TubeNet

Below I have attempted to categorize and describe the basic skills required to be a tuba performer. I'm sure there are many different ways to do this, but this is what I have at this point. I've posted several different things that will go in a book of warm-ups, tuning exercises and technical scale studies for the BBb tuba. If you have a suggestion then I would enjoy hearing from you about it. I have already incorporated several of the suggestions made on some of the other material.

Thanks in advance,

Mark Howle

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Tuba Performance Skills

The tuba student should work to develop well balanced abilities of various playing skills which can be categorized as follows:

Tone Quality: Tone quality or timbre is widely considered to be the most important aspect of playing a musical instrument.  It is affected by the player, the instrument/mouthpiece, and by the acoustics of the room in which it is produced.  Listen often to professional players live or via audio recordings as a reference for how you should strive to sound. There are many recordings available of professional tuba soloists and orchestral/band performers.  Sometimes movie scores provide outstanding examples of tuba solo sounds.  Three physical things affect tone production: air flow, embouchure and the shape of the inside of the mouth and throat, which is influenced by forming specific syllables such as ‟ah” and ‟oh”.

Intonation:  Playing in-tune is also one of the most important aspects of performing on the tuba, and it is essential when playing with other musicians to know how to match the tuning of other performers. Become aware of how it sounds when you are in tune with another instrument and how it sounds when you are not. Practice playing your basic warm-up exercises with a reliable pitch source such as an electronic synthesizer or SmartMusic Studio. Learn how to adjust the pitch of a note with your embouchure while performing and set your tuning slide in a position that makes it easiest to play in tune with other performers. Become efficient at making adjustments ‟on the fly” with your embouchure so that every note you play will match pitch with other musicians as soon as it starts.

Technique: Mastering various fingering patterns and the development of embouchure flexibility are two separate types of skills that are required for good tuba performance technique. A small portion of the diatonic scale is probably the most basic technical exercise, while the ability to play a set of random notes with wide intervals in succession is probably the most advanced. Scales should be memorized and played often, but repetitive exercises based on those same scales should be practiced daily while reading music. Also, daily practice of technical exercises should cover all keys plus chromatic and whole tone patterns.

Articulation: Mastering the different ways of tonguing, or slurring the beginning of notes in order to produce various styles is essential for any quality musical performance. Developing the ability to tongue rapidly, on repetitive notes and while moving up and down the scale, is also important. Finally, practicing scales while alternating between slurred notes and tongued notes will help prepare the performer to play challenging patterns when they occur in music, (ex. Slur two-tongue two, etc.).

Rhythm/Tempo:  There are different systems for counting rhythm patterns, that if understood, will aid the student in figuring out exactly how all rhythms in music are to be played.  Understanding all the time signatures including duple (4/4, 2/4, 3/4 etc.) and triple meter (6/8, 9/8 12/8) are key to being able to play all the rhythms.  Within each type of time signature there are several basic rhythm patterns that make up most of the music that is written.  There are published rhythm charts that provide excellent sources for learning and practicing almost all of the possible rhythm patterns that are found in music. These can be practiced with one note only, they can be played using the scale, and then they can be applied to etudes that focus on specific combinations of patterns. Additionally, the daily use of a metronome is key to learning to play with a consistent, steady tempo.

Interpretation:  Musical expression is the art of communicating specific ideas and emotions to the audience by utilizing the playing skills to carry out the instructions of the composer.  Each separate fundamental skill is important only to the degree that it helps the performer with musical expression. The interpretation of the music should go beyond performing the technical aspects of the dynamics, tempi and style markings.  It is the performer's job to take what is indicated by the composer, to be mindful of traditional interpretations of the music, and then to offer his own perspective of the music to the audience.

Reading Music Notation: There are three main components to reading music: rhythms, notes and style markings.  All these must be developed independently before new material can be read and performed immediately on sight.  The mastery level of reading material will never exceed that of what is practiced repetitively.  Also, it is important that you actually read your previously learned daily practice exercises as you play them so that the mental connection is made between the symbols on the page and the sounds that are heard by playing them correctly.  Memorizing fingering patterns may be a useful tool for initially learning a scale, but it will not help you sight read new music.

Range: Start each warm-up or daily practice exercise in the middle range and work down and up gradually toward the extremes.  Do daily lip slur exercises to strengthen your embouchure muscles and be sure not to press too hard on the mouthpiece when playing high notes.  Only extend your high-end range after you have warmed up properly, and while your embouchure muscles are still fresh. Limit the amount of time playing in the extreme high range to about five minutes per practice session until your embouchure muscles are developed enough to handle the stress without causing pain. Improving your tone and varying your dynamics on notes at the edge of your known range will make it much easier for you to extend your range to higher and lower notes.

