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Sounds like a good start. How about Rochut down two octaves?

Rochut is a GREAT Investment. My goal has always been to produce the pieces in as many octaves as I could, keeping the musical content (tone color, expression, dynamics, tempi... as constant as possible. My success in doing so is not that important, but the PROCESS was very educational.

Other than that: Low Register playing improved in LEAPS after I got into this semi-pro concert band under a conductor who encouraged us to really pump air, explore the lower limits of our horns and try to remain musical in the process. Staying in and below the cash register during rehearsal- weekends with up to 9 hours scheduled rehearsal time per day helped a lot .

Practicing false notes will improve your air supply for the low register. I made a set of exercises working down through the pedal range, which I presented here

viewtopic.php?p=444995#p444995

Get them, plus lots of solo, duo, and trio material, for free from my download project. Send me an email address from whichever supplier via the mail button to the right of here, and I will send you an invitation.

Klaus

I would also suggest a very basic exercise for low register development. Start on low C or Bb (depending on the key of your tuba) one octave above the fundamental. At a very slow tempo in 4/4, and play two half notes followed by a slur down one half step to a whole note. Rest four beats (while taking a very large breath) and repeat the pattern, going as low as possible.

When doing this on the mouthpiece, I attach a plastic hose (about 4"-8" in length with a 1/2" inside diameter) to the shank. This provides some resistance and makes it a bit easier for the lower notes to speak. It also allows me to play slightly longer phrases than I could on the mouthpiece alone. The better (and lower) I can play on the mouthpiece, the better and lower I can play these notes on the tuba. You can also get an Inspiron (Brian Frederiksen sells them at Windsong Press) and attach the mouthpiece to the hose. The longer hose will allow you to play on the mouthpiece all the way down into the pedal register to the fundamental or lower.

The idea for this exercise is to start with your best quality of tone, and then transfer that to the next lower note and make it sound great. Before long, they all sound great.

Finally, another great resource is The Brass Gym, by Sam Pilafian and Patrick Sheridan. They have several exercises that extend down into the extreme pedal register. It comes with a companion CD with Sam and Patrick playing many of the exercises in octaves. Hearing Sam play in the pedal register is worth the price of the entire package.

Here's two of the "Drills" I have my students work on:
https://youtu.be/UwJ6BkC9VJU" target="_blank
https://youtu.be/YG-aRBLmA8s" target="_blank
Hope they help!

Chris and Bloke cover most of the issues, and quite well at that. You just got great advice.

For a book, I enjoy the Low Register Studies by Phil Snedecor. They keep you down there and demand breath control. (Which is key) Each one also has a few modulations and some breaks into the higher registers just so you don't get locked into the lower jaw set. But these are 'etudes' not necessaraily 'exercises' per se. I think Chris's DOW (Drill of the Week) are wonderful "exercises" that really get you there. The Snedecor will simply give you material to play musically with the goal of getting used to that register in a musical context. They will however indirectly exercise you.

I have found that often the open teeth situation goes beyond the point of diminishing returns. Yes the jaw needs to be somewhat open, but if the lips can no longer vibrate, then there is no hope. I was one of those guys that kept dropping the jaw lower and lower, thinking it would help. A clear mouthpiece and a look in the mirror straightened me out.
As Bloke mentioned how so many guys just hammer that register, being able to play it with a smooth soft sound is really rather practical. A few weeks ago I had a church brass gig. I seem to recall it was on a pedal D and I just as smooth as butter slid in and out of it with a beautiful sound and resonance. The guy beside me said he had a "religious experience" when I did it. LOL

Chris mentions a recipe. Corners, buzz the right pitch, feed the note (breath), jaw position etc... If they all function properly, the note really must speak. When it won't come out, then check one of the elements.

Also, I found I simply needed to be patient and work consistantly a bit each day. It really only took a few days to get it working. But depending on how hard I played the day before, I may need more or less warming and loosening up. But that mostly concerns the buzzing.

And yes there are a ton of arrangers who simply copy and paste lines from piano charts into the brass instruments with little understanding. Yes, tweak the part so it helps you and the orchestra sound better.

Best wishes Terry and hope you are having fun with your new stash of horns.

Paul

Wes Jacobs's Low Legato Etudes is a good book. I think its good to read the ledger lines, and not just 8vb.

Agree with the Wes Jacobs. Bordognis in 3 different keys. Lowest note starts around low f or e,then descends by half step.

Those seemingly "always too low"-parts can be taken with some sportsmanship, too.
British Brass Bands frequently face this type of Situation: Many parts seem impossible to perform - on your own.
Very often, the first reasonable approach is to team up with the guys around you and figure out ways to make things happen with the load divided among several shoulders.

Figuring this stuff out is what makes playing in a Tuba section fun.

bloke wrote:- There is no brass band around here.

Maybe it's time to start one? The one in our area seems to be doing quite well.

Stryk wrote:I was doing Chris' "Whack- a- mole" ... Down to about D, I can get the "abundant sound" he speaks of

Until you've sat next to Chris when he does this you have no idea how abundant that sound actually is. The floor shakes!