How to get a better more "omniscient" sound

[TheTuba]

Hello,

I recently took all-state auditions for TMEA as a freshmen , and in the room, the top 3 chairs (you can clearly distinguish them), had a pro-sound. Most of the tubas there had the regular "run-of-the-mill" intermediate sound, but the top 3 chairs had Vibrato (which I can do), and a god sound . The sound had a direction, but at the same time had no direction, kind of going everywhere . It was like a comfortable velvet pressure around your ears . This wasn't just in specific notes like some tuba players. This was ALL of the notes , all the way up to the Bb above the staff .

My question is, how do you get that amazing type of sound?


BTW bloke, I saw like 5 of your mouthpieces there.

Thanks!
-Raghul

[swillafew]

Hi Raghul,

Omnipresent is the word you want. Good job describing it, and I have one comment about it. When I was a student I was told time after time, "That was ok, but you need to use more air". One teacher told me when I was blowing like an insane person, "you're finally starting to play that $%%# thing, instead of just making pretty noises on it". Same teacher told another (better) student: "louder! louder! louder!" through an entire lesson. The student said, "that's gross", and the teacher told him what was gross (nothing musical).

My wife can play a saxophone so loud it might make you faint. She will tell me one thing when I am practicing, "can't you put more air through that thing?"

In my own practice, if I play on the mouthpiece alone for a few minutes, it leads to blowing more air than I can accomplish other ways.

[Three Valves]

...the top 3 chairs (you can clearly distinguish them), had a pro-sound. Most of the tubas there had the regular "run-of-the-mill" intermediate sound

It's a lot like Olympic figure skating.

50 people show up but it's really all about the top 4.

[circusboy]

.


Meditate.

[TheGoyWonder]

is there a Hall of "Fame" this post can go onto?

[MN_TimTuba]

"you're finally starting to play that $%%# thing, instead of just making pretty noises on it". Same teacher told another (better) student: "louder! louder! louder!" through an entire lesson.

To quote on of my teachers, "Blow the f#^*ing f#^*k out of it." There was a renown trombone teacher I once knew who would have freshmen sound like God awful loud buzz saws then over the next two years refine that sound to the most gorgeous tone you ever heard. WARNING: Do not attempt this without adult supervision!

Going to college in Chicago in the 70's-80's I had the great fortune to study with some incredible low brass professionals with the CSO and Lyric Opera Orchestra. To a man, they all stressed air. "Air is the fuel that makes that horn go", "Air powers your horn", "Step on the gas pedal, move that thing!" "Use BOTH of your lungs." When I started judging high school league solo contests I was amazed at the terribly lame effort I saw by too many young wind players, like they were playing to push the air just to the mouthpiece, rather than to the back of the hall. As a conductor, I would tell my students that after a concert they should feel like they just played a full basketball game plus overtime, that's how much energy I wanted to see from them. Naturally, a seasoned adult who has been doing that for a couple of decades probably won't be as exhausted after a concert, but I believe a young person needs to start with airspeed and energy. Your conductor can always back you down as needed.

Good luck as you keep learning, practicing, and growing!

[Leland]

March drum corps a few years. Play in a church with a pipe organ (a real live one, with thirty-foot pipes on the walls). Play in pep band during basketball season.

I began to notice when fellow students spent more time in a tiny practice room than in a performance hall or outdoor setting. They sounded good from three feet away, then disappeared beyond ten feet. In a weekly recital setting, their sound barely got off the stage. That's because, in a small practice room, the amount of sound needed for a concert hall just plain hurts, so the player never wanted to use it. When I was able to convince them to practice more in the band room or commandeer the stage when it wasn't busy, they always got better.

[TheTuba]

Thanks a lot for your replies!

If I may boldly say, I do blow a lot of air into the tuba, so I don't think that's a problem (for me at least)(However for my juniors it's a constant issue). Moreover, I think I don't have enough muscle to control the air (correct me if i'm wrong).My sound right now is kind of "wild". What other things do you guys do to get that omniscient kind of sound?

I wish I was in high-school already.....

Thanks!
-Raghul

[Donn]

Yes, in high school you will learn all about omniscience. I'm no instructor of tubists, but I think it's fair to say that the idea you could get the sound you want by just blowing more air through, falls somewhat short of the full story. The good thing though, is that you have a sense of how you want to sound. Keep listening to good players.

[Tim Jackson]

Back to the question - omniscient... hmm

Omniscient: having complete or unlimited knowledge, awareness, or understanding; perceiving all things. So, omniscient sound comes out of a player that knows the complete game.

this takes at least 50-60 years of study and practice! Better find an old guy to take lessons from.

[Worth]

I know the thread is decaying but he may have been implying omnipotence as in Tuba Godlike!



om·nip·o·tent
ˌämˈnipəd(ə)nt/Submit
adjective
1. (of a deity) having unlimited power; able to do anything.
synonyms: all-powerful, almighty, supreme, preeminent, most high; More
noun
1. God.

[Leland]

Moreover, I think I don't have enough muscle to control the air (correct me if i'm wrong).My sound right now is kind of "wild".

That's like your car losing traction because it's got the wrong tires (not a great analogy, but go with it).

Do long tones.

Play one solid dynamic for the entire tone (eight counts or whatever you pick). Then do dynamic changes across the entire note (piano to forte, or pianissimo to fortissimo, or mezzo-piano to piano, or forte to fortissimo, etc).

And don't worry about the muscles. Relax -- let everything below the shoulders do the work. Play with a good, clear sound. The muscle coordination will take care of itself.

(keeping in mind that all of what I say is being said without seeing how you play)