DOCSLIB.ORG

Assignment 2- Band Instrument Presentation Tuba

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Assignment 2- Band Instrument Presentation Tuba Assignment 2- Band instrument presentation Tuba The tuba is one of the largest instruments that you are likely to have to deal with in a school ensemble. It is not guaranteed (or even common) to have a tuba player in a school ensemble, partly due to its size but also because schools will more often have a bass guitar fill the bass parts of an ensemble. In place of a standard tuba you may find students playing a Euphonium (smaller, higher pitched tuba) and the Sousaphone (large marching Tuba) Tuba's range from 3-5 valves, your students will likely start with a 3 valve tuba and work their way up, I have included a PDF fingering chart for 3- 4 valve Tubas, Euphoniums and Sousaphones. Technical aspects and Range Tuba's have a range extending well below the bass clef from a D two octaves below the bass clef to an F in the treble clef. This is the functional range of the instrument in an orchestra with experienced players using instruments built to achieve those notes easily. A student at a high school level is more likely to have an effective range of Bb below the bass clef two octaves above to Bb just above the bass clef. Each student will be different, one student may find it easier to play higher whilst another finds it easier to play lower. One way that students can develop towards extending their range is through the manipulation of their embouchure. By changing the way a Tuba players lips sit in the mouthpiece they can more easily achieve higher and low notes. This is link to an 8 minute video describing the different embouchures of a tuba player and how they work: www.youtube.com/watch?v=J9RAMDYyTVo As with any instrument in a school ensemble students must be able to take the proper care of their instruments. For a Tuba this involves the correct handling and assembly of the instrument as well as the upkeep and maintenance that all brass instruments require, including slide and valve oil. I have linked a 9 minute video demonstration of the proper assembly and maintenance of low brass instruments: www.youtube.com/watch?v=J9RAMDYyTVo Types of Music and Exercises Students of all levels will benefit greatly from using breathing and buzzing exercises. The Tuba is such a very large instrument and students need to pump a tremendous amount of air through the instrument to achieve quality and length of sound. Most students will blow about 20% of the air required in their first time playing the instrument. Breathing exercises will build up that strength and familiarity with the amounts of breath required, you can find a list of some breathing exercises here: www.musicforbrass.com/articles/breathing-exercises Buzzing exercises are any exercise where the students is buzzing their lips into the mouthpiece without it being placed in the Tuba. It is very highly recommended that students perform buzzing exercises every day whilst they are learning the Tuba even if they are not actually playing every day. Buzzing exercises build up familiarity with the instrument and will yield large benefits. Buzzing exercise can be simply producing a sound through the mouthpiece, doing a siren buzzing up or down or slurring in between specific notes as demonstrated in this video : www.youtube.com/watch?v=QxA2b-AIarA. Tuba's are most likely to be found in a school concert band however as I discussed earlier, often their place is taken by a bass guitar player. Tuba players may also participate in smaller brass ensembles or in a marching band where the student would be playing a Sousaphone. In any of these ensembles the Tuba will be the lowest sounding instrument, filling the bass role of the ensemble. Generally in beginner classroom ensembles where the students have been learning their instrument for less than a year or two it is easiest and most efficient to use a band pack for beginner instrumentalists. The books that I see used a lot and that I would recommend are the "Standard of excellence" series of concert band books. These books provide the teacher with repertoire that suits a beginner ensemble and each students is provided with a book specific to their instrument, including the Tuba. The Tuba is not often performed as a solo instrument however it is important, especially as students grow in expertise to challenge them with harder solo repertoire. There are a multitude of websites and other resources that provide Beginner and Intermediate Tuba players with solo repertoire. This website provides music that has been sorted into Beginner (year 6-9), Intermediate (Year 9-11) and Advanced (SACE stage 1 and 2) Tuba pieces including some arrangements for brass ensembles that feature the Tuba. Tubas are much harder to rent than other orchestral instruments in Adelaide and are not offered by the usual culprits (Allans/Billy Hyde, Size music, Winston Music). They are available to hire through Musicorp.com, this service will hire an instrument to a student through their school on a term by term basis starting at $645 for a Yamaha 3 valve Bb Tuba. Reference and Resource list: This is a list of the references I used to compile this resource as well as a few helpful websites offering information, exercises or tutorials for the Tuba. http://www.norlanbewley.com/tuba.htm#tips