TUBA HANDBOOK

Congratulations! Youve been chosen to play the TUBA!

. NOW WHAT?!
Use this handbook to guide you towards becoming the best TUBIST
you can be!

Table of Contents
What is the Tuba?

Page 3

Tuba Maintenance and Care

Common Problems & Solutions

Page 4 - 5
Page 6

Posture & Hand Position

Breathing & The Tuba

Page 7
Page 8

Tuba Fingering Chart

Daily Warm-Up Routine

Page 10
Page 11-14

Tone, Embouchure, Articulations

Pitch Tendencies

Page 15
Page 16

Pedal Tones
Tuba Learning Videos

Page 17
Page 18

Etudes and Method Books

Recommended Solo Repertoire

Page 19
Page 20

Mixed Instrumentation Chamber Rep

Tuba/Euphonium Chamber Music

Page 21
Page 22

Repertoire Resources
Professional Tuba Players

Page 21&22
Page 23

Professional Tuba Organizations

Tuba Videos

Page 24
Page 24

Tuba Mouthpieces
Purchasing a Tuba

Page 25 - 26
Page 27 - 29

Additional Tuba Handbook References

Page 30

What is the TUBA?

The tuba (pronounced TOO-bah) is the largest and lowest-pitched
musical instrument in the Brass Family, sometimes called the
Grandfather. The low sound of the Tuba anchors the harmony not
only of the brass family but the whole orchestra or band with its deep
rich sound. The tuba is a long metal tube, curved into an oblong
shape, with a huge bell at the end. Tubas range in size from 9 to 18
feet; the longer they are, the lower they sound. Standard tubas have
about 16 feet of tubing. You play the tuba sitting down with the
instrument on your lap and the bell facing up. Like all brass
instruments, vibrating or buzzing the lips into a mouthpiece produces
sound. You use your fingers to press down on the valves, which
changes the sound. It takes a lot of air from your diaphragm to make
sound with the tuba. It first appeared in the mid 19th-century, making
it one of the newer instruments in the modern orchestra and concert
band. A person who plays the tuba is known as a tubaist or tubist.

Tuba Maintenance and Care

Assembly/Disassembly:
The tuba mouthpiece should be inserted into the small brass pipe
facing you with the tuba on your lap. It is not necessary to twist or
tap the mouthpiece into position as this can cause the mouthpiece to
become stuck. If the mouthpiece becomes stuck, you must bring it to
your teacher, who has a special tool to fix it. Never use household
tools to try and remove a stuck mouthpiece.
The tuba should be stored in its case when not in use. Never stand
a tuba upright on its bell. Make sure the instrument is placed
properly in the case. Never forcibly close the lid of the instrument
case. The inside of the case should be kept free of objects that can
damage the instrument. Tuba accessories should be stored in the
accessory compartment inside the case and not be allowed to rattle
about. Sheet music should be kept in a folder and never stored inside
the case.
Regular maintenance:
Everyday, after playing, wash the mouthpiece with warm soapy water
and a mouthpiece brush. Fingerprints, oils and dust should be
regularly removed from the body of the instrument using a clean, dry,
soft cloth. Valve oil and tuning slide grease should be added,
sparingly, as needed. Always use a soft, dry rag to remove old oil and
grease before adding new. Keep all moving parts lubricated, or they
will become stuck. If your valves or slides become stuck, bring your
tuba to your teacher, never try to force them out yourself.
Everyday dangers:
Beware of food and drinks around your tuba! Sugary drinks and foods
can especially harmful to the tuba. Always wash your hands and rinse
your mouth after eating or drinking, before you play. Washing and
rinsing keeps your valves from getting sticky and your tuba from
smelling bad.
Extreme temperatures are very bad for your instrument. Never leave
your instrument out in the car, and always be mindful of where you
store it at home.

Dents can affect how your instrument plays, especially dents in the
mouthpiece. Be very careful with your instrument, and show any
dents that do happen to your teacher.
Your case is designed to protect the tuba from everyday bumps and
knocks. It is not meant to bear a lot of weight or heavy abuse. Use
caution, even when your instrument is in its case. NEVER SIT ON
YOUR CASE.
Greasing slides:
The following should be done for all slides that move, or are supposed
to. I highly recommend that every day, after the tuba is warmed up,
each slide is moved, to ensure that over time they dont stick. Please
make sure that you depress the valves as appropriate, to avoid
changes in air pressure within the slide that could damage the
instrument.
1. Make sure you keep track of the proper placement and direction of
each slide. I recommend placing each slide on a paper towel that is
labeled.
2. Completely clean the slide. Soak in warm, soapy water (using soap
designed to fight grease).
3. Scrub all remaining grease from slide, using a sponge with a
rougher surface. Use nothing that can eat the metal. Be careful to
avoid scrubbing the lacquer.
4. Scrub out the inside of the slide with a soft brush, using warm,
soapy water (using soap designed to fight grease).
5. Rinse the outside and inside of the slide thoroughly, to ensure no
more dirt or soap residue remains. Completely dry the slide.
6. Re-grease slide. Make sure the use of grease is the minimal amount
necessary to allow slides to move freely.
Rattles:
Rattles occur, and many are not possible for you to fix. However, some
are. Here are the most common issues:
1. A loose screw. This is easy to fix, but be careful not to over tighten.
2. A valve cap not being completely tight. Again, an easy fix, but dont
over tighten.
3. Missing or worn cork in the spit valve, causing the metal casing to
vibrate when played.

