A year and I still don't feel accomplished enough.

[tubamonster]

[quote]Is this something that will come with time? I thought I would have a good tone after a year of playing. I love playing this instrument, but I don't like my sound and it's becoming rather discouraging. Am I just expecting this to happen too fast?[quote]

I know where you're coming from. I experience almost the same scenario in my first year of playing. I am now on my seventh year of playing, and I still experience frustration in trying to extend my range or play with a better sound. I have been told that I have a good sound, however, as with anything music related, I always push to get better. Just keep working at it, that is the only way my sound could improve. What helped my sound more than anything. Take a look at the videos of Arnold Jacobs lessons on breathing at http://www.windsongpress.com" target="_blank" target="_blank. You may also want to try pitch bending exercises.

[MaryAnn]

Well I tested to see how exactly my embouchure was working, and it appears to be, "upside down." My bottom lip is doing most of the work. After discover this, I tried to play with my upper lip doing the work, but it felt very unnatural. It pains me to think I've been playing for a year the wrong way and that my embouchure literally needs to flipped upside down. What steps should I take to fix this? Just keep practicing with my upper lip doing the vibrating?

Email Doug Elliot or Dave Wilken.

At this point if you are playing with an upstream embouchure, it is time to get typed just to make sure. Once you get typed you will be able to address playing issues instead of guessing blindly by what we say.

Upstream embouchures are rare, but do work. You could also be just using your embouchure incorrectly. Getting typed by one of these guys will take the guessing out of it and lead you down the right path!

Ditto. I've been corresponding the last week or so with Dave Wilken; he has some very interesting and insightful things to say about facial structure and embouchure type. Trying to play on the wrong type of embouchure for your facial structure will net you a great big mess. I find that I get exactly that nasal sound that Roger talks about, by having my lower lip do the vibrating, but I'm using an upstream embouchure on a downstream facial structure when I do that. When I convert to using the downstream embouchure that fits my facial structure, the nasal sound goes away.

Point two: an experiment you can try, once you know what embouchure type goes with your facial structure (Dave has extensive videos and posts on his web site) there is something you can do as a learning experience. For an instruction in sound, try to find the "end points" of a) using as little air and as much embouchure tension as possible to play a note in the middle of your range, and b) doing the opposite, using as much air and as little embouchure tension to play that same note. You can learn quite a bit about air this way, and how you are or are not using it.

MA

[Michael Grant]

Well Funcoot, you have received a ton of advice. I have not read all of it but I scanned through and I have three comments.

1) I played tuba for 5 years before having any private study. I spent the next 2- 3 years breaking bad habits (or creating new ones to be more accurate). It was slow and painful and frustrating but I eventually got there (I think?)

2) The various bits of advice about part-time work or bartering (rake leaves, cut grass, etc. in exchange for lessons) is excellent and should, IMHO, be pursued. I wish I had taken that route. I would be, again IMHO, a much better player than I am today).

3) Until private lessons are available, perhaps attending master classes in your area are an option. I don't know where you live. I would hope that there are colleges and universities within reasonable driving distance. Contact the low brass instructors, find out when guest players will be attending and see if you (or your band director) can have you play for the tubist on a master class.

Did I say three? I'm such a liar! Arnold Jacobs and pert' near everyone that has studied with him or attended his master classes, etc. "buzz" on their mouthpieces. If you can create a full, fat, open sound on your mouthpiece it should transfer over to the horn. In addition: long, low tones in a nice mezzoforte wouldn't hurt. Focus on the sound and not the chops and the brain/embouchure/etc. should start to settle in.

In closing let me say two things.

1) If nothing you do works, switch to oboe! They are already way to uptight and could use a little tuba levity. Only kidding of course.

And ...

2) What are you still reading all this stuff for! Go practice!

Best of luck.