Page 33 - Embou-Sure Book Series

SOUND EXAMPLE #6
If the first pitch produced by the student was second line B-flat, follow the reverse procedure: have him relax the “grip on the tube” and blow slightly less quantity of air in order to produce F below the staff.
ADDING THE VALVES
Now ask the student to take a large breath and play down by half-steps from B-flat to F (open, 2, 1, 1 & 2, 2 & 3, open). It is important to start from the top note and work down as this is much easier than working up. The stu- dent’s chances of immediate success are much greater as well. Also, have the student play this chromatic exercise without use of the tongue; at this point it will only get in the way and cause problems. Instruct the student to think of air movement being exactly the same as playing a single long tone so that he will blow through the chromatic run.
SOUND EXAMPLE #7
The next step is to play the chromatic run starting on F and ascending to B-flat. This will generally be more difficult but can be made easier by play- ing a crescendo throughout the exercise. This will tend to keep air moving throughout the run and will make the F to G-flat break much easier.
SOUND EXAMPLE #8
MOUTHPIECE BUZZING
It is my contention that the single most neglected exercise by most brass players is mouthpiece buzzing. Let’s face it; there is nothing inside a brass instrument which will itself produce sound. The sound is produced by buzz- ing the lips--sound which is amplified by the instrument. Therefore, it stands to reason that anything played on the instrument can also be played on the mouthpiece alone if the embouchure is properly performing its function.
So, HAVE YOUR STUDENTS PRACTICE BUZZING WITH
THE MOUTHPIECE. They can play scales, etudes, songs, anything. One
Embou-Sure – 36
word of caution: Don’t let them just buzz indiscriminately. Make sure they produce definite pitches as this is the only way in which mouthpiece buzzing is beneficial. Also, do not have them buzz their lips without a mouthpiece or a mouthpiece ring to define the area of lip which must be trained and con- trolled. Buzzing the lips without the mouthpiece will provide nothing useful in embouchure training.
Anything done with the mouthpiece can and should be done with the mouth- piece ring as well. You will be amazed at the results.
SOUND EXAMPLE #9
FOUR VALVE TUBAS
I have often been asked about the purpose of the fourth valve on the tuba.
It is really quite simple as it merely a compensating valve used to help bring low B and low C in tune. In fact, it is an F attachment much like the one on bass trombone; however, due to problems with intonation it can not be used in exactly the same manner. The fourth valve is used as a substitute for the 1 and 3 valve combination, which means that instead of playing low C with 1 and 3, we can play it with 4 alone. Instead of 1, 2, and 3 for low B natural, we can play it with 2 and 4.
Even with the fourth valve, these notes will tend to be quite sharp, so the fourth valve slide should be pulled out. The exact amount to pull the fourth valve slide will vary and should be determined with each instrument individ- ually.
The fourth valve can also be used to produce the notes between low E and pedal B-flat, but due to intonation problems in this register, the fingerings usually need to be altered:
E • 2 and 4
E-flat • 1, 2, and 4 (On some instruments this E-flat can be played 1
and 4, but normally all pitches from E-flat on down must be
fingered a half-step low to be in tune.) D • 2, 3, and 4
D-flat • 1, 3, and 4
C • 1, 2, 3, and 4
Note that low B natural is lost as a result of pitch compensation. Don’t worry; it won’t likely be needed.