4. Loose solder joint. This is a fix for the repair shop. Do not attempt
to fix a solder joint yourself there are several different types of
solder used on a brass instrument, which melt at various temperatures
and you fill harm the finish on your instrument.
5. Design of the tuba. Not an easy fix. These are rare, and usually
occur along with dents and dings, usually on the bell. The harmonics of
a pitch are affected, and while not typically a noticeable issue, may
sometimes create a different vibration that can be a rattle-like sound.
This is a repair shop item
References: http://hrsbstaff.ednet.ns.ca/clarkedc/Maintenance/tuba.htm
http://www.blostein.net/Tuba%20Method.pdf

Common Problems & Solutions

Posture
The posture of the tuba player is perhaps the most important aspect of
performance, and is often overlooked or forgiven because of the
instruments size. However, this can lead to serious issues with air
support, which in turn will affect the sound negatively. When holding
the tuba, it is important for the player to do the following: 1. Sit
straight, on the edge of the chair 2. Legs should be set about
shoulders length apart, with feet flat on the floor 3. Position tuba so
that the player does not have to stretch the neck out of position to
reach the mouthpiece, and player doesnt slouch. It may be necessary
to utilize a tuba stand for smaller size players. Also, since tubas vary
greatly in size, shape, and design, experimentation will likely be
necessary to find the correct way to hold the instrument for each
player, and may need to be adjusted as the player grows.

Correct hand position

The right hand position should be relaxed at all times, with the
fingertips resting comfortably on the valves, close to the nail. Most
models provide a loop for the thumb be careful the thumb does not
go into this loop beyond the first knuckle, as this will pull the other
fingers out of position. It is important to make sure the player does
not double-finger any particular valve. This is a typical problem with
beginner players, and especially with the first valve. Problems will later
arise with quick passages that require all the valves if this habit is
allowed to develop. The left hand is usually placed somewhere on the
tuba that allows for a secure, comfortable grip. On most front-action
instruments, the tuning slides for several of the valves (usually the
first, third, and fourth valve slides) are positioned so they can be
pulled and pushed with the left hand, which allows for more accurate
tuning on slower passages. Also, there may be an additional valve for
the player to use with the left hand, which of course would require the
hand to be placed in a specific position. A Good Hand Position: 1.
Fingers curved 2. All fingers on valves at all times 3. Thumb not
inserted into thumb hole (pulls hand out of position, slows fingers, and
if the tuba falls, thumb can break) 4. Hand relaxed
Reference: http://www.blostein.net/Tuba%20Method.pdf

Breathing and The Tuba

Breathing is essential to the art of making music on any wind
instrument. With the tuba, it becomes all the more important when we
consider not only the size of the instrument itself, but also the
unusually large range of the instrument. When you add touches such
as dynamics to the mix, we begin to realize that good breath control is
essential to correctly play the instrument. Therefore, it is critical for
the player to begin exercises geared towards breathing as early as
possible.
The more air you have, the better control over your instrument. The
object of all breathing exercises is to increase the amount of usable air
a player has. This is not to be confused with the sensation of running
out of air. The air we breathe in begins to deteriorate immediately,
and must be used within a time specified by the musical material,
players capacity to produce a good tone, and the physical limitations
of the player. Contrary to stereotypes, a player who is in better
physical shape will have an overall better likelihood for success on the
instrument, as their capacity for muscle control and flexibility is
increased with better physical stamina. These exercises are designed
to get the player to breathe deeply, and use the muscles associated
with the diaphragm instead of the chest area. This allows for a deeper
breath, more control over that breath, and more usable air at all
times. Please keep in mind there are many more breathing exercises
available these are just a beginning.
Exercise 1. Preparation for Breathing Exercises
a) Poise yourself - sit on the edge of your chair with feet flat on the
floor. Back is straight - chin is up.
b) Relax the muscles in the neck, chest, and abdomen. While doing
exercises, these areas must be allowed to fully expand and contract
without opposing force.
c) Allow your palms to lie flat on your legs. (RELAX)
d) Close your eyes - concentrate on your own breathing. You must be
in-tune with your breathing habits before you can change your
method of breathing.

Exercise 2. Breathing Warm-up

a) Begin empty (exhale before exercise begins) - Breathe in for two
(2 ) counts. You must be FULL of air in 2 counts! (ALWAYS BREATHE
THROUGH THE MOUTH......NOT THE NOSE). b) Blow out immediately
for four (4) counts using an S sound (like a snake). Be EMPTY by
count four (4). Push all air out on exhale (Use Diaphragm muscle)! c)
Repeat exercise a minimum of six (6) times.
Exercise 3. Breathing Exercise
a) Begin empty (exhale all air before exercise begins).
b) Breathe in for two (2) counts through the mouth. Fill up totally.
c) Exhale for six (6) counts using an S sound. Push all air out on
exhale!
d) Repeat exercise a minimum of 5 times.
Exercise 4. Breathing Exercise
a) Begin empty (exhale all air before exercise begins).
b) Breathe in for two (2) counts through the mouth. Fill up totally.
c) Exhale for eight (8) counts using an S sound. Push all air out on
exhale!
d) Repeat exercise a minimum of 5 times
Exercise 6. The Breathing Bag
(use a large bread bag) Use of the breathing bag helps to regulate the volume of air
inhaled and exhaled. When performing exercises using the bag, be aware that the
constant inhalation of CO2 gas from the bag will tend to make you light-headed. If
you feel extremely dizzy, stop the exercise and breathe fresh air.