Mark,

I think an aspiring tubaist could have all of the skills you mention above and still not have a job as a performer (for at least half a dozen different reasons).

Many of these skills apply to all brass instruments and, for the most part, to any musical instrument.

Alex C wrote: Mark,

I think an aspiring tubaist could have all of the skills you mention above and still not have a job as a performer (for at least half a dozen different reasons).

Unfortunately, mastering all the basic skills of tuba performance won't get you a job.

LJV wrote:Are you citing TubeNet as a research reference for these homework assignments...?

Actually, I think I would be remiss if I didn't. I'm not trying to peddle this book at any high brow academic institutions anyway so, I do plan to make at least a general acknowledgement of the contributions from some members of the Tube Net.

The Big Ben wrote:Many of these skills apply to all brass instruments and, for the most part, to any musical instrument.

I think all these skills apply equally well to all wind instruments. So, it wouldn't hurt if I looked for specific skills that are unique to performing on the tuba. Are there any pieces of the puzzle that I've omitted?

bloke wrote:Are those in order of importance, or are they considered equally important?

I consider tone and intonation the most important because their effects are noticeable on all compositions, so I listed them first. I put range last because I think it is at least slightly less important. (There is a whole lot of great music that can be played within a relatively small range of two octaves.) Other than those things, I cannot put one skill as being more important than another.
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(Also, for a jazz performer reading skills may very well be the least important.)
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I could build a case that intonation is the most important skill, even over tone quality. As important as tone is, the ideal tone is often a subjective preference, whereas intonation deficiencies are most often the very objective presence of interference beats that even the least trained of audience members can hear, (in a solo with accompaniment situation).

mark38655 wrote:(Also, for a jazz performer reading skills may very well be the least important.)

As a professor of jazz studies, I find this statement incredibly offensive.

Todd S. Malicoate wrote:

mark38655 wrote:(Also, for a jazz performer reading skills may very well be the least important.)

As a professor of jazz studies, I find this statement incredibly offensive.

No offense was intended. I admire people who can play by ear. I cannot. Some jazz musicians can play by ear very well. That is not saying they cannot also read very well. The nature of improvisation (which is more common to jazz) is more about playing by ear than by utilizing reading skills. My statement (which I stand by) is a simple one in that all of the other skills may be more important to a superior jazz performance than reading music is. Performing pure jazz, in its original form may very well be done without actually reading music. However, all the other skills I listed are required.

Todd S. Malicoate wrote:

mark38655 wrote:(Also, for a jazz performer reading skills may very well be the least important.)

As a professor of jazz studies, I find this statement incredibly offensive.

Its like this: If you can't read down (as in reading what is written down and play chord changes) a chart (as in read it down ONCE and then ready to PERFORM) you will NOT get the gig
No gig, no paycheck..and rent, food, gas ain't FREE, my man.

J "Just keepin' it REAL, dude" J

TUBAD83 wrote:

Todd S. Malicoate wrote:

mark38655 wrote:(Also, for a jazz performer reading skills may very well be the least important.)

As a professor of jazz studies, I find this statement incredibly offensive.

Its like this: If you can't read down (as in reading what is written down and play chord changes) a chart (as in read it down ONCE and then ready to PERFORM) you will NOT get the gig
No gig, no paycheck..and rent, food, gas ain't FREE, my man.

J "Just keepin' it REAL, dude" J

Yeah, uh, what? Did you mean reading skills are the most important? Beyond needing to be a stone-cold sight reader, you come across bass at the octave, lead sheets in C or Bb treble, piano scores, chord symbols without a staff, handwritten charts, and all sorts of lunacy that may or may not be designed for a tuba.

Playing by ear and memorization are obviously huge components of jazz performance, but I would contend that these grow out of reading ability and the increased awareness of the construction of music.

mark38655 wrote:No offense was intended. I admire people who can play by ear. I cannot. Some jazz musicians can play by ear very well. That is not saying they cannot also read very well. The nature of improvisation (which is more common to jazz) is more about playing by ear than by utilizing reading skills. My statement (which I stand by) is a simple one in that all of the other skills may be more important to a superior jazz performance than reading music is. Performing pure jazz, in its original form may very well be done without actually reading music. However, all the other skills I listed are required.

Interesting that no offense was intended since even more was generated with this post.

I always find it amusing when a student like you chooses to lecture someone who teaches jazz improvisation for a living about "the nature" of it. It's a rare bird who can simply "play by ear" without years of scale/pattern study and, even more importantly, transcription study.

You can "stand by" your statement all you wish, but it's still 100% incorrect. The most successful jazz performers and even (gasp!) improvisers are the strongest readers. For proof of that, simply look at the guys most successful at making a living as "guest soloists" at jazz festivals all over the world. Then tell me that reading is the least important part of their skills sets. Wayne Bergeron, Andy Martin, Randy Brecker, Bob Mintzer...yeah, those guys can't read a lick.

