Glissandi on the tuba as flexibility exercises?

[ubq]

What do you think about, is it useful? I know on mouthpiece alone it's just great- (Bobo octav glissandos), helps to develop sound, intonation, high register, but what about if we do it on the instrument?

Any comments?

Regards

[djwesp]

What do you think about, is it useful? I know on mouthpiece alone it's just great- (Bobo octav glissandos), helps to develop sound, intonation, high register, but what about if we do it on the instrument?

Any comments?

Regards

Part of my daily warm-up routine is 2 octave "smear glissando".


I start by playing thru my warm-up... which is mostly low... then starting at F below the staff and smear glissing up two octaves and then back down (focusing on playing "thru" the instrument and getting as much to speak in between)... i do this all the way up the scale until i can't physically do the jump anymore (it becomes out of my range at Eb (minor 10th above middle C))...


It really helps me focus the upper register, keep the pitch in my ear, and reminds me to be relaxed (by focusing on the feeling of the lower register and the notes i smear thru)


It also works good with half valves.

[Bill Troiano]

At the 1973 Int. Tuba Conf., I was back stage with Harvey as he prepared for the opening remarks and recital of the conference. He picked up his horn and did a few glissandi starting from pedal C up to somewhere above high g, back down and up again. Then he said something like, I just played every note on the horn. I'm warmed up.

[tubatooter1940]

Sometimes gigs happen before we have a chance to warm up. Glissandi may be quieter in a warm up. I believe technical warm-ups may result in an audience rushing the stage if we overdo. Who wants to hear that?
I usually ask John Reno to call something low and simple for our first song and that has to be my warm up.
If you can't glissando you can never play "Cherry Pink and Apple Blossom White" on any horn.