a) Begin empty (exhale all air before exercise begins).

b) Breathe in for four (4) counts through the mouth. Fill up totally. DO
NOT USE BAG.
c) Exhale for four (4) counts in the bag. Regulate the air so the bag is
full on count 4.
d) Inhale for four using the air in the bag. Completely deflate the bag
by count 4.
e) Exhale for four (4) counts in the bag. Regulate the air so the bag is
full on count 4.
f) Repeat this exercise a minimum of two (2) times.
References: http://www.blostein.net/Tuba%20Method.pdf & http://www.cobw.com/Health%20PDF/Health_breathing_exercises_for_winds.pdf

Tuba Fingering Chart

Reference: http://www.landisband.info/resources/low-brass-resources

10

Daily Warm-Up Routine

Always begin your warm-up with Mouthpiece Buzzing. This is the
practice of playing pitches without the instrument. Example:

Reference: http://www.olemiss.edu/lowbrass/studio/routines/mouthpiece/tubamouthpiecelevel1.pdf

Lip Slurs are next. There are many different lip slur warm-ups. Here is
an example of one:

11

Long tones are very important to building strong embouchure muscles

and developing good tone. Here is an example of a long tone
exercise:

Long Tones

George Palton

Pause in between each set of long tones. Maintain focus at all times, do not simply play a long tone do something with it
dynamically. Use a constant air stream like blowing a long whole note. Always keep a beautiful tone throughout all of these exercises.

BB Flat Tuba

?c

Tuba

?
9

bw

bw
p
w

bw

bw

bw

25

?
?
41

bw

33

bw

bw
bw
p simile
,
w

17

,
,

bw

bw

bw
bw

w
,
w

,
,

bw
w

w
,
bw
,

bw

bw

bw
bw

bw

bw

bw

,
,
,

bw

bw

bw

bw

bw

bw

Reference: http://www.georgepalton.com/uploads/9/3/4/8/9348446/a1._basic_long_tones-_bb_flat.pdf

12

Scales are an important part of warming up too. They help you

become a better musician by gaining versatility in all keys and
understanding a pitch center in many keys. Play through as many
major and minor scales as you can, plus a full range chromatic,
everyday. Eventually, it would be good to have all of these memorized.

2 Octave Major Scales

Tuba

with Full Range Chromatic Scale

? 44
?b

F Major

? bb

11

? bb

16

Eb Major

Ab Major

Bb Major

? bb
bb

21

C Major

w
w

? ####

41

E Major

? ###

46

? ##

51

?#

56

? bb

61

A Major

D Major

G Major

bb
bbb
bbbb
bbbbb

? b b b Db Major

bb

ww

31
? b b b b Gb Major

bb

w

36

? # # # # B Major


#

w

26

bbbbbb
#
nnnnnn## ##
##
n##
n# ##

n##

n#

w
w

nbb

# # #
# n # # n

# n #
# # n # #
Full Range Chromatic

Notes below E only available

with trigger or 4th valve

? bb b b b n b b n b
b b n b b
n

66

b b n b

13

Tonguing exercises are important to build up muscles in your tongue

needed to play with strong accents and fast articulated lines. Here is
an example:

There are many different recommended Daily Tuba Warm-ups out

there! Check out these links for more exercises and warm-up ideas:

A Simply Daily Routine for Tuba by Zach Collins http://www.tubaphonium.com/uploads/1/7/7/6/1776421/a_simple_daily_rout

ine_for_tuba.pdf

University of North Texas Tuba Page https://tuba.music.unt.edu/exercises

George Palton, Artist and Educator, Tuba Exercises

http://www.georgepalton.com/tuba-exercises.html

BBb Tuba Warm-Ups and Exercise by Andy Rummel, Professor of Tuba at

Illinois State University
http://nebula.wsimg.com/56804d6923b601cac78a715e2719ea15?AccessKeyI
d=059C4068B8FAE5E4FFAB&disposition=0&alloworigin=1

Arnold Jacobs, Special Studies for the Tuba

http://tubamuckl.de/tubamuckl/Tuba_files/A.JacobsSpecial%20Studies%20For%20The%20Tuba.pdf

Michael Blostein, Low Brass Specialist, Tuba Warm-Ups

http://www.blostein.net/Tuba%20Warm-Ups.pdf

14

Tone Production
o Hear the note, and the sound, you want to make
o Breathe in deeply (and do not hold your breath)
o Breathe out lots of air (fast = loud & slow = soft) at the same time
as;
o Allowing the lips to vibrate freely to form the correct note and the;
o Tongue to provide a good clean start to the beginning of the note
o Control the air to keep a steady flow and this will stop the note
bulging up or down
o Stop the note by stopping the breath not with the tongue.
o To change to volume, change the speed of the air, not the quality
o Never start or end the note with your tongue
o Ensure that you have good posture, and bring the instrument to
you. Avoid moving the instrument and changing good posture.

Embouchure Development

o Facial and oral cavities, tongue, and teeth in a relaxed position.

