Instructions:

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Equipment Requirements
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1 sm57/vocal mic
1 contact microphone
1 distortion pedal
1 thick plastic straw, wrap one end in
tape as to not damage tuba.
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Set up:
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Hang vocal mic down halfway inside bell of tuba.
Use sound foam to plug around the microphone and cover on top with foam cap.
Wedge the contact microphone between foam and bell of tuba to pick up resonance of the body.
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Clefs:
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The notation is divided into three clefs to help distinguish independency while maintaining interconnected gestural
information.
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The clef labeled “Head” involves sounds related to embouchure/ phonetics.
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The “Right Hand” involves key clicks and gestures related to shortening or lengthening the horn to produce spectral and
dynamic sound filters.
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The “Left Hand” solely involves tapping different nodes on the tuba to produce percussive attacks. This is done with a
beater made from a plastic straw with its beating end wrapped in tape.
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Key:
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[Head Clef]

air noise
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tongue ram/plug
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hard pallet click; produced by pressing the tongue against the roof
of the mouth then sucking and releasing with force to produce attack
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sing a note through the tuba in the middle to low range of the voice ( sing same pitch always)
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inhaled screech at highest pitch possible, produced by tightening throat and inhaling with pressure
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flutter tongue while singing highest pitch possible
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exhale gesture
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inhale gesture
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ad lib glissando down
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[Right Hand Clef]
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double key click, quick down up articulation,
key click noise should sound
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triple key click, quick roll of three keys in succession,
key click noise should sound
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trill using first top key only,
key click noise should not be accentuated
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slowly depress keys halfway in random order to produce constant
dynamic and spectral filter, key click noise should not be accentuated.
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[Left Hand Clef] [Pedal Notation]
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rub the mallet against the tuba’s bell downward and let the mallet skip
to create reiterated attack sounds
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Distortion Pedal should be mixed so that
when activated it should be on the verge of feeding
back. The start and finish of the black/red line are
indications of exact on and off placement points for
the effect.
The colored staff lines refer to different parts
along the body of the tuba. When struck, the bell, top body,
side body, low body, should all produce different percussive This notation indicates the use of a delay
attacks which range in pitch and color greatly. pedal with one echo only, and with a rate of
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M.v.t III
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The third movement is a duet for Tuba and Tenor Saxophone. The saxophone is to be prepared in the same way as the
tuba with a microphone and a contact mic wedged inside the bell with sound foam.
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Saxophone Specific Key:
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Black shaded arrows are used to indicate exhaled or inhaled air noise gestures. The lips should completely cover the
mouth hole so that no air escapes except through the horn. The thickness, contour, and slope of the shape,
determines the dynamic level, embouchure shape, and rate of air flow. ( the embouchure shape is determined by it’s
regard to higher or lower sounding air noise)
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The contoured key click clef should be read as approximate free notation and thus should result in
an unspecific and playful sound. The contour of the clicks translate to the high, mid, and low range
of the saxophone’s fingering. For instance, a line starting at the halfway point in the staff and
descending down, would be key clicks on keys 4,5,6, etc. Lines that split apart independent in
contour should be split between hands.