Whatever you think you might do (tuba or non), taking a lesson with the teacher before you commit may help you decide. I've heard good things from people both ways, and bad things from people both ways. It depends on your situation and the teacher.
It's your dime; try them out and see what YOU think!
(BTW, I switched my major to tuba because I found that my undergrad school had a kick-a$$ tuba teacher, and the trombonist that was trying to teach me euphonium was all about "smile" embrochures... )
Instead of talking to your plants, if you yelled at them would they still grow, but only to be troubled and insecure?
I can only relate my experience. I studied with two different trombone players in college. The first seemed to believe I would become a better tuba player by his mere presence. Needless to say I didn't learn much.
The second was an absolutely top-notch musician and teacher. The musical principles he taught me stick with me to this day; how to shape a phrase, how to use a minutely different articulation to get a hugely different effect, how to invest yourself and your experiences into the music, etc. But he couldn't teach me about the nuts and bolts of being a tuba player: the current and standard lit, how to choose a horn and the tendencies of different types and models, the different nuances that different horns have, even things about intra-oral shape and motion to produce different sounds (it's different on a trombone).
I wouldn't trade my knowledge gained from this gentleman for the world. But I also wish I would have had an actual tuba player for more than just one semester of my undergrad.
I guess my point is that unless you are blessed as I was to get an instructor that can give you the keys to musicianship in spades, you would be better off studying with an actual tuba teacher. He might not be able to give you those keys either, but at least you'll have the knowledge of the tuba world that you need to make that leap yourself. A teacher can teach tuba, or they can teach musicianship. Your best bet is to find someone that can do both.
SD
I am convinced that 90% of the problems with rhythm, tone, intonation, articulation, technique, and overall prowess on the horn are related to air issues.
OK, I'd say that if your basic technique is not solid, a good brass teacher is a good thing. The most important thing, however, is to study with the most MUSICAL person you can find after your technique is solid. At that point, it doesn't have to be a brass player, could be a singer, a cellist, violinist, or whatever. The most important part is to MAKE MUSIC. We just happen to play the tuba. My $0.02, FWIW.
Studying with someone other than a tuba player is fine. If they are a great musician, they can model great musicianship for you at the very least, and will usually be able to teach it to you as well.
Conversely, they will not usually be able to teach you the finer points of great tuba sound. Tuba instructors are best for this in my opinion. Also, they will know the tuba rep better than non-tuba players.
don't worry about it. If the school you wish to attend does not employ a tuba player, its not a big deal. Make sure that you can get lessons from a symphony player or other pro from time to time to make sure you're on the right track.
It isn't the teacher that makes the player. The player makes himself by how much he practices. (as long as he is practicing the right things)
adam0408 wrote:It isn't the teacher that makes the player. The player makes himself by how much he practices. (as long as he is practicing the right things)
adam0408 wrote:It isn't the teacher that makes the player. The player makes himself by how much he practices. (as long as he is practicing the right things)
There's wisdom here!
The key to this is, however, "practicing the right things".
This is one purpose of a teacher: To guide us so that we do practice the right things.
A good teacher won't make a great player. A great player can make her/himself with a poor teacher. A player who makes himself AND has a great teacher, will succeed far beyond the other 2 conditions.
I wish I'd studied with a tuba player in undergrad. (trombone player, only played 1 recital while I was there...*sigh) I may not have gone farther as a player, but I would have had a better grasp of what being a tuba player really means.
Fortunately, I had a great grad school teacher, and made up for a lot of lost time.
I also managed to have a few lessons with various other teacher/players.
BUT...the biggest upside of my undergrad, was the amount of playing I got to do. I was the only tubist for most of 3 years, and one of only 2 for another year. So, I played everything. The band and orchestra programs are much different now, but I played almost anything that can be imagined, and then some. The orchestra did a program every 6 weeks, or so, it was more a repertory group than a spit-and-polished-performance group. I once had a list of the things I'd played (including subbing or playing extra with various pro and community orchestras.) It filled 2 columns on a standard MS Word page. I know that most of it was from undergrad.
So, there are some advantages to a non-tuba playing teacher. Less competition for ensemble spots!
All in all, though, I wish I'd had more exposure to "real" players as an undergrad.
Who was Bill Bell's teacher? Who was Johnny Evans' teacher? What did tuba players do before Rex Conner was hired as the first university tuba instructor in 1960?
Questions... Questions...
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You only have one chance to make a first impression. Don't blow it.
the elephant wrote:
(For Ray, Pete Kline at SAC, if you are interested. He insists that I call him Pete now, but I still have to call him Mr. Kline. I have that much respect for the man.)
Just for your information, Wade, I studied with him also. He is the trombone player I was referring to in my earlier post. I learned a lot of music, plus a good bit about playing a brass instrument, in general. Although I am much closer to his age, and have played a number of gigs with him, I still have the same respect for him that you refer to. I'm glad I had that part of my life.
I would not argue that a good teacher can teach anyone. But one point to be noted is that if a player who is learning needs specific instruction on tuba specific aspects of playing, he or she needs an actualy tuba playing teacher. One can benefit from a non-tuba player, but imagine if you were NEVER taught from a tuba player and you studied with a trombonist or etc. Doesn't it seem like you would eventually model your sound out of the trombone sound? So at this extreme, it may be negative to study for a long period with only a non tuba playing teacher.
The point? Even though I would NEVER disagree that one can learn A LOT from non-tuba players, you still need a tuba player teacher. I would argue, that this is especially true at the undergraduate level where one is building much technique and skills related solely to the tuba. Though a non-tuba playing professor can teach you a lot about musicality, at an important development time in your playing, you will need tuba instruction for a tub player.
I would think that in a perfect world you would have both: a tuba teacher and a non-tuba teacher.