The throat is to be open at all times.
o Lip corners kept firm, not tight or clamped, and the teeth slightly
open.
o Mouthpiece resting in a position that is comfortable with two thirds
of the rim on the upper lip and one third of the rim on the bottom
lip
o Keep the chin flat and pointed down with the lips in a natural
position that is not pulled back or puckered. Avoid bunching up the
chin.

Articulation Development

o The tongue serves as a valve to release the air on the tuba

o The tongue contacts the upper palette just at the base of the upper
front teeth
o The articulation symbol for most general playing should be doe
and sometimes toe for high or more accented notes.
o The use of o at the end of the attack is important for maintain air
flow and rich tone through to the end of the note.
o Do NOT use a Duh sound.
o Use a minimum of jaw motion
o The lips are to be touching until the air is delivered to them for
most efficient use of the air.
o The tongue should never go between the lips.
o Remember to maintain airflow in all tonguing. The tongue should
never be allowed to change our approach to air stream.

15

Pitch Tendencies
Tuning Generalizations:
Open is generally in tune.
1st value is generally in tune
2nd valve is generally in tune
1-2 valve combination is moderately sharp
1-3 valve combination is very sharp
1-2-3 valve combination is extremely sharp
2-3 valve combination is moderately flat
Sharp notes may be lowered with TOE and TAH in the mouth
Flat notes may be raised with TEE

16

Reference: http://www.olemiss.edu/lowbrass/studio/fingeringcharts/bbbtubafingering.pdf

Pedal Tones
o Pedal tones are the VERY lowest note you can play on the tuba
o They refer to notes that exist in the fundamental partial of a brass
instrument. They are the notes that correspond to the actual length
of the tubing.
o They can sound pretty funny and are really fun to play! You can find
the pedal tones by letting your lips flap while trying to play lower
and lower. Once you find it it will pop right out! Youll know you
have the right notes if it matches the note an octave up.
o Knowing how to play pedal notes opens up the low register of the
tuba
o Pedal Tones are a great model of playing with maximum wind
quality and minimum pressure
o They will maximize low-pressure playing throughout the horn
o They are essential for developing brass instrument technique

17

Tuba Learning Videos

o Buzzing - https://www.youtube.com/watch?v=JPb6jITbplA
o Breathing Fundamentals https://www.youtube.com/watch?v=7oKwVeDxrmE
o Making a Better Sound https://www.youtube.com/watch?v=bSteKff1A-c
o Correct Embouchure https://www.youtube.com/watch?v=lgu6RfBI3V0
o Slurring - https://www.youtube.com/watch?v=lgu6RfBI3V0
o Lip Slur Patterns - https://www.youtube.com/watch?v=PFitaJUi5Ak
o Flexibility Routine - https://www.youtube.com/watch?v=fxzAZGrPrLI
o Lessons with Roger Bobo https://www.youtube.com/watch?v=oxTDkUVNSHg
o Initiating Sound - https://www.youtube.com/watch?v=RsxScTSrvFk
o Posture and Embouchure https://www.youtube.com/watch?v=pbDbeYMT28s
o First 5 Notes - https://www.youtube.com/watch?v=Ma-Iy7pu1rs
o Pedal Tones - https://www.youtube.com/watch?v=jwx-YV4h_6s
https://www.youtube.com/watch?v=AyMKQVUJ1tM
o Articulation http://www.uni.edu/drfun/articles/articulation.html

18

Etudes and Method Books

Title

Composer

Level

Publisher

Studies and Melodious Etudes for

Tuba (Bass) Level I

Bill Laas with Fred Weber

Elementary

Belwin
(AP.BIC00167A)

Studies and Melodious Etudes for

Tuba, Level II

Kenneth Swanson And

Major Herman Vincent In
Collaboration With James
D. Ployhar

Intermediate

Alfred Publishing.
(BIC00267A)

Studies and Melodious Etudes for

Tuba, Level III

Kenneth Swanson And

Major Herman Vincent In
Collaboration With James
D. Ployhar

Advanced
Intermediate

Alfred Publishing.
(BIC00367A)

70 Studies Volume 1

Blazhevich

Intermediate

70 Studies Volume 2

Blazhevich

Advanced

43 Bel Canto Studies

Giovanni Marco Bordogni

Intermediate
Advanced

Alphonse Leduc.
(AL28596)
Alphonse Leduc.
(AL28597)
Alphonse Leduc.
(534024100)

36 Celebrated Studies

N. Bousquet

Practical Studies for Tuba, Book I

Robert W. Getchell

Intermediate
Advanced
Beginner

101 Rhythmic Rest Patterns

Grover C. Yaus

Beginner

30 Studies Op. 13

Gallay/King

78 Studies

Grigoriev

60 Selected Studies

C. Kopprasch

Rubank Elementary Method - Eb/BBb

Bass (Tuba-Sousaphone)

Edited by N.W. Hovey

Intermediate
Advanced
Intermediate
Advanced
Intermediate
Advanced
Beginner

Rubank Intermediate Method - E Flat

Or BB Flat Bass (Tuba-Sousaphone)

Edited by Joseph E.
Skornicka

Intermediate

Rubank Advanced Method - E Flat Or

BB Flat Bass Vol.1

Edited by Himie Voxman

and William Gower

Advanced

Arban Complete Method for Tuba

J.B. Arban
Transcribed and Edited by
Dr. Jerry Young and
Wesley Jacobs

Intermediate
Advanced

Carl Fischer.
(O5388)
Alfred Publishing.
(EL00774)
Alfred Music
(AP.EL00559)
Alphonse Leduc.
(AL28605)
Alphonse Leduc.
(AL28611)
Alphonse Leduc.
(AL28601)
Rubank
Publications
(HL.4470080).
Rubank
Publications
(HL.4470250).
Rubank
Publications
(HL.4470460)
Encoure Music
Publishers

