differences between tuba and other brass

[cctubaneeds]

I am a student and here are the focuses of some of my lessons.

The need to be able to read 5 different ways. BBb, CC, EEb, FF and transposing treble clef. I know other instruments transpose but not in the way we do. As well, not only the fingering differences with comp systems, but different 5 valves tunings and even 6 valve systems.

Air. Usages. Do I really need to explain more?

To think melodically. We get so used to tuba parts and even tuba melodies. Music written for the tuba is generally similar. We have to break the tubaness and play other music.

That is all I can think of that is Tuba-Specific.

[pjv]

Academically speaking, I feel that a tubists "graduation solo recital" (or whatever you might call it) should not strictly be a solo recital with 1 or 2 ensemble works, but a combination of (virtuosic) ensemble pieces with 1 or 2 (or 3) solo works.

Tubists spend most of their playing carrier accompanying melody. Every once in a while we get a melody thrown at us and if your teacher happens to have an active solo carrier, like mine did (Roger Bobo), you might just get a quite healthy portion of solo repertoire in your diet.

But this will never compare with the amount of melody one gets as, say a violinist or a trumpetist. They play themes and melodies from day one, every day, all day, month to month, year to year. They will furthermore be expected to produce beautifully executed melodies in their professional carrier. A tubist on the other hand is expected to play melodically, but their comprehension and execution of accompaniment is what'll land the job.

I'm not speaking about being musical or not, just the facts. Tubists play hours and hours of accompaniment and hornists play hours upon hours of melody.

So is it just that a tubists solo recital should emphasize ensemble works?

I think so. Think about a baroque cellists end recital. Sure they play solo pieces, but they also play a lot of virtuosic accompaniment pieces in their end recital. Isn't a "tubists end recital" that puts emphasizes on ensemble music, topped off with some solo works, a more realistic way of judging a tubists academic completion than expecting them to fill an entire evening of solo music?

-Patrick

[gregsundt]

I could write a dissertation here, but then no one would read it.

I would be sure to mention the role of jaw position & movement, especially in the production of the low register. Of all the embouchure & setup differences between the tuba and other brasses, this may be the most important but least taught. The pronounced down & forward movement of the jaw, and the resultant "tilt" of the instrument, is basic for the money register.

[Art Hovey]

I would mention that the primary occupation of a tubist is making other musicians sound good by giving them support.

I would also mention that since the tuba is a more human-sized instrument than the smaller brasses, we can play a lot longer without wearing out. That fact is rarely apparent in a symphony orchestra, but in a dixieland band the tubist plays all the time; the trumpet player only plays three or four choruses in each tune and then complains about his chops. Playing a trumpet is like doing a trapeze act with only your pinkies.

[iiipopes]

I would mention that the primary occupation of a tubist is making other musicians sound good by giving them support.

I would also mention that since the tuba is a more human-sized instrument than the smaller brasses, we can play a lot longer without wearing out. That fact is rarely apparent in a symphony orchestra, but in a dixieland band the tubist plays all the time; the trumpet player only plays three or four choruses in each tune and then complains about his chops. Playing a trumpet is like doing a trapeze act with only your pinkies.

Indeed!