Fantastic resource including links to information on Fingering charts, Warm ups, Posture, Mouthpieces and Breathing. https://www.youtube.com/channel/UCesuZZYlg-TKaFmfQh7dNlQ This YouTube channel provides great tutorial videos for many orchestral brass and woodwind instruments. http://www.etownschools.org/Page/7903 Has many different links to resources for the developing tuba player, including YouTube videos of Tuba arrangements with attached sheet music. http://tuba.music.unt.edu/exercises Large variety of excersises for Tuba players. http://www.iteaonline.org/index.php The International Tuba Euphonium association, information and Journal articles as well as resources and opportunities to connect with other Tuba/Euphonium players. http://www.georgepalton.com/tuba-exercises.html Large range of Tuba exercises including buzzing and breathing excersises. https://www.youtube.com/watch?v=MxUkwz6PwDs Video on maintenance and assembly http://www.musicforbrass.com/articles/breathing-exercises.html A few helpful breathing exercises http://www.instrumentalsavings.com/Tuba-Play-Guide-s/4296.htm Begginers guide to playing the tuba, including useful information on holding the Tuba and assembly http://www.tuba4u.com Free beginner, intermediate and advanced sheet music for Tuba players. http://www.brasstutorials.com/tuba.html Resource for music educators to assist with teaching students who play the Tuba including information and examples on Tuba embouchure. 1. Stay relaxed and BREATHE 2. Use LOTS of air Embouchure 3. Buzz your mouthpiece daily. Open, airy and relaxed. 4. Two thirds upper lip, one third lower lip 5. TonGue laid flat so that we don’t muffle our sound 6. DON’T puff out your cheeks! 7. Sit up straiGht and brinG the instrument to your lips (NOT the other way around) Posture 8. Don’t clench your jaw muscles, allow your jaw to drop in order to push more air throuGh. 9. Pivot your bottom lip so that you are blowinG ‘Downstream’ and ‘Upstream’ to achieve higher and Lower pitches Low register – bottom lip Goes down and out. 2nd line Bb – Bottom and top lip are even. HiGh reg- ister – Bottom lip Goes in and up. 10. SinG your music first .
Load more

Recommended publications
  • The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1.
    [Show full text]
  • The String Family
    The String Family When you look at a string instrument, the first thing you'll probably notice is that it's made of wood, so why is it called a string instrument? The bodies of the string instruments, which are hollow inside to allow sound to vibrate within them, are made of different kinds of wood, but the part of the instrument that makes the sound is the strings, which are made of nylon, steel or sometimes gut. The strings are played most often by drawing a bow across them. The handle of the bow is made of wood and the strings of the bow are actually horsehair from horses' tails! Sometimes the musicians will use their fingers to pluck the strings, and occasionally they will turn the bow upside down and play the strings with the wooden handle. The strings are the largest family of instruments in the orchestra and they come in four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced "base," as in "baseball.") The smaller instruments, the violin and viola, make higher-pitched sounds, while the larger cello and double bass produce low rich sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. The violin is the smallest instrument of the string family, and makes the highest sounds. There are more violins in the orchestra than any other instrument they are divided into two groups: first and second.
    [Show full text]
  • Acoustical Studies on the Flat-Backed and Round- Backed Double Bass
    Acoustical Studies on the Flat-backed and Round- backed Double Bass Dissertation zur Erlangung des Doktorats der Philosophie eingereicht an der Universität für Musik und darstellende Kunst Wien von Mag. Andrew William Brown Betreuer: O. Prof. Mag. Gregor Widholm emer. O. Univ.-Prof. Mag. Dr. Franz Födermayr Wien, April 2004 “Nearer confidences of the gods did Sisyphus covet; his work was his reward” i Table of Contents List of Figures iii List of Tables ix Forward x 1 The Back Plate of the Double Bass 1 1.1 Introduction 1 1.2 The Form of the Double Bass 2 1.3 The Form of Other Bowed Instruments 4 2 Surveys and Literature on the Flat-backed and Round-backed Double Bass 12 2.1 Surveys of Instrument Makers 12 2.2 Surveys Among Musicians 20 2.3 Literature on the Acoustics of the Flat-backed Bass and 25 the Round-Backed Double Bass 3 Experimental Techniques in Bowed Instrument Research 31 3.1 Frequency Response Curves of Radiated Sound 32 3.2 Near-Field Acoustical Holography 33 3.3 Input Admittance 34 3.4 Modal Analysis 36 3.5 Finite Element Analysis 38 3.6 Laser Optical Methods 39 3.7 Combined Methods 41 3.8 Summary 42 ii 4 The Double Bass Under Acoustical Study 46 4.1 The Double Bass as a Static Structure 48 4.2 The Double Bass as a Sound Source 53 5 Experiments 56 5.1 Test Instruments 56 5.2 Setup of Frequency Response Measurements 58 5.3 Setup of Input Admittance Measurements 66 5.4 Setup of Laser Vibrometry Measurements 68 5.5 Setup of Listening Tests 69 6 Results 73 6.1 Results of Radiated Frequency Response Measurements 73 6.2 Results of Input Admittance Measurements 79 6.3 Results of Laser Vibrometry Measurements.