Whatever "pure jazz" is (I have no idea what you mean by this, but keep moving those goalposts), there's precious little music being learned and performed without actually reading music. What IS unique to jazz performance in almost all cases is the lower amount of or complete lack of rehearsal time. Again, this makes reading skills even more important to a jazz player who wishes to continue to be hired.

Todd (Todd...sniping, taking pot shots, and contributing ABSOLUTELY NOTHING to the forums.) S. Malicoate wrote:

mark38655 wrote:No offense was intended. I admire people who can play by ear. I cannot. Some jazz musicians can play by ear very well. That is not saying they cannot also read very well. The nature of improvisation (which is more common to jazz) is more about playing by ear than by utilizing reading skills. My statement (which I stand by) is a simple one in that all of the other skills may be more important to a superior jazz performance than reading music is. Performing pure jazz, in its original form may very well be done without actually reading music. However, all the other skills I listed are required.

Interesting that no offense was intended since even more was generated with this post.

If you are truly offended by what I said then perhaps it would be wise to consider the following:

1-- Is it possible that I misspoke inadvertently and therefore I need to clarify what I said? In this case it should be considered a minor offense on my part and not cause for being "incredibly offended".

2---Is it possible that you misinterpreted what I wrote and therefore you need to correct your position? In this case it should be considered a minor offense on your part.

3—Is it likely that I made a deliberately inaccurate statement so as to offend jazz musicians? This would be a major offense on my part and one that might justify being "incredibly offended".

4-- Or is it likely that you over reacted to an inadvertent statement that I made when you stated you were “incredibly offended” at what I said. And when I tried to clarify you said that “even more (offense) was generated with this post”.

For the record, neither my original post nor the book I am writing/compiling is about jazz. I only commented as an afterthought in a way that I believe was accurate, and in a way I had no idea would be offensive to anyone. If what I said was offensive to you or anyone else, then I would like to offer an apology for that misunderstanding. I have nothing but the highest respect for professional jazz musicians and admire their ability to both read and improvise. (As a matter of fact, I have a friend who was once a jazz musician.)

Todd (Todd...sniping, taking pot shots, and contributing ABSOLUTELY NOTHING to the forums.) S. Malicoate wrote:I always find it amusing when a student like you chooses to lecture someone who teaches jazz improvisation for a living about "the nature" of it. It's a rare bird who can simply "play by ear" without years of scale/pattern study and, even more importantly, transcription study.

Todd, --- I am not a student. I've not been a student for a very long time. I think you MAY have me confused with someone else. That being said, the creators of jazz, if I understand it correctly, learned to play by ear, not by studying scale exercises at a college conservatory. If you think otherwise, then please enlighten. Again, please understand that I don't consider myself an authority on jazz history, so if you think that its creators first learned to read music (from the Arban's book maybe?) then studied at Tunale University in New Orleans, then that is a part of music history I must have missed.

Todd (Todd...sniping, taking pot shots, and contributing ABSOLUTELY NOTHING to the forums.) S. Malicoate wrote:You can "stand by" your statement all you wish, but it's still 100% incorrect. The most successful jazz performers and even (gasp!) improvisers are the strongest readers.

Lets review the events that lead up to where we are now:

1) I listed eight categories of skills.
2) Bloke asked me if they were in order of importance.
2) I had previously stated that the player should strive for a balance of all those skills. But I thought it was a good question so I stated what two skills I thought were most important, and which one might be least important and then said why I though so. (My reasoning was simply that some skills might not be utilized in some musical performances.)
3) As an afterthought, I added to my post that reading might be the least important skill for a jazz performance. (Again my thinking was that if they were improvising, then reading skills, (while still important), might not be as important as other skills for a particular performance.)
4) Then you said: “As a professor of jazz studies, I find this statement incredibly offensive.”
5) Then I said I hadn't meant to offend and attempted to explain my position.
6) Then you made your last post.

Todd (Todd...sniping, taking pot shots, and contributing ABSOLUTELY NOTHING to the forums.) S. Malicoate wrote:... simply look at the guys most successful at making a living as "guest soloists" at jazz festivals all over the world. Then tell me that reading is the least important part of their skills sets. Wayne Bergeron, Andy Martin, Randy Brecker, Bob Mintzer...yeah, those guys can't read a lick.

I did NOT say jazz musicians' reading skills were inferior to that of any other musician. After reading this text, I have to wonder if you are deliberately blowing this out of proportion. Should a person who puts "Todd...sniping, taking pot shots, and contributing ABSOLUTELY NOTHING to the forums." as his signature really be taken seriously anyway?

