TubeNet

I have been using the new Arban and Kopprasch for many years. The problem is that they go too high, too soon. Is there another technical and/or comprehensive technical method that actually goes into the lower register and not f and higher? Thanks!

There is an Arbans edition for tuba (I think Wes Jacobs was involved with it) that I don't believe goes that high, but everything is written a Major 2nd higher (and then displaced down by the octave) which was weird for me as I usually just read the trombone version down am octave.

Some other methods that come to mind are the Blazhevich, Tyrell, and Snedecor books. Hope these help (with how common they are, though, I'm sure you have thought of them/know of them)!

I'm unsure of the level of player for the intended method, but the Rubank series can be picked up fairly cheaply.

The etudes in the Snedecor are quite challenging range wise, but also for breath control as well. One learns to manage the wind supply in order to make those phrases in the extreme low register. Depending on how well one's ear training is developed, it may take quite a while to learn one of these with good intonation at the bottom of the horn. For myself who has played well over 50 years they are still a challenge to pull off "musically." We get used to playing a few measures here and there in orchestra/band performance, but extended etudes are a whole different matter. I also appreciate in the etudes where there is a passage that moves very quickly to the high register, requiring a well developed and flexible embouchure. There are many benefits to this collection. I do several of these every day. My routine begins with scales and then the Snedecor followed by Blazevich, Arban, Tyrrell, Bordogni and then solo literature. (also work in some of Chris Olka's DOW) I always do scale warmups before the Snedecor to be sure the embouchure and tongue are working properly. It's important to be developing good habits in the low register.

I have found the Student Instrumental Course to be a buried treasure of material.
http://www.amazon.com/Student-Instrumen ... 0757900283" target="_blank" target="_blank

It comes in three levels, it has a method book, Tunes for Techniques books, duet books, and more for each level. Not all are still in print. It contains classical melodies and skill-building drills and is very well thought out and logically sequenced. It combines skill-building with musical development and is much more enjoyable to play than dry etudes and exercises. I also got the trombone books to use with F tuba.

I downloaded a free copy of Blazhevich.

It's just not my bag...

I can't find my copy to verify, but seem to recall that the Wm Bell Foundation to Tuba and Sousaphone Playing fills this bill.

I'm not sure how "Kosher" this is. I've scanned a few things, (smaller/crowded type face usually relates to a ton of fixes) saved them as TIFFs and then openened them in Finale to transpose them. At first I did this (of course with PD music ) to get higher range and idiomatic keys for the F tuba. Could easily work to pop things into the lower register and also keys that might have certain benefits. A bit of tedious work, but worth it - or so I thought.

While the Snedecor is great stuff, part of Tony's question related to technical studies. This is where a low key version of the Blazevich and Kopprasch (or for that matter the Arban) could be helpful for Contrabass Tuba.

No... I am not offering to do this.

hrender wrote:

Three Valves wrote:I downloaded a free copy of Blazhevich.

It's just not my bag...

There's lots of stuff that's more musical , e.g. Bordogni, Tyrell, Concone, etc.

Yeah, I got what I paid for!!

These etudes books are old friends and most of the studies in them I have analysed thoroughly over the years with regard to elements of style, so that I wind up having very concrete interpretations, which, I then try to adhere to as an exercise in discipline. The are filled with pencil markings and marginalia. To me every group of notes is there to tell a story. I love playing them.

Blazevich may seem more musical if it can be played "in the style" of the Russian composers that the etudes try to mimic. Borodin, Rimsky-Korsakov, Tchaikowsky and company. Otherwise, they may just seem like a bunch of notes in weird patterns. (Me thinks that vodka and stroganoff might enhance the mood)

Kopprasch, as technical studies, to me seems less interesting musically, but the benefits I believe come in disciplining one's technic and concentration. (Beer and schnitzel)

Bordogni and Concone for Bel Canto singing style and long phrases (red wine and pasta)

I think it is important to understand what the purpose of a certain etude is, and in practicing it, what are the skills you are trying to develop.

This reminds me of an episode of junkyard wars where an American, UK, and Russian team were charged with building sand or salt racing vehicles.

The UK designed an over-engineered light vehicle and tried to finesses it through the course but it broke.

The Russians made a three wheeled contraption that never started.

The Americans made a huge, powerful Bro-Dozer that charged through the course effortlessly and won.

So typical!!