    [Show full text]
  • Dr. Davidson's Recommendations for Trombones
    Dr. Davidson’s Recommendations for Trombones, Mouthpieces, and Accessories Disclaimer - I’m not under contract with any instrument manufacturers discussed below. I play an M&W 322 or a Greenhoe Optimized Bach 42BG for my tenor work, and a Courtois 131R alto trombone. I think the M&W and Greenhoe trombones are the best instruments for me. Disclaimer aside, here are some possible recommendations for you. Large Bore Tenors (.547 bore) • Bach 42BO: This is an open-wrap F-attachment horn. I’d get the extra light slide, which I believe is a bit more durable, and, if possible, a gold brass bell. The Bach 42B was and is “the gold standard.” Read more here: http://www.conn-selmer.com/en-us/our-instruments/band- instruments/trombones/42bo/ • M&W Custom Trombones: Two former Greenhoe craftsman/professional trombonists formed their own company after Gary Greenhoe retired and closed his store. The M&W Trombones are amazing works of art, and are arguably the finest trombones made. The 322 or 322-T (T is for “Tuning-in Slide”) models are the tenor designations. I’m really a fan of one of the craftsman, Mike McLemore – he’s as good as they come. Consider this. These horns will be in-line, price-wise, with the Greenhoe/Edwards/Shires horns – they’re custom made, and will take a while to make and for you to receive them. That said, they’re VERY well-made. www.customtrombones.com • Yamaha 882OR: The “R” in the model number is important here – this is the instrument designed by Larry Zalkind, professor at Eastman, and former principal trombonist of the Utah Symphony.
    [Show full text]
  • Let's Play Bassoon
    LET’S PLAY Bassoon By Hugo Fox Hugo Fox From 1922 until 1949, Hugo Fox served as principal bassoonist of the Chicago Symphony Orchestra, where he acquired an almost legendary reputation as one of the outstanding bassoonists of his era. During fifteen years of this period, he was instructor of bassoon at Northwestern University, and many of his students became ranked among the prominent bassoonists of America. During this period, his studies of the acoustics of the instrument and a desire to experiment, prompted him to form the Fox Bassoon Company, which now produces the well-known instru- ments that bear his name. 2 INTRODUCTION: This booklet has been prepared for the bandmaster or woodwind instructor who teaches the instrument, while not being an accomplished bassoonist. It is intended to serve as a handy reminder of some of the more important points to consider when starting a student, maintaining the instrument, and finishing reeds or reed blanks. The fingering chart is based on competent professional practices, and while not extensive in its treatment of alternate fingerings, is sufficiently complete to be used with almost any properly constructed instrument. 3 INDEX Introduction ....................................................................2-3 Starting the Student on Bassoon .................................... 5 Assembly of the Bassoon ...............................................6-7 Care of the Instrument ...................................................8-9 The Reed.....................................................................10-11 Fingering Charts .........................................................12-22 4 STARTING THE STUDENT ON THE BASSOON Either transfer the students from another instrument, or bassoon, much like when playing trombone. The air start them directly on bassoon. If you have access to a stream must have a clear, unobstructed path through the short-reach model bassoon, it is practical to start them in reed, continuing through the instrument.
    [Show full text]
  • Why Switch to Tuba?
