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Hello everyone,

I am somewhat new to EEb Tuba (Besson 982) playing. I also play CC Tuba primarily in ensembles, but my teacher thought it'd be useful that I improve my chops on a Bass Tuba.

I have noticed that I am quite out of tune (usually a mixture of flat and sharp +/- 15 cents) throughout the register. Are there any exercises I can do to improve this?

Secondly, are there any tips or advice you can give me to better my time on this beast?

Thank you!

I play on a Laskey 28G (A), if you are wondering.

Every horn responds differently. In general, I find smaller tubas to respond quicker, but this is not always true.
For me, I like to play slow scales with a drone tone (quarter note= 60, played in half notes). I have a B&S pt-22p E flat tuba, and play it with a pt-65 mouthpiece. I also like a 1st valve slide that is smooth and easy ( like a trombone slide) so that I can alter its length where necessary. To me, it only becomes an issue if a partial is too flat when the corresponding tuning slide is all the way in using a combo involving one of the valves, in which case an alternate fingering or a slide cutting is in order (or perhaps both!!)...

WiFiber wrote:
I play on a Laskey 28G (A), if you are wondering.

For the last couple of years, I also played on a Laskey 28, and really dug it ...although it caused some rather strange intonation funkiness that I had to compensate for.

I didn't realize the extent of how much I was actually compensating until I recently stopped using the Laskey.

There are some downright amazing qualities about the Laskey, but I'm thinking there are also some quirks. What you are describing matches my experience... that's the reason I mention.

I rarely ever suggest changing equipment to solve technical issues, but in this instance, in addition to shedding the usual stuff, try a few different mouthpieces and see if that changes anything.

Have a friend try the tuba, and make sure that the problem is you and not the tuba.

Things like mis-aligned valves or leaky valves (or other air leaks) will produce all kinds of weirdo experiences.

If -+ 15 is all, I wouldn't start looking for problems in the horn. I could probably think that up or down before start lipping it.

Can you hear those -+15 playing alone without a tuner? Many people can't but 'autocorrect' as soon as others join in.

Another thing using the tuner...
What is the optimal target frequencies? What is the temperaments?

Lectron wrote:If -+ 15 is all, I wouldn't start looking for problems in the horn. I could probably think that up or down before start lipping it.

Can you hear those -+15 playing alone without a tuner? Many people can't but 'autocorrect' as soon as others join in.

Another thing using the tuner...
What is the optimal target frequencies? What is the temperaments?

+1

Ace

Use the mouthpiece you like and that helps you manage your register and helps you produce the sound you want to hear.

You tuba is fine....+-15? Man...you're lucky. That's close to what's theoretical possible on a tuba.
Get used to it. Learn to know it. Play it, don't let it play you

Long notes, scales and intervals. More than often when dropping down to a note that same
note is higher than jumping up to it....If not payed attention

In addition to long tones/warmups, pick a simple Bordogni étude that you play well on the CC. Play it on CC then play it on Eb, then play it on the CC again. The sound may be different, but try to keep the musical qualities and pitch the same on your home base instrument and your unfamiliar instrument.

T. J.

Lectron wrote:If -+ 15 is all, I wouldn't start looking for problems in the horn. I could probably think that up or down before start lipping it.

Can you hear those -+15 playing alone without a tuner? Many people can't but 'autocorrect' as soon as others join in.

Another thing using the tuner...
What is the optimal target frequencies? What is the temperaments?

I tend to hear them quite easily when in context with an etude or scale.

Would you mind telling what you meant by target frequencies and temperaments?

What I mean to tell you is that some times it's really not that interesting to play what the tuner tells you
If you do, and stick to that, most chords will sound awful. You need to listen to the music, not the tuner

As for études and solothings, I agree, but bringing it down to -+10-12, even that guy who
claim to have absolute pitch probably couldn't tell but everyone who heard that non
perfect fifth could

Lectron wrote:What I mean to tell you is that some times it's really not that interesting to play what the tuner tells you
If you do, and stick to that, most chords will sound awful. You need to listen to the music, not the tuner

As for études and solothings, I agree, but bringing it down to -+10-12, even that guy who
claim to have absolute pitch probably couldn't tell but everyone who heard that non
perfect fifth could

As a person with absolute pitch, I completely agree. I just get a little self-conscious after examining the tuner for about a minute. However, I feel like I "hear" or rather "assume" I'm out of tune more than anything on this instrument.

Yeah ... not sure what's going on here, but if you hear intonation problems, I would trust your ears rather than let us convince you you're really in tune. I don't know anything about it, but I see tubajoe suggested you might try some other mouthpieces, so I would do that and possibly see if you can get some specific suggestions from him.

bloke wrote:I'd love to sit down with a tuner in my lap sometime and audition a singer or instrumentalist who claims to know all of the pitches' precise locations.

+1

I am really surprised no one has hit on this yet, but as a CC player mostly, you are used to the pitch tendencies of certain notes. For example, first valve F in the staff is sharp as hell, so pull that sucker out or lip it down. On Eb tuba first valve F in the staff is flat as hell. It is the unfortunate circumstance of the relationship between basses and contrabasses. They are perfectly far enough apart that many notes will not just feel different, but they have exactly the opposite tendencies. Get with a tuner and play etudes!!!

OP being a self claimed person with absolute pitch I can not see he has a problem
with intonation at all? When spotting the error, compensating is fairly easy

He also seem to have one of the most in tune tubas out there.

Nah, WiFiber, I'd say you're pulling our leg here. Having a tuner is not the same thing as having perfect pitch

These can be (and usually are) practically self-tuning beasts; Listen to recordings of Fletch: no slide movin'!

I've borrowed these for a couple years (and I'm now back to an Imperial/980). Make sure you have a later model with the "modern" receiver, or a small shank MP. That's the first biggie.

Second, nearly every valve slide, IMHO is all the way in. Third may be out about 1/4 inch. With one exception: the compensating slide is way too short. Pull that puppy out at least .75 inches.

I use, standard, in the range above the staff, D (1&2) Eb (1) E (2) and F (0). Seems to be very, very easy pitch for me.

The horn does have some different tendencies than the CC harmonic series. But there are easy alternates. Low C you can use 3 for some cords; low Bb I play 1 & 3 now. The F on the staff can be very playable with 1, but if I'm sitting on it, I'll use 4 instead. Gb, may be be 2&3 if the chord warrants.

I found the best pitch on a Miraphone C4; but I'm now using a Yamaha CB (there seems to be no limit to what this mouthpiece is congruent with) and it's solid with that too. The C4 will give you a more brilliant, nimble, more "F like" timbre.

These are like fine, Italian women (I'm married to one). They perform great, they can do everything... but you better do it their way.