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I've convinced myself that my concept of buzzing low is wrong (i.e. getting into the pedal range). I can't, for the life of me, buzz any pitch below c2 on a mouthpiece. I feel like I rely on the resistance of the tuba's bugle to play these pitches. Free buzzing without a mouthpiece yields better results than with one.
Any advice TNFJ?

Try partially covering the end of the mouthpiece shank with your finger to replicate the resistance of your tuba. After you get the desired pitch to start buzzing, gradually remove your finger. However, I don't know of any advantage to buzzing with less resistance than you have when playing your tuba, so I'd try to keep the shank partially blocked. I think the benefit to buzzing is mainly in learning and practicing pitch accuracy.

My two cents (typically what it is worth). For me to achieve pedal note buzzing (with or without the horn), I do something close to the following:

7/8 of lower lip and 1/8 of upper lip are in mouthpiece (maybe 2/3 upper to 1/3 lower)

mouthpiece shank angled slightly above level

pull away from the mp slightly on lower lip

completely relaxed and full slow air and embochure

a pedal note should flop out--then you can work on control.

Can't wait to see what the peanut gallery thinks of this...

Is that you in the video Bloke?

Great exercises and nice sound (is that a HB-50?), but I get the impression the fellow posting the buzzing issue can't get the pedal note out in the first place.

bloke wrote: I may have heard that he traded a 1960's Conn Eb tuba (missing a valve) for it.

Or you may have made that up ten seconds before posting it.


FWIW, you can probably get a decent fixer-upper house in plenty or rural places for the price of that tuba.

I had the same problem but I couldn't go below F2. I just carried the mouthpiece with me everywhere and buzzed simple songs any time I could and I just started getting better sound and clarity. Now I can buzz down to a pedal Bb after warm up.

Bloke, thank you for posting these Chris Okla videos - they are gold! It's like having a lesson every time I watch one.

If you watch the video carefully, you will see Chris Olka doing what I mentioned above.

When he plays the pedal notes, he pulls his jaw back and drops it down (filling the MP with lower lip and pulling away slightly at the bottom while keeping the upper lip in place). Plus a large volume of slow air. Controlling the air to maintain the buzz is the challenge and practice task.

James Thompson Buzzing Book
Buy it, start playing it one octave below the trumpet part, then two octaves below the trumpet part. You'll have a pedal Bb in no time flat. If a "bozo" like me can do it, you can, too.

My best tip for low buzzing is to try "free buzzing" the note first--this will actually force you to maintain control over the corners of your mouth while letting the middle buzz. I have found that the most common mistake in low range playing is letting the horn do the work for you and just sort of letting your embachoure blow up--lose focus around the corners. With that method you may be able to get the note out, but you won't be able to do anything with it, or have much control over it.

I took a lesson from Dennis Miller up in Montreal and he had me play what he called "Golden tones" in the low range. He basically had me close up my whole mouth and play with that terrible sound that only middle school players have. Then from there he had me open up only enough to make the note come out and resonate. I know this seems really backwards, but I found that I was way too open to actually control the note.

During low notes, especially pedal notes, your lips are moving like crazy inside the mouthpiece, so the key seems to be to gain control of that chaos with the corners of the embachoure.

Hope this helps!



Stephanie Ycaza
Instructor of Low Brass
Longwood University
Virginia State University
The University of Richmond