19

Recommended Solo Repertoire (Grade 1 6)

Title

Composer

Level

Publisher

Spartan, The
Winter Carousel (Kendor Recital Solos
Collection)
Pastorale (Kendor Recital Solos Collection)
Chromatic Conquest
Sailor's Song
Little Caesar
The Change of Seasons
At Another Time And Place
Eight Easy Pieces (mvt #8)
Cripple Creek (Competiton Solos Book 1)
Camping Out
The Swan (Competiton Solos Book 1)
Theme From Concerto No. 4
Quintero (the Farmer)
Jolly Dutchman
Arietta

Bell
Bigelow, Albert

Grade 1
Grade 1

BEL
KM

Burney / Niehaus
Compello, James
Couperin / Dishinger
Harris
Weaver, Russ
W. Ellis
Voxman / Block
traditional / Siennicki
Smith
Siennicki, Edmund J
Huber / Price
Merle
Isaacs
Sandy Feld Stein & Larry
Clark
Warren Benson
Handel, G.F./Ostrander
Petree, H.W./Buchtel
Robert Schumann
Bach/W. Bell
John Boda
Paul Holmes
Mozart/Morris
Thomas Beversdorf
Antonio Capuzzi
Don Haddad
Walter Hartley
Lebedev
James Stabile
Paul Hindemith
Jan Koetsier
Eddie Sauter
Robert Sibbing
Robert Spillman
Halsey Stevens
R. Vaughan Willams
Alec Wilder
Eugene Bozza
Bruce Broughton
William Kraft
Frank Lynn Payne
Donald White

Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade

1
1
1
1
1
1
1
1
1
1
1
1
1
1

KM
MPB Publishing

Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade
Grade

2
2
2
2
3
3
3
3
4
4
4
4
4
4
5
5
5
5
5
5
5
5
6
6
6
6
6

Belwin-Mills
Edition Musicus
Kjos
Rubank
Carl Fisher
Robert King
Robert Kings
Brass Press
Southern
Hinrichsen
Shawnee
Fema Music
Edition Musicus
WIM
Schott
Domenus
Mentor
Presser
Edition Musicus
Southern
Oxford
Margun Music
A. Leduc
Helicon Music
MCA Music
Shawnee Press
Ludwig

Arioso
Arm Ye Brave
Asleep in the Deep
Jolly Peasant
Air and Bouree
Sonatina
Lento
O Isis and Osiris
Sonata for Bass Tuba
Andante and Rondo
Suite for Tuba
Sonatina
Concerto in one Movement
Sonata
Sonate for Bass Tuba and Piano
Sonatina
Conjectures
Sonata
Concerto
Sonatina
Concert for Bass Tuba
Suite No. 1. (Effie Suite)
Concertino
Sonata
Encounters II for Solo Tuba
Sonata
Sonata

KM
CYB
EMP
SMC
LUD
BEL
LUD
CF
CF
LUD
CF

20

Mixed Instrumentation Chamber Repertoire

Title

Instrumentation

Composer

Grade Level

Publisher

Quintet

Adjemian
Vartan
Paolo Baratton

Advanced

EditionsBIM

Intermediate

EditionsBIM

Luigi Cherubini

Intermediate

EditionsBIM

Pascal Favre

Advanced

EditionsBIM

Goleminoff

Intermediate

EditionsBIM

Roger Kellaway

Intermediate/Advanced

EditionsBIM

Arthur
Rubinstein

Intermediate/Advanced

EditionsBIM

EditionsBIM

Intermediate

EditionsBIM

Advanced

EditionsBIM

Dance Movements

Roland Szentpali

Intermediate

EditionsBIM

Jazz Quintet

Roland Szentpali

Corrada Mario
Saglietti
Roland
Szentpali
Tuba, piano,
drums & String
Quartet
Tuba and
Rhythm
Section
Tuba and Sax
Quartet

Intermediate

Chill Fantasy

Flute, Tuba, Vibes,

Contrabass, Piano
Piccolo, tuba,
piano
Tuba and String
Quartete
Flute, Clarinet,
Alto Sax, 2
Trumpets,
Trombone, Tuba,
timpani &
percussion
Brass Quintet,
Tuba Solo
Tuba, Piano/Brass
Band
Tuba and
Chamber
Ensemble
Tuba and Four
Horns
Tuba, String
Quartet, Piano
Roland Szentpali

Intermediate/Advanced

EditionsBIM

Hoch und Tief

Sonata
Celebration

Tubaphonie
Morning Song
Bruegel-Dance Vision

Concerto
Allegro Fuoco

Additional Repertoire Resources

Guide to the Tuba Repertoire, Second Edition: The New Tuba Source Book
edited by R. Winston Morris
Indiana University Press, Nov 8, 2006
Associated Manitoba Arts Festivals:
http://www.amaf.mb.ca/Resources/tuba_resource.pdf
Idaho Music Education:
http://www.idahomusiced.org/events/statesolo/statesolo.php#brass
Indiana State School Music Association:
http://www.issma.net/downloads/brassmanual.pdf
Tuba Literature: http://www.uni.edu/drfun/articles/Tuba_Lit_List.html
Just for Brass: https://www.justforbrass.com/euphonium/tuba-solos-0
Free Tuba Sheet Music:
http://www.8notes.com/tuba/sheet_music/?orderby=5d
Tuba Resources: http://www.dwerden.com/tu-resources.cfm

