and third.

They are very solid this way if you pump enough air.

Indeed. Depending on the nodes of the instrument, you should get at least good solid open Eb's, 2nd valve D's, & 1st valve Db's. The .687 bore souzys tend to run out of steam and have nodal interference below that. The .734 smaller horns, like the 14K, usually get at least a good 1+2 C below that; 2+3 B nat is variable depending on the horn, and true open pedal BBb needs a relaxed approach, not a forced approach. The larger souzys, like the 20K and 38K, can purr right down to the BBb, and sometimes a couple of notes below that: 2nd valve true pedal A and 1st valve true pedal Ab, if you can slow the air down but still keep it "big" and constant.

If your horn is a Conn or a similar valve block, with a wide loop at the top of the 1st valve circuit, I absolutely recommend you have your tech convert the upper loop of the 1st valve slide to a movable slide, just like #1 on a regular tuba, so that you can pull and set 3 for 2+3 to be in tune, and so you can pull 1st @ 1/2 inch for G's and D's to be in tune, about 1 inch or so for 1+3 C's & F's to be in tune, and this way 1+2+3 B nat and low E nat you can actually stay in the same room with a good long pull.

I use the same fingerings tubademon999 does.
open Eb is actually fairly strong on my vintage fiberglass King...very usable if indoors or on a mic.
Having a larger mouthpiece(in diameter and depth) really helps down there.

I agree with the above. BUT I prefer to use just 3rd valve for pedal C

Try this trick for coaxing low notes out of your horn: Play with the lower lip only.

Put the upper portion of the mouthpiece inside the upper lip, between the upper gums and the inner portion of the lip, and put the lower lip in the normal position inside the mouthpiece.

Check with a tuner to see exactly what notes are produced.

Dean E wrote:Try this trick for coaxing low notes out of your horn: Play with the lower lip only.

Put the upper portion of the mouthpiece inside the upper lip, between the upper gums and the inner portion of the lip, and put the lower lip in the normal position inside the mouthpiece.

Check with a tuner to see exactly what notes are produced.

This is pretty much the way I always play pedals except that I simply rest the upper lip on the rim of the mouthpiece (theoretically, holding it against the metal surface keeps it from buzzing). I'm able to play quite clear and in tune pedals down to the low E (1-2-3) on most sousaphones.

Todd S. Malicoate wrote:

Dean E wrote:Try this trick for coaxing low notes out of your horn: Play with the lower lip only.

Put the upper portion of the mouthpiece inside the upper lip, between the upper gums and the inner portion of the lip, and put the lower lip in the normal position inside the mouthpiece.

Check with a tuner to see exactly what notes are produced.

This is pretty much the way I always play pedals except that I simply rest the upper lip on the rim of the mouthpiece (theoretically, holding it against the metal surface keeps it from buzzing). I'm able to play quite clear and in tune pedals down to the low E (1-2-3) on most sousaphones.

Odd....I do the exact opposite for pedal notes. I rest my lower lip on the rim of the mouthpiece, and let my upper lip do the work.

TMurphy wrote:Odd....I do the exact opposite for pedal notes. I rest my lower lip on the rim of the mouthpiece, and let my upper lip do the work.

In my experience that's quite common...most brass players I see use only (or, at least, mostly) the upper lip for pedals. I try it now, though, and my nose hits the mouthpiece and it's quite uncomfortable.

Maybe I just have a big schnoz...