False-note exercises on tuba

[imperialbari]

False notes come up from time to time, often as substitutes for valved notes. In the trumpet and trombone world they are used as tools in embouchure development. Until fairly recently I used them the same way on low conical brasses. The latest thread on the topic made me write down my exercises, which I always did out of the head.

The introduction says:


False-note exercises for tuba
(‘Trumpet fingerings’)
On trombone my main reference on false notes was one of Claude Gordon’s book (Daily Trumpet Routines). With trombone (and trumpet) the false note used is a fifth above the open 1st partial. Plus the privileged equivalents of these two notes in two lower octaves.

Without entering discussions about acoustics and their underlying mathematic theories the main false note on low conical brasses appears being a fourth above the open 1st partial. Plus the privileged equivalents of these two notes in one lower octave.

Some tuba players use fingered privileged notes to fill the gap between the open 1st partial and the lowest fingered derivate of the 2nd partial, if they play instruments with 3 valves only. My approach to the false notes has been different, as I mainly have used them for warm-up routines. They demand very open and loose, yet well controlled, functions of embouchure and breathing apparatus. My work with this extreme low range has been of the type outlined in the following music pages, however a series of disclaimers are necessary:

The notation is in ‘trumpet fingerings’ to avoid making dedicated versions for each pitch of low brasses. The fingering indications hint toward a 4-valve instrument, yet the players of instruments with a different number of valves will find relevant fingering substitutions.

I mostly have done these exercises on my Conn 26K and 28K Eb sousaphones, but also a bit on my F and Eb compensating tubas. Hardly ever on my basses in CC or BBb.

I never did all of the exercises in the same session, as they exhaust the breathing apparatus very soon. Main problem for me was about the lungs getting very dry.

As my fairly recent hernia was without pain, I cannot link its cause directly to doing these exercises. Yet I will take no responsibility whatsoever for the potentially damaging effects of doing these exercises. I haven’t started doing these exercises after undergoing hernia surgery.

Still I found it relevant setting up this systematic approach to false notes on low conical brasses. Use it, if you know what you are doing, or get the support of a competent teacher.

Korsør - September 19th - 2012

The high resolution .pdf version may be downloaded from my Yahoo-based project of making free music available:

http://launch.groups.yahoo.com/group/Yo ... or%20tuba/

Klaus

[sousaphone68]

I mostly have done these exercises on my Conn 26K and 28K Eb sousaphones, but also a bit on my F and Eb compensating tubas. Hardly ever on my basses in CC or BBb..

I am intrigued by the 26k ref as I have one as well and I currently have a hole between low A natural and pedal Eb are you able to decend from A (123) down to Eb chromatically?
If yes please share the fingerings you are using.
Thanks

[imperialbari]

The fingerings are in the exercises.

Klaus

[sousaphone68]

I tried following the link and Yahoo wants me to register or use my FB account tried that to be told I need to be invited by email.

In your hands can you get a chromatic scale down to pedal eb on your 3 valve 26k?

If yes then I would rather spend the time finding the false tones for myself if they exist than register for another social web service.
Thanks

[sousaphone68]

Thank you for the info Elephant and again thank you to klaus for the resource and the explanation of false tones as I had read the other thread and did wonder about them.
If I can get a usable f and g out my sousa I will be very happy

[Bob Kolada]

A few of my Eb's have had A natural as the open false note.

[MartyNeilan]

A few of my Eb's have had A natural as the open false note.

I agree with Bob On some horns, the open false tone is often the most unreliable and can be all over the place, pitch wise. On those horns, the false tones seem to get better the more valves you put down. Of course, there are the horns (probably including the 26K previously mentioned) where the false tones are as solid and reliable as any other note on the instrument.

[Todd S. Malicoate]

All of the big-bore sousaphones that I've had experience with have superb false tones available. I used to really enjoy popping things down an octave in the Kansas basketball pep band.

[MartyNeilan]

My first experience playing a tuba was when I switched over from trumpet and was sent to a practice room with one of the more beat up white rats, a tuner, a metronome, a pencil and a copy of Ebby's Scientific Method for BBb Bass. I thought the thing was pretty cool. But when I was ready to make my debut with the band I walked into the hall with one of those wonderful silver horns. I was hooked on tuba for life that day. I had never been happier.

[sousaphone68]

I finally got around to my sousaphone tonight. I am happy to say that Ab,G and Gb practically fall out of the instrument F is a little weak E is good and Eb was always there.
thank you again to Wade and Klaus