21

Tuba/Euphonium Chamber Music

Title
12 Duets K 587
Easy Classics For Two
Four Duets, op. 82
Twelve Duets, Op. 53
Advanced Duets for Tuba,
vol. 1
Duets of the Advanced
Type for Tubas
Two Sentimental Songs
O Vos Omnes (motet)
Chorale And Clog Dance
4 Bach Chorales
Hungarian Dance # 5
Virga Jesse Floruit
Appalachian Carol
St. Nicholas Ground
Soundings
Amazing Grace
Petit Caprice ()
Barber Of Seville
Overture
Serenade
Liberty Bell
Sheep May Safely Graze
Wolsey's Wilde
Siamang Suite
Suite For Tuba Quartet
Suite For Four Bass
Instruments
Quartet For Tubas
Manhattan Suite
Divertimento
Elsa's Procession To The
Cathedral
Ride Of The Valkyries
Tubasonatina
Fantasy

Instrumentatio
n
Tuba Duet
Tuba Duet
Tuba Duet
Tuba Duet
Tuba Duet

Composer

Grade Level

Publisher

Mozart / Dishinger
Various / Stouffer
Devienne / Gershenfeld
Nielsen / Dishinger
Sear

Easy
Easy
Intermediate
Intermediate
Advanced

MMP
KM
MMP
MMP
CORT

Tuba Duet

Cummings, Barton

Advanced

Wiltshire

Tuba Quartet
Tuba Quartet
Tuba Quartet
2 Euph, 2 Tuba
2 Euph/2 Tuba
2 Euph/2 Tuba
2 Euph/2 Tuba
2 Euph/2 Tuba
Tuba Quartet
Tuba Quartet
2 Euph, 2 Tuba
Tuba Quartet

Barnby-hawthorne / Hall
De Victoria / Self
Hall
Bach / Mehlan
Brahms/halferty
Bruckner / Nelson
Canter, James
Frackenpohl, Arthur
Matchett
Robertson
Rossini / Davis

Easy
Easy
Easy
Intermediate
Intermediate
Intermediate
Intermediate
Intermediate
Advanced
Advanced
Advanced
Advanced

GW
WIM
GW
TUBA
KM
TUBA
TUBA
TUBA
RBC
TEP
TUBA

Tuba Quartet
Tuba Quartet
Tuba Quartet
Tuba Quartet
2 Euph, 2 Tuba
2 Euph, 2 Tuba
Tuba Quartet
Tuba Quartet
2 Euph, 2 Tuba
2 Euph, 2 Tuba
Tuba Quartet
2 Euph, 2 Tuba
2 Euph, 2 Tuba
2 Euph, 2 Tuba

Rossini/doughty
Schubert / Robertson
Sousa / Robertson
Bach / Robertson
Byrd / Robertson
Canter, James
Frackenpohl, Arthur
Lyon
Payne
Stevens
Uber, David
Wagner / Robertson
Wagner/uber
George, Thom Ritter
Martino

CIM
TEP
TEP
TEP
TEP
TUBA
TUBA

Advanced
Advanced
Advanced
Advanced
Advanced
Advanced
Advanced

SP
SP
SOU
TUBA

Advanced
Advanced
Advanced
Advanced

TEP
KM
TUBA
PP

Advanced
Advanced
Advanced

Additional Repertoire Resources (continued)

WSMA Music Festival List: file:///Users/Chloe/Desktop/Events_4000.pdf

Missouri State High School Activities Association, Solo and Ensemble Rep list:
http://gvlabs.com/festivalmanager/mshsaa/src/admin_pml.php
Florida BandMasters Association, Solo and Ensemble Festival:
http://fba.flmusiced.org/for-directors/music-lists/
Recommended Solos for Tuba:
http://www.tubapeter.com/index_files/videos_tubasolos.htm

22

Professional Tuba Players

Tom Abbs
James Akins
Kenneth Amis
Oystein Baadscik
Alan Baer
Dave Bargeron

William Bell
Roger Bobo
Damon Bryson
Charles Daellenbach
David Fedderly

Aubrey Foard
Walter Hilgers
Scott Irvine
Arnold Jacobs
Carol Jantsch
Andy Kirk
Thomas Leleu

Heiko Triebener
Sam Pilafian
Patrick Sheridan
Velvet Brown

Jazz Tubist
Principal Tuba of the Columbus Symphony
Orchestra
Tubist with Empire Brass
Soloist and Chamber Musician
Principal Tuba with the New York Philharmonic
Jazz Tubist and Trombone player with Blood,
Sweat and Tears, Severinsens Band, Gil Evens
Orchestra, Paul Simon, Mick Jagger,
James Taylor, Eric Clapton, etc..
Classical tubist
Tuba soloist
Sousaphone player in The Roots
Co-Founder of the Canadian Brass
Retired principal tubist for the Baltimore
Symphony Orchestra and teacher at The
Juilliard School, owner of the Baltimore Brass
Company
Principal tubist with the Charlotte Symphony
Orchestra
Principal tubist in the Vienna Philharmonic
Orchestra
Principal tubist with the Canadian Opera
Company and Esprit Orchestra
Former Chicago Symphony principal tubist
Principal tuba in the Philadelphia Orchestra
Jazz tubist
Classical and contemporary musician. Skilled
tuba player, and principal tubist with the Opera
de Marseille.
Classical Tubist, Bamberg Symphony Orchestra
Founding member of the Empire Brass Quintet,
Tuba soloist
Professor of tuba and euphonium at Penn State