1. Signatures frequently contain intentionally humorous, self-effacing information.

2. Try to learn the personalities with whom you try to joust. Your present approach to communicating with Todd will get you nowhere. Try something else.

Jeff "Viewing the action from over here in the cheap seats" Benedict

The Big Ben wrote:1. Signatures frequently contain intentionally humorous, self-effacing information.

2. Try to learn the personalities with whom you try to joust. Your present approach to communicating with Todd will get you nowhere. Try something else.

Jeff "Viewing the action from over here in the cheap seats" Benedict

You may very well be right. Sometimes signatures are nothing more than humorous, self-effacing information. In this case however, the jury is still out for me. I didn't offer my material so that I might have the privilege of defending myself on an issue that is unrelated to the work I'm offering. It appears to me an unfortunate diversion from the subject of the original post. Again, if anything I said was offensive to jazz musicians I am truly sorry.

Sorry is fine. Whatever. Get your information right. If you don't know **** about jazz, you're probably better off not talking about jazz. I sure as **** would never tell you what's important in quilting.

ginnboonmiller wrote:Sorry is fine. Whatever. Get your information right. If you don't know **** about jazz, you're probably better off not talking about jazz. I sure as **** would never tell you what's important in quilting.

What part of my post do you have a problem with? (What "information" did I not get right?)

mark38655 wrote:

ginnboonmiller wrote:Sorry is fine. Whatever. Get your information right. If you don't know **** about jazz, you're probably better off not talking about jazz. I sure as **** would never tell you what's important in quilting.

What part of my post do you have a problem with? (What "information" did I not get right?)

Well, let's go ahead and list all the things you said about jazz:

"(Also, for a jazz performer reading skills may very well be the least important.)"

I'd say that's it. I'd also say that it's absolute horseshit, and if you knew what you were writing about you wouldn't have written such horseshit.

Seriously - what didn't you get about what I wrote?

"Also, for a jazz performer reading skills may very well be the least important." That statement may not be true. It may be very untrue. ??

So then let me ask the people who don't agree with that statement if the following statement is true:

"Reading skills may be the least important while improvising." The reason I ask is that (although I'm not an improv performer) while improvising, a performer is reading chord symbols, and not each specific note. Therefore "reading" is less important.

mark38655 wrote:

The Big Ben wrote:1. Signatures frequently contain intentionally humorous, self-effacing information.

2. Try to learn the personalities with whom you try to joust. Your present approach to communicating with Todd will get you nowhere. Try something else.

Jeff "Viewing the action from over here in the cheap seats" Benedict

You may very well be right. Sometimes signatures are nothing more than humorous, self-effacing information. In this case however, the jury is still out for me. I didn't offer my material so that I might have the privilege of defending myself on an issue that is unrelated to the work I'm offering. It appears to me an unfortunate diversion from the subject of the original post. Again, if anything I said was offensive to jazz musicians I am truly sorry.

3. Sometimes it's best to just leave it lie than to impinge your shaky credibility with yet another non-apology.

mark38655 wrote:"Also, for a jazz performer reading skills may very well be the least important." That statement may not be true. It may be very untrue. ??

So then let me ask the people who don't agree with that statement if the following statement is true:

"Reading skills may be the least important while improvising." The reason I ask is that (although I'm not an improv performer) while improvising, a performer is reading chord symbols, and not each specific note. Therefore "reading" is less important.

Seriously, who's going to buy a book by a guy that admits he doesn't know what he's talking about but still won't shut up about it?

mark38655 wrote:"Also, for a jazz performer reading skills may very well be the least important." That statement may not be true. It may be very untrue. ??

So then let me ask the people who don't agree with that statement if the following statement is true:

"Reading skills may be the least important while improvising." The reason I ask is that (although I'm not an improv performer) while improvising, a performer is reading chord symbols, and not each specific note. Therefore "reading" is less important.

It was very clear before that you're not an "improv performer." The clarification was unnecessary.

But, for the record...no. Your revised statement isn't much better. Reading skills aren't the least important in your list to a performer who is only reading chords and improvising. Furthermore, since such players really don't exist at all, it's a moot point. No jazz performer only improvises and never has to read a lead sheet or any other notation.

As for the reason for my offense...as a teacher of jazz I am sick and tired of "classical" musicians who look down their noses at jazz performers and think, as it appears you still do, that jazz doesn't require reading ability or other "music" skills. If you don't like being called to the carpet for off-hand comments that don't relate to your topic, then I have a simple solution for you...DON'T MAKE THEM.

ginnboonmiller wrote:Seriously, who's going to buy a book by a guy that admits he doesn't know what he's talking about but still won't shut up about it?

You are hereby awarded +10 internets and win the thread.