    Why switch to Tuba? This question will most likely be the favorite one asked by your prospective switcher to tuba. The answers are fairly simple indeed: ¨ Tubas are the “heart” of a dark sound. ¨ The balance of any band starts with the tuba. ¨ Tuba does not require you to play in the extreme range of your instru- ment. ¨ You already know how to “buzz” a mouthpiece. ¨ The school provides the instrument (save money). ¨ You can make a difference on the tuba (too many trumpet players to begin with—you can be a STAR!). ¨ The fingering system on tuba is the same as trumpet except you get to use a 4th valve on a tuba (trumpets only have 3). The tuba is the “heart” of the bands sound. Everyone knows that the sound of your band comes from the low brass. If you do not have good low brass then your ensemble will not have the dark velvet sound that you are looking for. I refer to this sound as the “heart” of the ensemble. I have also called this the “Midwest” sound. The “Midwest” sound is the sound I hear every December in Chicago, Illinois as the bands warm-up on stage. All of my students know what this is because of the recordings I play for them. I have heard many band directors say “fit your sound inside the tuba sound”. This is done easier with good quality tubas, both in number and ability. 6 The balance of any band starts with the tuba. To often today bands are not balanced well.
    [Show full text]
  • The History and Usage of the Tuba in Russia
    The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree.
    [Show full text]
  • Exploring the Use of the Bass Guitar As a Clinical Instrument Within Music
    Molloy College DigitalCommons@Molloy Theses & Dissertations 5-13-2016 Exploring the use of the bass guitar as a clinical instrument within music-centered practice Matthew .J Brady This research was completed as part of the degree requirements for the Music Therapy Department at Molloy College. Follow this and additional works at: https://digitalcommons.molloy.edu/etd Part of the Music Therapy Commons DigitalCommons@Molloy Feedback Recommended Citation Brady, Matthew J., "Exploring the use of the bass guitar as a clinical instrument within music-centered practice" (2016). Theses & Dissertations. 5. https://digitalcommons.molloy.edu/etd/5 This Thesis is brought to you for free and open access by DigitalCommons@Molloy. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of DigitalCommons@Molloy. For more information, please contact [email protected],[email protected]. Running head: BASS GUITAR AND MUSIC-CENTERED PRACTICE EXPLORING THE USE OF THE BASS GUITAR AS A CLINICAL INSTRUMENT WITHIN MUSIC-CENTERED PRACTICE A THESIS Submitted in partial fulfillment of the requirements For the degree of Master of Science in Music Therapy by Matthew J. Brady Molloy College Rockville Centre, NY 2016 BASS GUITAR AND MUSIC-CENTERED PRACTICE ii BASS GUITAR AND MUSIC-CENTERED PRACTICE iii Abstract There is limited research on the use of the bass guitar in music therapy. This study explored the use of the bass guitar as a clinical instrument from a music-centered perspective in clinical work with individuals with neurodevelopmental disorders and emotional challenges. Data were collected from filming individual music therapy sessions with three participants. Each participant had four sessions of music therapy.
    [Show full text]
  • Bass Preamp + DI User Manual
    BPDI Bass Preamp + DI User Manual acousticamplification.com Thank You for your purchase of the Acoustic BPDI Bass Preamp and DI (Direct Input) pedal. Your BPDI is a fully featured bass guitar preamp and direct box derived from Acoustic Bass Amps designed to give you a classic warm, punchy bass tone with a wide range of tonal options. The BPDI features a 4-Band EQ optimized for bass guitar as well as a fully blend-able overdrive circuit to add as much or as little dirt and grit to your sound as you like. Other tone shaping tools include a variable Notch Filter and Shape voicing button in addition to a built in compressor to smooth out note to note dynamics and enhance techniques such as slapping and popping. The BPDI includes all the connectivity you need to get your sound out into the world, offering balanced XLR output for connection to a Front-Of-House mixer, recording console or interface, PA Speaker or other destination and ¼” Outputs to connect to your existing bass amplifier like you would any effect pedal. For those looking to practice or play silently, the BPDI is a great portable practice rig in a pedal with 1/8” headphone output and 1/8” Aux In connections. This manual will walk you through the BPDI Features as well as all of its connections and their uses. Please note, your BPDI can be powered either by 9V Battery or with the included AC Adaptor Power Supply. If connecting to a pedal power supply please use only a 9V Outlet with negative Tip and a minimum of 130mA.