23

Professional Tuba Organizations

The International Tuba/Euphonium Association
http://www.iteaonline.org/index.php
Officially founded in 1973 as the Tubists Universal Brotherhood
Association, the International Tuba Euphonium Association is dedicated
to promoting and advancing the tuba and euphonium instruments. The
organization comprises performers, educators, students, and amateurs
of all backgrounds. As a non-profit organization, it is supported by
membership dues and donations.
Historic Brass Society
http://www.historicbrass.org/
The Historic Brass Society is an international music organization
concerned with the entire range of early brass music, from Ancient
Antiquity and the Biblical period through the present. The history,
music, literature and performance practice of early brass instruments
such as natural trumpet, natural horn, early trombone, cornetto,
serpent, keyed bugle, keyed trumpet, early valve horn, 19th century
brass instruments are some of the main issues of concern to the HBS.
The HBS Journal is by far the most scholarly of brass professional
journals and, unlike the others, is released only yearly rather than
quarterly. It is a book-length publication, though, and contains articles
of substantial length and scholarly acumen.

Tuba Videos

o Tuba Concerto, Edward Gregson

https://www.youtube.com/watch?v=uPV6sTfs3Is
o Concerto in F minor, Vaughan Williams
https://www.youtube.com/watch?v=3GzEvWXN3zY
o Tuba Tiger Rag https://www.youtube.com/watch?v=inftw4EdxRw
o Czardas, Vittorio Monti
https://www.youtube.com/watch?v=fYOsNp4O7AU
o Reflections on the Mississippi, Michael Daughtery
https://www.youtube.com/watch?v=hPnurVsbQwU
o Tuba Concerto, Bruce Broughton
https://www.youtube.com/watch?v=dxSxjqqh-N4

24

Tuba Mouthpieces
Understanding the Brass Mouthpiece
http://www.wwbw.com/Buyer-Guides---Brass-Mouthpieces-g25075t0.wwbw

Tuba Mouthpiece Recommendations:

Beginner:
Conn Helleberg 7B, Miraphone TU17 or TU19, Schilke Helleberg
Intermediate/Advanced:
Conn Helleberg Regular or Standard Cup, Miraphone TU21, Griego
325D, Loud LM7, Perantucci PT36
Advanced
Loud LM7(stainless steel), Miraphone TU31 or TU41 Perantucci PT36,
Pt 50, or PT 88, Mike Finn 3H or 3, Griego 330D.

25

Tips for choosing a Tuba Mouthpiece:

Music is very subjective and one player will have different results
than another player using the exact same equipment. Much of this
has to do with a players physicality and personal ability.
If you are a very young player and Tuba is your first instrument,
you might want to start with a very small cupped mouthpiece, so it
is easier to make a sound.
Don't get bogged down in details and numbers. Try many different
mouthpieces and let your ears do the work. There are many useful
charts and spreadsheets, but only playing a new mouthpiece will
reveal how well of a fit it truly is.
There are many, many different models so as to allow tuba players
to fine-tune their preferences.
Tuba mouthpieces come in two different styles: a more funnelshaped and narrow design exemplified by the Conn Helleberg, and
a more bell-shaped and wide design exemplified by the Perantucci
mouthpieces.
For tuba students, the right design is largely a matter of which
style is more comfortable; you may find you have a strong
preference for one over the other.

Bach Tuba Mouthpiece Comparison Chart:

List of Tuba Mouthpieces - http://www.dwerden.com/Mouthpieces/tuba.cfm

26

Purchasing a Tuba
General Information
BBb tubas work great for most school-band music. Compared to CC
tubas, the BBb tuba has a broader sound with extra weight, which helps
bring balance to a band's sound.
Because tubas come in a variety of different sizes, manufacturers came
up with a system to categorize the instrument into four common sizes:
3/4, 4/4, 5/4, and 6/4 (these sizes will vary based on the manufacturer)
Tubas come in 3-, 4-, or 5-valve versions. The addition of the fourth
valve aids in both low-register intonation and low-register production. As
a rule, remember that at least 4 valves are required to perform and
produce all the low range notes in the daily life of a tubist.
Piston Valve like the valves on a trumpet, they move up and down to
direct the air produced by the player into different tubing paths; thus
changing the notes played
Rotary Valve unlike piston valves that go up and down, rotary valves
(as its name implies) rotate to direct air into different tubing paths. They
are commonly found in more advanced tubas
When looking at the specifications of a tuba, you will come across the
term: bore size. The bore size of the tuba measures the inner diameter of
the tubing of the instrument near the valves. The bore is measured by
thousandths of an inch.
The bore size that is commonly used and suitable for most players is
a medium to medium-large bore, which is .750 of an inch to .812 of an
inch. Student tubas (which are made for novice players) usually have
smaller bores as it adds resistance and makes it easier for the player to
support a tone. These bores usually measure in the range of .650 to .740
of an inch.
Brass instruments have two common finishes, lacquer and silver-plate.
Lacquer is the most popular finish and is used by most students who are
just beginning their study. It gives the instrument a deep and dark sound
in the lower registers.
Silver-plate is a finish that suits more advanced players as it demands
more maintenance and is more expensive
Yellow Brass produces a bright tone as it has less copper compared to
other materials. It is brilliant gold in appearance due to its relatively low
copper content.
Gold Brass less susceptible to corrosion than yellow brass because of
the decrease in zinc content and produces a darker tone than yellow
brass given its higher copper content. It is a dark gold in appearance as
it has more copper than yellow brass.

