Page 34 - Embou-Sure Book Series

INTONATION
Every student can and must play in tune from the very beginning! As soon as a note is introduced, there must be instruction which produces correct tone quality.
Since out of tune notes seldom contain proper tone quality, it follows that attention to one cures the other. Note the following examples of natural pitch tendencies on tuba which, when corrected, also improve tone quality:
#10A-LOW B: Natural sharpness and thinness, then corrected. Using 1, 2, and 3 combination.
SOUND EXAMPLE #10a Correction by opening throat to maximum “OH” shape.
#10B-LOW B: Natural sharpness and thinness, then corrected by using 2 and 4 valve combination.
SOUND EXAMPLE #10b
#11-BOTTOM LINE G-FLAT: Natural flatness and corrected. The natural flatness of the 2 and 3 valve combination must be corrected by “lipping” up. This fact often makes “centering” of G-flat a problem. Increasing the “grip on the tube” often helps pitch here.
SOUND EXAMPLE #11
#12-THIRD LINE D: Natural flatness and corrected. The problem of flatness on D is similar to the G-flat; however, several alternate fingerings are available for the purpose of comparison to locate proper pitch level. Valve combination 1, 2, and 3 is an in tune possibility which can be sued to show the student how much to lip up the open D. Even 1 and 2 (sharp in pitch) can serve as an aid in this regard.
SOUND EXAMPLE #12
Embou-Sure – 37