What should my range be?

[LoyalTubist]

I didn't have trouble with either my high or low registers when I was in high school. No, I had problems with my pivot point. There was one note (a fourth line F on BB-flat, a fourth space G on C) which I always splattered. In marching band, when we played "Army of the Nile," there is a scale run that emphasizes that F. I was always embarassed by that note. Of course, the other guys in the section were amazed that I could even play it (anything above middle line D was "high!")

Probably the best way to relate what is a good range is, what is expected of trumpet players of that level? It isn't all that different.

[TubaRay]

To attempt to add to a couple of posts on this topic, I believe range is important, but not the most important to a person who has not played tuba very long. When discussing range, it should be noted that there is the doable range and the practical range. So the post noting a 5 1/2 octave range is not dishing out BS. I know of someone whose POSSIBLE range is 6 octaves. As for practical range, it is much closer 4 octaves. And even a practical range has its limitations, depending on the musical context. Not many tuba players can pick off an F above the staff at pp, as an example.

In addition, Sean's point is good one. It is always important to keep the playing of the instrument as a pleasant experience, rather that something one dreads. The more time spent on practical fundamentals, the better the player becomes. From my experience, it is more fun to practice the things I can already do well, than it is to practice those I can't. For those, I get my motivation by remind myself of how much better a player I will be when I achieve them. If I become bored or unmotivated practice the not-so-fun things, I move on to other things and come back later to touch on the deficiencies.

To put the finishing touches on this post, let me say that my feeling is that tone production is the most important fundamental in playing tuba. The exact order of the other fundamentals I'm not certain I know. They are all pretty important, but tone is where it all begins.

[Roger Lewis]

with Doc and many others that, the low register is what some call the "cash register". This is where we earn our living. No one is ever going to pay you to play high notes, other than the occaisional Berlioz or Mendelsohn piece. They can hire a horn player or a trombone player if they want high notes. Where we excel is in the low register. This should be a priority. I can't see a composer wanting the sound of "a blue jay farting in an empty silo" as an effect, even in the oddest of contemporary pieces (and I did have to do this once in a world premier piano concerto - hitting an Eb over double high C for a fast descending sixteenth note run).

Stay focused on sound, fundamentals, scales and arpegios, lip slurs, low register studies, melodic studies - be a "Musician" first - the other stuff will all be there when you need it. To quote some others who have posted - work on the stuff you KNOW you can't do - spend less time on the things you do well. Challenge yourself at all levels and always remember to play with the absolute best sound you can at all times.

Okay, I'm done now.

Roger

[passion4tuba]

so what is "high" on a BB flat tuba? I can play out to about an F above the staff in a scale and in the context of a song, but it stops sounding like a tuba, and more like a euphonium. I've heard that the great players can still have that full tuba sound even in those registers, but on a BB flat tuba?

[tubatooter1940]

" A blue jay farting in an empty silo" I love that.
If you are playing a note that sounds like that, make a mental note to avoid playing that note in the future-and learn a way to fatten it out, later.
You should showcase notes that sound like notes you would enjoy hearing.
I'm so lucky I get to come up with my own lines in our trio-The Creekers.
I try many riffs that prop up a phrase and usually choose the one that my tuba sounds best playing. We take no music onstage.
If you lack that happy choice, make a list of the notes coming out of your tuba that are stinkers. Keep trying to hit those stinkers from above, below or jumps from everywhere-try alternate fingerings-slur. Devote some time to drilling the worst ones at every practice opportunity-sounds crappy but really helps.
I found a horn that has the right range for tropical rock and enjoy the lows that are right down to the bottom of my real range. I chose to sacrifice highs to sound better low and velvety. It's nice to solo up high on my Eb tuba but here lately I have been enjoying playing solos down low with an "in your face attitude". I believe that time spent down at the bottom of my tuba's range is time well spent.

[iiipopes]

Short of playing in an armed forces band, an orchestra, or commercial gigs that might require that bird fart, what tubaman90 said. My Besson BBb 3-valve comp from 4 ledger line and a space E up to Bb on top of the staff does everything except loud finishes in Eb, even then I can pull the 3rd valve slide all the way and go for it. Being 45 years old hacking away in a community band, I can safely say that's all I'll ever need.

[MaryAnn]

OK, for lack of anyone else's saying so...it depends on the size of the tuba. My range with a 6/4 CC or BBb is probably about five feet, while my range with a tiny little F is more like ten feet.

MA

[djwesp]

I bet if I got a good run at it and threw it like a javelin... I could get close to 20.

I have an ex girlfriend that could launch my box of gifts and letters a good 25, and it weighed about as much as a tuba. She'd give everyone a run for their money.

[eupher61]

I bet if I got a good run at it and threw it like a javelin... I could get close to 20.

That's one of Carol's claims to fame, too.

As far as playing range, 5 1/2 is NOT out of the question, no matter what size/pitch tuba. At this point, my high range certainly isn't as strong as it used to be, but the top space TC E was easy, and good. Now, the C is easy, the E is pretty pinched, but it's there.

What good does it do to have that range? Ideally, if it's worked at properly, it will make everything in the "normal" range all the better. Work PAST the essential range, getting the extremes solid, and the bread n' butter will be toasty.

[SplatterTone]

As far as playing range, 5 1/2 is NOT out of the question

I do it all the time with my trumpet mouthpiece on a tuba shank.

[Allen]

Regarding "false" tones: Some horns don't seem to do them, but most tubas I have tried will. There are two major differences between false tones and the rest. 1) The resonance is broad; they definitely don't slot in and you have to make the pitch yourself. 2) Most players don't really practice them, making it no surprise that most players find them hard to play well.

I play a 5-valve CC tuba that has all the hardware to be fully chromatic down to the pedal notes, yet sometimes I use false tones in concerts. Two reasons: 1) The tone starts and stops much more quickly (partly due to less resonance, and partly due to less tubing being used). 2) The tone is thinner, and sometimes that effect is what is needed when you are supporting much less than the full ensemble.

So for the majority of 3-valve tuba players out there: You can be fully chromatic down to the pedal notes.

Cheers,
Allen

[LoyalTubist]

If you play a three valved tuba, I don't really think it's too important to work on false tones until you master your middle register, then your normal low register, and, maybe, then your false tones.