27

Tuba Recommendations:
Student Tuba
Made for those who are just starting out with tuba-playing and for
those whose commitment to the instrument is uncertain and
questionable
They often have a clear lacquer finish and are made with durable
materials such as nickel-silver
They use 3 piston valves and generally have smaller bores (.600 to
.650 of an inch) to make it easy for a beginner to play
Conn Tuba Key of BBb Upright Bell Front-Action Valves No Case
Conn Tuba Key of BBb Upright Bell Front-Action Valves with Case
Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons
RS Berkeley TUB907Artist Series Tuba
E. M. Winston 640 Bore Three Valve Tuba
RS Berkeley TUB909 Artist Series Tuba

Intermediate (or Step-Up) Tuba

Made for those who have been playing the tuba for 2 to 3 years and
for those who want to advance from a student model tuba
They upgrade to a silver plate finish and have at least 4 rotary valves
They have larger bores than student tubas (.650 to .750 of an inch)
Recommendations for intermediate or step-up tubas:
Jupiter Tuba Compact Model Brass Body Front-Action Pistons with Case
Jupiter Tuba Compact Model Brass Body Front-Action Pistons with Case
Jupiter Tuba "Tribune" Concert Model Brass Body 4 Front-Action Pistons with
Case
Professional Tuba
Made for those who have been playing the tuba for many years and for
those who are fully-committed to playing the instrument (as this
model of tuba is a great investment)
They often have a silver plate finish and have at least 4 rotary valves
(but typically employ 5 rotary valves)
They have large bores (some go beyond .750 of an inch)
Conn Tuba Key of BBb Upright Bell Front-Action Pistons with Case
Holton Collegiate Tuba Key of BBb Upright Bell Top-Action Pistons with Case
Holton BB460 Collegiate Tuba Key of BBb Upright Bell Top-Action Pistons
with Case

28

Recommendations by Brand:

Yamaha Standard Tuba Key of BBb 3/4 size 3 Top-Action Pistons Upright Bell
Yamaha Standard Tuba Key of BBb 3/4 size 3 Top-Action Pistons with Tuba Stand
Yamaha Marching Tuba with Key of BBb 3/4 Size Convertible Model 3 Pistons

Conn 12J BBb 3-Valve Tuba

Conn 5J BBb 4-Valve Tuba
Conn Tuba Key of BBb Upright Bell Front-Action Valves No Case

Kanstul CTU 902/3B Custom Class Series 3 Valve 3/4 BBb Tuba In Lacquer Finish
Kanstul 202 BBb 3/4 Marching Tuba In Convertible Silver Finish
Kanstul Model 201 BBb 4/4 Marching Tuba In Convertible Lacquer Finish

King 1135 BBb 3 Valve Tuba

King 1140 COnvertible BBb 3 Valve Tuba
King 1140M Ultimate Marching Brass Tuba

Jupiter 3/4 Size BBb Convertible Tuba - Model 380S [Silver-Plated Finish]
Jupiter 378 Series BBb Deluxe 3/4 Size 3 Valve Tuba
Jupiter BBb Convertible Tuba - Model 384S [Silver-Plated Finish]

Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons
Holton Collegiate Tuba Key of BBb 3/4 Size Upright Bell Top-Action Pistons

29

Additional Tuba Handbook References

http://www.wwbw.com/Buyer-Guides-Tuba-g25068t0.wwbw#1
https://en.wikipedia.org/wiki/List_of_tuba_players
http://www.iteaonline.org/members/standardlit/
http://www.instrumentalsavings.com/Tuba-Buying-Guide-s/4278.htm
http://www.norlanbewley.com/tuba-tips/mouthpiece-size.htm
http://www.banddirector.com/article/pg-brasstubas-sousaphones/a-teachers-guide-to-ahappier-tuba-section?productguide=325
http://www.dwerden.com/tu-articles-morethoughts.cfm
http://www.whatbrassplayerswant.com
http://www.olemiss.edu/lowbrass/studio/fingeringcharts/bbbtubafingering.pdf
https://www.tamuc.edu/academics/colleges/humanitiesSocialSciencesArts/departments/music
/studios/tuba/warmups.aspx
http://www.blostein.net/Tuba%20Warm-Ups.pdf
http://www.georgepalton.com/
http://www.olemiss.edu/lowbrass/studio/routines/mouthpiece/tubamouthpiecelevel1.pdf
http://sousacentral.blogspot.ca/2010/12/how-to-choose-new-mouthpiece-or-worst.html
http://www.banddirector.com/article/pg-brasstubas-sousaphones/a-teachers-guide-to-ahappier-tuba-section?productguide=325
http://www.mouthpieceexpress.com/specshub/specs_brass.html

30