    [Show full text]
  • A Complete Technical Reference for Fretted Instrument String Tensions Table of Contents Introduction
    Catalog Supplement/String Tension Specifications A complete technical reference for fretted instrument string tensions Table of Contents Introduction Technical Reference for fretted instrument string tensions 4 his brochure was created to assist in Guitar and Bass Fingerboard Legends 5 Tselecting the ideal string for your instrument and playing style. Included in this brochure String Tensions are tension tables and formulas to help you Acoustic or Electric Guitar 6 calculate what tension a particular string will Pedal Steel Guitar 7 have on your instrument. Acoustic Guitar 7 Classical Guitar 8 Folk Guitar 10 Electric Bass Guitar 10 Acoustic Bass Guitar 13 Mandolin Family Strings 13 Banjo & Loop End Strings 14 A complete technical reference for fretted instrument string tensions Understanding what determines string tension. In order to determine the tension at which a string will vibrate, you need three pieces of information: the Unit Weight, the Scale Length, and the Frequency of the string. You can use the charts in this brochure to get a pre-calculated tension for the D’Addario strings listed or you can use the formulas below to calculate the exact tension for any string using the scale length of your particular instrument. All of the charts illustrate string tensions for each string at a variety of pitches, in case you use alternative tunings. UW- Unit Weight. In all the charts and formulas in the brochure, unit weight is expressed in pounds per linear inch (lb/in). L- Scale Length. This is the vibrating length of the string. This is determined by measuring the distance from the nut to the bridge of the instrument in inches (in).
    [Show full text]
  • How to Create Bass Lines
    How to create bass lines First rule: always memorize the melody of the song! Always. Always. Always. You should be able to sing and play it in the original key. If you really want to be totally extra, extra awesome, you will be able to sing and play it in ALL KEYS. If you're amazingly extra awesome, you'll be able to sing the melody and make a bass line at the same time. Walking Bass: Walking bass lines always sound cool in any style of music, but are essential to jazz blues and “Great American Songbook” jazz standards. D m7 G7 C 7 F 7 1) ? 4 œ œ œ œ œ œ œ œ b 4 œ œ œ œ œ œ œ œ 1) Start by playing just the root of the chord in quarter notes. If you ever get confused or feel insecure, you can always return to this. It's not going to sound particularly jazzy (it's a little better suited to rock), but it will work! D m7 G7 C 7 F 7 2) ? œ œ œ œ œ œ œ œ œ bœ b œ œ nœ œ œ œ 2) Play the root on the first quarter note and other chord tones on the other quarter notes. Make up as many different patterns as you can. © 2010 How to create bass lines D m7 G7 C 7 F 7 3) ? œ œ œ œ œ œ œ œ b œ œ œ œ nœ œ œ œ 3) Play in four quarters: root-passing tone (pt)-third-root or Root-pt-third-fifth.
    [Show full text]
  • An Interview with American Bass Maker Nick Lloyd
    LUTHIER’S CORNER David Gage, Editor An Interview with American Bass Maker Nick Lloyd by David Gage Over the last 15 years, along with the incredible rise in the technical skills of bassists around the world, has come a new golden era of string bass making. A leading dean of this new school of bass making is Nick Lloyd, one of America’s new icons of bass making from Cincinnati, Ohio. Nick’s instruments are known for their consistent fine tone and liquid playability with pared down classic modeling. They are designed with today’s playing requirements in mind. I had the pleasure of an e-mail conversation with Nick. – David Gage David Gage: Why do you build string basses? Nick Lloyd: I came to bass luthiery in the early 1990s and saw a very different craft and market than we do today. Large antique basses were being cut down to make them more playable. Factory German and Czech basses were seeing repair and restoration work that far exceeded their value. I believed that, if I could learn bass making, I might have a chance to build a new instrument that matched the craftsmanship of the modern violin makers and matched the playability demands of advanced bass playing technique. DG: Did you study string bass playing? How long and with whom? NL: I grew up playing in the string orchestra program of my public school system in central Iowa; first meeting of the bass was age 8. By the time I finished high school I was gigging in community orchestras and jazz groups.
    [Show full text]